There is an urgent need for a paper on the language style of pop songs lyrics.

Pop songs no longer exist today, but the spread of pop lyrics in ancient and modern China is quite different. Ancient popular lyrics often attract the attention of literati, thus leaving music to desk literature, while contemporary popular lyrics are increasingly subordinate to the media, unable to realize their literary value independently and unable to guide contemporary mainstream literary creation. Therefore, it is necessary for contemporary literature and contemporary pop songs to compare and analyze ancient and modern pop lyrics, and to explore whether "today's song" is "tomorrow's poem".

The word "pop songs" comes from pop music, which is defined as "mass" by western scholar popular. However, at present, no one in China has made a clear definition of pop songs, and the concepts of "pop songs", "pop songs" and "pop songs" are confused with each other. Therefore, it is necessary to define "popular songs" at the beginning of this paper, that is, "songs whose content and form meet the psychological needs of a considerable number of people in a certain historical period, whose creative state is free and lively, and can be freely accepted and widely spread by the public without the compulsory intervention of the state or other social institutions". From this definition, it is not difficult to see that pop songs do not exist today, but few people have explored why pop lyrics have changed so much in ancient and modern times. Some people even put forward the view that "today's songs" may be "tomorrow's poems". In fact, today's pop songs have become one of the important standards to reflect the quality of cultural life of contemporary social groups. Can the content of lyrics be consistent with the content of poetry? Can the literary value of lyrics exist independently? What caused the embarrassing situation of contemporary popular lyrics? These are all worthy of our serious consideration.

1. The influence of the change of communication situation in ancient and modern times on the creation of popular lyrics

Communication activities can not be separated from the change of communication situation. The reason why ancient and modern pop songs present diametrically opposite situations in the process of communication is largely determined by different social environments and historical conditions. The creative state of ancient popular songs is free, and the creators of these lyrics give the lyrics more personality than catering to the market demand. The relaxed and free creative environment enables their works to be accepted by a wide audience and easily recognized and used for reference by scholars, which makes it possible for ancient popular lyrics to move towards desk literature.

The spread of contemporary popular lyrics makes music culture have a unique way of operation, become a veritable commodity, and become the main means and way of entertainment for contemporary people. The formation of this "commodity" attribute has become an objective trend and existence independent of people's consciousness in the context of China's socialist market economic system. Once these popular songs that have been sung by people become commodities, the creators of lyrics must follow the laws of the market, and what kind of lyrics to write depends on the market demand. Lyrics are no longer the voice of the creator, melting the author's personality and helping the audience to vent their desires and meet their physical and psychological needs. The content carried by popular lyrics has undergone essential changes, and the quality of songs is declining year by year. It has gradually deviated from the minimum requirements of literary creation, and people will not pay special attention to lyrics.

In addition, European and American pop music also has a great influence on China's contemporary pop songs, drawing on European and American pop songs in many aspects, such as genre, word style and song expression, thus confirming the commercialization of contemporary pop songs in the big environment. This difference between ancient and modern creative environment directly determines whether the popularity of popular lyrics is due to "individual creation" or "creation for the sake of popularity".

2. The influence of the change of communicators on the creation of popular lyrics in ancient and modern times?

2. 1 The influence of different creative subjects on the creation of ancient and modern popular lyrics

There are great differences in creative attitude, creative motivation, knowledge structure and creative ability between ancient and modern creative subjects, which makes the expression techniques and styles of popular lyrics between ancient and modern times very different. The creative motivation of "expressing ambition with poetry" and "expressing emotion with poetry" is essentially different from realizing the commercial value of songs. From here alone, it is not difficult to understand why ancient popular lyrics can attract the attention of officials and literati, thus leaving the music melody to desk literature, while contemporary popular lyrics are.

2.2 The influence of different recipients on the creation of ancient and modern popular lyrics

Audiences not only accept the media analytically and selectively, but also participate more and more in the process of information collection, collation and dissemination with the development of society, which plays an increasingly important role in the quality of communication. The audience is a huge social group, and the difference of the audience's region, age, education level and professional structure will also have a certain impact on the creation of popular lyrics. In the investigation and statistics (omitted here), the author found that ancient social groups did not need to vent and express their personal desires too much, but what was popular among the people was to express and reflect folk customs and even people's voices more vividly, and their understanding of lyrics was "poetry expressing aspiration" and "poetry expressing aspiration"; However, the contemporary audience's understanding of pop songs has changed a lot. Lyrics have become commodities and the main way for them to relax, which undoubtedly has a great influence on the content and expression of lyrics.

