Chapter 165: The Poet Immortal Descends to the Mortal Realm

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As before, after stepping onto the stage, Su Chen did not head straight for its center. Instead, he walked toward the band waiting in the shadows at the side.

No one found this unusual anymore. Every song Su Chen entered into the competition was an original piece he composed on the spot.

Unless he handed the band instructors his sheet music, the song could only be performed a cappella. No one else would have any way to find an accompaniment for it.

After distributing the densely handwritten pages in his hands among the band instructors, Su Chen finally walked to the microphone stand at center stage. He closed his eyes and waited.

Watching Su Chen stand there with his eyes shut, the others—having learned from past experience—could not help worrying that he might fall asleep right onstage.

Meanwhile, the band instructors seized every spare moment to study the handwritten music on the pages.

Although they did not hold out much hope that Su Chen could write an outstanding traditional-style song, he was still quite young. In their minds, someone his age could hardly have conducted any serious study of opera.

If a person could neither understand nor sing opera, how could he possibly write an excellent traditional-style song?

What they did not know was that if those thoughts had reached Su Chen’s ears, he would probably only have shaken his head and laughed.

For one thing, in his previous life, Su Chen had once spent two whole months living with an opera troupe while researching traditional-style music. How could he possibly fail to understand opera culture?

For another, this world’s understanding of traditional-style songs was far too narrow. Since when had such songs referred only to opera?

In the broadest sense, traditional-style songs were compositions that incorporated elements of Huaguo’s traditional culture, possessing the charm and emotional character of antiquity.

They often drew their subject matter from ancient literary works, historical legends, or classical instruments. Through distinctive melodies, lyrics, and vocal techniques, they created an atmosphere that was both ancient and elegant.

The creation of such music involved respect for and homage to traditional culture, while also granting it the elements and expressive forms of modern music.

This fusion gave traditional-style songs a distinctive aesthetic, allowing listeners to feel a powerful sense of history and emotional resonance.

Most importantly, traditional-style songs could be performed in many different ways. Some adopted traditional vocal styles and chanting techniques, imitating the sounds of instruments such as the guqin and flute, bringing the songs closer to the character of ancient music.

Others incorporated elements of modern pop, using contemporary instrumentation, arrangements, and popular singing styles to present the beauty of antiquity.

Their themes covered ancient literature, historical legends, tales of war, romances from the distant past, and much more.

Through their lyrics, they often expressed admiration for and longing toward ancient heroes, beauties, landscapes, and emotions, immersing listeners in a picture of the ancient world.

Therefore, traditional-style songs were by no means merely opera. To reduce them to that alone was a sign of how backward this world’s understanding had become—and an enormous loss to its musical culture.

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In his previous life, traditional-style songs had won widespread recognition and influence in the modern music market. Many outstanding musicians and singers had created a great number of excellent works, some of which had become classics beloved by audiences everywhere.

This unique musical style had also promoted the inheritance and development of Huaguo’s traditional culture, allowing more people to gain a deeper understanding and appreciation of its ancient heritage.

Under such favorable and distinctive conditions, an abundance of remarkable traditional-style works had naturally emerged.

Among them was one song widely regarded as a supreme classic of the genre, a piece that used porcelain to express the creator’s innermost emotions.

On the other side of the stage, the band instructors stared at the scores in their hands, their expressions gradually turning blank.

Thirty seconds...

One minute...

Two minutes...

After a full three minutes, the band instructors abruptly raised their heads and exchanged stunned looks.

Each of them could see shock in the others’ eyes—even horror.

Their reactions were exactly the same as in the previous episodes, when Su Chen had handed them his lyrics and music.

They had never imagined that Su Chen could truly write a traditional-style song.

And not only had the song fulfilled the prompt, it also seemed... incredibly beautiful.

Only, this traditional-style song was nothing like the ones they remembered. It was entirely different from the opera pieces available on the market.

Could this... really be considered a traditional-style song?

Once their initial shock had passed, the band instructors still had to play their parts.

No matter how many questions and emotions Su Chen’s song had stirred within them, they would have to wait until he finished singing before discussing them.

In truth, the instructors were also filled with anticipation.

If this song could indeed be considered traditional-style music, then their band would become the first to perform this new type of traditional-style song.

It would have epoch-making significance. This program—and perhaps even their band—might be recorded in music textbooks one day.

With those thoughts in mind, they grew excited inside, yet their movements became even more serious and meticulous. They played with greater solemnity than they had shown during their very first performance.

Before long, the leisurely prelude began to ring out. The four mentors and six professional critics all raised their brows, their eyes filled with astonishment and uncertainty.

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The prelude was performed on the traditional instrument known as the guzheng, creating a classical and lyrical atmosphere.

It began with a solo guzheng passage. The pleasing notes echoed through the air with an ethereal resonance. The entire introduction was crisp and bright, its melody smooth and flowing, evoking a sense of freshness and natural ease.

The melody clearly drew upon elements of Huaguo’s traditional music, employing characteristic guzheng phrases while incorporating rhythmic touches from modern pop.

The guzheng strings flowed beneath the player’s fingertips, delicate yet deeply expressive, revealing the instrument’s unique charm.

As the prelude progressed, its emotions gradually rose. Gentle tones were joined by sharply defined drumbeats and harmonies, making the entire piece more vivid and powerful.

With its intricate, ever-changing notes and techniques, the introduction displayed the performer’s superb skill while highlighting the artistic quality and emotional expression of the composition.

They marveled at the beauty of the melody, yet remained uncertain about the song’s true nature.

No matter how they listened, it leaned far more toward pop music, with little trace of opera.

Could a song without any operatic elements still be considered traditional-style music?

Just as everyone wrestled with these complicated thoughts, Su Chen removed the microphone from its stand, held it in his hand, and brought it close to his lips.

“The plain porcelain takes shape beneath the cobalt brush; the stroke turns from rich to pale.

“Peonies bloom across the vessel, just as you appeared in your first adornment.

“Incense drifts slowly through the window; I understand the thoughts you keep within.

“Upon the rice paper, the brush reaches this point—then pauses halfway.”

When the main verse began, its unique rhythm joined with lyrics steeped in antique elegance, sending a shock through every professional in the room.

The lyrics in particular were almost impossible to believe. How could Su Chen have written something like this in barely more than ten minutes?

This was nothing short of a poetry immortal descending into the mortal world.

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