Teresa Teng is by the water.

Mao Ning's "The Sound of the Waves Still"

Liao Baiwei's Deep in the White Clouds

Li Jinde's Late Rain

Mao Ning's "Big Waves Wash the Sand"

Wu Diqing's Fireworks in March and Morning Rain.

Wang Leehom's Hua Tian Cuo

Andy Lau's recent MV "Continue to Love" has also added elements of Cantonese opera, with tragic and elegant style, and the lyrics even sang the classic Cantonese lyrics of "Tears like rain curtain till dawn".

Dreaming of the New Mandarin Duck and Butterfly School —— Excerpted from Li Bai's Water Flows, Knife Chops.

1、

Lonely sandbars are cold.

Ci: Chen Xinrong Qu: Steve Chou

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Since you left, my heart has become haggard.

White tung trees are flying in the wind.

Falling flowers are like people's feelings this season

The wind by the river is blowing wildly.

Constantly fiddling with tears that leave people.

Such a strong love can never be given.

Night after night of sadness.

When the thread of memory is entangled in the past and fragmented.

It is panic that has taken over people's hearts.

There are flowers with butterflies.

Lone swallows can fly in pairs.

Wandering alone in the dead of night

When happy lovers send red to share their joy.

Close your eyes, too sad to look back.

Still picked up all the cold branches and refused to rest with regret.

Lonely sandbar, who should I miss?

Huangzhou ding hui yuan bu operator residential

The curved hook moon hangs on the sparse buttonwood; In the dead of night, the water from the water clock has been dripping. Who saw the solo dance, like a wild goose in the sky.

At night, it suddenly becomes afraid, suddenly flies and comes back frequently, but no one always understands its infinite inner feelings. It kept wandering among the cold branches, but refused to perch on any tree, and finally landed alone on the cold shoal.

There are many successful examples in this respect, the most famous of which is an album "Faint Love", which includes Li Yu's "Meeting with Huan" (nothing to say when going to the theater alone), Su Shi's "Water Melody" (when there is a bright moon), Fan Zhongyan's "Su Curtain Covering" (Blue Sky and Yellow Leaves), Qin Shaoyou's "The Story of an Old Friend in Taoyuan" (Jade Building Lock) and Ouyang Xiu's. Taiwan Province famous songwriters Gu Yue, Liu Jiachang, Weng Qingxi and Yang Chen composed music. The perfect combination of songs and words makes this album a masterpiece in the history of modern music. Audio-visual World magazine once rated it as "the ten best albums for listening attentively at night". The two most famous songs in this album, one is The Mermaid by Li Yu (when is spring flowers and autumn moon? What do you know about the past? "), the other is Faye Wong's later cover" I wish you a long life ",which is a modern interpretation of this classic masterpiece. In fact, there are many versions of this word in Chinese mainland. The most impressive one is that in the TV series Song Wu broadcast in 1983 and 1984, Zhang Dujian played the maid and later jumped off a building for Song Wu, playing this song. However, most of these works belong to the category of vocal music, which is far from popularity. But from another perspective, it shows the fusion of classical poetry and music. Let's look at it from another angle. Pop songs mostly express a popular culture, and the involvement of classical poetry just pushes its elegance and vulgarity to everyone, which also shows that there is no insurmountable gap between elegance and vulgarity in art, and the key lies in the means of integration.

What I want to say is that many "fetishism" poems and songs are widely used in film and television works that reflect some historical themes, and they just express or contrast the mood or mind of the characters in the play. Everyone is familiar with Yue Fei's "Man Jiang Hong", and has music and singing in the TV series "Legend of the Condor Heroes" and other film and television works related to Yue Fei. Perhaps the most famous version is Zhang Mingmin's. Hong Kong's martial arts dramas and historical dramas all love to use this kind of works. On the other hand, Chinese mainland likes to talk about some related Tang and Song poems, such as Meng Jiao's Ode to a Wanderer, to express an established theme, and to guide the audience into the state through the influence of poems and songs, so as to achieve the predetermined effect. Another widely sung song is Paula Tsui's Don't Be Difficult, which uses Li Shangyin's Untitled and "I've met her for a long time, but it's been longer since we parted/the east wind has blossomed/the silkworms in spring are weaving until they die/the candles are crying every night".