3. Media analysis

3. 1 Changes in the relationship between lyrics and music cause changes in lyrics creation.

In ancient popular songs, words are closely combined with music melody. From the Book of Songs, there were words before music, and in the Tang Dynasty, Qu Ci began to listen to music with words. But in contemporary times, music is composed by words, and one word can only match one song, which objectively strengthens the dependence of lyrics on tunes. Moreover, the rhythm required by contemporary lyrics cannot be consistent with the liberalization of contemporary vernacular poetry, so there is less and less mutual reference, and such a "song of today" cannot be a "poem of tomorrow".

3.2 Evolution of ancient and modern popular lyrics media

1, the media changes of ancient popular lyrics-from presentation media to reproduction media

Ancient popular lyrics were originally a state of natural communication, and did not rely on any communication technology and means. This presentation medium has the relay of communication process, the fuzziness of communication effect and the transparency of communication relationship. The biggest feature of presentation media is face-to-face communication, which is cordial and natural, and it is easy to generate the largest "discourse space" with the audience and get the most * * * voices.

The appearance of reproduction media such as music scores and music scores greatly promoted the spread and preservation of ancient popular lyrics, and also added new charm to lyrics. There is a professional division of labor between song creation and song and dance performance, which promotes the transformation of popular lyrics to desk literature to some extent. In addition, the appearance of this reproduction medium also retains the original style and concept of the original author, and also provides the necessary carrier for the transformation of folk lyrics into desk literature.

2. Media changes of contemporary popular lyrics-highly developed machine media.

Compared with the first two media, machine media is more developed, which greatly promotes the rapid spread of pop songs. Radio, CD-ROM, TV, Internet and other machine media give people all-round enjoyment in hearing and vision. High-tech means and presentation methods attract people's attention to lyrics. This mode of communication makes popular songs rely more on the transformation of a symbol and more on superb technology than melody and lyrics themselves, which makes it difficult for creators to restore songs to reproduction media, and lyrics can only be obtained to the maximum extent in a simple and straightforward way.

4. Communicative discourse analysis

4. 1 Differences in the Discourse Objects Assumed by the Creator

Creators should decide their own discourse style according to their different status relations with the recipients. In ancient times, when writing lyrics, the lyricist often regarded the object of words as someone by default, and all his writing and singing were directed at this person or expressed his feelings by describing something. This analysis and orientation of the object of receiving discourse makes them pay attention to expressing their personal feelings and showing their individuality in their creation. Everyone doesn't need to understand a lyric, but his audience must understand that what he wants to express is only the feelings of several creators and audience, not how many recipients.

However, before writing, contemporary lyricists assume that the discourse object is a broad audience. He wrote songs not to express his feelings, but to participate in the creation and meet the psychological needs of the audience. When the creative subject needs to express the feelings of most people in a specific era in his own words, it is natural that the more straightforward and clear the better.

4.2 Literary Exploration and Destination of Lyrics Discourse Text

There are many similarities between the words of lyrics and literature, and it is precisely because of this that ancient popular lyrics can break away from musical melody and move towards desk literature. The literariness of lyrics is mainly manifested in the artistic conception of lyrics and their own language style. Comparatively speaking, contemporary popular lyrics lack a lot of exploration on the literariness of discourse text, which is naturally closely related to the characteristics of machine media itself. Of course, there are many classics in contemporary popular lyrics, but from a macro perspective, today's popular lyrics have lost their research and inquiry into literature and are no longer the most important factor in popular songs. They can only realize their own value under the operation of machine media, and this value is far more commercialized than literature. Looking at the contemporary market environment and trends, the author believes that contemporary popular lyrics can no longer undertake the mission of ancient popular lyrics, and have undergone essential changes. It has also become an indispensable symbol in the process of song communication. Without looking for literature, it can only melt itself into the numbers and symbols of machine media, and it cannot exist independently without music and machine media, let alone go to desk literature. Such a "song of today" can't be a "poem of tomorrow".

