It is undeniable that pop music, more specifically, pop songs have become an indispensable part of our lives today. Whether you like it or not, it is taking the initiative or It passively fills and penetrates into every corner of our lives, regardless of whether you accept it or not. Pop songs are actually and are already a kind of culture. Although they are more widely known as popular culture, they come from life and also serve as the endorsement of life. In this regard, they complement and complement literary works. What's more, it involves the creation of a word, which is inevitably related to literature. In a certain sense, lyric creation is also a literary creation, belonging to the category of poetry, and as the same language and culture, its origin must also have some inevitable connection with ancient Chinese poetry. Looking back at the origin of poetry as a whole, it is actually inseparable from music. It can be imagined that whether it is Tang poetry or Song lyrics, they are actually popular songs of that era. Indeed, many of them are also very suitable and have been composed and widely known. Sing.

Pop songs show various aspects of life and express various emotions and mentality. As the popular songs of the dynasty at that time, the function and significance of Tang poetry and Song lyrics happened to be in this place. Although people are in different eras, they experience different things, and the emotions and feelings derived from them are also very different. However, as a basic human reaction and emotion, it is not limited by the times and regions. , therefore, some of the psychological strains experienced by the ancients can also be applied today, and the poems and songs used to express the emotions of the ancients will also reflect the psychology of today's people. Most of China's ancient literature is very particular about the choice of words and sentences, the momentum of the writing, and the lyricism of the narrative. It has its own certain standards, and it is often praised every word, and has been passed down through the ages. Ancient poems pay great attention to rhythm, and most of them have a strong sense of music. From another perspective, combined with the Chinese way of expressing emotions, they are often implicit, tactful, circuitous, and endlessly moving. These are exactly what many popular song creators are striving for today. Therefore, many music creators boldly adopt the principle of appropriation, directly selecting classic Tang poetry and Song lyrics, composing music, and interpreting ancient verses from a different perspective. This in itself is also a challenge for them, and for singers. The same is true for poetry, because the listener will unconsciously compare the composer's music and the singer's singing with the original poem to see if it is accurate, thereby judging the quality of the creator and singer.

There are many successful examples in this regard. The most famous one, I think, is Teresa Teng. Deng himself started by singing Taiwanese minor tunes, and he has been influenced by a lot of national cultural atmosphere. Together with a group of Taiwanese musicians who are obsessed with traditional culture, he has produced many works that are as classic as the original poems. Deng once published a personal album called "A Touch of Love", which included classic works by Li Yu and many famous lyricists from the Song Dynasty, including Li Yu's "Meeting Happily" (Speechless Alone on the West Tower), Su Shi's "Shui Tiao Ge Tou" (When Will the Bright Moon Come), Fan Zhongyan's "Su Mu Zhe" (Blue Cloud Sky, Yellow Leaves Ground), Qin Shaoyou's "Taoyuan Reminiscing Old Friends" (Jade Tower Deeply Locked in Love), Nie Shengqiong's "Partridge Sky" ( "The Flowers Melancholy Out of Fengcheng"), Li Yu's "Crying in the Night" (The forest flowers have faded the spring red) and "The Poppy Beauty", Ouyang Xiu's "Spring in the Jade House" (I don't know whether you are far or near after farewell), Zhu Shuzhen's "Birth Cha Zi" >(On Yuan Ye last year, the lights in the flower market were as bright as day) {Qiong Yao also used this, in the interlude "Mandarin Duck Brocade" she wrote for "Yan Suo Chong Lou" or "New Moon Princess"}, Liu Yong's " Yu Lin Ling>, Xin Qiji's "Ugly Slave" (A young man doesn't know the feeling of sorrow), Li Zhiyi's "Bu Suanzi" (I live at the head of the Yangtze River, you live at the end of the Yangtze River), etc., composed by Taiwan's famous composers Gu Yue and Liu Jiachang, Weng Qingxi, Chen Yang and others composed the music. The music and lyrics are a perfect match and complement each other. Coupled with Deng's restrained, graceful and beautiful singing voice, this album has become a masterpiece that can be praised in the history of modern music. "Audio and Video World Magazine" once mentioned the album The film was rated as one of the "Top Ten Albums Best for Listening to at Night".

The two most famous songs in this album are Li Yu's "Poppy Beauty" ("When will the spring flowers and autumn moon come/How much do you know about the past"), and the other is Faye Wong's cover of "Hope for a Long Time", which is really a comparison of this song. A modern interpretation of a classic masterpiece. In fact, there are many versions of this poem in mainland China. What impressed me most is that in the TV series "Wu Song" broadcast in 1983 and 1984, the maid of Zhang Dujian's family, who later jumped off the building for Wu Song, once Played and sang this song. However, most of these belong to the category of vocal works, which are far away from popular works. However, from another perspective, they illustrate the integration of classic poetry and music. Let’s change the angle again. Popular songs mostly express a kind of popular culture, and the intervention of classical poetry just brings its elegant side to the public. It also proves that there is no insurmountable gap between elegance and vulgarity in art. The key lies in the means of integration.

