Mahasarakham University has given approval to accept this thesis in partial fulfillment of the requirements for the Doctor of Philosophy of Music. The true story of the origin of Shanxi folk songs does not have a definite answer from the relevant literature, but according to the records of Genju, the literature that clearly recorded the Shanxi folk songs in the Late Ancient period (Ming Dynasty) Zhu Yuanzhang, thus- Area of called Shanxi is relatively poor. Through the analysis of the above 10 selected Shanxi folk songs, it can be concluded that the melodic lines of Shanxi folk songs are wavy.
The preservation and protection of Shanxi national anthem, provided with four ways to protect Shanxi national anthem activities: Government support set up Shanxi national anthem activities.
INTRODUCTION
- Research Background and the Importance of the Problem
- Research Objectives
- Research Question
- Research Benefit
- Definition of Terms
- Conceptual Framework
During this time, folk songs about "Zouxikou" appeared, which circulate to this day. 34;Protection of Folk Music in Shanxi Province", that since the end of the last century, Shanxi folk songs have been facing extinction and difficult for sustainable development. Due to the importance of the above information, the researcher wants to explore the development history, analyze the characteristics, protection and preservation of Shanxi folk songs.
To get the results of these three goals, the author here in this article collected 400 traditional folk songs from Shanxi through.
Literature Reviews
- General Knowledge about Shanxi Province
- Folk Songs in Shanxi
- The theory used in this research
- Conceptual of art and culture conservation and development
- Document
There are many types of folk songs in different parts of Shanxi, different forms and distributions of different songs. The conservation theory: refers to the development model of Shanxi folk songs in the future. Folk songs in different parts of Shanxi are especially closely related to pronunciation, intonation (circumflex), tone (stress).
Miao Jing and Qiao Jianzhong's book On the Division of Approximate Color Areas of Han Folk Songs.
RESEARCH METHODS
Research Scope
Research Process
Shanxi He qu county, Shanxi Bao de county, Shanxi Zuo quan county, the three counties are the famous distribution areas of Shanxi folk songs and the birthplace of Shanxi folk songs. Research on the composition technology of folk songs in the northwest, so Miao Maolin has made great contributions to the field of folk songs in northwest Shanxi. For example, his master's thesis: "Shanxi Folk Song Composition Technology Research" was included in the China Knowledge Network Excellent Master's Thesis Network.
Yang Zhongqing (1942-) was born in Baode County and is the inheritor of Baode County's folk songs. Liu Gaiyu, (1939) female, Han nationality, is one of the heirs of Zuo Quan's kai hua diao and a famous Shanxi folk singer, first-class actor in Shanxi Provincial Song and Dance Theater, member of Chinese Musicians Association. Since childhood, he has accumulated many folk songs such as “Peach Blossoms, Red Apricot Blossoms, White Qin.
Collected more than 400 videos of folk songs in Datong City, Hequ County, Zuoquan County and Baode County. Collected more than 400 music scores of folk songs in northwest Shanxi, more than 20 of which are from books. At the same time, my research topic in this dissertation is "The Model for Nature Conservation and Development Folk Songs in Shanxi Province, China".
In the first objective, to analyze the history and development of folk song in Shanxi Province, China, I studied and selected the research literature of Shanxi folk song for two years and collected more than 400 copies of books and periodicals. all Shanxi folk song literature is summarized and classified. In the third objective, to obtain the conservation model of Shanxi folk songs.
The history and development of Shanxi folk songs
The history and development of Shanxi folk songs
According to historians' research and investigation, "kou" refers to the important gateway between Han nationality and ethnic minorities in the open border area along the Great Wall after the Longqing period. In the Ming and Qing dynasties, due to the perennial famine in the surrounding counties such as Hequ, men went to the West Exit and went to Inner Mongolia to earn money. The continuation of "Walking West Exit and the Immigration Wave" that lasted for hundreds of years resulted in an endless series of western folk songs entitled "Walking West Exit".
According to various authoritative data, there are traces of its development in the Ming and Qing dynasties. For example: “I miss you, I miss you, I really miss you, the rooster croaks at dawn and can't sleep after the five-shift work, I miss you, I want you to be lost, looking for firewood under the mountainside and barking; I missed you not turning around for the first half of the night, I guess you can't wait for that in the middle of the night. This is already the most explicit word. Miao Maolin: How the HeQu Shan qu er and Zou xi cold anthem development (because you are a specialist in this), over the past 30 years.
34;Hequ folk songs do not occupy a great position in the hearts of today's young people. Now the Hequ folk songs sung in universities are new folk songs adapted by contemporary composers." He had to get up at 3 o'clock in the middle of the night and get into a big truck at 5 o'clock in the afternoon to work in Yangquan.
