Cao Ying's Tianjingsha, Teresa Teng's Face Peach Blossom
Teresa Teng's On the Water Side —— Jia Jian in The Book of Songs
Hua Tian in Wang Leehom's Heroes on Earth.
The Dream of a New Mandarin Duck and Butterfly-part of it is selected from but since water still flows, though we cut it with our swords by Li Bai
I hope people will live for a long time by Faye Wong
Farewell is also difficult by Paula Tsui
Fireworks in March, and Morning Clouds and Twilight Rain are all sung by Wu Diqing
Mao Ning's Big Waves Wash the Sand. . . . .
There are many successful examples in this respect, the most famous of which is an album "Faint Love", which includes Li Yu's "Meet You Huan" (Going to the Theater alone without a word), Su Shi's "Water Melody" (When is the Moon), Fan Zhongyan's "Su Curtain Covering" (Blue Sky, Yellow Leaf Land) and Qin Shaoyou's "Recalling Old Friends in Taoyuan". Li Yu's Wu Ye Tiao (the flowers are blooming in the spring) and Yu Meiren, Ouyang Xiu's Yu Lou Chun (I don't know how far you are from here), and Zhu Shuzhen's Sheng Chazi (the flower market lights were as bright as day on the first night of last year) (this Qiong Yao has also used it, which was used in the episode she wrote for Smoke Locked Buildings or Crescent Gege) You live at the end of the Yangtze River) and so on. Taiwan Province's renowned songwriters Gu Yue, Liu Jiachang, Weng Qingxi and Chen Yang composed music. The songs and words can be described as a perfect combination, which brings out the best in the history of modern music. Audio-visual World Magazine once rated the film as "the ten most suitable albums for listening attentively at night". The two most famous songs in this album, one is Yu Mei Ren by Li Yu ("When is the spring flower and the autumn moon? How much is known about the past?"), and the other is Faye Wong's later cover "I wish people would live long", which is a modern interpretation of this classic masterpiece. In fact, there are many versions of this word in mainland China, and the most impressive one is that in the TV series "Wu Song" broadcast in 1983 and 1984, Zhang Dujian's maid, who later jumped for Wu Song, played this song. However, most of these works belong to the category of vocal music, which is separated from popularity by a certain distance. But from another angle, 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 intervention of classical poetry just pushes its elegance 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 poems and songs of "Fetishism" are widely used in film and television works that reflect some historical themes, just right to express or contrast a kind of mood or mind of the characters in the play. Everyone is familiar with Yue Fei's "Man Jiang Hong", which has been set to music and sung 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 love to use this kind of works. On the other hand, mainland China likes to talk about some related poems of Tang and Song Dynasties, such as Meng Jiao's Poem Ode to a Wandering Son, to express an established theme, and to guide the audience into the state by the influence of poetry and the appeal of songs, so as to get the predetermined effect. Another widely sung song is Paula Tsui's "Don't Be Difficult", which uses Li Shangyin's "Untitled" and "time was long before I met her, but is longer since we parted/and the east wind has arisen and a hundred flowers are gone/and the silk-worms of spring will weave until they die/and every night the candles will weep their wicks away".
Poems of Tang and Song Dynasties constitute an important source of materials for modern popular songs and creation, and have become an expression of their creation.
Literary creation has always paid attention to a wide range of quotations, quotations and things for our own use, thus reminding us of the extensiveness of the subjects it expresses. Many modern popular lyricists hope to borrow some allusions or contents from classical poems, expand them or interpret them with their ideas, and then show a modern story emotion. There are two most prominent people in this respect. One is Qiong Yao of Taiwan 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 "Castle Peak is still there, and the sunset is a few degrees", which is very consistent with the image of a classical graceful woman who has always been troubled by her management, and also very compatible with the various images she has created and the poetic feelings of one school.