References:

[1] bid farewell to the sea. Reduced version [M]. Shanghai: Shanghai Dictionary Publishing House, 1999

[2] Editor-in-Chief Sun. China's Communication Theory-Communication in China's Traditional Culture [M]. Beijing: People's Publishing House, 1997.

[3] Feng. Cultural Turn of Knowledge Economy and Cultural Protection of Traditional Music [J]. China Music, 2000, No.3..

[4] Zhian Zhao. On the inheritance and spread of traditional music culture. -China Music Communication Forum (I) [C]. Editor Li Zengtian. Beijing: Beijing Broadcasting Institute Press, 2004.

[5] Catch the wind. Music: the pleasant consumption of ears.

[6] Jin Zhaojun. Popular in broad daylight —— Experience China pop music [M]. Beijing: People's Music Publishing House, 2002

[7] Song Yu asked the King of Chu-Selected Works [C]. Xiao Tong. Shanghai: Shanghai Ancient Books Publishing House, 1986

[8] Guo Communication course [M]. Beijing: Renmin University of China Press, 1999

[9] Wu Xiangzhou. Study on the relationship between the creation of Tang poetry and the singing of songs and poems [M]. Beijing: Peking University Publishing House, 2004.

Zhou Li? Etiquette? Book of rites [M] Changsha: Yuelu Bookstore, 1989.

[1 1] Liu Xie. Notes on Wen Xin Diao Long [M]. Fan Wenlan's notes. Beijing: People's Literature Publishing House, 1958.

Zheng Qiao. Twenty views on general annals [M]. Beijing: Zhonghua Book Company, 1995.

[13] yuan Zhen. Yuan Zhen set [M]. Ji Qin's proofreading. Volume 23. Beijing: Zhonghua Book Company, 1982.

Thanks. History of China's Ci [M]. Chengdu: Bashu Bookstore, 2002.

Wang, Wang. New concept of popular lyrics writing [M]. Beijing: China Federation of Literary and Art Circles Press, 2003

[16] Zeng Suijin. Music creates inspiration: from natural communication of music to technical communication —— China Music Communication Forum (Part I) [C]. Editor Li Zengtian. Beijing: Beijing Broadcasting Institute Press, 2004.

Roger? Federer. The change of media form [M]. Beijing: Huaxia Publishing House, 2000.

[18] Zeng Suijin. China Pop Music —— Social and historical connection and spread of pop music culture [M]. Beijing: Beijing Broadcasting Institute Press, 2003.

[19] Xiuhailin. Communication Research in Musicology-China Music Communication Forum (I) [C]. Editor Li Zengtian. Beijing: Beijing Broadcasting Institute Press, 2004.

[20] Bao. I feel dizzy-pop music [M]. Yunnan: People's Publishing House, 2004

[2 1] Zhao Xiaohui, Han Qiao. According to the latest statistics, there are 98.8 million Internet users in China.

[22] Li Guangping. Li Guangping's theory of modern lyrics.

[23] Ouyang Youquan. Principles of literature [M]. Haikou: Hainan Publishing House, 200 1.9.

On the Lyrics of Popular Songs and Classical Poetry

Abstract: With the development of pop songs today, perhaps not many people will take the initiative to associate pop songs with classical poetry, and they will think that they are completely irrelevant. The lyrics creation of classical poetry and modern pop songs has an indelible relationship with its origin and development. Pop songs draw lessons from and promote the essence of classical poetry, making it a popular spiritual fast food; Classical poetry provides many good ideas and references for the creators of modern pop songs from the aspects of diction, theme creation, elaboration and emotional grasp, and will be an indispensable theme in the creation of pop songs.

Keywords: pop songs; Lyrics; Classical poetry; Relationship; chain

On the Language of Popular Songs and Classical Poetry

Abstract: Nowadays, with the continuous development of pop songs, few people associate pop songs with classical poetry. Maybe they think there is a connection between them. Some popular songs borrowed classical poetry, making it a popular spiritual fast food. Classical poetry provides a lot of ideas and reference for the creators of modern songs in terms of diction, theme making and emotional control, and it will be one of the themes that can not be abandoned in creating lyrics of popular songs.

