A song from Chengdu revived a closed-down pub.

At first, everyone could understand what was being said.

But as Wu Enqi and Su Fan talked about the breathing in long songs, the stress in Mongolian lyrics, the overtones of the morin khuur, the vocal positions in throat singing, and the impact of modern recordings on traditional timbres, everyone felt like they didn't have enough brain cells to process it all.

The viewers in the live stream were equally stunned.

"Didn't I come here to watch a travel livestream? Why are we suddenly having a lecture?"

"I can understand each sentence individually, but when put together, I feel like my musical knowledge isn't enough!"

"The Hanggai Band has gone from being guest performers to students!"

"Su Fan chatted with Elder Wu for so long, and he didn't show any fear at all?"

"He didn't show any fear at all. Old Wu was clearly testing him several times, and he got more and more enthusiastic with each question."

"I only knew the morin khuur (horsehead fiddle) sounded nice before, but today I realized there's so much more to a single sound!"

……

On camera, Wu Enqi and Su Fan's discussion continued.

The two did not deliberately use too many obscure terms.

It was usually U Enqi who would raise a question, and Su Fan would offer his own interpretation.

Su Fan discussed modern arrangements, while Wu Enqi added from the perspective of traditional music.

An old man and a young man, one has spent most of his life preserving the music of the grasslands, while the other seeks new expressions from the perspective of modern music.

Their views are not entirely the same, but they can always understand why the other thinks that way.

Ordinary viewers may have just enjoyed a spectacle.

But for those who are truly engaged in music work, especially those who study ethnic music, this live broadcast is invaluable.

Because this is not a pre-scripted interview.

Wu Enqi did not describe grassland music according to the materials, and Su Fan did not say any empty words that could be applied anywhere.

The two of them were discussing practical matters.

Any one of these points, taken individually, would be sufficient to serve as a discussion case in a music academy classroom.

What's even more remarkable is that Wu Enqi represents the deepest experience of traditional music.

He may not be able to explain many things using modern music theory, but he knows how to sing them correctly and how to handle them in a way that would lose the original flavor of the grassland.

Su Fan represents a modern system of composition, arrangement, and recording production.

One who knows where traditional music comes from.

One knows how to bring it into the present moment.

The two experiences collided and corroborated each other in front of the camera.

This kind of dialogue cannot be found by simply flipping through a few textbooks.

At the Beijing Conservatory of Music, Liang Henian, after listening to half of the story, immediately called over several of his students.

Pointing to the live stream screen, he said seriously, "Record this live stream from beginning to end, without missing a single word. Then, based on their discussion, break down the arrangement of 'Reincarnation' section by section and analyze it in class next week."

Similar incidents have occurred at other music conservatories and ethnomusicology research institutions.

One teacher changed the day's class schedule at the last minute and directly projected the live stream onto the classroom's large screen.

Researchers watched the interviews and transcribed the two individuals' viewpoints into text.

Some veteran artists even called to remind their students to put down what they were doing and watch the live stream first.

Because they all knew that Wu Enqi rarely talked about music in such depth in public anymore.

No one expected that Su Fan would be able to discuss grassland music with this elderly man, who had spent most of his life studying it, from the perspective of modern music.

When the live stream ended, Liang Henian wrote on his WeChat Moments: "This was not an ordinary entertainment live stream, but a truly effective dialogue between traditional and modern music. It did not argue about which is superior, but discussed something more important: how to keep tradition alive."

This statement was quickly widely circulated within professional circles.

Later, some people even began to meticulously analyze the dialogue between the two, adding annotations to each point of view.

Even the production team didn't expect this.

This impromptu live broadcast has surprisingly become an extremely valuable teaching resource in many music academies and research institutions.

Similarly, Montreal was also the biggest beneficiary of this live broadcast.

Originally, the popularity of "Reincarnation" was already quite astonishing.

The song is sung in Mongolian, and blends the morin khuur (horsehead fiddle), long song, throat singing, and modern rock.

This novel style, which has never appeared before, has already attracted a lot of attention.

Furthermore, the in-depth analysis by Su Fan and Wu Enqi during the live stream made "Reincarnation" a huge hit.

Many viewers who initially just thought the songs were nice began to learn about the morin khuur (horsehead fiddle), long song, and throat singing after watching the two performers' discussion.

Related performance videos, documentaries, and popular science content have all seen a significant increase in viewership.

Even some grassland music albums that were previously ignored suddenly gained a large number of listeners.

Online discussions about Montreal are no longer limited to grasslands, food, and horseback riding.

More and more people are beginning to pay attention to the music, language and culture of this land.

Some tourists have publicly stated online that their next trip to Inner Mongolia will not only be to see the grasslands, but also to hear a real long song performance and see firsthand how the morin khuur (horsehead fiddle) is played.

Tourism inquiries have surged again across Montreal.

Some programs offering morin khuur (horsehead fiddle) experiences, grassland music performances, and folk activities were fully booked in a short period of time.

The impact of "Reincarnation" is more than just the traffic generated by a popular song.

It made more people realize for the first time that Montreal, in addition to its vast landscapes, also has an equally vast voice.

Little did Su Fan know that while Su Fan and Wu Enqi were live-streaming, the Spring Festival Gala production team was also holding a program discussion meeting.

In the conference room, a live broadcast from Montreal was playing on the large screen.

Initially, the production team only noticed the popularity of "Reincarnation" on the internet.

A newly released song quickly became a trending topic on various platforms and sparked such a large-scale discussion, naturally attracting attention.

But what truly made them decide was not the song's popularity.

Instead, it was Su Fan and Wu Enqi's in-depth analysis of the song during the live stream.

Deng Zongqi, the chief director of the Spring Festival Gala, looked at the group of people in charge of the music program: "What do you all think of this song, 'Reincarnation'?"

Music director Luo Wenchuan spoke first: "There is nothing wrong with the song itself. The melody, lyrics and arrangement are all mature enough. More importantly, the elements it contains are very representative."

One program director raised a question: "But the entire song is sung in Mongolian, which is difficult for ordinary viewers to understand. Will putting it on the Spring Festival Gala stage affect its reach?"

Luo Wenchuan shook his head: "Most of the viewers in yesterday's live broadcast room also couldn't understand it, but the song still caused such a big reaction, which proves that language is not a problem."

Another director agreed, saying, "Moreover, Mongolian is precisely the most distinctive feature of this song. If we were to forcibly change it to Mandarin just to cater to all audiences, the original flavor of the song would be lost."

Deng Zongqi did not immediately respond, but instead asked, "Has the Hanggai Band participated in any large-scale performances before?"

The staff member flipped through the newly compiled documents, looking somewhat strange: "No, to be precise, this band has only just been officially formed. 'Reincarnation' is their first piece and their first public performance."

A low murmur immediately filled the conference room.

Deng Zongqi was also somewhat surprised: "Just established?"

The staff member nodded: "Agula, Chaolu, Chen Fang and others used to work in music individually, but they did not work together as a band. After Su Fan arrived in Inner Mongolia, he organized them together and named the band Hangai."

At this point, some people expressed concern: "It's one thing for the song to be well-made, but it's another thing for the Spring Festival Gala. The grassland environment during the live broadcast added a lot of atmosphere to the song. If it were broadcast in a large studio, the effect might not be as good. Moreover, they have just formed a band, and their live experience and coordination stability need further evaluation."

Deng Zongqi nodded: "That concern is valid."