The other is Chen Xiaoqi from the mainland, who is a leading figure in the Lingnan School of mainland music. He is another trilogy with a strong influence on the city of Wu. The Sound of the Waves is Still Trilogy (Mao Ning), Deep in the White Clouds (Liao Baiwei) and evening rain (Li Jin) are already in constant contact with ancient poetry. In The Sound of the Waves Still, he used Zhang Ji's a night-mooring near maple bridge ("Leave a fishing fire to anchor at the edge of the Maple Bridge" and "When the moon sets, the crow is always a thousand years' wind and frost"), and "Deep in the White Clouds" and Du Mu's "Walking on the Mountain" ("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 a song "Big Waves and Sand Washing" by Mao Ning. He is the most archaic one in ci writers, mainland China, and likes to tell the lyrics of famous sentences or allusions in ancient poetry that are combined with modern people's emotions through deduction, thus forming his unique Chen style and a model for the creation of popular Chinese lyrics. However, he mainly described personal feelings.
Later, there was a Feng Xiaoquan. Because he was a historian of national musical instruments, he had a deep interest in and rooted in national culture. In his works, he also used more ancient poetry allusions or famous sentences, mostly using ancient poetry to create an atmosphere, expressing a kind of boldness of vision, expressing a kind of feeling, and paying more attention to a kind of social responsibility and national feelings. The familiar one is Chinese Folk Songs.
There are also some popular songs that like to use the titles or famous sentences of Tang poetry and Song poetry as lyrics, and there are many examples in this respect, such as Liu Haibo's Peach Blossom with a Face, Snow White's Slow Voice, AGIN's Flaming Yangzhou Road, Chen Ming's Looking Back at You in the Dim Lights, Dream Back to the Tang Dynasty and Moon Dream by the Tang Dynasty Band, etc. These lyrics are just created.
From the form of creation, 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 Chinese culture coming down in one continuous line. When it comes to the writing form of popular songs, it is still inevitable to learn from or apply or imitate the language format and style of Tang poetry and Song poetry. The creation of modern pop songs in the form of classical poetry, on the one hand, inherits the refinement of traditional poetry language and the implicit and restrained expression method, on the other hand, there is no doubt that there is a preconceived shortcut in theme expression. Whether it is about the feelings of home and country or the feelings of children, classical poetry often condenses language and emotion together, thus adding a lot of memorable space and long lasting charm of artistic conception.
Let's talk about Hong Kong first. I always think that the creation of popular lyrics in Hong Kong is a very strange phenomenon. When it comes to Hong Kong, everyone is naturally connected with the most modern rhythm 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 directly used popular songs from Europe, America and Japan to compose Chinese words, but the penetration of classical poetry in popular pop songs in Hong Kong obviously exceeded that in mainland China and Taiwan Province. On the other hand, it pays great attention to the infiltration of Cantonese culture, and the lyrics creation is mostly based on the sentence-making method of Cantonese dialect. Cantonese itself is called vernacular, and its language method is similar to classical Chinese, so many works of Hong Kong lyricists are often vulgar and elegant. However, it must also be admitted that many ci writers in Hong Kong have a profound knowledge 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": "When the sea laughs, there are tides on both sides of the waves, and the ups and downs follow the waves only remember the present and the breeze laughs, which makes you feel lonely, and you are tired of taking photos at night", and there is a song in "The Legend of the Condor Heroes". The technique is quite regular, but it should be regarded as Jin Yong's work. There is also the famous "Shanghai Beach", "The waves are rushing/the waves are flowing/the river in Wan Li is endless/it is exhausted/worldly affairs/fantasy is surging", and his style is just like that of a warrior in the legendary swordsman, with lofty sentiments and unrestrained enthusiasm.
