"Anti-China Reform Song" (Down with Reform)

Revolutionary Literature and Art
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The lyrics of this song were written by me, and after finishing, they were appropriately modified together with FireBranch, then a song was composed for the lyrics.

Down with the Revisionists (Revolutionary Song Against Revisionism)
Lyrics: TCABS, FireBranch

Down with the revisionists, the drum beats loud,
United as one, fighting spirit high,
Red flags lead the way, march forward bravely,
For truth, for liberation, charge! Charge!

Comrades, tighten your fists, declare war on revisionism;
Corrupt officials, deceive the masses, we must expose them;
Revisionism, eroding ideals, we will never tolerate;
Proletariat, unite, resist the exploiting classes!

Down with the revisionists, the horns sound clear,
Revolution’s spark burns fiercely,
Marxism lights the path,
For victory, for the future, march on! March on!

The long river of history, majestic and vast,
The blood of martyrs must not be forgotten;
Fear of death is not the revolutionary spirit,
Moving forward bravely is our choice.

Down with the revisionists, the red flag flies high,
The will of the people, as solid as a rock,
Communism, our faith,
For the people, for happiness, fight!

Comrades, stand tall, prepare for new battles,
Let our songs become the horns of revolution,
Down with the revisionists, for the glory of communism,
We join hands and create a new chapter!

This is a pure music score (I am not very familiar with music scores, so some parts may be not standard)
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First… From the perspective of lyrics, it doesn’t reflect any proletarian worldview. Honestly, it seems like a product created by petty bourgeoisie trying to keep up with the trend during the development stage of the revolutionary movement. The lyrics abstractly emphasize charging forward, overthrowing, and condemning corrupt officials. On the surface, it appears revolutionary, but in reality, it is superficial and does not articulate a critique of the Chinese revisionist system from a Marxist perspective, nor does it stand from the perspective of the working masses. It merely expresses some naive accusations against Chinese fascism, resembling a poor imitation of past revolutionary works, a clumsy mimicry. It actually reflects the attitude of petty bourgeois intellectuals detached from the people and labor towards socialist revolution.
Secondly, from the perspective of melody, this piece has no key signature, leaving performers uncertain about which mode to sing in; it also lacks a time signature, making it unclear what rhythm to follow. Without a time signature, the measure lines seem meaningless because it’s impossible to know how many beats are in a measure. Moreover, many places have incorrect rhythmic markings that do not conform to basic notation standards. Some sections are inexplicable; for example, there should be sustained notes (called this), but they are missing, making it impossible to perform the piece correctly and understand it. The rhythm is also inexplicably mismatched, with sixteenth notes and dotted notes often completely out of sync with the emotional tone of the lyrics. The melody itself is quite strange and does not match the emotional expression of the lyrics (which are very hollow and do not convey any proletarian revolutionary sentiment).
Hollow content can only produce hollow melodies and tunes. Artistically, it is tasteless and reflects the author’s lack of musical knowledge. Politically, it is also hollow and does not reflect the spirit of proletarian revolution or the critique of the Chinese revisionist fascist government.
Any musical work is always an artistic expression of certain ideas or emotions, always embodying the thoughts or feelings of a particular class. Matter determines consciousness; practice determines understanding. Without proletarian practice, it is naturally impossible to have proletarian ideas, nor can revolutionary art be created.

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Thank you for your feedback. I will reflect carefully and make improvements after I go down.

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jqr is very professional

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What’s wrong with you? Why do you only show up at this time?

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What is the reason for jqr’s disappearance for such a long time? There hasn’t been any statement at People’s Square either. Leaving everyone hanging like this is somewhat excessive.

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It feels like jqr mainly talks about political content from the perspective of the lyrics, but focuses on technical aspects (such as key signature, time signature, etc.) in terms of the melody, while the analysis of the melody itself is not developed. By the way, why haven’t you come to the forum for so long? The factory diary hasn’t been updated for quite a while either.

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Mainly, there isn’t much to say about the melody part… After all, the lyrics themselves are already quite hollow. If we are to discuss how to modify the melody to match these hollow lyrics… such a question seems somewhat absurd. To give a direct example, according to the author’s idea, for liberation, for truth, charge, charge. The last two charges inexplicably lower the pitch suddenly at the stage where the emotion should be high— isn’t that quite strange? As for the rhythm, many times it’s hard to understand what emotion the rhythm arrangement is meant to convey. Often, the expression is startling and abrupt, and because there is no time signature, it’s impossible to know where the strong beats are, so we don’t know what the author intends to emphasize.

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Uh… A while ago, I went on a wild spree of indulgence, indulging so much that I started feeling like nothing I did had any meaning. Then I thought I’d come to the forum to take a look… more or less… uh, to somewhat enrich my spirit or something.

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This is true… I actually continued to visit Yinyue for a while before, so…

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Jqr is indeed very professional, but can’t he set a better example himself? On one hand, he criticizes others’ songs for being detached from the working masses and Marxism, but on the other hand, he himself directly uses virtual singers to create songs. Doesn’t this have an even worse impact?

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jqr, let’s create some revolutionary art and literature, and stop indulging in harmful reactionary art and literature.

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Actually, it’s not particularly professional; rather, these are some very basic things. These contents can be found in some textbooks related to composition knowledge published during the Cultural Revolution, which are explained in a simple and easy-to-understand manner. People without a foundation might spend a little time and roughly understand it within a week. In fact, this reflects the author’s disregard for music theory knowledge and their ambition beyond their abilities. To put it bluntly, it is being unlearned and unskilled.

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Then why can’t you learn to give up indulgence in lust? Ideological struggle is also a step-by-step process. Why do you always like to lie at the bottom of the valley? Such a life abandons many things: it abandons feelings about social events, abandons theoretical study, abandons interaction with others, and just shrinks into a small circle to play, playing wildly. JQR, are you still working now? Do you know that your factory diary initially had a great impact on many people, but later you disappeared without a trace? If you could persist, it would be good for both others and yourself.

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I remember that when I was in middle school, I also fantasized about creating revolutionary literature. At that time, I dreamed of writing revolutionary novels, and I also saw others online who had similar ideas. Someone at the time rebutted, saying that without revolutionary practice, there would be no revolutionary thoughts, and it was too early to write such novels; but I didn’t agree, thinking it was just factories and propaganda, something I could come up with just by thinking. It was basically subjective idealism, believing that even without corresponding practice, I could imagine a set of things that fit reality through my “genius” brain. In reality, I was very hollow and empty inside, and my desire to write this was not really for revolutionary propaganda, but to show off, to hope to gain some seniority in the “left-turn tide,” and to chase fame and profit. Later, after facing increasing pressure from the academic establishment and dropping out to work, and truly participating in wage labor, I realized that my past self was indeed very naive.

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