A Discussion on Public Screenings of the Berlin Philharmonic’s Digital Concert Hall (The original article was written in traditional Chinese. This is the English version translated by Google AI. It has been edited again by the writer - Paul C Hsieh) Classical music encompasses a wide variety of forms: symphonies, operas, concertos, chamber music, oratorios, requiems, and more. However, the scope of classical music discussed in this article focuses speci cally on symphonies and concertos. What, then, is classical music? Classical music is an ancient, mature, and historically evolving art form which is worthy of enduring preservation. Composers, adhering to a progressively developed and universally accepted body of musical theory, create works expressed through musical notation. These works are then faithfully interpreted and “played” by performers or ensembles, presented to the general public in live settings, with the hope that the intentions and sentiments embedded within the work will resonate deeply with the audience. This cyclical process—repeated time and again, and re ned over long periods through processes of selection, curation, critical discourse, documentation, and archival publication—gives rise to a musical form that can, fundamentally, be de ned as classical music. The fundamental premises underlying this de nition are as follows: 1) Composers, performers (or ensembles), and listeners constitute a collective circle—stakeholders sharing a common interest in the pursuit of "resonance" within the realm of classical music; 2) This pursuit of resonance is predicated upon the act of *live* listening, thereby excluding modern technological mediums such as audio and video recordings, wherein the performers and listeners do not inhabit the same physical space and time; and 3) The pursuit of resonance further presupposes that the listener is engaged in *focused* listening. The format of a live concert creates an "environment" conducive to such focused attention; only through live attendance can the listener truly become a stakeholder sharing a common interest with both the composer and the performers. Furthermore, it is only by becoming such a stakeholder that the listener can deeply absorb the original artistic intent—from composition to performance—that classical music seeks to convey. Conversely, if one remains a mere bystander—listening to classical music with an attitude of detachment or indi erence—one can never truly partake in the life-enriching pleasures that classical music o ers; to do so is, as the old idiom suggests, akin to "climbing a tree to catch a sh"—an utterly futile endeavor. The most crucial aspect of listening to classical music is that one must be fully immersed—giving it one's undivided attention—much in the same way one would read a book. In contemporary society, however, people have grown unaccustomed to listening to music with such singular focus; typically, we listen to music... When we engage in other activities—driving, working out, taking a walk, or working— we are not truly listening; the music serves merely as background noise. To truly understand and
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