Genre of folk songs of the Daur in China
Genre of folk songs of the Daur nation in the province of Heilongjiang, which is home to more of the population of the Daur of China, divided into Zhaendale (style like a Chinese folk song. Such songs can be divided into two groups: songs with words and without them. Songs with words refers to a fixed melody singing the lyrics. Very characteristic: short structure, a lyrical melody, simple text, sturdy construction and rhyme. Often improvised song with a clear melody and to show your love of nature and desire for a better life. And the songs without words, use the buzz and freer and more arbitrary. It can be called "Emotional catharsis". Generally, this type of songs are rarely sung in the village or in enclosed spaces while in the field, the rivers, the fishings, or gaits.), Hakumaile (traditional folk dances that accompany the songs. As a rule, is divided into three types: first, all of them sing and enjoy singing emotionally - sometimes singing like a choir, sometimes divided into two groups and sing as a duet; the second dance is mainly in such styles. Because Dauria missing their folk instruments and songs are used as musical accompaniment and at this time, people sing and dance; and the third is called Lanugage. This dance move is basically pushing each other with fists, move like jump and stamp upon the ground. Here missing songs and shout loudly in simple syllables And A Hen Bo, Hei Gu Le, Zhe Hei, Da Hei etc. And aligns itself with the imitation of the sound of birds and animals), Wuqin (this genre is narrative in nature, in the likeness of modern rap. As a rule, in closed rooms the workers sing in their spare time and performed mainly by men, even much older people. So far, they are not professionals and work in a hard work every on its own. It showed a traditional cultural phenomenon: art always appears in everyday life.), Yadegenyiruo (Since ancient times, the Daurs have believed in Shamanism, religious activities, this genre of folk songs is very widely spread. Sing about life, love, and vision in the future, faith and of course ethical customs. When you go to weddings and holidays, invite a shaman or singers, decorate the table and in this time they sing and dance collectively. The content of the songs usually are religious history or folklore.). As you know that the nation the Daurs have only your language and no written language, so the heritage of folk songs is performed in everyday life oral way. The transfer process is no school of singing or creative writing. Folk song of Daur people mainly uses 4 frets of the Chinese people's pentatonic scale system: Gong, Shang, Zheng and Yu. Mostly short and pithy, a clear difference in structure. Often 4-raznie ringtones. If the melody consists of two phrases that are always repeated. Performed made was using a slow vibrato. Especially when at the end of a long phrase, the tone, the vibrato is accelerated from a slow start and the tune ends falling tone. Folk musical instruments from Dauria ordinary people spiritual tool (kou Xiang), grabbing the drums, the bells of the waist, as well as four-string (XI Hu) and three (San Xiang) musical instruments. If in terms of heritage and development of ethnic folk music culture Daur, we can say that at present the main national characteristics Daur preserved. This is reflected in the following characteristics: - On the basis of stupechatovyh and small jump built melodic foundations of national musical Daur system; - Tonal characteristics based on Chinese traditional pentatonic and contain desalination thinking about the odds; - Strict structure with modal words; - The uniqueness of the content, form and emotional feeling to the songs. In this article it is considered a kind of genre Daur folk songs, and shows some examples.
Keywords
дауры, Китай, фольклорные песни, Daur, genre of songs, China, folk songs, examplesAuthors
Name | Organization | |
Lian Liu | Institute Music of Qingdao Universit | cucecc@mail.ru |
References

Genre of folk songs of the Daur in China | Tomsk State University Journal of Cultural Studies and Art History. 2017. № 25. DOI: 10.17223/22220836/25/11