談談溫金龍的二胡

刘文金的二胡与萨克斯梁祝后来北大民乐团演了。恩。。简直是垃圾。。。
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新加坡人在北京。
狂人在此，百無禁忌！
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I have performed the erhu with many instruments, some never seen or heard by people in Taiwan. Here are some examples: tablas (Indian hand drums), sitar (Indian plucked instrumeny), santur (Persian yangqin), danbou (Vietnamese one-string zither), oud (middle eatsern lute), Djembe (African hand drum), dumbek (middle eatsern hand drum), koni (Vietnamese fiddle),kayaqum (Korean zheng), udu drum (clay drum), Japanese taiko drums, North American native throat singing, spoken words, then of course the more common ones: Saxphone, flute, clarnet, violin, bass, cello, harp, vocals styles from rock, jazz, folk to classical and other world cultures, guitar, drum set, and electronics.
I have learned that creativity is not limited on the instrument, but mostly comes from the player. It's you as a musician to know how to put yourself into these situation, to find out what do you want to say through your instrument.
Putting different instruments together itself is interesting. However, it's the choice of repertoire and ways to combining them really making the difference. People who are interested in experimenting these should write new songs that will have rooms for these instruments' unique voices, rather than adapting existing pieces over and over. Then the motivation seems to be the novelty rather then the true fascination of sounds and textures and styles.

如果我說溫現在在追我,不知道各位信不信,但事實如此.想知道多點他的事.好借此參考....

因為＂溫金龍＂三個字，我和社會大眾，聊起二胡才有了好的橋樑。
我想，我應該會忽視溫金龍本人的私德，原因是他個人的私生活情況，也只會影響到他個人本身以及跟他有關係的周遭人的生活品質。
而我與溫金龍非親非故，人際上跟他的距離太遙遠，能夠帶上點關係的，也只因為二胡這件樂器。所以我個人會感謝他對二胡這件樂器的貢獻，而對他個人私生活的消息並不會太過關注。
因為溫金龍這一部分的貢獻，讓我們這些，以拉二胡為興趣的朋友甚至教學老師，不再受到社會太奇怪的眼光。

抱歉，孫老師，我說明我的理由，但我不反駁您的看法。
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>我個人會感謝他對二胡這件樂器的貢獻，
>因為溫金龍這一部分的貢獻，
我的意思是，他對二胡＂宣傳＂上的貢獻。
>讓我們這些，以拉二胡為興趣的朋友甚至教學老師，
>不再受到社會太奇怪的眼光。
在我20歲的時候學胡琴，大家都笑我是老先生。
在我30歲的時候，朋友介紹我的興趣是拉二胡的時候，大家都因為談起溫金龍而有了聊天的話題。而且溫金龍包裝的形象是前衛新潮的。
因為早期一般社會大眾，是不了解二胡這個音樂的，都以為這是老人音樂。