The Internet is always full of all kinds of voices that scorn the music of Hong Kong and Taiwan, and they open their mouths to think that Hong Kong and Taiwan music is a copy and cover of Japanese music, without any original real ability, all stolen, all false prosperity. Speaking of this, many people will be proud, as if they have mastered the key to music and peeked into the truth of Hong Kong and Taiwan music. And it is very noisy, thinking that the kind of Hong Kong and Taiwan music with the same song and lyrics is not worthy of the shoes for the original music. In particular, the more famous and most obvious adaptation of Hong Kong Cantonese pop music has been criticized as worthless, and even humiliated the Chinese people.
The people who made the above comments seemed to treat the composition as the only one, and devalued the fillers to nothing. Personally, I think it is very biased. In fact, when you listen to music, what you feel is the emotional expression of the song content, and what attracts you is the resonance of the joys and sorrows in the text. Therefore, the composition is important, and the lyrics are not too much.
We cannot unjustifiably belittle the great contribution of the lyricist in order to elevate the importance of composition and fall into the blind cult of composition. If placed in ancient times, the situation is completely reversed. How many composers can you know? And the fillers are all timeless.
In China's top ten ancient songs, whether it is high mountains and flowing water, Guangling San, Han Palace Autumn Moon or plum blossom three lanes, etc., they have not been able to leave the name of the composer, only the legend of so-and-so everyone composed, but it is far-fetched to be impossible to verify. It can be said that in ancient times, the status of composers was too low to pass on their own names, or it can be said that the song was high and rare to have an audience.
Whether it is Tang poetry or Song poetry or Yuanqu, it is a form of filling in words, and those great poets and big words who excite the words to sing and sing are famous. Modern lyrics are a continuation of ancient poetry, all of which are used for chanting and singing. There is a story about the great poets of the Tang Dynasty, Wang Changling, Gao Shi and Wang Zhizhuo, who went to drink "flower wine" and met a few little chicks who sang songs, and at that time, all three of them had been famous for a long time and were not convinced of each other, so the three of them competed to see whose poems (songs) were sung the most. As a result, Wang Changling and Gao Shi's poems (songs) were sung several times in a row, and Wang Zhizhuo was very unwilling, pointing to the last "Hua Kui" and saying to them: "If she doesn't sing my poems, I won't mix with you." As a result, the most beautiful girl did sing Wang Zhizhuo's poem (song), and he triumphantly won back a round.
This story tells us that the original state of the ancient poems was used for singing, not as good as the state of recitation that presents today. The poems written by poets all have a strict rhythm of flat tone, and what we now call the five absolute seven absolute five laws and seven laws is a strict rhythm, which is the musical score today. Those who fill in the words according to the rules of the score. Therefore, we can still hear the singing of ancient poems and songs, and CCTV's "Classic Arias" often let us experience the charm of ancient poems. In addition, we also have many ancient poems and songs that we are very familiar with, such as the opening line of "Romance of the Three Kingdoms" "Linjiang Xian , Rolling Yangtze River East Passing Water", Su Shi's "Water Tune Song Head • When is the Bright Moon", Li Qingzhao's "A Cut of Plum , Red Lotus Fragrant Remnant Jade Mo Qiu", Li Yu's "When is the Autumn Moon of Yu Meiren Spring Flowers" and so on are very familiar.
If we trace the origin of poetic music, we will understand the history of poetry. Poetry originates from the labor trumpet in the ancient period, which should be well understood, when people are working, in order to unify their actions, form a joint force, and better complete the work, they shout slogans together, and over time they form a labor trumpet. You listen to all kinds of labor trumpets, although the lyrics are sung in different content and use different languages, but the basis has the melodic rhythm of "121, 121", which may be the earliest song! And whether it is a porter trumpet, a rice trumpet, a pile number, or a handling trumpet, it is just filled in different words and expresses different life contents. Slowly, the trumpet has become more and more mature and developed into a folk song, and has been inherited and carried forward by various peoples in the world, and many peoples who can sing and dance still have customs such as songs. In mainland China, the Book of Poetry is one of the earliest collections of poetry in China, which was compiled from folk songs collected from various places in ancient times, and the opening chapter of the Book of Poetry, "Guan Ju", "Guan Guan Ju Dove, in the River Continent." Lady, gentleman", as soon as the voice is opened, it seems that people can see the picture of young men and women singing across the river. It can be seen that poetry has a long history.
