Model essay on appreciation of Yunnan traditional music

You haven't been gentle since you left.

It's a long way to wait in this snowy mountain, listening to the cold wind still whistling.

Looking around, the wind cut my face like a knife.

I can't wait for the blue sky in the West Sea, so I can't talk about this endless plateau.

Remember you promised me you wouldn't let me find you,

But you followed the migratory bird back to the south so far.

Love is like a broken kite, which can't hold your promise.

I am waiting for the warm spring at the top of the snowy mountain.

Lonely geese wait for the plateau ice and snow to melt and return.

Love can't continue, and we can't go back to our past.

The first two sentences, "Since you are gone, don't be gentle", present a moving scene of lovers' farewell to the audience, and express the sadness of the host after farewell to the fullest, that is, "Farewell, don't be gentle". The love in my heart has no object, and I won't show gentle love to others, but I still have infinite "gentleness" in my heart. "Don't" is a classic word with many meanings. It not only expresses "farewell" to lovers and love, but also has a longing for "gentle" return. If the word "lost" is used, according to the explanation of "active", if you leave, I will lose tenderness, just like throwing garbage. No tenderness. Is it necessary to "wait for a long time in this snowy mountain"? If you follow the explanation of "lost precious things", you will be presented with such a scene: the owner is driven crazy, sloppy, at a loss, a miserable picture, no goodwill, no sympathy. Many people lament that Dao Lang's songs, though written about lovelorn, are always so "beautiful". Whether praying "God's creation is diligent to you and won't let you change" or "Maybe I can't come into your life in this life, but I have the courage to wait for you all my life" gives people this feeling. From this, we thought of the famous song "butterfly lovers", but such a tragic theme is very tragic and beautiful, and its "beauty" is straightforward.

Then, "I waited for a long time in this snowy mountain, listening to the cold wind still whistling", "As far as I can see, the wind cuts my face like a knife" and "I can't wait for the blue sky in the West Sea, so I can't tell this vast plateau". It also presents another picture for us: the cold wind whistling around, a lonely figure overlooking the long snowy road, but never seeing the end of the road, nor seeing your back, the distance is just a vast expanse. Why does this winter seem so long? I have been longing to see a blue sky on the plateau of the West Sea (it should not be the real sea here, it is said that the West Sea is another name for Qinghai), which indicates the arrival of spring, but there is always a boundless horizon. ...

At the same time, this passage also shows that the background of the song is the West Sea Plateau and Snow Mountain.

"Remember when you promised not to let me find you, but you followed the migratory birds in the south to fly so far. Love is like a kite with a broken line, which can't stop your promise. " Here describes the host's deep nostalgia and concern for the separated lovers. When we broke up, you said that you would keep in touch and write back from time to time ... but since that wild goose (used here as a "migratory bird", hereinafter referred to as "lonely goose" to avoid repetition) returned to the south, you haven't heard from me for a long time since you left. How are you getting along now? I want to find you not only because I miss you, but also because I miss you. But I can't keep waiting for your news. Isn't your love as far away as a broken kite? But we have an oath, remember? The phrase "I won't miss you" here is just reversed for rhyme. On the surface, it looks verbose, but in fact, it is handled in a unique way. "Love is like a broken kite, which can't keep its promise", especially "Keeping its promise" is another highlight in the lyrics, which corresponds to the previous "farewell tenderness". Both of them adopt the analogy method of "virtual reality". The object of "pull" can only be an entity, but here is a "promise", which perfectly shows the scene that "pull" comes back but still floats away like a broken kite. In my mind, when I left, you said you wouldn't let me forget you. I wanted to "pull" you back, but did you gradually forget? There is a positive effort to "pull", echoing the expectation that love will return to the distance after the previous "farewell". So "don't be gentle" and "make a promise" are the essence of all lyrics. We'll talk about Lost later here. If the previous "lost" is the second meaning, then this should correspond to "found", that is, found in the previous sentence "I can't find you". But the "you" here is physical, without "virtual materialization", which does not correspond to the metaphor of "losing tenderness" and has no artistic conception. Therefore, I think changing "not gentleness" to "losing gentleness" is an unbearable burden for classics to become dross.

"I am waiting for the warm spring at the top of the snow-capped mountains, waiting for the lonely geese to return after the melting of the plateau ice and snow, and it is difficult for love to continue. We can't go back to the past." This passage once again expresses my desire to expect my lover to come back in the cold winter, and in my heart, I always believe that when spring comes and the snow melts, you will definitely come back. In the long wait, there is still no news of any lover. In the master's thinking sea, he imagined such a scene: it was spring, and only a lone goose came back from the south. It seemed that he was the lone goose, and he felt that "you" could never come back, and "our" love could never come back. Where would the lone goose "I" fly to under the boundless sky? ...

The lyrics of the whole song have a good rhythm. , soft, old (near sound) rhymes with ou, bian, mian, Qing, Yuan, Jane, Yuan, Xing, Yan and Tian.

Some people suggested that this song was related to a night in Delingha as a story, and they also defended the MV. I think it's totally subjective. The backgrounds of the two songs are completely different, and Sandie points out the same point. After all, movies are different from songs. Movies mainly tell stories, while songs tell an emotion. There is no denying that the background of song creation may be a story, and when she appears as a musical work, it is often a transcendence and sublimation of the story itself. So is butterfly lovers, and so is Alice and Senum. When you hear "I have searched all over the Tianshan Mountains, I want to find you Sainaim", which listener is still confined to that legend? !