"Lofty heights, the voice naturally travels far"

Author: Ma Sicong
Editor: Zeng Yongchen
Publisher:
Publishing Date: 2000-01-01
Features:
Excerpt: Basic skills can be understood as a dialectical relationship between effort and relaxation—both applying force and remaining relaxed. For example, when striking a bell, if you only exert force, the sound will not last. A skilled bell striker applies both force and relaxation, allowing resonance to emerge. Similarly, when playing the piano, pressing the keys too hard makes the sound harsh and wooden. If the hands are relaxed, resonance comes out naturally. Some people think that pressing the hands hard on the strings will produce sf (sforzando). This is not true. The violin bow, which seems simple when drawing across the strings, actually involves many issues. When holding the bow, every joint in the arm is in motion, but the pressure is expressed through the fingers gripping the bow. The left hand pressing the strings is the same—if all the fingers are clenched tightly while pressing, the sound will not be good. This is the result of applying force without relaxation. Therefore, when pressing the strings, it is important to strike hard but press lightly, so that the second finger has the strength to play the second note. In summary, how to apply force and relaxation is a fundamental principle. We must practice methodically and efficiently, achieving accuracy and speed. Many people’s practice methods are not effective—they emphasize long hours and repetitive exercises, wasting a lot of time. How to practice effectively involves many tactical considerations that need to be studied. Additionally, correctly understanding difficulties during practice is also a key issue. Sometimes, people often misidentify the "enemy." For example, when playing the violin, if the left hand seems uncooperative, the problem may actually lie in the right hand. Basic skills are a very important issue. If the fundamental approach is wrong, it will waste many people’s time and talent, especially for those learning to sing. This issue is easily overlooked because it is not visible—it is like the foundation of a building, which we cannot see but is essential. Regarding the arrangement of programs, do not ignore both the old and the new—gradually incorporate new elements. Do not stop performing a piece just because the audience’s reaction is cold after one performance. New works often need to be performed many times before the audience accepts them. Of course, this first requires the performer to genuinely like the piece and have confidence in it.
On the issue of music composition. There have been significant achievements in music composition, but few are of high quality. The lack of quality is reflected in poor harmonization, bland melodies, insufficient use of musical capabilities, limited rhythmic variation, and poor use of modulations. Some songs do not fully utilize the singer’s voice, and some instrumental pieces do not fully exploit the instrument’s characteristics. Composers often lack familiarity with the features of musical instruments. How to become familiar with them is something composers should pay attention to. In composition, it is correct to emphasize national style, but do not let it impose limitations on musical language. How to create works that maintain national style while enriching musical language is something composers should focus on. Introducing twelve half-tones into the pentatonic scale is sometimes seen asing ( means "destroying" in Chinese, but here it seems like a typo and should be "" or "" without the final character) national style, but is it trulying? I believe that even if it slightlys, it should still be attempted. Some vocal works, folk songs, and choral pieces are particularly effective in reflecting the current anti-imperialist struggle and boosting people’s revolutionary will. These should be given special attention.
The thinking process in music composition is different from that in literature—it is not the same kind of figurative thinking as literature but rather sonic thinking, which is more indirect and perhaps more complex. How to expand the audience base for music and serve the vast rural population should also be addressed with some measures.
Postscript: The publication of the "Twentieth Century Masters’ Artistic Reflections Series" by Baihua Wenyi Press shows great foresight. These individuals are not only outstanding figures in the art world but also elites of the Chinese nation. Their achievements undoubtedly stand as a monument to national culture, and leaving their words for future generations holds profound significance. I am honored to have participated in editing the collected works of the renowned musician Ma Sicong. Although I may be limited in ability, I felt it was my duty to do so. Thanks to the trust of Ma Sicong’s wife, Lady Wang Muli, and their children, I was able to obtain some historical materials about Ma, especially precious ones from his later years in the United States. I also received guidance from experts at the Ma Sicong Research Association, including Presidents Wu Zuoqiang and Wang Yuhe. Professors Zhang Jingwei, Yu Yuzhi, and Comrade Fang Youshu, among others, also provided various forms of assistance. Due to the support from these multiple parties, I was able to complete the task entrusted by the Ma Sicong Research Association on time. I extend my deepest gratitude to all these experts.
Ma Sicong’s artistic journey was closely tied to the fate of his homeland, and developing a new music for the Chinese nation was his lifelong goal. Unfortunately, the disaster of the Cultural Revolution inflicted deep wounds on his soul, forcing him into exile. Yet, his commitment to developing national music never wavered. Even in the last two decades of his life, spent in exile like Su Wu tending sheep, he remained dedicated to the "high goal of pursuing the most beautiful sounds of our great nation." He worked tirelessly to achieve artistic perfection, racing against time and ultimately reaping abundant rewards. As one of China’s most outstanding violinists, his musical achievements were renowned both domestically and internationally. While editing this collection, I felt the profound love for his homeland and its culture in Ma’s words, as well as his strong sense of responsibility toward national music. He was erudite, relentless in his artistic pursuits, and naturally optimistic, compassionate, and tolerant. These qualities deeply moved and inspired me, benefiting me greatly.
Over his six decades of artistic career, Ma Sicong recorded not only his joys and sorrows on the path to success but also the pulse of his era in his notes and writings. Regrettably, the Cultural Revolution took away many of his precious diaries and historical photographs. As a result, we had to leave blanks in some important periods of his life when editing this book. For example, the "Diary Selections" are limited to his time in the United States during this special phase. We hope that Ma’s family, friends, and colleagues in the music world will work together to fill these gaps when the Ma Sicong Research Association compiles his complete works in the future.
Due to my limitations, there may be errors or omissions in this edited collection. I sincerely welcome criticism and corrections from experts and readers.
April 1999, Guangzhou