Another early spring has arrived, with willow catkins fluttering in the sky, warm winds blowing gently, peach blossoms turning red, and elm money sprouting up. "These are a few lines from the 1995 popular song" Little Peach Blossoms "that depict a beautiful picture of early spring with vivid details and catchy and fresh melodies. From ancient times to the present, artistic creations with the theme of "spring" have always been favored by literati, poets, and musicians in the field of music. Whether it is the poetry and songs sung by ancient people over wine, or the era songs narrated by modern people, many excellent "voices of spring" are imagining the colorful charm of this hopeful season from different artistic perspectives. In history, it is uncertain how songs that sing about spring are sung, but one can appreciate their charm from the "lyrics" that have been passed down to this day - some poems. The creative tradition of "using spring as a metaphor for time and expressing emotions through objects" was already reflected in the first collection of Chinese poetry, the Book of Songs, which was born in the Spring and Autumn period. Although the simple phrases of "lamenting the shortcomings, singing about them" in melody cannot be verified today, their lines and lines are still sufficient to convey the aesthetic experience of our ancestors towards nature. The "spring" in the Book of Songs is not a simple and straightforward description of solar terms, but rather a rich artistic symbol system constructed around species such as grass, wood, insects, and birds, such as "Huimu", "Canggeng", "Xuanniao", "Jujiu" and other symbolic images. The Book of Songs also uses a large number of reduplication rhetoric (such as "Qiqi", "Gure", "Yaoyao", etc.) to transform natural things into objects of praise, highlighting the poetic connotation of "harmony between heaven and man". These Wing Chun works integrate individual life experiences into the spring outing scenes of seasonal customs, such as the vivid depiction of spring carnival in "Zheng Feng? Qin Hui", forming a poetic and lyrical paradigm of "feeling things moving in the heart". "Spring" is a natural time sequence in poetry, projecting human praise for life. The Book of Songs uses agricultural activities such as spring plowing and mulberry picking as seasonal markers and weaves them into the temporal and spatial narrative framework of the four hour rotation, becoming the early sprouts of the ethical tradition of "poetry education". The "Spring Day Complex" in the Book of Songs laid a solid foundation for the "Spring Scene Writing" in later poetry, whether it is Yuefu's "Spring Song of Separation and Sorrow" (such as "Spring Birds with Many Lamentations" in "Midnight Four Hour Song"), Tang poetry's "Fresh Spring Colors", Song ci's "Gentle Spring Intent", Yuan qu's "Warm Spring Breeze" (such as "Spring Mountain Warm Sun and Wind" in "Tian Jing Sha · Spring"), or Kunqu's "Lingering Spring Dreams" (such as "Peony Pavilion" and "Garden Surprising Dreams"), Beijing opera's "Pear Blossom Spring Rain" (such as "Pear Blossom Blooms" in "Ode to Pear Blossoms"). Spring brings rain "and so on, based on which there are traces to follow. These poems and songs directly related to "singing" often use more imaginative rhetoric to depict the mirror relationship between "spring" as a natural scenery and life insights, with a rich and diverse range of expressive perspectives. Some people openly praise spring. In Du Mu's "Spring in the South of the Yangtze River", the lines "Thousands of miles of warblers singing green and reflecting red, water villages, mountains, and wine flags blowing" outline the spring scenery of Jiangnan with brilliant colors and vast horizons; Song Qi's "Yulou Spring · Spring Scenery" activates the spring colors in the vibrant vitality of the red apricot branches; In Han Yu's "Early Spring Presented to Zhang Shibai, Member of the Water Department", the phrase "The light rain on the sky street is as smooth as a pastry, and the grass color looks distant but close, but there is none" vividly portrays the hazy beauty of early spring. Some people also express sensitive and delicate sighs about spring. In Meng Haoran's "Spring Dawn", the phrase "The sound of wind and rain at night, the falling of flowers, how much do we know?" hides the melancholy of the passage of time in simple language; In Yan Shu's "Washing the Sands of the River", "Falling flowers and wind and rain hurt spring even more, it's better to pity the person in front of you", which changes from cherishing spring to cherishing the present in philosophical insights; In Tang Xianzu's "Peony Pavilion? Zaoluo Robe", it is said that "the colors of flowers have bloomed everywhere, as if they were all abandoned by broken wells and dilapidated walls", using the blooming flowers of spring to contrast Du Liniang's youthful sorrow and accusations against feudal ethics. Some people vividly anthropomorphize spring. In Du Fu's "Joyful Rain on a Spring Night," the phrase "good rain knows the season, and when spring comes, it occurs. The wind sneaks into the night, moistening everything silently." The word "hidden" gives spring rain vitality and tension; In Su Shi's "Haitang", he only fears that the flowers will fall asleep at night, so he burns high candles to illuminate his red makeup, and compares spring flowers to beautiful women to be infatuated and nostalgic. The joys and sorrows of life in poetry and songs are condensed into a heavenly sound that transcends time and space in the interweaving of spring vitality and the passage of time, constantly touching the hearts of people in inheritance. In the first half of the 20th century, Chinese song creation embarked on the path of modern transformation, with deep metaphors in family and country concerns. When it comes to the perspective of the genre of "spring" as the theme, it can be found that during that period of poverty, weakness, and war, "spring" was not only a natural image, but also carried deep metaphors for individual awakening, national concern, and national salvation. In the early 20th century, the "School Music Song" movement saw the emergence of masterpieces such as "Spring Outing" and "Farewell" created by Li Shutong, which not only gave China its first unaccompanied choral work, but also created a modern depiction of classical