The significance and purpose of classical Chinese factors in pop music thanks

Chinese classical poetry and pop songs, one is like a thousand years of snow on a high mountain, the other is like a gushing river, which seems to be too far away from each other. But the rushing of the mighty river comes from the melting of a thousand years of snow, and there is in fact an indelible link between classical Chinese poetry and the lyrics of modern pop songs.

The Chinese nation has a long history of 5,000 years, and our ancestors have left us a long and profound culture. Classical Chinese poetry has a history worth bragging about, with rich connotations, long rhymes, and deep meanings, all of which have been passed down to the present day. It is for this reason that the popular music of the past few decades has had the shadow of classical poetry everywhere, and the style of classical poetry has survived in every bit of it.

Taking a practical example, the popular singer Jay Chou. His musical works are often integrated into the classical poetry components, such as the "East Windbreak": a sadness / lonely standing in the window / I'm behind the door / pretending that you people have not gone / old places such as revisiting / full moon more lonely / sober candlelight in the middle of the night / can not bear to be harsh on me / / a pot of drifting / the waves of the end of the world is difficult to get into the throat / after you go / wine warm memories of the thoughts of the skinny / the water flows to the east / how to steal the time / the years peeled off on the wall / see the child / I remember that year we were both very young/and now the sound of the piano is haunting/my waiting for you did not hear/who is playing a song of the east wind breaks again with the lute//the maple leaves will be colored by the story/the ending of me to see through/the old road outside the fence//the flowers bloomed once ripe/and I missed it//who is playing a song of the east wind breaks with the lute/I hold you to walk through the years of the deserted smoke and grass/and even break up is silent.

In fact, this is not a simple ego feelings, fine taste of its text: the whole word presents the mood and Cui Gu's "Question City South Village" "last year today this door, the face of the peach blossoms reflect each other red. The peach blossoms are still smiling in the spring breeze". The content of this piece is extremely similar to the light sadness in the poem; although the content is written about love, it is innocent, similar to Li Bai's "Changganxing": "Lang rode a bamboo horse to get green plums around the bed." The love of the two little ones is no guess. Moreover, the shadow of classical poems can be captured in many places in the lyrics, such as "Wine warms my memories and I miss thinness", which alludes to Li Qingzhao's "No way to lose your soul, the curtain rolls in the west wind, and people are thinner than the yellow flowers"; and "The water flows eastward", which easily connects people with the love of a young girl in the middle of the night. The phrase "water flows eastward" can be easily related to the poem of Li Yu (李煜), the later lord of the country, "I ask you how many sorrows you can have, just like a river of spring water flowing eastward". In addition, a variety of imagery appearing in the words, such as lamps, pipa, such as the sound of the zither, such as maple leaves, such as fences, such as the old road, such as the rambling grass, can be linked to classical poetry, and all of them exude a kind of elegant beauty.

And many people are familiar with Zhou Chuanxiong's "Lonely Shazhou Cold":

"The heart is haggard after you leave/white oil tree flutters in the wind/falling flowers follow the person's ghostly love in this season/the wind along the riverside blows recklessly and desperately/continuously toggles the woman's tears/that kind of strong love can't be given any more/sadness is night and day/when the threads of memories are entwined with the past and fragmented/the dusk occupies the mind/the heart is in the hands of the people. It is the dusk that occupies the heart / there are flowers accompanied by butterflies / lonely swallows can fly / wandering alone in the dead of night / when happy lovers send red to share the joy / close your eyes sadly head did not dare to go back / still gradually hate refused to rest slightly with regret / lonely sandbar I miss who"

Songs revealed in the poignant sadness, the performance of a silky and helpless tone of emotions Who sees the ghostly man alone to and fro, drifting lonely shadow. I was surprised to see that no one was there to save me from my hatred. The cold branches are picked and refused to stay, the lonely sandbar is cold."

Previous generations left many poems, much more beautiful lyrics information. These treasures in each song lyrics, today's people can quote the whole song, or cut off the sentence to receive, but also can use the former mood of the composition of the sentence or vocabulary dissolved into their own thoughts, should be able to compose many beautiful songs. It is a pity that so few modern Chinese musicians have been able to discover this treasure. Of course, if composers want to utilize these beautiful lyrics, they must first understand the connotation of the poems themselves, so that they will not write strange scores that do not fit the meaning of the words, thus spoiling the valuable wisdom of their predecessors. Therefore, I think Chinese musicians should read more poetry. The composition departments of music colleges should make Chinese poems a compulsory subject. Whether the students are going to write singable songs or performances in the future, having the connotation of poems will be of great benefit to the expression of the national style in the music and the promotion of Chinese culture. This is Su Shi's "Bu San Zi? The Residence of Huangzhou Dinghuiyuan" by Su Shi. In the first section, the "lone human" is introduced by the "lone honk", and in the second section, the "lone honk" is implicitly compared to the "lone human". A man is like a hong, and a hong is like a man, cold and elegant, looking at the shadow and feeling sorry for himself. A man living in seclusion, a lonely goose. Lonely sandbar cold, hate no one knows ...... in the correct grasp of the emotions in the words of Su Shi, and then listen to "lonely sandbar cold", it must be another flavor.

No matter what, as a kind of valuable cultural heritage, Tang poetry and Song lyrics will always play one way or another influence on modern, including the future of popular songwriting, and the borrowing and inheritance of classical culture by modern culture will never stop. Tang poetry and Song lyrics will be an unavoidable theme in pop lyrics creation, an inexhaustible source, an unavoidable temptation, from the use of words and phrases, the theme of creation, the mood of the layout of the modern creators to provide a lot of good ideas.