Poetry in Tang and Song Dynasties constitutes an important source of modern popular songs and creation, and has become a manifestation of their creation.

Literary creation has always paid attention to a wide range of quotations and classics, which are used by me, thus suggesting the universality of its subject matter. Many modern pop writers hope to borrow some allusions or contents from classical poetry, expand or interpret them as ideas, and then show a modern story emotion. There are two outstanding people in this respect. One is Qiong Yao in Taiwan Province Province. Many of her lyrics like to borrow some famous sentences from Tang poetry and Song poetry, such as "I only frown, but I go to my heart", "How deep is the courtyard" and "The green hills are still there, and the sunset is a few degrees", which is very consistent with a classical graceful woman image that has been troubled by her management, and also very consistent with her various images and poetic feelings.

The other is Chen Xiaoqi from the mainland, who is the leader of Lingnan School in mainland music. He is another trilogy that has a great influence on Wucheng. The sound of the waves is still a trilogy (Mao Ning), deep in the white clouds (Liao Baiwei) and late rain (Li Jin) have been in constant contact with ancient poetry. In The Sound of the Waves Still, he used Zhang Ji's Sleeping by the Maple Bridge (leaving a fishing fire moored by the Maple Bridge), When the moon sets, crows always make a thousand years of wind and frost), Deep in the White Clouds and Walking on the Mountain by Du Mu (sitting at the intersection facing the sunset, there is no home in the depths of the white clouds, and you said that you like the scenery of this maple forest. Don't sing your heart dumb for a song. Later, he wrote "Fireworks in March", "Morning Rain" (all sung by Wu Diqing), and Mao Ning's song "Big Waves Wash the Sand". He is one of the most archaic poets. He likes to tell famous sentences or allusions in ancient poetry through lyrics that are combined with modern people's emotions, forming his unique style and becoming a model of China's popular lyrics creation. But he mainly describes personal feelings.

Later, there was a Feng Xiaoquan, who was born as a historian of national musical instruments, so he was deeply interested in and rooted in national culture. In his poems, he also used more ancient poetry allusions or famous sentences, mostly using ancient poetry to create an atmosphere, express a kind of boldness of vision, express a kind of feelings, and pay more attention to a sense of social responsibility and national feelings. Well-known is "China Folk Songs" ("Let's gather a glass of wine in the morning and evening, and lonely people are there".

There are also some popular songs that like to use the titles or famous sentences of Tang poetry and Song poetry as lyrics. There are many examples in this respect, such as Liu Haibo's Peach Blossom with Face, Snow White's Slow Speech, A Xin's Flaming Yangzhou Road, Chen Ming's Looking Back at the Lights, Dream Back to the Tang Dynasty and Moon Dream by the Tang Band. These lyrics are just borrowed from Tang poetry and Song poetry or one of them.

From the creation form, Tang poetry and Song poetry also provide a way of thinking for the creation of modern pop songs, or establish another style.

I think this is also the result of the whole China culture coming down in one continuous strain. When it comes to the writing form of pop songs, it is inevitable to learn from, apply or imitate the language format and style of Tang poetry and Song poetry. Creating modern pop songs in the form of classical poetry, on the one hand, inherits the refined and reserved expression of traditional poetry language, on the other hand, there is undoubtedly a preconceived shortcut in theme expression. Whether it's feelings about home or children, classical poetry often condenses language and emotion, thus adding a lot of memorable space and lasting charm of artistic conception.

Let's start with Hong Kong. I have always felt that the creation of popular lyrics in Hong Kong is a very strange phenomenon. When it comes to Hong Kong, people will naturally associate it with the most modern pace of life. That's because Hong Kong itself is deeply influenced by foreign cultures, and fast food culture is very popular. In terms of pop songs, there was a time when many singers' works were composed directly with Chinese words in pop songs from Europe, America and Japan, but the penetration of classical poetry in pop songs in Hong Kong obviously exceeded that in Chinese mainland and Taiwan Province Province, I think. On the other hand, it pays great attention to the infiltration of Cantonese culture, and most of the lyrics are written in Cantonese dialect. Cantonese itself is called vernacular, and its language method is similar to classical Chinese, so many works by Hong Kong lyricists are often vulgar and elegant. However, it must also be admitted that many poets in Hong Kong have a deep understanding of ancient culture. From their works, we can see a lot of allusions, and even use the writing style of Tang poetry and Song poetry to create.

