These data were collected through field surveys of 3 Qiang song inheritors, 8 Qiang song performing artists and 6 folk singers. Qiang songs are mainly divided into work songs, mountain songs, ritual songs, drinking songs, wedding songs, dance songs.3).
LIST OF TABLES
INTRODUCTION INTRODUCTION
- Background
- Research Objectives
- Importance of Research
- Definition of Terms
2 With the development of China's urbanization, the living environment of the Qiang people has been greatly affected. They are influenced by the Han nationality, especially the younger generation, who can hardly speak the full Qiang language or sing folk songs in Qiang language, which affects the transmission of Qiang songs and the development, this unique ancient folk song it is slowly disappearing.
LITERATURE REVIEW LITERATURE REVIEW
Element of Music
The melody of Qiang folk songs in Wenchuan County can best represent the melody characteristics of all Qiang folk songs. Most of the Qiang songs sung in places close to the city will be in Chinese, and people here do not speak Qiang by and large.
Documents and Research Related to Qiang Songs
There is very little research output on the religious music of the Qiang ethnic group. Universality and history, the polyphonic folk songs of the two territories are part of the social life of the group.
RESEARCH METHODS RESEARCH METHODS
This dissertation summarizes the related ancient books, local chronicles, audio, essays, works and other related literature of the Qiang Song Song culture through literature analysis. It explores the historical development of Qiang songs, summarizes the artistic characteristics of Qiang songs and the cultural value of Qiang songs. Representative types are selected from various genre forms of Qiang songs, musical elements are studied and compared, and the characteristics of melodic tone structure are summarized.
Compare folk songs of the same genre and different regions and study the characteristics of the tonal structure of the genre melody in the form of the genre. In June 2008, Qiang multi-voice folk song was included in the first group of the intangible cultural heritage expansion project of the traditional music category, and in May 2009, LangJiamu was selected as the representative heir of the third group of national cultural heritage projects immaterial. . 38 minutes, including a video of the Qiang Folk Song Festival, covering a period of 70 minutes, including Qiang folk activities and religious instruments, covering a period of 200 minutes.
Qiang songs are classified according to the different musical forms and sound characteristics of the songs, as well as the content of the lyrics.
THE MUSIC CHARACTERISTICS OF QIANG SONGS
The Multi-Form of Melody
The main idea of the texts: there is no fixed content in the texts, which is improvised according to different scenes. This type of Qiang song melody is drawn from the low tone region to the high tone region and then quickly back to the main voice of the low tone region. The melody of Qiang Song is mainly in the form of progressive ascending and descending, and a combination of three intervals and four intervals.
There are five types of musical materials collected and classified in the field survey. In the two segments, the eastern tone in the upper segment is more than the tonic or the fashionable tonic, while the eastern tone in the lower segment is more than the fashionable tonic. The segment of the three segment structure refers to the segment consisting of the upper segment or the lower segment, repetition, change and repetition.
According to the results of the field research, there are five sentences in Qiang songs.
Rhythm And Beat
Some Qiang songs are performed along with the dance and the rhythm of these songs is pure. In the development of Qiang song melody, they depend on each other and play a key role in the formation of musical characteristics. Most Qiang songs do not have a set way of lyrics and melody, so they start with a free rhythm and end with a free rhythm.
Qiang songs have the most pentatonic scales consisting of Gong, Shang, Jue, Zhi and Yu. Moreover, the multi-voiced folk songs of the Qiang nationality in the northern dialect area mainly consist of two parts: lead singing and chorus. In the process of historical development, most forms of singing Qiang songs have a fixed or relatively fixed combination.
Because most Qiang work is done by men and women, Qiang songs are mostly in the form of men and women singing separately.
CLASSIFICATION OF QIANG SONGS
However, there are certain principles in the time sequence of the songs to be sung. The melodic rhythm of the two parts alternates with each other to form a contrasting polyphonic texture. The lyrics are mostly function words without specific meaning and pay attention to the musical interest of the two parts.