From the Book of Poetry to the Lefu to the Ancient Poetry to the Tang Poetry. Chinese poetry has undergone a long evolution. In the Tang Dynasty, it finally ushered in a brilliant era together with the Sheng Tang. After hundreds of years of poetry prosperity in the Tang Dynasty, it seems that everything that should be written has been written, and everything that can be sung has been sung. The audience was tired of the same tune, and the poets were not willing to be old enough to compose under the same rhythm. Thus, the (Song) word came into being.
(Song) words also have strict rhythms, but the song rhythm of the words is more diverse, and the sentences have lengths, which is convenient for more depressive Yangton files to sing in a whirlwind, producing more changing melodies and more emotional resonance. The name of the word we see now is the tune (score). The lyricist fills in the words according to the tune, so the lyricist is called the lyricist. The famous lyricist Liu Yong of the Northern Song Dynasty went to participate in the scientific expedition, and the emperor at that time, Song Renzong, also heard about Liu Yong, and felt that his lyrics were too gorgeous and difficult to climb and elegant, so he sentenced him to fall and commented "and fill in the words", so there was "three changes in the word Liu". However, Liu Yong's words are widely welcomed by the kabuki of the church, because the new songs of good words will be welcomed by the audience, and everyone pursues the classics, like the current song world. And Liu Yong is also debauched and indulged in fireworks In Willow Lane, like today's talent Huang Xia?
Tang poems have only four formats, that is, only four tunes, while Song poems have more than a thousand word plates, and one word plate represents one tune. The well-known Nian Nujiao, Manjiang Hong, Qinyuan Chun, Jiang Chengzi, Yongyu Le, Linjiang Xian, Water Tune Song Head, etc. have many classic songs of the same word have been passed down to this day, such as the famous song head of the water tune song head "Water Tune Song Head , When is the Bright Moon", "Water Tune Song Head • Swimming", Linjiang Xian's well-known "Linjiang Xian Dream After the Tower High Lock" (famous sentence "Falling Flowers Are Independent, Micro Swift Double Flying"), Qin Guan 'Linjiang Xian • Qianli Xiao Xiang Xiang Lang Pu ( famous sentence "The song is finally gone, the river is a few peaks qing"), Yang Shen's "Linjiang Xian · Rolling Waters of the East of the Yangtze River". In other words, today they are all songs with different words on the same song. So many lyricists have left their own creative reputations, but the lyricists (composers) are not so lucky, and many have not left their own traces. The only names that can be left are those literary masters who have created a few "self-composed songs" (composing their own music) when filling in the lyrics. For example, Wen Tingjun, Jiang Kui, Fan Chengda, etc., rely on their own lyrics reputation to leave their own composition names. It can be seen how humble the composers were at that time.
Song ci has formed a variety of tunes, and in the era of yuanqu, it is directly called "qu", and the style is more flexible and diverse. Yuanqu is no longer dead limiting the number of flat and word counts, and can add or subtract sentences and lining words. Then to the Ming and Qing dynasties, it evolved into the era of opera, getting closer and closer to modern opera and modern pop music.
In today's opera, Peking Opera or other kinds of drama, you can still see the shadow of those poems. Excerpts from peking opera "Suolin Capsule":
The wind and rain outside the Spring and Autumn Pavilion were stormy, and the sound of sorrow was broken.
The curtain only saw a flower palanquin, presumably a newlywed queqiao bridge.
When the auspicious day is good, laugh, why the fish beads tears up.
At this time, I understood that there are many rich people in the world.
There are also hunger and cold sorrow, and there are also frustrated and crying.
The people in the car play different tones, and there must be hidden feelings in their hearts.
It is easy to see that it is a poem that rhymes with "ao".
The same is true in Yue opera, with excerpts from the famous lyrics "The Legend of the White Snake":
The landscape of the West Lake is still the same,
Haggard hard to full of autumn eyes.
The maple leaves on the mountain side are red like dyeing,
Can't look back on the old tour.
It can be regarded as a very regular seven-sentence sentence.
