I heard happiness

Author: Li Wan
Publisher:
Publish Date: 2003-01-01
Features: As individuals are increasingly precisely inserted into the urban machine, through pop music, you can open many truths of contemporary existence. It acts as an intermediary, where bestsellers establish a certain relationship—one side is society, and the other is the work, with both mutually observing and revealing each other. In a pure sense, this book is not truly music criticism. Pure music criticism, ultimately, should adhere to the logic of music itself, starting from music rather than from culture or anything else. Thus, we must introduce the history of music, using history as a mirror to establish a proper evaluation system. It is not about discovering meaning, but rather precisely discovering the position of the work in music history, and then precisely discovering the position of music in aesthetics, and the position of aesthetics in philosophy. However, to this day, humanity has not yet produced a comprehensive history of music. What we are familiar with is merely the intermittent history of classical music—with precision, Western classical music—and no musicologist has explored the fundamental prototypes of human music (in several forms), nor have they investigated the series of developments and changes of these prototypes as they unfold over time and space. The current state of music history is a national history, a separate volume history, a local gazetteer, and a private genealogy. Every type of music can find its place in its own genealogy, but none can find a place in the history of music. Fundamentally, we do not even have a reference system. Music is all sound, a long and ever-changing trace that spans across time and generations, without distinction between genres. It has been flowing in all its manifestations, leaving us behind, confined to our own territories, each clamoring loudly.