Keywords: pop songs; Word classical poetry; Concern; chain

cite

China's pop songs have gone through more than half a century. China pop songs originated in Shanghai and other metropolises in 1930s and 1940s. After the founding of New China, they moved to Hongkong and Taiwan Province. Since the mainland's reform and opening up, they have gradually moved northward and returned to the mainland, from still hiding half their faces behind guitars from us to Kyushu. It can be said that as a music genre and the main form of pop culture, pop songs have not only become an important spiritual food for the broad masses of the people, but also become an indispensable part of modern and contemporary literature. "Advanced cultural means is the product of modern science and technology, which creates conditions for the infinite expansion of the principle of commodity exchange in the cultural field. Culture and art are no longer independent artistic creations, but have to be restricted by market supply and demand. " [1] The popularity of pop songs is the product of the market. However, "people don't accept that pop songs are an art, but a life, and regard it as their own culture." Behavior stops, and both tangible and intangible exist in daily life. What they like and dislike depends on their inner nature, and it is not easy to change their choices under the guidance of artificial selection or strong termination. So I don't really recognize authority, and I don't think so much. I admitted my feelings directly. [2] Therefore, this popular and market-oriented spiritual fast food may not be associated with classical poetry by too many people, and it will be considered as two completely unrelated things, one is like the surging river in Wang Yang, and the other is like the Millennium snow on the summit, which is too far apart. However, just as the surging river actually comes from the melting of thousands of years of snow, there is an indelible relationship between classical poetry and lyrics creation of modern pop songs. This paper aims to explore the relationship between contemporary pop songs and classical poetry.

First of all, illustrate the relationship between contemporary pop songs and classical poetry with examples.

As a set of popular fast food in today's society, pop songs have been more and more loved and accepted by people. Milan Kundera, a Czech writer, once said: "The aesthetics of mass media has realized that it must please people and win the attention of most people, and it will inevitably become a kitsch aesthetic. With the mass media surrounding and infiltrating our whole life, kitsch has become our daily aesthetics and morality. " [3] This is probably the mainstream of our society. Nevertheless, a large part of those popular songs are closely related to our traditional classical poetry, which has become a new force in pop music and seems to keep it away from kitsch. We know that classical poetry has a deep artistic conception, which goes deep into every detail of life. Only when life is extremely open can classical poetry become a classic. The only difference is that the earlier the words are, the more restrained they are, the more literal they are, and the later the words are, the more open and broad they are, which is probably the reason why pop songs are so closely related to classical poetry. The combination of pop songs and classical poetry can be roughly divided into the following types:

(1) directly obtained pop songs.

The word "direct income" comes from Si Kongtu's Talking about Poetry with Li Sheng. He emphasized that poetry creation should be "straight for gain and unique in style", that is to say, the creation of poetic artistic conception is natural and true, and there is no artificial disadvantage, and the acquisition of poetic artistic conception is completely natural. Here we learn from the study of pop songs, that is, pop songs that directly quote their own poems or songs in classical poetry. Classical poetry itself requires very high diction and sentence formation, and the end of the sentence should be rhythmic. Moreover, they are very musical, easy to read and suitable for singing. Therefore, no matter in ancient times or in today's sudden change of popular songs, people have noticed that songs can directly draw materials from classical poems and absorb their essence.