First of all, James J.S.Wong, the most famous theme song of the legendary swordsman, said, "When the sea laughs, there are tides on both sides of the waves. You can only remember the present when you rise and fall with the waves ... Laughing at the breeze, but it makes you feel lonely and tired when you take a photo at night ..." Moreover, there is a poem "A Thousand Sorrow Memories" in The Legend of the Condor Heroes, which is quite formal, but it should be regarded as Jin Yong's work. There is also the famous "Shanghai Beach", "The waves are rolling/the rivers and seas in Wan Li are boundless/exhausted/secular/fantastic", and his style is like a warrior in the legendary swordsman, full of lofty sentiments and uninhibited.

Then there is Deng. Like Huang Junsheng, he wrote many TV songs, which was a great source of music creation in Hong Kong at that time. In "Beijing Spring Dream", he wrote, "It's like a dream, life is heartbreaking/I cry when it's empty/why is it like water flowing/the river is gone/it's worth chasing ... no hate, deep abandonment/wandering, who do you hate now/why does every storm/falling flower fly to pieces?" Qian Shan always loves thousands of waters. Don't say that there are many obstacles in the castle peak/the wind is urgent/the wind is strong/the white clouds can cross the peak to express their love/don't say that the running water is changeable/the water is quiet/tender, but love * * * forever. The theme song "The Legend of the Condor Heroes" is also his work "Vague Dream/Shake in My Heart/".Deng's works are good at describing inner feelings and have quite the style of Song Ci.

In addition, Lu Guozhan is also a master in this field. He always bears the national conditions, and his works are full of national feelings and historical judgments, which are the qualities respected by many famous artists in Tang and Song Dynasties. Look at his Great Wall Never Falls: "Never Sleeps for a Hundred Years/China People Wake Up/The Great Wall Never Falls/A Thousand Miles of Yellow River Flows/Beautiful Mountains and Rivers/Hills/Ask me which country is sick" and "Girl Cixi": "Women are better than men/men and women are passed down from generation to generation/Have you ever speculated that tomorrow's world/the weak will come first?

Another example is Samuel Hui, who is also good at describing the life in the world with poetic patterns, such as "it is difficult to tell the truth from the falsehood/many risks and many deceives", "The voice of the prodigal son", "The night wind is cold/looking back alone/the past is a thing of the past" and "Silence is golden". He writes about his own feelings, such as "floating on a canoe/making vows to celebrate the dawn/taking photos with each other/wishing the seagulls to sing and sing".

Looking at Taiwan Province Province again, the lyrics of Taiwan Province Province are more focused on modern texts and love affairs, but they also happen to be a big source of many old poems. I think Qiong Yao is the most outstanding one. She makes full use of ancient poems and classics to express the romantic feelings of her children when they are in love. For example, "green grass/boundless white fog/green hills are still there/a few sunsets/tears tonight/staying in the wind/the wind will carry my dreams tomorrow night/the world is endless" and "a few sunsets".

Bug also has several famous works, all of which show some feelings in ancient poetry, but they are a little far from Tang poetry and Song poetry, more like Yuan songs or something. For example, he wrote to Chan Sarah's Love Pass: "I had a heart/I had a heart/I had no choice but to have this dream without sky/love and hate in tears" and "Dream of Red Mansions": "I fell asleep in my dream last night/how many sad memories come to my mind/I woke up this morning with nothing in my dream/I stayed in a dream of red mansions/red hugs, red hugs/why thick red makeup can't cover your sadness?

