Arrangement that Blends Ancient – Style Flavor and Modernity: The music in the film is rich in ancient – style charm. It makes extensive use of traditional Chinese musical instruments such as flutes, xiao (vertical bamboo flutes), guzheng (Chinese zither), and erhu (Chinese two – stringed fiddle), creating a classical and elegant atmosphere. At the same time, modern music elements are skillfully integrated, including electronic music rhythms and harmonies of Western musical instruments. For example, at the beginning of the film, when the White Snake is confused about her inability to improve her cultivation, the soundtrack mainly features the desolate – toned flutes and xiao with a long – drawn – out rhythm. This effectively highlights the White Snake’s confusion and sets an emotional tone of confusion and sadness for the entire story. The use of such music allows the audience to quickly immerse themselves in the plot, empathize with the protagonist, and also foreshadows the subsequent development of the story.

When Xiao Bai (the White Snake) is with Xu Xuan, the music is light – hearted and full of a romantic atmosphere, enabling the audience to feel the budding love between them. For instance, when they are boating in the mountain stream, the song He Xu Wen (What’s There to Ask) floats and reverberates in the valley, making everyone forget the troubles of the world and depicting a free and idyllic scene. This 插曲 He Xu Wen appears twice in the film. The first time is during the process of Xiao Bai and Xu Xuan getting to know and love each other on their journey. The music is gentle and warm, reflecting the beauty of their love. The second time is when Xiao Bai exhausts all her strength to keep Xu Xuan’s soul, and the music turns sad. It catches a glimmer of hope in despair, allowing the audience to deeply feel the firmness and persistence of their love. When the female protagonist’s identity as a snake demon is discovered and she faces the dilemma of the separation between humans and demons, the soundtrack incorporates the concerto of violins and cellos, and uses a large number of sustained notes and ornaments, creating a sad and reluctant atmosphere, vividly showing the entanglement and pain in their hearts.

A Creative Style that Integrates Chinese and Western Elements: The soundtrack of the film skillfully combines Western music elements with traditional Chinese music elements. For example, in the film, one can hear the use of Western instruments such as harmonicas, drum sets, electric guitars, and basses, as well as the sounds of traditional Chinese instruments like pipas, flutes, big drums, and guqins (Chinese zithers). This combination of Chinese and Western elements not only allows the audience to feel the fashion and rhythm of modern music but also enables them to experience the charm and artistic conception of traditional Chinese music, creating a unique atmosphere for the film. Take the harmonica, one of Yang Jian’s weapons, for example. The melody of this Western instrument forms a wonderful contrast with the ancient – style scenes of the film, yet it is surprisingly harmonious, leaving a deep impression on the audience.

Rich and Diverse Soundtrack Styles: The soundtrack can be flexibly switched according to the development of the plot and the change of scenes. The early background music often presents a blues and jazz style, making the atmosphere cheerful and full of a sense of humor, which complements Yang Jian’s dashing image as a bounty hunter and some light – hearted and humorous plots in the film. Later, as the plot becomes more intense and reaches its climax, the style of the soundtrack changes to a shocking symphony, setting off the entire environment in a magnificent and imposing manner, allowing the audience to feel as if they are on the scene and immersed in the thrilling plot.

Atmosphere Creation Based on the Plot Rhythm: The soundtrack plays an important role in creating the atmosphere of the film. In intense battle scenes, passionate music and strong rhythms can enhance the tension and impact of the images, allowing the audience to feel the intensity and excitement of the battle. For example, the soundtrack during the fight between the Four Heavenly Kings and Yang Jian has an ancient – style flavor with a sense of hidden danger. Or during the process of Yang Jian getting along with Chenxiang, the rhythm and melody of the music will vary according to the change of their relationship, delicately showing the emotional transformation from strangers to mutual understanding between the uncle and nephew. In some fantasy scenes, such as the segment where Wan Luo performs the “Flying Dance of Luo Shen Fu” in the Xian Le Fang (Fairy Music Workshop), the soundtrack combines perfectly with the graceful dancing and magnificent images, creating a romantic and aesthetic atmosphere that makes the audience yearn for it.

The Great Role of Music in Character Shaping: Yang Jian’s harmonica music has become one of his iconic features. The melody of the harmonica appears in different scenes, which not only reflects Yang Jian’s personality traits but also becomes a way for him to express his emotions. The light – heartedness and freedom of the harmonica music reflect Yang Jian’s seemingly casual but actually perceptive character. At the same time, it also implies his inner loneliness and longing for freedom to a certain extent.

The most prominent feature of the soundtrack of Monkey King: Hero is Back is the ingenious integration of Chinese and Western music elements. On the one hand, the film makes extensive use of traditional Chinese musical instruments and music elements. For example, in the opening fight scene, the soundtrack with a Peking Opera flavor is used, reminding people of the classic 2D Havoc in Heaven and paying tribute to the tradition. When depicting scenes with Chinese characteristics, such as mountains, waters, and temples, the use of traditional instruments adds an oriental charm and artistic conception. On the other hand, the integration of rock music elements brings a sense of modernity and fashion to the film. The episode Brave Heartwas created and sung by Wang Feng. When Monkey King: Hero is Back reaches the middle of the story, as a monkey and a pig escort two children back to Chang’an City, Brave Heart sung by Wang Feng becomes the interspersed song for this “sing – as – they – walk” part. The highly modern music and the singer’s style make the audience, who are used to the film’s overall soundtrack based on folk music, feel a sense of disconnection. However, the story of Monkey King: Hero is Back is a collision between tradition and modernity. The unrestrainedness of rock music and the lyrics “I’m not a stone, nor a teardrop. I’m just a little bird, searching for the direction of my home” not only correspond to the Monkey King’s identity as a stone – born monkey created by heaven and earth but also express that at this time, the Monkey King is just a down – and – out hero who has been imprisoned and is constantly longing for true freedom. In the film, the Monkey King follows Jiang Liu’er and keeps “running”. Finally, his magic power returns, and he once again becomes the great hero who can move freely between heaven and earth in the audience’s memory and in the stories and operas. The guitar plays an important role in the whole song. The tone quality combines American rock and British rock. The bass, drums, and Wang Feng’s metallic and hoarse voice bring a musical shock to the listeners, making them feel surprised and amazed. The song is full of positive energy. Although the selection of this episode is a form of “appropriation”, like the film itself, it is a brand – new attempt in domestic animation. The rock style indeed allows us to see the freedom and courage of the main character group in this section. In the powerful singing, their relationship also becomes deeper.

When the Monkey King makes his appearance, the soundtrack borrows from the classic music when cowboys make their entrance in Western films, and with a section of male low – pitched singing, it fully highlights the Monkey King’s mystery and coldness, as well as his vicissitudes and loneliness. For the lively and clever Jiang Liu’er, the soundtrack uses a brisk rhythm and a bright melody, which well shows his innocence, bravery, and kindness. In the film, Zhu Bajie shows his clumsy and foolish side. The soundtrack uses a male aria, combined with Peking Opera drumbeats, which has a strong Chinese stage style. This way of soundtrack arrangement vividly shows Zhu Bajie’s stupidity, with his empty appearance but no real skills, adding a lot of laughter to the film.