What I want to say is that many borrowed poetry and songs are commonly used in some film and television works that reflect historical themes, and they can appropriately express or highlight the emotions and emotions of the characters in the play. mind. Everyone is more familiar with Yue Fei's "Man Jiang Hong", which has been composed and sung in the TV series "Legend of the Condor Heroes" (sung by Luo Wen) and other film and television works related to Yue Fei. The most famous one is probably It belongs to Zhang Mingmin’s version. Hong Kong martial arts dramas and historical dramas are the favorite to use this type of work. On the mainland, in literary and artistic activities that express a certain theme, they like to compose and sing some related Tang poetry and Song lyrics, such as Meng Jiao's "Wandering Zi Yin", etc., to express a given theme and take advantage of the influence of poetry. Use the appeal of the song to guide the listener into the state, thereby receiving the intended effect. Another widely sung song is Xu Xiaofeng's song "It's Hard to Say Goodbye", which uses Li Shangyin's "Untitled" "It's hard to say goodbye when we meet, and it's also hard to say goodbye/The east wind is powerless and all the flowers are gone/The silkworms are gone until the spring silkworms die/The wax torch Tears begin to dry when they turn into ashes."

Literary creation has always emphasized the need to cite widely, quote from classics, and make use of things, thereby reminding the breadth of the themes it expresses. Many modern popular lyricists like to borrow allusions or content from some classical poems, develop them or use them as ideas to interpret them, and then show the emotions of a modern story. There are two people who stand out the most in this regard. One is Qiong Yao from Taiwan. Many of her lyrics like to borrow some famous lines from Tang poetry and Song poetry, such as "Only the eyebrows are lowered, but the heart is deep", "How deep is the courtyard", "Green Mountain" "Still here, several sunsets are red" and so on. This is very consistent with the image of a classical and graceful woman that she has always worked hard to manage. It also fits well with the various images she creates, which is poetic and picturesque, and not like the fireworks of the world.

The other one is Chen Xiaoqi from mainland China. He is a leading figure among the Lingnan School songwriters in the mainland music scene. He has a "The Sound of the Waves Is Still Trilogy" which is quite influenced by Wu Shi, "The Sound of the Waves Is Still" (Mao Ning), "Deep in the White Clouds" (Liao Baiwei) and "Bashan Night Rain" (Li Jin), judging from the song titles alone Look, it is already closely related to ancient poetry. In "Tao", he used Zhang Ji's "Night Mooring at Maple Bridge" ("Leave a fishing fire and let it be moored by the maple bridge" and "The setting moon and the crow of the blackbird are always the wind and frost of a thousand years") and "Deep in the White Clouds" respectively. They use "There is a home deep in the white clouds" and Du Mu's "Mountain Journey" ("Sitting at the intersection facing the sunset, there is no home deep in the white clouds. You say you like the maple forest scenery, but in fact the frost leaves It's not the February flower of the year." "You can't get out of the painting in your heart while you're waiting for the bus. Only by rolling up this autumn color can you find your spring and summer." "Why can't you get out of this moment while you're waiting for the bus? An old song will make your heart mute." Later he wrote "Fireworks in March", "Morning Clouds and Muyu" (both sung by Wu Diqing), and another one is Mao Ning's "Big Waves on the Sand". He is a mainland lyricist The one with the most ancient style among them, Chen likes to interpret famous lines or allusions from ancient poems and combine them with modern people's emotions to create lyrics. This forms his unique Chen style and sets a model for the creation of Chinese popular lyrics. However, he mainly focuses on describing personal emotions.

Later, there was Feng Xiaoquan. Because he was a student of national musical instruments, he naturally had a deep interest and roots in national culture. He also used more ancient poetry dictionary stories in his lyrics. Or famous sentences, most of which use ancient poetry to create an atmosphere, express a kind of courage, express a kind of sentiment, and focus more on a kind of social responsibility and national sentiment. The more familiar ones are "Chinese Folk Songs" ("Morning Blossoms and Dusk"). Picking up the wine in the cup, is there any intoxicating smile on the lonely person after the wind and rain, the wild geese fly over the chrysanthemums in the head") and "Autumn Waters Long Sky" and so on.

There are also some popular songs that like to use titles or famous lines from Tang poetry and Song lyrics as song titles. There are many examples in this regard, including Liu Haibo's "Human Face Peach Blossom" and Bai Xue's "Slow Voice" , AGAIN band's "Fenghuo Yangzhou Road", Chen Ming's "Looking Back There's You Where the Lights Dim", Tang Dynasty Band's "Dream Back to Tang Dynasty", "Moon Dream", etc. These lyrics are just borrowed names from Tang poetry and Song lyrics or among them. A certain famous word actually has little to do with the original poem, but it reminds us of the close relationship between modern pop songs and Tang poetry, Song poetry, and other classical poetry.