It can be said that the "shallow and low singing" of Tang poetry and Song poetry has achieved so many great poets and lyricists, that is, there is no achievement of composers. Therefore, in ancient times, songwriters could not be the same in terms of importance. I only know that the lyricist at that time did not see the composer of that year. This may be the reason why we are lagging behind in composing now, because only heavy words and no heavy songs. Just like ancient mathematics and technology, which have always been ignored, naturally declined.
We can't say that composition is not important, but historically, the fillers are certainly heavier than the composition. Now they all laugh at the lyricist and only praise the composer, which is a total denial of the lyricist. Moreover, the expression of people's feelings is now filled in. A song can fill in any mood and sorrow content, expressing different emotions. Joy or sorrow, all in the lyrics. You see the most cheerful pure music of the Spring Festival, "Spring Festival Overture", we think of the happy time of the New Year as soon as we listen to it, but the magic change on the Internet, the lyrics have become a variety of spending songs, debt-dodging songs, you get up, there is no sense of violation, this is the power of the content of the words. There are also various versions of "Chengdu", I think everyone has heard different versions of different universities, which is the charm of filling in words. Therefore, the most famous Japanese song "Spring of the Northern Kingdom" has at least nine different adaptations, Chinese version of "Spring of the Northern Kingdom", "Me and You", "Under the Banyan Tree", the Cantonese version of "Rain in the Hometown", and the Taiwanese version of the same name. Look at the titles of these songs, and you can see that the central idea expressed in the songs is different. Similarly, "A Thousand And One Songs" talks about "sadness but not sorrow" away from sorrow, "Song of sunset" laments life, while the content of the original song is a direct attack on the loss of love. It can be said that at the ideological level, the original song expresses the lowest realm, far less than the ideological height of the two adapted versions.
Some people say that filling in words is easy, if you just fill in the words, it is called filling words. It was easier to compose music, after all, the arrangement and combination of only seven notes, compared to tens of thousands of words, really less changes and simpler. It is easy to say that it is easy to fill in the words, probably do not know that the filler words should also pay attention to rhyme, flatness, and sticky right, and it is even more difficult to create a poem with depth and connotation that can resonate and make people feel empathetic.
Those who can't help but say that there is no music in Hong Kong, let's look at the Hong Kong music of that year, is it all based on Japanese music? I think the "Hui Huang" group was the first to express dissatisfaction, and the hong Kong music boom of that year was inseparable from a large number of original music forces. They have created too many classic songs, take Gu Jiahui for example, the composition of "Shanghai Beach", "The World Is Always Hello", "The Year of Love", "Laughing Marriage", "Little Li Fei Dao", "Under the Lion Mountain", "Iron Blood Dan Heart", "Ten Thousand Waters and Thousand Mountains", "Love and Righteousness Two Hearts", "Two Forgetting Smoke and Water", "Jinghua Spring Dream", "Oath to Enter the Knife Mountain", any song can leave the good name of the times. In addition to filling in the words, Huang Xia also has a large number of classic compositions, such as "A Laugh in the Sea", "Old Dreams Don't Need to Remember", "Only Remember The Laughter of the Present Dynasty", "Streamer Flying", "Qiannu Ghost", "Ten Mile Ping Lake", "Chu Liuxiang". Others, such as Li Xiaotian and Lu Guanting, are also very good composers.
Among the top thirteen golden songs in Cantonese that I personally like, "A Laugh in the Sea", "Silence is Golden", "Old Dreams Don't Need to Remember", "The Promise of the Dead", "Where Life Doesn't Meet", "It Seems like the Old Man Came", "Remembering Kindness", the seven songs are all original music in Hong Kong, accounting for most of the total. "A Thousand And One Songs", "WalkIng Alone in My Way", "Who Resonates", and "Spending Together", these four songs are adapted from Japanese music, accounting for only 30%. And "What to Ask for in Life" is adapted from the song Chinese, and "Can't Say Goodbye" is translated from a Korean singer.
