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1sound effects of the national percussion, which makes the music rich in national characteristics.
5, the movie "The visitors on the iceberg" episode "Reminiscences of the comrades" "Why are the flowers so red"
The film "The Guest on the Iceberg" was released in 1963 and directed by Zhao Xinshui. Starting from the true love suspense of the true and false Qurandam and the warrior Amir, the film depicts the thrilling anti-special struggle life of the military and civilians in the border areas. It has a strong national color, and expresses the beautiful scenery and Tajik of the northwestern frontier of the motherland with sensation and expressiveness. People's customs and customs. The soundtracks in the film, "Remembrance of Comrades", "Why are the flowers so red", "Snow Lotus on the Iceberg", "The Eagle of Pamir" and other songs by Lei Zhenbang, are all based on Tajik folk music, unique melody, slightly A faint sorrow, this is one of the characteristics of the Tajik folk songs; the semitones and the second-degree intervals in the melody, the rhythm of dancing, all show strong national characteristics. The musical instruments in the film are traditional national instruments, and the unique style is also highlighted, and the music effect is wonderful.
The "Remembrance of Comrades" appeared in the scene of the squad leader's sacrifice in the blizzard. The tragic melody and the plot of the climax of the music matched the plot perfectly, expressing the emotion of the comrades when they left, the rhythm of the whole song, with typical ethnic music. Features; emotional ups and downs, a relatively strong drama, very appropriate to cater to the development of the plot in the film.
The tunes of "Why are the flowers so red" appear many times in the film, as background music throughout the film. The music uses a harmonic minor, and the second-degree and small-degree melody formed between the Vll-level sound and the adjacent sound level of the raised semitone are used many times in the song, so that the national color of the tunes is very strong. The melodious melody is a bit of sorrow, but it is expelled by the emotions of the climax, expressing a kind of praise.
Fourth, the general
Xinjiang minority music has many distinctive features in many aspects such as beat, rhythm, melo-
dy, tonality and harmony. These characteristics also reflect the differences in the cultural backgrounds of different regions and different ethnic groups, and are also reflected in the sister art of dance, art and even literature and history. These unique national cultures have also provided a lot of valuable and unprecedented materials for the innovation and development of modern Chinese music and literature, and have made tremendous contributions.
"Nationality is also the world", the emergence of works of outstanding ethnic minority music styles in China's modern times has also promoted the process of letting people all over China and the whole world know about Chinese minority music and its culture, protecting, spreading, Promoting plays an important role. In particular, some western musical instruments can make our national music go to the world and be recognized by more people.
Through the study of minority music and its culture and art, we can better understand all of this, and then achieve the correct protection, dissemination and development, so that the gem of these human culture and art history is more dazzling.
References
1. Inheritance and Development of Xinjiang National Folk Music from the Perspective of Music Communication Lei Jiayan Journal of Xinjiang Academy of Arts 2012-09-20 Journal
2. On Xinjiang Muqam and Its Influence on Xinjiang National Music Car Xiang Chongqing University 2016-05-01 Master
3. Inheritance of Xinjiang National Music and School Music Education-Investigation and Analysis of Muqam Performance Specialty of Xinjiang Academy of Art Yu Yan Xinjiang Normal University 2006-04-10 Master
4. Analysis and Research on Xinjiang National Musical Piano Works Teng Limin Northwest University for Nationalities 2010-04-01 Master
5. The Inheritance and Development of Xinjiang National Music from the Perspective of Cultural Ecology Yang Ye The Voice of the Yellow River 2017-10-24 09:30 Journal
6. On the Inheritance and Development of Chinese National Music-Taking Xinjiang National
Music as an Example Bai Qijie Talents 2016-12-05
A COMPARATIVE STUDY OF CROSS-CULTURAL DIFFERENCES OF CHINESE MINORITY MUSIC FROM THE PERSPECTIVE OF ETHNOMUSICOLOGY
Xie Dan
Capital Normal University of China Master student
V. N. Karazin Kharkiv National University Ph.D. candidate
Abstract
In recent years, ethnomusicology has gradually formed an important research culture in the field of music, and it has also become an important part of the study of Chinese national music. Musicology itself has brought a lot of reference to minority music in summing up methods and theories. Because this article compares the characteristics of cross-cultural communication of minority music in China from the perspective of ethnomusicology, and analyzes the cultural exchange and integration of minority music with new perspectives and new comparative methods. National music provides some comparative information.
