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·曾錚談蘇家屯事件的真實性
·從覺醒民眾向法輪功致歉到自發拋棄中共
·揭開唐山大地震秘密 (上)
·揭開唐山大地震秘密 (下)
·致余杰(1)
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·评余杰《以真话来维权》
·伸進港台的言論管制「黑手」(上)
·促調查活摘器官在澳引發轟動性效應
·伸進港台的言論管制「黑手」(下)
·高智晟被抓與歐加政要訪澳的聯繫
·為何歐加政要關注和推動活摘器官調查
·佳作推荐-大纪元社论《解體黨文化》緒論及第一章
·Insight into China’s boom
·女富豪为何落荒而逃
·中華文化不在中國
·從瘋狂「批孔」到建「孔子學院」
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·中共能停止援助北韓嗎?
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·賈甲海外起義決裂中共的示範效應
·【特寫】「金屬風暴」之後的楊軍
·評高智晟出獄兼致耿和
·Yang Jun–the Man in the Middle of the 'Metal Storm'
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·中共的階級鬥爭延伸到自然界
·由「中国游客最难伺候」说起
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·参加国际笔会作家会议有感
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·色情作品氾濫與中共黨文化
·【澳媒观察】网上色情怎样破坏家庭关系
·山西黑窑与器官活摘
·山西奴工事件本质上不是一场叛乱
·Comparing Slavery and Organ Harvesting
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·在“七.二零”八周年集会上的演讲
·【澳媒观察】由维省省长贝克斯辞职想到的
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·From A Prisoner To A Writer
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·胡锦涛面临的内外交困
·APEC与澳洲的“外交洗牌”
·做猪要做奥运猪 打工要打澳洲工
·西澳百年老屋被拆引发的争议
·代师涛答谢辞
·【澳媒观察】中国人到澳洲旅游遭遇的陷阱
·聯合國的腐敗和墮落
·【澳媒觀察】聯邦大選 鹿死誰手
·【澳媒观察】网上“恶搞”与联邦大选
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·氣候變遷與環境 澳洲Vs中國
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·Tortured for her beliefs
·小醫生打敗大政府的啟示
·二战后第一名美国战犯的尴尬处境
·澳洲和日本的“鲸鱼”之战
·迟来一百多年的道歉
·从中国雪灾看澳洲政府的灾害应对
·从中国雪灾看澳洲政府的灾害应对
·在以色列人权圣火传递集会上的演讲
·澳洲新总理陆克文的中国政策
·澳洲女官员性贿赂丑闻引发的政坛地震
·澳洲人关于北京奥运的20个和1个
·澳洲媒体热议“克文诤友”
·印度司机“闹事”对澳洲的贡献
·四川地震带来的挑战
·澳洲施“休克疗法”应对气候变迁
·地震救了中共?
·发展不是硬道理
·色情还是艺术?
·色情还是艺术?
·儿童色情泛滥带来的隐忧
·澳洲的部长不如中国的城管
·澳洲的马与中国的人
·西方的“办公室恋情”与中国的“包二奶”
·从悉尼世界青年节看宗教信仰
·澳洲版“三峡工程”的命运
·从澳洲的色魔想到中国的杨佳
·澳媒报导奥运 看穿开幕式“玄机”
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·凤凰台节目提供活摘法轮功学员器官新证据
·秋江水冷鸭先知
·中国股市的实质 (下)
·从欧卫事件看中共最怕
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My

I was fortunate enough to have attended Shen Yun Symphony Orchestra concert at Carnegie Hall in New York, on Oct. 14. On my way back home, the first, and strongest feeling was, I have to “craft” a new term to describe what I just heard, and the new term should be “Shen Yun Music”.
   Actually the term “Shen Yun Music” has already been used before, at least at the Shen Yun website, so what do I mean by “crafting”?
   Well, what I really want to express is, in the music, art and academic communities, “Shen Yun Music” should be treated as a special term; and in the music dictionary, music history books, and music courses in school, “Shen Yun Music” should be added in as a new term, a new chapter and a new course, or area of study.
   Why do I say these? Since I watched Shen Yun Performing Arts for the first time in 2007 in Australia, in the past 11 years, I have been following and watching it, or attending Shen Yun Symphony Orchestra concert for at least dozens of times. Time and again, I wanted to write articles to express how I felt, but human languages always failed me…
   This time, when I sat in Carnegie Hall again, and melt into the music, trying to catch every note and every moment, I finally realized: Shen Yun Music is just Shen Yun Music. It is not western; it’s not eastern. It’s not classical; it’s not modern either. Then how do we describe it? We have to call it “Shen Yun Music”!

