musicians of old

Chapter 883 Paradox
“Ho ho, Master Fanning, may the ‘Pioneer’ preserve my last chance to communicate with you.” Koseli’s throat spasmed and his voice was muffled. “I am not here to cause you any trouble. When Mr. F sent me, he instructed us to do everything we could to help you. If all the congregation joined your ‘pilgrimage,’ the ‘starlight’ would be even richer.”

"To be honest, the world is indeed terrible right now, and your dissatisfaction is understandable. The reason it's 'not beautiful' is because the 'path' is incomplete. Believe me, my true 'new world' will be flawlessly beautiful."

The last few strands of charred, foul-smelling slime, with a faint dark green sheen, dripped down from the sky, eliciting a pungent, nauseating odor.

Some faint, dark green mystical substances remained high in the air, forming a crescent-shaped transparent "layer".

Even if the enforcer dies, the lingering sense of incongruity of "Pu Lei Ruo Ma" will not dissipate in just a few days.

Fanning, who had already lowered her hand, frowned deeply.

The attack was successful, but the number of "figures" following them had increased.

Aside from the dozens or even hundreds of "stars" collected along the way, there are many more.
Like larvae crawling everywhere after their egg case breaks, like pus gushing uncontrollably from the world's festering wounds.

Spread across the riverbank behind us, across the opposite bank shrouded in black mist, and across the vast expanse of the earth under the moonlit night!
These "overflowing" figures were long and thin, roughly following Fanning's steps forward, their steps chaotic yet roughly the same in speed, as if they were performing a bizarre pilgrimage dance dedicated to Fanning!
“Heh heh. The last and third thing.” Koseli’s voice trailed off, growing weaker and weaker, like an echo from a filthy cave, “Actually, this is even more urgent, our ‘Old Musician,’ Master Fanning.”

"These new artists, born under the radiant light of the 'Noon Moon,' are also the prescient darlings who will sing for the 'New World.' They also need your 'music theory instruction,' Master, but certainly not in the traditional way."

"It's a paradox. It's an unsolved paradox. But there's no doubt that you yourself are a most brilliant avant-garde artist with a profound understanding of the 'secret of the end.' Haha."

Koseli finally fell completely silent.

Fan Ning's face darkened.

He had experienced the contamination of the "worms" several times, and what was most terrifying was that these cultists never opposed him, nor did they stop or deny him. Instead, they always acted as if they needed his approval and reverence!

Even when he killed an Order Enforcer, it was as if the other party had come specifically to die!
"Sizzle. Sizzle"

The old radio station with unstable frequency tuning started making noise again.

The teaching assistant, whose face was obscured, played a short but distinctive Baroque melody on the piano. Immediately afterward, his left hand entered in the bass register with a two-beat delay, precisely repeating the melody, creating a counterpoint.

“Look, one soul sets off, and a moment later, another soul embarks on the same path. They follow one after the other, echoing each other, yet maintaining a distance. This is not a simple repetition, but a dialogue, a pursuit, a mysterious creation about the appearance and will of the world.”

Fan Ning, who is young and holds a professorship, is still teaching.

"These are some of the most basic techniques for writing inversion. When analyzing these examples, pay attention to the interval connections between the third and tenth canons, and between the fourth and fifth canons and the twelfth canons."

After Fan Ning finished speaking, he glanced at the audience.

Suddenly, the number of listeners seemed to increase, and many "familiar" faces appeared. The same people from that "symphony hall" just moments before!
The girl with a stiff smile, the singer offering praise, the distorted and elongated guests—their eyes were empty, yet filled with a kind of morbid piety.

Fanning even saw the faces of avant-garde artists who had made their names alongside her at the Harvest Festival: Robert Fruder, Kreid Hesseau, Gustav Klimt, and Solomon Herschel.
These "people" with their crescent moon forms had clearly become part of the "noon moon" right under Fanning's nose, and now, they were sitting in the classroom, next to the students from the Saint Lenia Conservatory of Music in his memory!

To teach "them"?
It is indeed a "paradox." Fanning's divinity sensed a strong sense of pollution and terror, a kind of self-warning.

A strong desire emanated from the minds of these "people" in the audience; they longed for Fanning to analyze some of their works for them!
Examples include Debussy's *The Afternoon of a Faun* and *La Mer*, Stravinsky's *The Rite of Spring*, and Messiaen's *Meditations on the Twenty Infants of Christ*.

They are all impressionistic, atonal, and serialist, and of course there are also Scriabin's "Theosophical" works, or more modern and avant-garde works.

Moreover, many of them are ones that Fanning had previously "recreated".

It is indeed a paradox.

If Fanning hadn't touched modern music at all, firstly, under this intentionally promoted "tonality disintegration project," Fanning's speed of making a name for herself would have been slower. Moreover, her creations with her triple identity wouldn't have left an impact on the modern music scene, and those "emerging groups" would have ranked higher. In the end, it would have only resulted in "Noon Moon" having more and more nourishment.

Fan Ning's triple identity, while bringing the late Romantic style to its extreme, also objectively occupied a lot of the world's perception of "fame in modern art".

But this has sown the seeds of future problems.

The name of the Lord of the Noon Moon, the witness, is somewhat similar to that of the New Moon, especially in terms of the process of rising or dynamic scenes.

Or rather, the essence of this dark green moon in the world today is, to some extent, a collection of the "styles" of these bizarre and avant-garde artists and their works! The "New Moon" has made the greatest contribution in particular!
Traditional music theories such as harmony and counterpoint—which were once the "candle" category mainly grasped by the "unfading fire" and "endless fugue"—are indeed unable to explain modern music. Let alone atonality, even Impressionism is almost powerless to explain it.

However, the Holy Sun Church, which was caught in the conspiracy at the time, was completely unaware of this and was still cleverly colluding with the Bologna School to promote some "tone disintegration plan"!
What they didn't know was that, throughout the various generations of 'noon,' the secret of avant-garde art had always belonged to—the "secret of the end"!
"If I were to choose to analyze and interpret these modern works now, I would be interpreting the 'secret of the end,' and I would be directly contaminated and assimilated!"

"But if I choose not to interpret it, that would be choosing to completely sever ties with the modern school, deny that part of the achievement, and revert to a simple post-romantic. In that case, I would be abandoning some important components of the three 'divisions' at the same time. Under such a sudden and severe blow, I would probably still not be able to escape disaster!"

It's either 1 or 2, and the two are not interchangeable across generations.

An unsolvable paradoxical deadlock.

Fanning's back did indeed break out in a layer of white sweat for a moment.

Not only are the classrooms getting bigger, but the number of students is also increasing.

Even the eavesdroppers who had come "by reputation" to listen in the corridor outside were gathering in increasing numbers and standing in denser formations, just like the thousands of ghostly black shadows following Fan Ning's night walk on the earth under the moonlight!