Japanese is good. I need to learn Japanese.
Lin Tian stroked his chin as he thought.
This system was pretty considerate. It knew he was about to go to Tokyo, so it gave him a Japanese skill.
An emotion that made people feel "shocked."
A piece with a horror atmosphere?
Not necessarily.
Because "thrilling" and "shocking" were still different.
Thrilling was more like something that struck directly at the heart, something terrifying upon reflection, something that needed emotional buildup.
A shock was simply messing with people.
It was the same as watching Momono Kana's works.
They were both satisfying.
Some satisfaction was built on every interaction with a bald colleague while her husband was away, the embarrassment and bitterness of being coerced by an annoying boss, and the excitement of secretly giving hand stimulation to a shy boy sitting beside her under the desk while pretending nothing was happening in class.
And some satisfaction was simply him going in, her calling out, and them finishing.
So, if it was only the latter.
Lin Tian did not necessarily need to create some kind of horror music to torment the listeners.
He only needed to add elements to the piece that would make people "jump" when they heard it.
Actually, by this point.
Lin Tian already had an answer in mind.
This brought up a legendary Austrian composer and one of the founders of the Viennese Classical school—Franz Joseph Haydn.
As a musician who had served at Esterházy Palace in Austria for thirty years, Haydn had been deeply beloved by royalty, aristocrats, and the upper class in the eighteenth century.
In that era, going to a concert hall to enjoy the performances of famous musicians was considered a highly elegant and tasteful thing to do.
Many noble ladies and aristocrats were happy