林聲翕的〈滿江紅〉（宋岳飛詞）、〈水調歌頭〉（宋蘇軾詞），是中國新音樂發展起步階段，接受正規作曲訓練下的作品。這兩首古詩詞獨唱曲，乃承接30 年代前後趙元任、黃自等人在歌曲創作上的基礎，仿效歐洲19 世紀初期藝術歌曲的風格與作法：大小調系統的主音音樂，結合詩詞吟誦與詠唱的曲調，形式平衡的樂曲結構；運用調性、拍法、伴奏形式變化的襯托，適度表達歌詞情感。　　林聲翕的這兩首早期作品，深受當時歌唱家喜愛、廣為傳唱。以今日的標準看，雖然無法跟上當代歐洲藝術歌曲的風格；但因為他的努力，創作出屬於當代的作品，值得後輩肯定。

Lin, Sheng-Hsi’s Mang jiang Hong (of Yueh Fei’s Poem, Song Dynasty) and Shui Diao Ge Tou (of Su Shih’ Poem, Song Dynasty) are the works created under receipt of formal training in composition at the initial development of China’s new music. These two ancient-poetry solos were inherited from the bases of Chao, Yuan-Jen and Huang Tsu, et al. Around 1930s in song creation to imitate the style and approach of art songs in early 19th century: the homophonic music of major and minor systems combined poetry recitation, melody chanting, and music structure with balanced formation; use of tonality, beat method, and setting off the change of accompaniment forms, expressed the feelings of lyrics appropriately.These Lin, Sheng-Hsi’s two early works were deeply favored by singers and widely sung at the time. With today’s standard, although they cannot catch up with the styles of contemporary European art songs, Lin, Sheng-Hsi’s efforts are worthy of the younger generation’s affirmation because he created the works attribu ed to contemporary works.