Recently, the "Cantonese Songs Creation Laboratory" was officially launched in Guangzhou, with the release of its new Cantonese song "Bring It On." Since the debut of the first Cantonese song "Life Blossoms" in the spring of 2020, the exploration has now entered its seventh year.

Over the past seven years, a host of Cantonese songs have told stories of different cities in the Guangdong-Hong Kong-Macao Greater Bay Area (GBA). "Every Spring" was created to mark the 45^th anniversary of Shenzhen's reform and opening up; "The 20^th Reunion" evokes the spirit of the times; "Full Moon in Water" depicts the landscape and culture of Sanshui, Foshan; "The Best Answer" shows the vision of a better life in Yuexiu, Guangzhou; "Eternal Agilawood" recounts the intangible cultural heritage stories of Dongguan; and "Harbor" pays tribute to the entire GBA. In the eyes of Zeng Xiaomin, a Cantonese song singer, national first-class performer, and winner of the Chinese Drama Plum Blossom Award and the Wenhua Award, Cantonese songs are not merely music. They are more like a "sonic calling card for cities."

What are "Cantonese songs"? Are they simply another term for "Cantonese-language pop songs"?

"Our earliest definition of Cantonese songs was the 'light cavalry' of Cantonese Opera. We hope to better promote Cantonese Opera culture and traditional culture through Cantonese songs," Zeng Xiaomin said. "Cantonese songs are rooted in the GBA. They draw nourishment from the heritage of traditional Cantonese Opera and the local dialects and sentiments of the Guangfu people. After years of creation and practice, Cantonese songs have become a new musical form in the GBA, with distinct and fashionable musical expression, complete narrative ability and a contemporary character."

In the view of Jin Xugeng, Chairman of the Guangdong Musician Association, the concept of "Cantonese-language pop songs" has long existed. In the past, the term usually referred to popular songs enjoyed by audiences of all ages, most of which were performed in a pop singing style. By contrast, the "Cantonese songs" currently discussed in the industry build on this foundation and seamlessly integrate elements of traditional opera. They absorb the vocal styles, rhythms, and tonal characteristics of Cantonese Opera, representing an expansion and enrichment of traditional Cantonese pop music.

Regarding the future development of Cantonese songs, Zeng Xiaomin stated that Cantonese songs should be used to tell stories of urban memory and the GBA. Efforts will be made to gradually upgrade Cantonese songs from a new musical form of the GBA to an art brand with independent vitality. Eventually, Cantonese songs will become a popular art form that everyone can listen to, sing and reinterpret, growing into a distinctive cultural card of the GBA in the Internet era.

“粤歌”七年探索之路

近日， “粤歌创作实验室”在广州正式启动，并发布了粤歌新作《放马过来》。自2020年春天，第一首粤歌《生命花开》问世，“粤歌”的探索之路已走到第七年。

七年来，一首首粤歌，书写着湾区不同城市的故事：为纪念深圳改革开放45周年而作的《每一个春天》，歌唱时代情怀的《第二十次重逢》，描绘佛山三水风物的《揽水见月圆》，展现广州越秀美好生活愿景的《最好的答卷》，讲述东莞非遗故事的《最是女儿香》，以及唱给整个大湾区的《港湾》……在粤歌演唱者、一级演员，中国戏剧梅花奖、文华奖得主曾小敏看来，粤歌不仅仅是歌曲，它更像是一张“有声的城市名片”。

何为粤歌？它仅仅是“粤语歌曲”的简称吗？

“我们最早给粤歌的定位，就是‘粤剧的轻骑兵’。我们希望用粤歌的形式，更好地推广我们的粤剧文化和传统文化。”曾小敏说，“粤歌的根，是扎于粤港澳大湾区这一片土地上。它的养分，来自于传统粤剧的沉淀，也来自于广府人的乡音乡情。经过几年的创作实践，现在的粤歌已经成为粤港澳地区一种新的音乐形态，具有鲜明、时尚的音乐表达，有完整的叙事能力和时代性。”

在广东省音乐家协会主席金旭庚看来，“粤语歌曲”的概念早已有之，以前的“粤语歌曲”多指老少咸宜的流行作品，基本以流行唱法为主。而现在业界探讨的“粤歌”，则在这一基础上有机融入了戏曲元素，将粤剧的唱腔、韵律与腔调特点吸纳其中，是对传统粤语流行音乐的一次拓展与丰富。

对于粤歌未来的发展，曾小敏表示，用粤歌讲述城市记忆、湾区故事；着力把粤歌从湾区音乐新形态，逐步升级为具有独立生命力的文艺品牌；最后还要让粤歌成为人人能听、能唱、能二创的大众文艺，成为粤港澳大湾区在互联网时代一张亮眼的文化名片。

文|记者 黄宙辉
图|受访者提供
翻译 | 郑书悦
审校 | 盛嘉