Another feature of the creation of popular songs in Taiwan Province Province is that many songwriters show a heavy sense of social responsibility, pay attention to the crowd, pay attention to the universal reality under the surface, and then show more homesickness. In these respects, the form of ancient poetry will also be a natural way. I like Zhang Hongliang's Journey of Mountains and Rivers and Song very much. This singer is just a flash in the pan, but this song is still fresh in many people's minds. The song says, "am I drunk and sleeping/or worried about my heart?" I'm tired/I don't write poetry/I don't drink/When the sound of shoes is covered with moss and cold/What's the easiest thing in the world to destroy young and old/Part of it is the snow in my heart/Part of it is the shadow/I'm not homesick/The red leaves on the bridge don't know anyone/It's the road I walked/The road is accompanying me/The wind is passing through the west window and the boat is nowhere to be found/It's the spring rain and autumn rain/It's tears. It is this poetic lyric style that has been refined in the straightforward confession of love and trivia over and over again, which made this song stand out in the music scene at that time and made the singer scenery for a while. This is the charm of ancient poetry style.

When it comes to mainland lyrics creation, it is actually more talented. After all, that is the foundation of China's traditional culture. In Chinese mainland, besides Chen Xiaoqi and Feng Xiaoquan, there is also a Chen Tao whose poems are also elegant, which is closely related to his frequent quoting of ancient poems and classics. Look at his work. He wrote Farewell My Concubine: "I am standing in the gale/I hate it/I can't stop the constant pain/I look at the sky/I have a sword in my hand/I ask who is the hero in the world/I think/you are the heaviest/sorrow and joy * * */I will live and die together/I will be a hero in the afterlife/I will return to the sunset." Peacock flies southeast: "Peacock flies southeast, flies to the ends of the earth, and never comes back ... I would like to have a lover, * * * drink a river of spring water, beyond the world of mortals", "Serve the country faithfully" (all sung by Tu Honggang) and "Red Flower Beauty": "Tonight a red flower hurriedly takes away the sunset like blood. I like his latest song "Goose Bites Mud" (sung by Jia Mei): "Jinling Beauty Flute/Attracting Swallows to Bite Spring Mud/Two Swallows to Build a Liudi/There is a little smile in the depths of Liuyin/Jiangnan Spring Rain Runyu/Never Wet Pedestrian Clothes/Praise prosperity, praise peace, and listen to the melodious sound of silk and bamboo. "Zhang Li, who wrote" Bitter Days ",also has a famous" Love without pain ". The theme song of the TV series "Dead of Night" wrote "Although there is a little connection, all shall be well, jack shall have Jill", which is in response to Li Shangyin's two words "Although I have no wings of Cai Feng, I feel the harmonious heartbeat of Kirin". Yan Su, an old man, has a background in traditional Chinese opera creation, and also has many works, such as "Last night, the east wind blew in the small building/the motherland looked back at the bright moon/the sky was boundless/the water was misty/looking up and down at the sky/looking back at Chu Xiao in Kyushu" (Na Ying sang the theme song of the TV series "1898").

In addition to formal imitation and reference, modern pop songs also draw a lot of nutrition from Tang poetry and Song poetry in terms of lyrics writing techniques. Paying attention to the sense of rhythm and artistic conception is the basic requirement of poetry creation. In the writing of modern lyrics, there are countless such examples, among which Tang poetry and Song poetry are commonly used.

Although the creation of modern lyrics began to develop along the road of classical poetry, Tang poetry and Song poetry and modern pop songs are still the products of different times, showing the language and content characteristics of different times and being examined and judged by different standards of the times.

We say that literature exists to reflect life, so any cultural form must reflect the reality of life in a period and the characteristics of a specific era. Just as we all say that Tang poetry and Song poetry are generally not called Tang poetry and Song poetry because they respectively reflect the characteristics of that era. Pop songs are obviously the product of this era, different from Tang and Song, so there are still obvious differences between them, which is why they are rarely compared together.