   For people who have listened to “Shen Yun Music”, they must immediately understand what this phrase means. However, it could be difficult to explain the connotation of “Shen Yun Music” to those who have never enjoyed it. I can only try my best to express a little bit about how I felt when I listened to Shen Yun Music.
   For me, the most notable nature, or quality of Shen Yun Music is that it blends the two systems of Western and Eastern music so well that the result comes out as a new system: Shen Yun Music. It is “ancient yet innovation, soothing yet powerful”. It is so under control and fair that even at the climax and most exciting moment, what the audience feels is the sudden lighting up of the Buddha’s worlds, instead of the slightest deviation to anywhere else.
   Oftentimes, I felt that my physical body had disappeared, while my soul and spirit had become one with the music. The feeling was so wonderful, pure, virtuous, bright and moving…I couldn’t help imagining: If human beings could immerse themselves in such pure and wonderful music and moments, there would definitely be no killing, no robbing, no ugly fights, no evil actions in the world whatsoever!
   There were two pieces that impressed me very much in terms of the uniqueness of Shen Yun Music. One was “Mongolian Bowls”. When the music started, you could see that it was erhu and violins moving. However, what you heard was the sound of matouqin, which immediately took you to the vast grassland of Mongolia. You could even smell the fragrance of the Mongolian milk tea.
   It was the same with the “Tibetan Drums”. When the music started, you saw western brass trumpets moving. However, what you heard was the special sound of Tibetan radung, which immediately made you feel like standing on top of those sacred Tibetan mountains, and very close to the clear blue sky and pure white clouds of the Tibetan Plateau.
   Another number that impressed me very much was the “Plum Blossom” sung by soprano Haolan Geng.
   “Plum Blossom” is a very famous Chinese song in Taiwan. The best-known version was sung by Teresa Teng, a Taiwanese pop singer, who sang this song in a very tender and sweet way.
   Shen Yun’s soprano Haolan Geng sang it in a totally different way. Accompanied by a full symphony orchestra, Haolan Geng’s magnificent “Plum Blossom” moved me to tears for many times.
   I remembered once a Shen Yun audience member said that Haolan Geng’s voice was so powerful that it could break glasses. When I first heard her singing in Lincoln Center in 2012, the word “metal” somehow appeared in my mind. It might sound a little bit unreasonable to connect metal with human voice. But the connection just “naturally” came to my mind. I guess it was because I felt that her vocal cords and voice were so strong that they were as indestructible as metal!
   This time, however, when I listened to her “Plum Blossom”, I no longer thought about “metal”, or anything else, because I was completely carried away.
   When she majestically sang:
   “Plum blossom, plum blossom, you cover the earth
   You bloom all the better with winter’s chill
   You persevere, as we do
   Symbolizing the majestic spirit of China”
   What came to my mind were the majestic Chinese history of thousands of years long, the numerous righteous and courageous heroes in those thousands of years who made the history, as well as the Falun Dafa disciples in China, who have been bearing astonishing evil and crimes with their flesh bodies in the past 18 plus years, who have never given in even one inch’s ground amidst the overwhelming landslide of human’s morality and standards, who thus successfully stopped and turned the tide around with their unchangeable and indestructible will as strong as diamond, who are willing to sacrifice their lives for others with grand compassion and forbearance…
   I also remembered the poem by Mr. Li Hongzhi, founder of Falun Dafa:
   “In the chaotic world, like pure lotus flowers—
   plum blossoms, a hundred million
   Cold winds only accentuate their beauty
   The interminable snowfall and rain
   are the tears of gods,
   Who look longingly for the plum blossoms’ return”
   With all these emotions and pictures running through my mind, I cried again and again, and deeply experienced what was contained within “Shen Yun Music”…
   Even when the traditional western music numbers, which people are very familiar with, were played by Shen Yun, they sounded greatly different. They were more peaceful, more beautiful, fairer, more disciplined and controlled.
   And this reminded me of the difference between diamond and graphite. The two substances are both composed of pure carbon, and their chemical formula is also the same “C”. However, while diamond is the hardest natural substance, graphite is so soft that it is used in pencils and as a solid lubricant.
   My point here is: There is a Way, or a Law in the universe. Only beings or things that follow the Way, and discipline themselves according to the Way, can last long, and emit pure and different energy that accords with the Way.
   And that are exactly the feelings Shen Yun Music gives to me. I could feel that everything with Shen Yun Music, from the music composition, music arrangement, the understanding of music, the coordination and cooperation between different parts, different instruments, different musicians, as well as the coordination and cooperation between the conductor and the entire orchestra… were in sync with the Way, with the Law of the universe.
   Further more, I believe the following introduction in Shen Yun program book reveals a very important aspect as well: “Shen Yun’s performers draw their spiritual inspiration from the meditation discipline and self-improvement practice called Falun Dafa. Also known as Falun Gong, it is rooted in China’s ancient spiritual traditions, and its practitioners strive to live by the principles of truthfulness, compassion and tolerance. The performers you are seeing today incorporate study and meditation into their rigorous daily training. You can see the result in the genuine joy with which they perform.”
   Yes, at the end of the day, musical instruments are controlled and played by musicians; and that’s what makes Shen Yun performers so distinctly different. Because of their own cultivation and assimilation to the Law of the universe, what they carry within, what they emit, what they can display and depict on the stage, are all very different. That’s why people can feel the different energy.
   Therefore, that is also why I do believe that the music and art community, as well as the music critics should follow closely what Shen Yun is doing in order to catch up with what it has already created and brought to the world.
   

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