Taking the 1989 Hong Kong Top Ten Songs golden song called "the peak of cover singing" on the Internet as an example, there are two well-known adaptations of the song "Thousand and a Thousand Que Songs" and "Sunset Song", which only account for 20 percent, plus "What to Ask for in Life" adapted from Wang Jie's Chinese song, adapted from the European and American songs "Still", and the adapted songs only account for 40% of the total. The remaining six hits are all original hits from Hong Kong. Among them, "Who Knows the Heart of the Prodigal Son" Wang Jie composed and sang by himself, Huang Jiaju of "Really Love You" Beyond composed and sang by himself, "Starting from Zero" Zhang Guorong composed and sang by himself; "Sunset Drunk" Composed by Tong Ange, "Life Unchanged" Peng Yongsong composed, "Rare Lover" Anthony composed, these were also famous composers in Hong Kong and Taiwan at that time. Among the above-mentioned original works, 30% of the all-round singers who can compose their own songs and sing their own songs account for 30%, which shows that Hong Kong and Taiwan were full of talents and music prospered. Such a musical environment really seems unattainable now.
While Hong Kong and Taiwan music absorbs Japanese music, hong Kong and Taiwan musicians also work hard to export Chinese music in reverse Japan. Many Cantonese songs are available in Japanese. Many Hong Kong and Taiwan singers have also worked hard to develop in Japan, expand their popularity, and increase the world influence of Chinese music. Teresa Teng, Ouyang Feifei, etc. are all very famous in Japan, and have very popular Japanese masterpieces. Our Huang Jiaju also had an accident while performing in Japan. Tan Yonglin has a very classic Japanese version of the song "If you sell nothing", and Chen Huixian's "The Promise of the Dead" is adapted into a Japanese version of "Millennium Lover". Zhang Yusheng's "The Sea", as well as many classic songs by other singers, have also been recorded as Japanese songs. Therefore, when we adapt other people's excellent works, people also absorb and learn from our excellent compositions. There is no shame in learning to be advanced. Standing on the shoulders of giants, isn't it more effective with less! If you really have to be all your own original, then we can't even use the basic electricity, and the mobile phone in your hand can't take it, because the basis of modern technology is Western technology, what electricity and what mobile phone are all the results of Western research. All we can use now is to further research and develop on the basis of others. Is it a shame that we use these sciences and technologies? Do you want to go your own way?
Only by communicating with each other can we make progress together. Therefore, the creation of the original Japanese song is not bad at all, nor is it shameful. Learning from your strengths, developing yourself is king. This is true of music between China and Japan, and it is also true between Chinese and Cantonese music. Some Chinese adapted into Cantonese, and there are Cantonese songs adapted into Chinese versions. For example, the seven original Hong Kong compositions of my favorite songs mentioned above, "A Laugh in the Sea" itself has a Cantonese version. "Silence is Golden" has been adapted Chinese version of "Bright Moon Night" was excavated last year, and it was fired again, it is a classic and enduring love song, and this song is also adapted with a Hokkien version of "Life in the Sea and the Sea" is also a famous song. "The Promise of the Lost" is not only changed to Japanese, but also a Chinese version of "Reluctant to Separate", sung by Cai Xingjuan. The Chinese version of "Where Life Doesn't Meet" is "The Truest Dream" sung by Zhou Huajian. "It seems that the old man came", "Remembering the Kindness", and "Old Dreams Don't Have to Remember" all have the Chinese version of the song of the same name. Of course, this is the time to show the skill of the filler, it is because the level of filler is unremarkable, which leads to the Chinese version of the last three songs is not brilliant and is not well known to the public.
Therefore, a song with multiple words is very common, and a good song and a good song should be shared with more people who love music and understand life. Those jokes that Hong Kong and Taiwan take are taking, don't forget that everyone is a copyrighted adaptation of the words. It is better than some singers on the mainland who directly plagiarize and do not admit it, let alone a hundred times stronger than a thousand times, and what qualifications are there to ridicule others. What's more, it is not a one-way flow, but a mutual exchange and mutual learning.
It is precisely because there are good fillers that excellent Japanese songs are carried forward in China and become classics that everyone recites. Without classic Japanese under the control of good fillers, their popularity is much worse. The Japanese songs "Hyacinth" and "Tears Shine" are very good Japanese songs, and they also have their own Chinese versions, but unfortunately, the words are too bad to cause obscurity in China, and even the Buddha-figures are unknown. Similarly, in the 1980s and 1990s, while adapting Japanese songs, a large number of Popular Songs from Europe and the United States were also adapted, and almost all of the European and American classic songs that we are familiar with were adapted, but there was no well-known golden song that was handed down. It can be seen that European and American music and Oriental traditional music are not in line with each other, and it can be seen that there is no blessing from excellent lyricists, and no matter how excellent the melody is, it is useless.