Deng Weixiong again. Like James J.S.Wong, he wrote many TV songs, which was a major source of music creation in Hong Kong at that time. In "Dream of Spring in Beijing", he wrote, "It's like a dream, life is heartbreaking/I cry when it's empty/why it's gone like water/the river is gone/it's worth chasing ... No hate, deep abandonment/wandering, who do you hate now/why do you fly to pieces every storm/falling flowers?" Qian Shan is always in love with thousands of waters. Don't say that there are many obstacles in the green hills/the wind is urgent/the wind is strong/white clouds can also express love over the peaks/don't say that there are many changes in the water/the water is also quiet/tender as water, and love * * * forever. The theme song "The Legend of the Condor Heroes" is also his work "vaguely dreaming/wavering 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 of this kind. He always bears the weight of his home country, and his works are full of national feelings and historical judgment, which is the quality admired by many famous poets in Tang and Song Dynasties. Look at his great wall never pour: "Sleepless for a hundred years/Chinese people are waking up gradually/great wall never pour/a thousand miles of Yellow River surging/beautiful mountains and rivers/overlapping peaks and ridges/ask me which country is sick" and "Girl Cixi": "Women have won the battle against men/men and women from generation to generation/have you ever speculated/that tomorrow will be the world/the weak will come first?
Another example is Samuel Hui, who is also good at describing the world life with poetry models, such as "It's hard to tell the truth from the falsehood/many dangers and deceit in human face", "The voice of the prodigal son", "The night wind is cold/looking back alone/the past is past dust" and "Silence is golden", and he writes about his feelings, "Dragging * * * floating on a canoe/exchanging vows to celebrate the spring dawn/keeping each other in harmony/wishing to clear the seagulls.
Looking at Taiwan Province, Taiwan Province's lyrics are more focused on modern texts, paying more attention to romantic affairs, but this is also a major source of many old poems. I think Qiong Yao is the most prominent one. She makes the best use of ancient poems and classics to express the romantic feelings of her children in love. For example, "The green grass is green/the white fog is boundless/the green hills are still there/a few degrees of sunset red/and wipe the tears tonight/stay with the wind/wind tomorrow night and carry my dreams/the world is endless" and "A few degrees of sunset red".
Bug also has several famous works, all of which show some feelings in ancient poetry, but it is a little far from Tang poetry and Song poetry, more like Yuanqu or something. For example, he wrote to Chen Shuhua's "Love Pass": "I had a heart/I had feelings/I had no choice but to have this dream without the sky/love and hate in the middle of tears", and "Dream of Red Mansions" "I fell asleep in my dream last night/how many sad memories came to my heart/I woke up this morning and my dream was empty/I stayed in my dream in the Red Mansion/red hug, red hug/why can't thick red makeup cover your light sorrow/red hug?
Another feature of Taiwan Province's pop song creation 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 aspects, the form of ancient poetry will also be a natural way. I like Zhang Hongliang's "A Journey of Landscape and a Journey of Song" very much. The singer was a flash in the pan, but this song is still fresh in many people's minds. The song says, "Do I get drunk and sleep/or do I worry about my heart?" I'm tired/I don't write poems/I don't drink wine and drink me/When the sound of shoes is covered with moss and cold/What is the easiest thing in the world to destroy the young and old/It's partly the snow in my heart/It's partly the shadow/It's not that I'm homesick for me/It's that the red leaves on the bridge don't know people/Is it that I walked the road/Is it that the road is walking with me/The wind is passing through the west window and the boat is nowhere to be found/It's that I passed through the spring rain and autumn/ It's tears/wind-clearing, shoulder-slapping, fear of seeing the bright moon/mountains and rivers, songs/flutes, rain-dispelling, cold-blowing/dreams, and "it's this poetic style of lyrics that was beautiful and refined in a straightforward confession of love and trivial things that turned over and over at that time, which made this song stand out from the music scene at that time and made the singer enjoy the scenery for a while. This is the charm of the ancient poetry style.
When it comes to the creation of lyrics in mainland China, there are actually more talents. After all, that is the foundation of Chinese traditional culture. In mainland China, besides Chen Xiaoqi and Feng Xiaoquan, there is also a Chen Tao, and his poems are also very elegant, which is closely related to his frequent reference to ancient poems and classics. Look at his works. He wrote Farewell My Concubine: "I'm standing in the fierce wind/I hate it/I can't stop the pain/I look at the sky/I see the clouds moving in all directions/I have a sword in my hand/I ask who is the hero in the world/I think/you are the heaviest/joys and sorrows * * */I live and die together.