Keywords: Ethnomusicology; ethnic minorities; music; comparison
China is a country with a vast population. There are 56 major ethnic groups in this country, including many ethnic groups. In this way, different musical forms between different ethnic groups are formed in the field of music. The ethnic groups are particularly important in their treatment of national music. This is mainly caused by the intrinsic meanings of different nationalities and different cultures. Because this article focuses on cross-cultural research, it conducts cross-cultural comparative studies on minority music. Therefore, the cross-cultural comparison of them can be mainly determined by the cross-border characteristics of ethnic minorities in terms of geographical distribution, language exchange, ethnic customs and religious beliefs. This produces a different culture of ethnic music and different cultural exchanges. Therefore, the main purpose of this paper in the study of cross-cultural comparative study of minority music is to find the commonality and convergence between national music through the theoretical methods of comparing different ethnic music.
I. The theoretical method of comparative study of cross-cultural music among ethnic minorities in China
In the early 20th century, the formation of new characteristics in the continuous development and change of ethnomusicology has become an important factor affecting the development of Chinese national music, and has promoted the interweaving and touching between music and culture among different ethnic groups. For us, we need to pay close attention to the development of music culture, and in this period we also need to constantly compare its music and culture, which has gradually become the main method of music theory research in the current period. The famous artist Wu Guodong once published the research on the theory of music culture and the theory of the study of disciplinary ethnomusicology. When this thought emerges, it also means that China's national music has begun to be on the right track in theory. At the same time, it is also constantly exploring the characteristics of national music and the research and development direction of Chinese minority music. Therefore, according to the survey of the society, we can compare the cultural comparative characteristics of trans-music research, and at the same time link the study of folk music culture with the theory of musicology. Let's do some analysis on the theories and methods of ethnomusicology used in it. .
(1) Setting of perspectives for cross-cultural comparative study of minority music
In the comparative study of modern Chinese ethnomusicology, the comparative objects studied are very extensive, including the types, characteristics, forms, cultures, concepts, etc. of music. These contents are comparative contents and at the same time. It can be used as a method of theoretical research. Therefore, in the cross-cultural study of contemporary minority music, there is a certain plan for the setting of comparative content, so I summarize the following three aspects based on comparative research.
1. A comparative study of music communication as a link
The form of music dissemination is a way of inheriting Chinese national music, and it is also a special form of testing the cultural integration between different national music. Therefore, on the premise of the form of music transmission, we often regard the migration of the nation as Demonstrate a special way of comparing music communication. For example, Du Yaxiong compares the Yugu folk songs in China with other nationalities. This cross-cultural comparison can find a fusion of music culture, and he draws nationalities in his analysis. Although music comes from different ethnic groups, it also reflects the commonality of national music. This kind of comparative study can find the difference and the same of national music, so we can understand the musical characteristics and spread of national music more clearly. form. In addition, Pu Hengqiang compares the tones of the Miao, Yao and Yi folk songs. Li Wei compares Chinese national music with American music, and also reflects the national characteristics of different music, but from the spread of national music. It is said that both national and foreign national music find their own characteristics in the form of communication, and at the same time analyze them according to the form of comparison and find their commonality and the same historical origin.
2. Comparative study based on geographical connections
In terms of geography, the ethnic groups in different regions can also express the blending of music culture in music. If we analyze the national music in different regions, you will find that although the regions are different, the music forms are different, and the singing is different. The language is different, but there is still a common feature in expressing the connotation of music. Among them, Mr. Wu Guodong compares the Burmese national music with the music adjacent to the southwest of China, and finds that although the area is different, the instruments are different, but When you use the same song to express it, you will find that different regions have different characteristics, but in the essence and connotation of music, the same music performed by different ethnic groups is very strong. Commonality. In addition, Lan Xueyan took out the music of different ethnic groups in Fujian and Taiwan for comparative study. Comparing the music of Yi, Gaoshan and Gaoshan will reveal that there are certain deviations in the expression of music in different regions, but its expression connotation And the substance of music is still in common with certain.
