musicians of old

Chapter 884 The Third Possibility

Fanning felt like she was being stared at by a whole host of "visual organs".

They are distributed near and far, densely packed.

The actual experience was indeed similar. Looking around, there was a huge mass of dark, blurry figures—seats below the stage, doors and windows in the corridor, shadows behind the stage pillars, gaps between floor tiles, and even a chalk box on a table—staring at me with wide eyes and open mouths, their eager "learning" attitude like that of someone preparing to devour a feast.

Among these eerie figures lingering and gathering, there are some sitting in the front row, whose distinctive features stand out even more.

The same old top hat, the long silhouette of the suit, the deeper shadow of the tie, the carefully styled hair, and the wide, upturned beard.

Of course, these "homogeneous" figures were no different from the other people sitting next to them, all displaying a fanatical and strange posture of welcoming and worship.

Meanwhile, the other music students who were sitting peacefully in the classroom also became uneasy and confused.

"."

The uneasy silence in the large lecture hall lasted for nearly a minute.

A morbid terror spread from all around, becoming increasingly apparent.

"Keng"

A faint, clear sound suddenly came from the air.

A metallic phantom suddenly hovered in the air, slightly away from the podium.

"Raging Silver Flakes?" Fanning frowned and looked up.

It appeared to be even larger than the “central control area” of the Bit Patrol Hall. Although it was only a semi-transparent phantom, the silver flash at the break seemed capable of severing the observer’s cornea in an instant.

The texture of the classroom's interior walls began to distort, and countless mysterious characters symbolizing control covered the floor, walls, and ceiling.
It even covered the faces of the "pilgrims who were listening to the lectures".

"Pogorelich?"

The witness, the "Director," has also taken note of the current situation!

These characters, which embody the meaning of control, appear to be statements or regulations that He provided to Fanning for direct "reading".

Unquestionable statements or overbearingly defined regulations.

After accepting and complying with these regulations, Fanning can directly begin "analyzing" those modern musical works.

For example, regardless of music theory or logic, it is directly read as "this is the regulation from above" or "this is the regulation from the authorities"!
Or, to criticize or reject.

To directly use the "ashes" principle to judge modern music as nothing more than "empty," "without anything to write about," and "playing with concepts," without needing theoretical explanation and having no merit whatsoever.

But what are the costs? What are the potential risks?
What are the limitations on potential harm to oneself in the future?
And does this conform to the true, supreme truth of art?
"But when faced with two evils, should we choose the lesser one?"

Fanning's back was covered in a layer of cold sweat that dried and then clung to her skin.

He felt something tingling or itchy that had crept up his spine and the back of his neck.

"The dangerous chasm drawn by the 'post-Romantic' era. The past and future are indeed incompatible! Harmony is the harmony of tonalities; traditional music theory simply cannot explain atonal and other genres! If we don't use the 'Special Patrol Department Control Regulations,' are we supposed to use the 'Secret of the End'?" "Even if I were to temporarily assemble another theory to explain atonality, that, in turn, would be unable to explain, for example, the vocabulary of the Romantic era, or even earlier works. What about my own symphonies from before? Ultimately, it will create a dangerous situation of division."

As Fan Ning frowned, her gaze fell upon the audience.

There was a blurry, dark figure wearing a top hat and sporting a mustache, with an expectant and intrigued expression on his lips.

This person did not seem worried or apprehensive about Pogrelic's "helping hand".

There are definitely problems with both.

They're all dead ends!

Any musician across countless generations, whether they are the "New Moon" or the "Torchbearer," even a Bach in his "Fugue Without End" in good condition, would probably be doomed if he were to be corrupted by this kind of pollution!
"No, no."

"Is it truly inexplicable, incompatible, and unresolvable?"

In the midst of the crisis, Fanning quickly came to a conclusion.

Relying on his musical intuition, his creative experiences over the years, as well as his vast accumulation and divine inspiration, he tried his best to think about all the relevant events that have occurred in these generations.

"There are still some exceptions. There are definitely a few glimmers of light, a few geniuses."

"Take religious music as an example. Although the Holy Sun Church of this world has fallen victim to the conspiracy of the 'Tonal Disintegration Project,' in the century since Scriabin's death, there have still been outstanding serious musicians who wrote in religious genres, who not only created modern or even avant-garde techniques and achieved the 'impossible theological rainbow'? Did the great ornithologist Messiaen, the 'sacred minimalist' Avopat, and the internationally influential Russian religious composer Gubaidulina rely on 'the power of the end times' for their creations? No. It shouldn't be."

"These are examples of composers; let me think about others, and consider them for a moment."

Fanning grasped some key loose ends, but they were too fragmented and still lacked a coherent system.

A composer's brilliant creative achievement is undoubtedly dazzling within the span of their individual lifespan, but from the perspective of the "noon" worldview...
How to collect them, how to systematize them, and how to make them appear like "starlight"?
"There are also some. In the modern era of the 0th century, there have been a few promising cutting-edge academic achievements, but they only touch upon one field, one type of phenomenon, or merely attempt to explain some perplexing issues."

"No. No"

A method must be found to achieve a grand integration and unification of music composition theory! All possibilities must be explored, capable of encompassing and explaining all styles! This includes tonality and atonality, traditional and unusual rhythms, formulaic and accidental music, pleasing or noisy music, music conforming to harmony and counterpoint, and music not conforming to harmony and counterpoint.
Alternatively, in terms of specific implementation paths, we can start with traditional theories, extend them one step at a time, then extend them a second step, and so on, until we reach more.

Is this even possible?

Is there a third possible way out?
In the almost suffocating, morbid silence, a soft "ting" sound suddenly rang out.

Fan Ning reached out and flicked the "Raging Silver Blade" away from a distance.

“We have just bid farewell to a lonely traveler,” he spoke again, his clear voice echoing in the lecture hall. “Now, let’s set aside for a moment the detailed discussion of traditional harmonic progressions and the rules of counterpoint.”

He closed the handouts on "Counterpoint" with his fingers again, the movement conveying an unquestionable decisiveness.

"Have you ever considered a more fundamental question? These exquisite counterpoints, these complex harmonic progressions, these seemingly ever-changing and endless musical works—from Bach's rigorous fugues to Beethoven's heroic symphonies, and Wagner's operas as vast as the universe—do they conceal a more primitive and unified 'root structure' at their core?"
Fan Ning paused.

This issue, and this initial approach, doesn't seem to have touched upon avant-garde works for the time being.

But it was indeed tempting enough that a moth-like restlessness began to ferment in the silence.

“I tell you, yes.”