spring scenery through the phrase "the evening wind brushes against the willow flute, the sunset over the mountains". This marked a significant difference between the writing of the sound of spring and the traditional literati and literati temperament, becoming a "spring of enlightenment". At the same time, in the poem "Spring Thoughts Song" written by poet Wei Hanzhang and composed by composer Huang Zi, there is a melancholic spiritual drift of "the cuckoo cries outside the wall, saying in one voice: it's not like going back"; As well as the overseas wanderers' longing for their homeland in spring conveyed in the poem "Teach Me How to Don't Miss Her" written by linguist Liu Bannong and composed by Zhao Yuanren, "This honey like silver night, teach me how not to miss her? Flowers slowly fall on the water surface, and fish swim slowly underwater", "Spring" has become a witness to the "other" of the intellectual community's dilemma in the collision of Chinese and Western cultures at that time, and it can be called the "Spring of Homesickness". What is even more striking is that we can witness the "Spring of Salvation" of the Chinese nation when we suddenly look back: whether it is the juxtaposition of the spring scenery of Liu Xue'an's "Great Wall Ballad" with the fragrance of sorghum and beans in the homeland and the tragic situation after the "invaders' rape and plundering", or the spring memories of overseas Chinese girls in Nie Er's "Mei Niang Qu" with the reality of Northeast China's fall, or the call of anti Japanese salvation mobilization in Xian Xinghai's "Coming in February" with the hope of sowing hatred for themselves, they all make us truly feel the national crisis. In the face of death, everyone has a great sense of righteousness and responsibility. In the contemporary context since the founding of the People's Republic of China, "spring" has undoubtedly become one of the hot topics in song creation. A large number of excellent works that cross generations interpret the vibrant spring atmosphere in multiple styles, and their aesthetic paths deeply reflect the transformation trajectory of social and cultural structures in the changing historical stages, presenting multiple transitions in aesthetic paradigms. The connotation of "spring" as an image reference is constantly developing and changing. From the vigorous picture of the national people building the country with pride depicted in the songs about spring in the early days of the founding of New China (such as "The motherland is always spring"), to the lyrical voice transformation with "1979 Spring" as the space-time coordinate during the reform and opening up period (such as "Spring Story"), to the musical narrative transformation with equal emphasis on natural ecological care and social and humanistic praise in the "Spring Song" of the new era (such as "Spring Wind 100000 Li"), "spring" as an image has become a powerful footnote to the process of Chinese path to modernization. Among them, the increasingly diverse cultural significance of "spring" has led to the "Song of Spring" not only expressing love for the country and the times, but also beginning to write about delicate emotional experiences of innocence or individualism. The characteristics of children's songs are particularly distinctive in this regard: taking the well-known "Where is Spring" as an example, the author places spring scenes such as "lush mountains and forests" and "red flowers and green grass" in the innocent perspective of children to sing joyfully, and the game style of "question and answer" is relaxed and cheerful, becoming a contemporary model in song art education. Pop songs are equally noteworthy in this regard: whether it is the emotional confusion of urban youth in the 1980s sung by Luo Dayou's "Wild Lily also has Spring", or the personal growth experience shouted out by the singer's roaring rock voice in the "Spring" theme after entering the new century, or the recent phenomenon level songs of "New Chinese Style" theme "Up Spring Mountain" and "Xiaoya · Lu Ming" awakening the vitality of excellent traditional Chinese cultural IP, they all allow us to appreciate the rich expression of social emotional resonance triggered by "Spring" for several generations. At the same time, the music grammar of "Spring" has also achieved a shift from the national localization of single dimensional mode in traditional media to the mutual learning and integration of harmony and color between digital media and Western music, and further developed into a revolutionary leap in the music itself brought about by the rapid development of technology, such as the popular "Spring Breeze Ballad" and "Still in Love with Peach Blossom Moon", which are representative works of this type. Songs with the theme of "spring" have not only gained widespread popularity, but also resonated with other art forms, forming a cross disciplinary aesthetic resonance through their integration. Using specific cases to discuss: In the field of literature, during the "Northwest Wind" song craze that emerged in the 1980s, works such as "Frontier Wind" depicted the harsh reality of impoverished spring in their hometown, which sparked the attention of the literary community at that time to rural themes; In the field of dance and film and television, as the dance drama "The Journey of a Legendary Landscape Painting" became popular across the country, the film version of "The Journey of a Legendary Landscape Painting" also set off an upsurge of public viewing. The theme song of the same name sung by Zhou Shen echoed the ultimate aesthetic poetic expression of the motif with the romantic touch of "Looking back and talking about time, you are in the dancing spring rain", and also became the time-space echo of the legendary painting "A thousand miles of rivers and mountains" at the song level. These classic "sounds of spring" from ancient times to the present not only reflect the essence of excellent traditional Chinese culture, but also demonstrate new connotations of the times in keeping up with the times; They have both independent recitation and singing value, as well as a perfect combination with sister arts. We have reason to believe that in the future, songs with the theme of "spring" will continue to become beautiful treasures in the music world with their unique charm. (New Society)