Beethoven determines the length of a laser record

When it comes to setting standards, Beethoven is not the first person in the history of music, but the first person in the history of music.

how do I say this?

Many people don’t know that the length of laser discs in the world is 74 minutes and 42 seconds.

Even if you know, you may not know why.

The story began in the spring of 1976, when Sony’s R & D team showed the company’s executive Dahe Dianxiong a laser disc that could hold 13 hours and 20 minutes of music. This is the world’s first digital audio record. However, the record is over 30 cm in diameter.

At the same time, the Dutch Philips company is also improving their laser discs. Three years later, Philips introduced the first generation of laser discs, measuring only 11.5 centimeters in diameter and capable of recording 1 hour of music. The two companies decided to jointly submit a record specification to the International Digital Audio Disc Association (DAD), with a suggested length of 60 minutes. At this point, Dahe Dianxiong has been promoted to president of Sony Music Entertainment Co., Ltd.

Dahe Dianxiong is not engaged in technology. He has studied at Tokyo University of the Arts and Music, Munich Conservatory of Music, and Berlin State University of Arts. He insisted that the length of the CD should be 75 minutes because:

“The album that cannot accommodate Beethoven’s Ninth Symphony is incomplete!”

Finally, the world’s laser discs are 12 cm in diameter and play for 74 minutes and 42 seconds, which just fits a Beethoven’s “Ninth Symphony”!

Fourth-rate companies sell coolies, third-rate companies sell products, second-rate companies sell brands, and first-rate companies sell standards. A full 152 years after Beethoven’s death, it set the world standard for laser records he had never seen in his life. Even in the modern battlefield of capitalist commerce, Beethoven is well-deserved.

Therefore, he is not the first person in the history of music to set the standard for music, but he is the first among all these “firsts”.

Repin’s full name is Ilya Yefimovich Repin, born in 1844 to a military family in the Kharkiv region on the Russian-Ukrainian border. In the art history books in China, most of the introductions to Repin are “Russia’s greatest critical realist painter, representative of the touring exhibition school”. From the founding of the People’s Republic of China to the 1990s, Repin played a pivotal role in the development of Chinese modern art.

In 1863, at the age of 19, Repin moved to St. Petersburg and began to learn painting. At that time, Russia’s serfdom had just been abolished. Intellectuals had their own opinions on whether capitalism and industrialization could really strengthen the country. Russia’s future development prospects also fluctuated in the ups and downs of reform. In this environment, Repin formed his own style of critical realism. Like the literary giant Lev Tolstoy, who advocates the abolition of private ownership and the gap between the rich and the poor, he is angry at social injustice and sympathy for the suffering of the people at the bottom. He is the spokesperson for the working masses: Identifiers must therefore show their interest … “.

“The Trailer on the Volga” embodies Chernyshevsky’s “beauty is life” creative thinking, and truly portrays the hard work of the poor tracker under the scorching sun. This is Repin’s sharp sword to the abnormal social system. The trackman in the painting is as solid as a statue, but at the same time is helpless and numb. Except for the middle boy who also tries to adjust the rope, the others have succumbed to the weight of life. Although it is warm tones, the picture is full of a deep, sad and depressed atmosphere. When analyzing the description of literary and artistic works to the people at the bottom, our textbooks often think far and wide that the author is celebrating the spirit of resistance of the working people. In fact, rather than the artist’s eagerness to fight for freedom and liberation among the poor, the painter is trying to use his compassion to awaken more intellectuals.

In Repin’s other masterpiece, Religious Ranks in Kursk Province, the aversion to power and sympathy for the poor are even more pronounced. In this huge oil painting called “Encyclopedia of Russian National Image”, the painter represented the grand scene of the Orthodox Church parade at that time with extremely rich character images and numerous figures unique in painting history. The dominant aristocrats in the painting are gorgeously dressed and stupid, while the peasants and beggars are driven away by stick officials. Although the poor are also devout believers, they can only watch the excitement outside the line. The gendarmerie, which symbolizes the Tsarist regime, rides on the horse, maintaining the boundary between the rich and the poor. The figures have different poses and are very dramatic.

Repin also created a large number of works on the theme of revolutionaries at the peak of his writing, which clearly expressed his democratic thoughts. “Unexpected Return” is a representative work of this period. In his paintings, he unabashedly criticized the cruel government’s brutal suppression of revolutionaries. The work shows the moment when a ragged exile walked into the house: the surprised wife stood up from the chair, leaned forward, and was still restless; the eldest son turned his head as if to scream in surprise; Xiao It seems that the little child no longer knows his father, and looks timidly at the “stranger” in front of him. This painting, like many of the works that embody Repin’s political propositions, failed to be exhibited because they failed censorship.

Repin was influenced by symbolism and Impressionism in the later period of his creation, and his painting style changed. Especially in the use of external light, the shadow of Impressionism can be clearly seen. Repin is the painter with the most Russian paintings and the most comprehensive display of the life of the Russian people. He is known as the “Encyclopedia of Life in Russia”. He and his contemporary Kramskoy, Shishkin, Surikov, and others are reformist pioneer painters who oppose traditional religious art. They pay attention to reality and hope to reflect the real problems of Russia through painting and find The solution to the problem. However, the great differences between the East and the West in ideology led to a significant lag in the development of modern art in the Soviet Union. Although Repin and others created a glorious period of Russian art, in the history of world art, Repin’s status is not as lofty as our textbooks say. In addition to technical and aesthetic differences, there are also political reasons. In any case, Repin and other Russian painters did have a profound impact on our contemporary art. Especially after the 1950s, our study of Western painting changed from Europe to the Soviet Union, and our art education system also copied the Soviet model. However, excessive reliance on the Soviet Union also stagnated the international development of Chinese art, so in the late 1980s, with China’s reform and opening up, the status of the Soviet art authority began to shake. Just as the development of history always has its contingency and inevitability, art will follow the same rules.