It is a song and dance performed in the funeral and mourning activities after the death of the elderly. The lyrics are mostly used to express the praise and memory of the dead and the comfort of their relatives. Singing and dancing are usually held at the beginning and end of the ceremony to welcome guests.
Facing the guests, the men and women are divided into two teams, standing in a figure-eight shape, with hands and fingers clasped close to the dance partner's waist.
THE ANALYZE SELECTED MUSIC EXAMPLES
The Melody Structure of the Two-voice Qiang Song
First of all, the musical scope of the three songs of Example 1, Example 2 and Example 3 is very large in terms of vocal range. The interval relationship of the two-part melody mainly concerns the distance between the longitudinal notes between the high and low voice parts. The sound value of Qiangge's two-part melody mainly includes two factors: rhythm and speed.
In the two parts of the second and third part, a one-to-one formal structure occurs. But each song is composed of three parts: slow-fast-slow. At the beginning of the song, each singer will be a little slower, and when the two parts are combined, the song will become a little faster, and when the vibrato of the same interval is reached, the song will slow down again. In the first part of the song, the singer will come in slowly, with a hazy musical beauty.
At this time, the speed of the music will slow down and the listener will be notified audibly that a passage has ended.
CONCLUSION DISCUSSION AND SUGGESTION
Conclusion
Discussion
The creators and inheritors of Qiang Song are an inseparable unit, and their transmission is in the process of creation and singing. The lyrics in the Qiang language and the two-part melody characteristic of the chants preserve the traditionality of the musical culture of the Qiang people. If the heir is lost in the process of transmission, then his art form will disappear.
When people who sing Qiang songs learn to sing, they generally sing by memory, but in the process of singing, they have almost small changes in their unconscious and conscious improvisation. Variation refers to giving new content to texts or absorbing new melodic forms in the transmission process. For example, in the process of singing and inheriting the Qiang drink song, the lyrics or melody always change to some extent.
For example, in the real life of the Qiang people, according to the needs of different rituals, singing drinking songs is chosen by Qiang villagers according to different situations.
Suggestion
104 Until now, folk singers do not have the opportunity to record their own songs, so if the folk songs they sing do not have appeal and appeal to the audience, they will lose the chance of broadcasting. Although the creation and transmission of "wine songs" are all individuals, it is a community that chooses drinking songs. Whatever change the singer gives, if the audience does not choose, it cannot be the art of delivery.
A view of the inheritance and development of minority music based on the popularity of original ecological folk songs based on the contemporary issues of Qiang music culture as an example. Investigating the Inheritance Status of Polyphonic Folk Songs of the Small Surname Qiang and Investigating Protective Countermeasures. A study on the folk song culture of the Qiang people in the upper reaches of the Minjiang River.
Colorful Map of Tibetan and Qiang Polyphonic Folk Songs of the Qinghai-Tibet Plateau.
Appendix
1.What do you think about the classification of Qiang songs 2.When is the Dance Song performed, Was it improv. 3.Is the work song improvised, Is there a fixed melody and lyrics 4.What are the opportunities for performing ritual song songs 5.Can sing polyphonic Qiang songs. 6.How many mountain songs can you sing 7.Who did you learn your Qiang songs from 8.What kind of Qiang songs do you know the most.
6. How many mountain songs can you sing? 7. Who taught you your Qiang songs? 3. Is the work song improvised, is there a fixed melody and lyrics? 4.What are the occasions to perform ritual songs? 6. How many mountain songs can you sing? 7. Who taught you your Qiang songs? 8. What kind of Qiang songs are you most familiar with?
VITA
First prize in the vocal skill competition for elementary and middle school music teachers in Chengdu. Published thesis in The Voice of the Yellow River on the spread of Sichuan Folk Songs in Thailand. Research on the Diffusion of Sichuan Folk Songs in Southeast Asia from The Perspective of The Belt and Road.
BIOGRAPHY