1. The full text of classical poetry is quoted from

There are many successful examples in this regard, the most famous of which is the album "Light Love", which includes Li Yu's "Seeing Youhuan again" (there is nothing to say when one goes to the theater) and Su Shi's "Water Tune" (when the moon is bright). Fan Zhongyan's Su Mu (blue sky and yellow leaves), "Remembering the Old Friends of Taoyuan" (Yu Jiasuo's affectionate species), Nie Shengqiong's "Partridge Sky" (Jade Tragedy "Flowers Sorrow Out of Fengcheng"), Li Yu's "Crying at Night" (Spring in bloom in the Woods) and Ouyang Xiu's "Yujiachun" (I don't know how much you are The willow shoots on the moon, and people are about after dusk) [4] (This Qiong Yao has also been used in the episode "Yuanyang Brocade" written by her for "Smoke Locked Heavy Buildings" and "New Moon Gege", Liu Yong's Yulin Order, Xin Qiji's "Ugly Slave" (Teenagers don't know the taste of sorrow), and Li Zhiyi's "Bu Operator" (I live in the Yangtze River. Complement each other, making this album the best 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 are "Yongmei" by Li Yu (when is the spring flowers and the autumn moon, how much is known about the past), and the other is Faye Wong's cover "I wish people would last long" (when is the bright moon? Ask for wine, I don't know heaven and palace. What year is this year? ..... I hope people will live for a long time and enjoy the scenery thousands of miles away. "), which is a modern interpretation of this classic. In fact, there are many versions of this word in Chinese mainland. What impressed me the most was 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. To some extent, 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 it to the public, which also shows that there is no insurmountable gap between elegance and vulgarity in art, and the key lies in the means of integration. There is also An Wen's "The Moon is Full in the West Chamber", which is a plum blossom and a plum branch written by Li Qingzhao, a graceful poet (lotus root is fragrant and jade is long, Luo Shang is alone in Lan, sending a brocade book in the clouds, when the geese return, the Moon is full in the West Chamber. Flowers from Shui Piao to water, one kind of lovesickness and two kinds of worry-free, can not be eliminated, only frown, but to the heart. ) With fresh, sad and slightly sad music, it is played incisively and vividly, deeply loved by the public and widely circulated, far exceeding the expression function of simple words, which just shows the positive influence of classical poetry on popular songs. In addition, there are many "fetishism" poems and songs, which are widely used in film and television works reflecting some historical themes, just to 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 sing some related classical poems, such as Ode to a Wanderer by Meng Jiao, 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" (I have met her for a long time, but since we separated, it has been longer/the east wind has blossomed/the silkworms in spring are weaving until they die/the candles are crying every night). It can be said that classical poetry provides theme and content for popular songs, and the two are in the same strain.

2. Quote the titles and famous sentences of classical poetry

Some popular songs like to use the titles or famous sentences of classical poems as lyrics. The starting point is that the title of classical poetry is short and deep, which can appropriately express the artistic conception and emotion conveyed by songs, which also meets the requirements of pop songs for concise lyrics. Classical poetry has high aesthetic value. Since "what can be called aesthetic value must be humane and meet people's aesthetic needs ... this is determined by the value attribute of beauty." [5] Therefore, poets also like to borrow these aesthetic values of classical poetry. There are many examples in this regard, such as Liu Haibo's Peach Blossom has a Face (red lips are so excited, smiles are so hazy, eyes are so sad, like those years are flowing, memories are being forgotten, and peach blossoms are still laughing at spring), and Snow White's Slow Whispering (searching, empty, sad and sad). It's the hardest to stop breathing when it's warm and cold. Three glasses and two glasses of wine, how can you beat him? It's late in the wind. Wild geese are sad, but they are old friends), A Xin's Fire on Yangzhou Road, Chen Ming's Looking Back at You in the Dim Lights, Dream Back to the Tang Dynasty and Dream on the Moon by the Tang Band, etc. These lyrics are only borrowed from classical poetry or a famous sentence, which is not very related to the original poetry, but it implies the interweaving of modern pop songs and classical poetry. These are also popular songs directly obtained.

(B) Out of shape pop songs

The word "out of shape" comes from Si Kongtu. In his poems, he mentioned that the poetic artistic conception of "image outside the image, scenery outside the scene" has its own characteristics in artistic creation methods, and "out of shape" is one of them. The so-called "departure from form" means not being bound by "form" and not sticking to form; "Similarity" means vividness, and it is similarity rather than similarity. Generally speaking, it is to pay attention to vivid expression, which is for the artistic conception of poetry. Here we learn the study of popular songs, that is to say, to extract their charm from classical poems. The above is a popular song directly derived from classical poetry. In fact, many popular songs extract their charm from classical poems. They don't use the original sentences or questions of classical poetry, but learn the essence from them.