Thus, the folk songs produced are different from folk songs in other regions and are relatively closed. The first half of the sentence is usually about blooming, which is a metaphor, but the actual meaning is in the second half.
Summarize
Therefore, it is the most important representative work of the 5-tone scale in Shanxi folk songs, which is also the main characteristic of Shanxi folk songs. Therefore, it is the most important representative work of the 5-tone scale in Shanxi folk songs, which is also the main characteristic of Shanxi folk songs. Therefore, it is the most important representative work of the 6-tone scale in Shanxi folk songs, which is also the main characteristic of Shanxi folk songs.
Through the analysis of the above 10 songs, the most typical rhythm pattern of Shanxi folk songs is a simple rhythm combination. I asked Mr. Yang Zhongqing if you have any opinions on the preservation of Shanxi folk songs in the future. 1. Middle school students learning the meaning of Shanxi folk songs.. 2. Learning the singing techniques of Shanxi folk songs.
Learning Shanxi Folk Song Techniques Singing Shanxi Folk Song .. learning outcomes for high school students. How to make students understand vocalization skills in the process of singing Shanxi folk songs. On a practical level, they also have a superficial understanding of some Shanxi folk song singing techniques.
The content and objectives are centered on learning the connotation of Shanxi folk songs. Proposals on the innovative preservation model of Shanxi folk songs 1. Summary of the three results 1. Summary of the three results.
The music characteristic in selected of ShanXi folksongs
Melody characteristic
Mode Mode characteristics
Rhythm characteristic
Unitary form structure
Summary the music characteristic of ShanXi folksongs
The model to preservations of folksong in Shanxi Province
The guideline to preservation of Shanxi Folksong
The guideline to Protection of Shanxi Folksong
The Model to preservation and protection of Shanxi Folhsong
Create play dramas for children related to Shanxi folk songs. Kindergarten students' attractive interest in Shanxi folk songs. Shanxi folk song learning results of kindergarten students. Kindergarten students' attractive interest in Shanxi folk songs. Now the teacher will play the three types of Shanxi folk songs in the repertoire of children's games performed by children through multimedia.
1. Attracting primary school students' interest in Shanxi folk songs 2. Stimulating primary school students' ideas about Shanxi folk songs. The objective of this lesson is to arouse students' interest in Shanxi folk songs and associations in context. Because high school students have the ability to think abstractly, the situational teaching method can be applied to self-recorded Shanxi folk song videos in class.
In determining teaching goals, there is a need for professors to pay more attention to the content, background, and singing methods of Shanxi folk songs. Teaching purpose: master the connotation of Shanxi folk songs and master the singing techniques of Shanxi folk songs. Through the video explanation, students have a superficial understanding of the background and meaning of the Shanxi folk songs that go to the western exit.
Because high school students are dominated by abstract logical thinking, it makes more sense for the teacher to master the connotation of Shanxi folk songs and singing practice as the learning content and goal. Learning goal: to master the knowledge of Shan folk songs and to master the technique of singing Shan folk songs. They believe that this is the fundamental way to truly preserve Shanxi folk songs in the context of the new era.
I asked Mrs. Liu Gaiyu what do you think how to protect Shanxi folk songs in traditional activities.
Conclusion Discussion and Suggestion
Conclusion of the three results
Discussion
Suggestions on the Innovative conservation Model of Shanxi Folk Songs
94 Third, through the analysis of the above 10 songs, the most typical rhythm pattern of Shanxi folk songs is a simple rhythm combination. It can be said that 99% of traditional Shanxi folk songs have such a structure, which usually consists of two phrases, but there are also rare four-phrase single-section structures, but the most common is the author's list. Regarding the preservation model of Shanxi folk songs, the author concluded through interviews with Miao Maolin, Liu Gaiyu and Yang Zhongqing that there are still three reasonable preservation models of Shanxi folk songs:.
In the author's research on the historical development, summary, innovation and preservation of Shanxi folk songs, the third aspect is the most worth discussing. In the context of the new era, Shanxi traditional folk songs have long lost their audience, so in this situation, how to make young listeners love traditional folk songs again. The conservation and innovation model of Shanxi folk songs mentioned by the author is based on the conclusions drawn from the experience of the three informants.
An innovative model of Shanxi folk songs, but the future development of Shanxi folk songs is much more than that. 95 of its development, the author can also foresee the protection of specialists and the multifaceted transformation of traditional folk music activities. However, due to the limited research energy in this thesis, we hope that later researchers of the innovative preservation model of Shanxi folk songs can continue to pursue this topic.