Let's talk about the theme and content first. It is true that poetry, poetry of any era, will never be without the theme of expressing emotions, but people in different eras often have different ways and contents of expressing emotions, which is not unrelated to the life content and social norms of people in each era. Thousands of years of feudal culture in China made people pay more attention to the country, family and society, seeking knowledge and officials, the country and the country, and so on. In Tang poetry and Song poetry, you must read more words about worrying about the country and the people, such as "Although the country is broken, the mountains and rivers will last forever/spring grass will grow", or "The world is full of flowers in April, and the peach blossoms are blooming in mountain temples", or "Oh, let a man with verve wander where he likes, and don't point his golden cup at the moon!" Is generous. The lofty realm of "Monks knocking at the door of the moon" includes the personal sentimentality of "raising a glass and looking at the bright moon, making me shadow, making the three of us" and the life epiphany of "Once the sea was difficult for water, it was amber forever". Great writers, such as Li Bai, Du Fu and Bai Juyi, describe the world of mountains and rivers, or the feelings between personal success and failure, but their feelings for individuals are carefully collected and rarely mentioned. There are many descriptions of personal feelings in Song Ci, but most of them try their best. For example, when writing farewell, you can only "hold hands and look at each other with tears, but you have nothing to choke on". When writing missing, you can't say clearly, so you have to "look for it, be indifferent, and be miserable". Two of a kind, at best, is looking forward to a "fair, but can win countless people", and so on. In today's society, people's attitude towards emotions is more open, and personalized things are paid more and more attention. Therefore, many works describing personal feelings are popular, but they are more direct and frank in language expression, such as "I can't forget love at first sight" when I first met you, and "I missed you so much last night for this date". In love, I always ask "am I your favorite person" and when we break up. How can you leave me alone? My feelings have changed, and even a fourth person can appear. On the one hand, I loudly questioned why I love others behind my back. In the end, I can only face the silent ending. Say goodbye when you break up, please don't forget. However, I can't figure out why I always miss you after breaking up. But I'm afraid even Li Houzhu, who is famous for his romantic life, can't think of it.

In addition, in terms of language, the characteristics of that era are more obvious. For example, many popular songs will mention the telephone because it is a great way for modern people to communicate, which was unheard of in the Tang and Song Dynasties, not to mention "wearing new clothes, cutting new hair styles, Pentium computer, WINDOWS98" and "wearing a trench coat and listening to MD". In the Tang and Song Dynasties, "Gong Liu, Huang Teng wine, red crisp hands" or "riding a princess of the world of mortals and laughing", "wine kiosk" and "adding fragrance to black tea" can only be the romance of that era and rarely appear in modern pop songs. These are deeply branded with the times, and no one can change them.

In terms of language expression. Although many modern lyric works draw lessons from or quote Tang poetry and Song poetry to varying degrees, life-oriented language inevitably becomes the mainstream of modern lyric creation, and modern vocabulary and grammar still occupy the dominant position in lyric creation. Language format requirements are also different. Tang poetry and Song poetry have strict requirements on format, while popular songs only need rhyme, and some even don't need rhyme. The words and sentences in Tang and Song poetry are all elegant. In history, there is an anecdote of Jia Dao's "scrutiny" ("Birds stay in the trees by the pool, monks knock at the door"), while the language of modern pop songs is based on modern vernacular, which is more straightforward and colloquial. It is true that there are a few narrative styles in ancient poetry, but it is still a literary cavity of "selling charcoal Weng, chopping wood and charcoal in the mountains, and flying dust". I believe it is impossible to be straightforward to say, "Dear Mom and Dad, how are you? Are you busy at work now and are you in good health?"

Nowadays, many lyrics are not very standardized in language, and more serve tunes, so there are many mistakes. Especially in the lyrics creation in Hong Kong, the strange phenomenon is that both the best lyrics and the worst lyrics appear in Hong Kong. Comparatively speaking, some old poets in Taiwan Province Province pay more attention to the combination of poetry and culture, and pay attention to the way of combination. Hong Kong's ci culture is used for love, but it is often abused or even misinterpreted, which is also a remarkable feature of Hong Kong's urban fast food culture.

In any case, a visit to Song Ci, as a valuable cultural heritage, will always have an impact on the creation of modern popular lyrics in one way or another, including the future, and modern culture will never stop learning from and following classical culture. Poetry in Tang and Song Dynasties is an unavoidable theme in the creation of popular lyrics, an inexhaustible source and an unavoidable temptation, which provides many good ideas for modern creators from the aspects of diction, sentence formation, theme creation and discussion.