I have always harbored an aesthetic impulse towards "clutter", and I have always had doubts about the aesthetic psychology of clutter, which led me to pay attention to the "noise-seeking" phenomenon in traditional music.

Music is the art of sound, and sound can be distinguished from music and noise. Both music and noise are the objects of music refining and processing, and become the language of music. Traditional Chinese music has always endowed noise with rich expressive power.

Noise refers to sounds with chaotic changes in pitch and intensity and disharmonious sounds. Its basic feature is irregularity, which is essentially a disregard for order. It is noisy, chaotic, abnormal, negative, irrational, and disharmonious, so it is naturally not accepted in China's "music education" tradition that values ??"neutralization." But Chinese music has always had two main lines, the upper-level ritual music and the folk music. "The more people are in peace, the Chu people are in peace, and the gentlemen are in peace." The upper-level ritual music pursues elegance and uprightness; while the folk music has always maintained a kind of Seeking noise tradition. Tan Weiwei's Huayin old tune is an interpretation and exaggeration of noise in the folk music tradition, which shocked the music world for a while.

Noise is the expression of irrational emotions, noise is the catharsis of dissatisfaction and pressure, noise is the fantasy of absolute freedom, and noise is the display of untamed wildness. Noise satisfies people's desire for difference, and invisibly gives music the tension of expectation (seeking change in the midst of stability, seeking chaos in the rhythm). Therefore, noise is a highly expressive part of music.

“Happiness can only be achieved by listening to the ears, and beauty can only be achieved by observing the eyes. If you are shocked when listening to music, or dizzy when observing beauty, you will be in trouble.” The ancients paid attention to listening and seeing correctly, and paid attention to degree. Chinese traditional music, even the traditional folk music, has never regarded noise as the main part, but only pursues "tune noise" and "momentary noise"; it pursues the chaos transformed by noise - "Noisy, noisy, mixed with bullets, big beads" "Little beads falling on a jade plate" also pursues the shock caused by the change of noise - "the silver vase is broken, water slurry bursts out, and the cavalry stands out with the sound of swords and guns".

The noise music school goes to the extreme, making noise the main body of the work. Its main tone is harshness and tearing, transcending the boundaries of hearing, breaking the limits of hearing, allowing high-decibel violence to flood the scene, and letting the irregular The beats tear the listener apart. As a form of self-expression, feel free to do so. But if it wants to become noise music in the true sense, it must first be careful to avoid causing people to unconsciously protect their hearing. If it causes auditory resistance in the audience, there is no music at all.

Aristotle proposed the "purification" function of music, tragedy, poetry, etc. on emotions. Zhu Guangqian believes that the essence of "purification" is to use music and other arts to release some overly strong emotions. And achieve calmness, thereby restoring and maintaining mental health. From this point of view, I accept and respect the noise music school.

In addition, the individual characteristics and rebellious spirit of the noise music school itself are also fascinating. Real life requires conformity, and only art can give people illusory freedom. But be careful, returning from the illusion of art to the reality of life may bring about loss and extremeness. After a catharsis, it may bring emptiness and decadence, and many people will lose themselves.

The thick and disorderly clothes in calligraphy are similar to the noise in music, showing an untamed wild state. It pursues an aesthetic feeling of chaos, chaos and confusion. The Guange style is a tame font, quite regular, lacks true feelings, and has a faint slavish side.

The iron flute Taoist Yang Weizhen and the ivy old man Xu Wei can be described as the noise music school in the history of calligraphy.

Yuan Dynasty Yang Weizhen's "Picture Scroll Inscribed on Zou Fu's Lei Chun News"

Xu Wei's "Poem of Group Watch" in the middle hall