1. Learn from the artistic conception and mood of classical poetry

Literary creation has always paid attention to extensive quotation, quoting classics and taking them from me, thus implying the universality of the theme it expresses. "Art places an interest on an image, and interest cannot be independent of the image or image." [6] Therefore, many modern pop song lyricists hope to borrow some allusions or contents from classical poetry, expand or interpret them as ideas, and then show a modern story emotion and broaden their creative ideas. 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 classical poetry, such as "Just frowning, but it comes to my heart", "How deep the courtyard is" and "The green hills are still there, and the sunset is a few degrees", which is very consistent with the classical graceful female image she has been painstakingly managing, and also with the various images and poetic feelings she has created. The other is Chen Xiaoqi from the mainland, who is the leader of Lingnan School in mainland music. He has influential trilogy The Sound of the Waves Still, The Sound of the Waves Still (Mao Ning), Deep in the White Clouds (Liao Baiwei) and Late Rain (Li Jin), all of which are inextricably linked with ancient poetry. The beauty of The Sound of the Waves sung by Mao Ning lies in that the lyricist organically combines the artistic conception of traditional classical poetry with the love feelings of modern people. A night-mooring near maple bridge, written by Zhang Ji, a poet in the Tang Dynasty, is a famous work throughout the ages: "On a cold night, fishing and sleeping in the river wind. Hanshan Temple outside Gusu City, passenger ships are ringing at midnight. " The poet grasped the specific scenery such as "the moon sets and the crow falls", "fishing fire", "bell" and "passenger ship", and described the bleak scene of sleepy passengers staying on board. The author of "The Sound of the Waves" still grasps these important words, quotes the wonderful artistic conception of classical poetry, and endows them with profound meanings, so as to express his thoughts on the lovers who have left and his hope of reunion. Although classical poetry is far from the theme of this popular song, they are similar in artistic conception, and classical poetry provides reference for popular songs. "Deep in the White Clouds" uses the phrase "There are people in the depths of the white clouds", "Sitting at the intersection facing the sunset, there is no home in the depths of the white clouds. You said that you like the scenery of the maple forest, but in fact this frost leaf is not the February flower of that year" (parking in the maple forest late, the frost leaf is red in the February flower), "When waiting for the bus, you can't get out of your mind, so roll up this autumn piece. Don't sing your heart dumb for a song. " Later, I wrote Fireworks in March and Morning Rain (both sung by Wu Diqing), and a song by Mao Ning (The same moonlight shines on your shoulders, and you can't see your face clearly under neon lights, and you have crossed the net woven by years. Would you like to accompany me back to the past? He is one of the oldest ci styles in Chinese mainland. He likes to combine famous sentences or allusions in ancient poetry with modern people's emotions through deduction and induction, forming his unique Chen style and setting an example for the creation of popular songs. But he mainly describes personal feelings, which is also the mainstream of modern pop songs.

In addition to personal feelings, there is also a reference to the feelings of home and country. Feng Xiaoquan is a representative, because he studied national musical instruments, so he has a deep interest and roots in national culture. In his works, he also uses classical poetry allusions or famous sentences, mostly using classical 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. More familiar is "China Folk Songs" ("Lonely people in the wind and rain. We can also take Dao Lang, which is very popular now, for example. His songs do not explicitly quote classical poetry, but people first think of frontier poems in the prosperous Tang Dynasty, because frontier poems are the representative works that can best reflect the style of the prosperous Tang Dynasty. When it comes to frontier poems in the prosperous Tang Dynasty, people always think of the bloody men in the desert, the wonderful scenery, and the fearless spirit and soul-stirring tenderness of frontier soldiers. It is more of a romantic heroic feeling, and I am amazed at such a beautiful and magnificent scene in such a harsh environment. This spirit of feeling beautiful in suffering should be the so-called positive and optimistic spirit in the prosperous Tang Dynasty. These are the artistic conception of the feelings of home and country that we have absorbed from classical poetry.

These examples well illustrate the reference of contemporary pop songs to classical poetry in artistic conception and emotional appeal.

2. Learn or use or imitate the language style and form of classical poetry.

Using the style and form of classical poetry to create modern pop songs, on the one hand, makes the lyrics inherit the refined and reserved expression of traditional poetry language, on the other hand, there is no doubt that there is a preconceived shortcut in theme expression, whether it is about children's feelings, family feelings or anything.