3. Comparative study based on religious background
For ethnic music, religion is the main object of traditional music. This has produced a religious-led source of music in different periods, both domestically and abroad. Therefore, in the comparative study under the premise of music, it will be found that the musical instruments, music theory and forms that are expressed in different regions under the same religion will form a strong similar feature due to religion. These similar characteristics can be called convergence, and these characteristics can be preserved for a
long time in different nationalities, and these characteristics are also difficult to be isolated by regions, national boundaries, and nationalities. Therefore, in the context of religion, the relationship between the homogenization of modern national music can be explored. For example, Yang Minkang compares the music of Southwest China with Southeast Asian countries in a comparative study, and compares Chinese music with Japanese music in the period of Buddhism. Liu Guiteng also used shaman music as a prototype of religious music in a comparative form, so he compared the different nationalities of Mongolia and the ethnic music of Mongolia.
4. A comparative study of individual music individuals
It is also feasible to compare this in a single form of music. Individuals of music are usually compared in the same form of music or a unified instrument. From this objective form, the different ethnic music is analyzed and compared from an objective perspective. Common features and differences between the two. For example, Chinese instruments such as piano, guzheng, cymbal, erhu, flute, string string, cymbal, lyre, ox, piano, zither, etc. are used as comparisons, and these instruments are integrated. After comparison, you will find that in this case, different instrumental music represents this different nation. In this kind of national music, each instrumental music has its own characteristics, such as the ox-leg, the single-stringed string is the Yi and the Yi. The instrumental music of the two nationalities, these two instrumental music will not produce different music sounds when expressing objects. At that time, if the music scores are exchanged, different music comparisons will appear. Of course, after the exchange performance, you will find that it always seems What is missing is that this may not be a nationality. It is not a racial instrumental music that is more or less different in performances.
5. Research on the comparative theory of trans music culture itself
In the self-study of theory, it is actually comparing different national music for comparison. Of course, this kind of comparison is more inclined to the comparison of culture itself, and the music culture is analyzed as a national culture. At the same time, this culture The comparison can guide the direction of minority music in the development of ideas. There are still many domestic researches on this type. For example, Lin Lingfeng made a comparative study on the music culture of different ethnic minorities in Southwest China, in order to find the importance of national music. In addition, Yang Minkang's "On the prospect of comparing the music of 15 ethnic minorities in southern China with Japanese folk music. "This is also a comparison of music studies between different ethnic groups. At the same time, we can see that different ethnic cultures have strong guidance for national music itself. This kind of guidance can be given to modern Ethnic music finds its own value.
Second, the use of linguistics in the cross-cultural comparison of minority music
The theoretical way of linguistics can be said to have been a special plot discussed by the public. This linguistics can contain many aspects. For example, compared with musicology, it is mainly compared in terms of oral skills, pronunciation, accent, and string. At the same time, it is said that music ethnology also draws on many aspects in linguistics, which makes us find linguistics in the cross-culture study of ethnomu-sicology, and also finds linguistics in minority musicology. The impact occupies all aspects. In the early days of "The Future of Guole and Its Research", Mr. Yang Yinliu took musicology and linguistics for comparative analysis, and also proposed his own analysis of how the two complement each other and integrate each other. Opened the relationship between linguistics and musicology in China, and also made the public pay more attention to the cross-cultural comparison of music. Nowadays, we can see that language and music have become a form. Many music covers multiple language skills. It can be said that linguistics has become the basis of musicology. Of course, this theory is also important in cross-cultural comparisons, such as the relationship between chords and linguistics. Mr. Luo Yifeng conducts in-depth research on chords and historical linguistics, and analyzes the pronunciation of different ethnic groups. The origin of pronunciation, pronunciation and history, and also has a strong influence on the chord in the transformation of language. In the section "Inferring the origin of the chords from the cross-language (family) language comparison", Mr. Luo Yifeng also looks at the similarities and differences of the pronunciation of the word "spoken string" from the initials of the different languages, including the initials, finals, and syllables of different languages. To find out the various aspects of music research across literature.