And the reason why we like to adapt Japanese music scores, the most important thing is the same as the Eastern countries, we have many cultural and ideological commonalities, Japanese songs have a sad and sad atmosphere. Deep, mournful, grumpy, far-reaching, it is easy for us to resonate. Japan even has composers specializing in Chinese style, and some of the pieces seem to be the sound of our Chinese precipitation. Therefore, it is only natural to import and carry it forward.
Now with the rise of Southeast Asia, Vietnam, Cambodia, Myanmar and other countries, their popular music has also grown rapidly, and composition is far from keeping up with the changes and demands of fashion trends. There have been a lot of original music from Hong Kong and Taiwan that have been adapted by them. Those classic Hong Kong music classic old songs, just like in the past, were almost all adapted by these countries. This is also the development path of learning our music at that time, which is also a cultural output.
Filler words are important. The decline of Hong Kong music is the garbled words that began in the era of the Four Kings. The batch flow production of the four kings has led to the production of songs far less than the demand for singers to sing. A song is difficult to find, resulting in a large number of rough compositions and fillers. When you go to KTV to sing, you will find that the most distinctive feature of this era is the same song, there will always be two versions of the song, and the subtitles will always show two rows, a row of Cantonese versions, a row of Chinese version. The most famous are the Japanese song Maeda Tsunehiro's "Weeping けない君へのラブソング" (for your love song who does not want to cry), jacky Cheung's adaptation of the Cantonese language is very classic "All the Way to Have You" and "Break up always on a rainy day". Miyuki Nakajima's "ル一ジユ" (lipstick) faye Wong adapted the Cantonese version of "Vulnerable Woman". Because of the inferiority of filler words in this period, it led to the decline of Hong Kong music. At the same time, the domestic filler words are declining rapidly, and there is no such good word with a long meaning and deep thoughts. Just as in recent years, it has been widely criticized by netizens for creating pear blossom bodies, dark green bodies, and shallow bodies, which are completely using poetry as a platform for personal utilitarianism, not poetry at all, but the culprit that leads to the development of poetry for thirty years. Therefore, Jiaju said that "hong Kong only has the entertainment industry and no music scene", I believe that what he said was angry words, a kind of encouragement and shouting, so that people with lofty ideals in the circle awakened, hoping that the Hong Kong music scene can once again face the filling words and face the composition, the face is not entertainment, flowing music.
Some netizens always cling to the words, and it is too biased to say that "Hong Kong and Taiwan music is the plagiarism and cover of Japanese music" and "Miyuki Nakajima alone feeds half of the Hong Kong music scene". Assuming that Hong Kong really has no music, can it lead Chinese pop music for decades? Assuming there really isn't music in Hong Kong, how can you name a whole bunch of Hong Kong singers? To put it mildly, Hong Kong's population is only one percent of the mainland's, but it has produced a music scene that competes with the mainland. Even more than the mainland, such a projectile land, the production of so many singers, occupying the music market of 1.4 billion people, is simply a big miracle. Which mainland singer dares to open a stadium tour in a second- and third-tier city across the country? Only Hong Kong and Taiwan singers have such appeal and popularity. It is precisely by borrowing and absorbing the advantages of Hong Kong music that popular music on the mainland first developed in the Guangdong region near Hong Kong, and Yang Yuying and Mao Ning are among the representatives. If you put the popular golden songs of the mainland and Hong Kong in the current Internet era, the most played, the most worthy of our nostalgia, and still haunting our minds, is still the classic nostalgic golden song of Hong Kong. It can be seen that the Hong Kong pop music at that time, which can withstand the test of time, is indeed a classic in the classic, and there is no room for "cover singing" beaks.
Now the original music on the land of Shenzhou is only a saliva song. But compared with the previous prosperity, the current saliva song is not only empty in content, but also the most basic catchy can not be done, let alone artistic, ideological, and resonant! So, don't let such original music be over.
Only the musical notes of those eras still affect us, traveling through time and space, lasting and fragrant, and becoming more and more mellow! My favorite Cantonese classic old song.