Third, the cross-cultural comparison of minority music and the convergence of comparative ethnological research purposes
Comparative ethnology is a form of ethnology. This academic focus is a comparative study of inter-culturalism, mainly using ethnic history and ethnic customs to analyze the similarities and differences of cultural characteristics in different cultures. point. Therefore, using this point to analyze and analyze the cross-cultural comparative study of ethnic music can be very clear to give different differences to different national cultures, but most of the forms of comparison use the similarities of the cultures of different ethnic groups. Sexually speaking. Therefore, many of the comparative articles on the spread of national music in China are mostly aimed at comparative ethnology, mainly focusing on the cultural, historical and social aspects of music, but this comparison is aimed at The purpose of ethnomusicology is the same. For example, in the comparison of ethnology, Fan Zuyin, Pu Hengqiang, Li Wei and many other artists have studied the comparative forms of folk songs of different ethnicities, such as the comparison of the songs of the Miao and Zhuang nationalities, and the various ethnic groups such as the Buyi, Bai and Yao. The music and culture are compared to get the corresponding knowledge of ethnomusicology. Of course, this com-
parison is not necessarily set solely for the domestic people. It is also compared with the music of different nationalities of foreign countries by many scholars, in order to obtain the relevant characteristics of comparative ethnology under different nationalities.
4. Other theories in the comparative study of ethnic music across cultures
Influenced by interdisciplinary research, there are many interdisciplinary studies in the field of musicol-ogy, such as music archaeology combining musicolo-gy and archaeology, music acoustics influenced by physics, music therapy, music sociology, etc. Wait. In the study of national music in China, there are also some theoretical studies with interdisciplinary nature, such as: music geography, music ecology, music communication, music folklore, etc., the intersection of these different theories, broadening the nation The research ideas of music are also easy to open up a new theoretical perspective. Naturally, these new theories are also involved in the comparative study of ethnic minority cross-cultural music. For example, the above two articles by Liu Guiteng analyze the relationship between different instruments and the ecological environment in which they are located, and classify the cultural and ecological attributes of musical instruments in combination with the ecological environment, reflecting the academic perspective of cultural ecology. Another example is Yang Minkang's "Exploring the Prospects of Minority Music in South China and Japanese Folk Music", based on the perspective of ethnomusicology, looking at the musical relationship between ethnic minorities in southern China and Japan, and proposing "one-way traceability of music culture". The two ideas of "comparison of two-way music culture", the other articles of Yang Minkang mentioned above, and the articles of authors such as Lan Xueyan and Li Wei, are described and compared while discussing cross-cultural comparisons with different musical styles. It has extended the direction of cultural development, which shows the subject of cultural communication. There are also some special research perspectives. For example, in the article "On the sound organization characteristics of ethnic rhythmic music such as high mountains, ffM, Jingpo, etc.", the method of sound measurement is adopted, and the order of harmonics is used. The actual pitch and nickname, infer the rhythm temperament characteristics of different chords, etc. It can be said that these diversified theoretical studies have provided the driving force for the study of minority music.
V. Reflections on the comparative study of ethnic music across cultures
The comparative study of cross-culture of ethnic music in China can be said to be an improvement of national music. The aspects of this cultural research involve the exchange of many nationalities, regions,
languages, music, culture, etc. Fusion, while studying its theory, also involves knowledge of the relevant comparative methods and framework settings of ethnomusicology. As a country with dozens of different nationalities, China is also an important big country in the origin of music and the spread of music. Therefore, it is necessary to constantly find the similarities and differences of music culture in this cross-cultural comparative study, so as to study the development culture of music among ethnic minorities in China, so that modern people can be better given to different cultures. The study of music forms can further deepen into the national culture. Although this paper analyzes from the perspective of ethnomusicology, it finally analyzes the characteristics of music development of different nationalities in China through comparative forms. Of course, a single analysis from different angles of different national music is not enough. We need to make further comparisons in the form of concept cognition, view mode, lyric form, etc., in order to understand the national music more deeply. The difference between the two.
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