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4al information in daily life, and carry out continuous learning and perfection. Perceptual information is mainly obtained through auditory or visual, but art education can enable students to learn information stratification and science. Reasonable acceptance of sensory information, through a personal experience into a good state of learning, thus feeling the education and edification of knowledge. Thinking means that in the art creation activities, students form a diversified way of thinking through imagination and association, through many dialectical relationships such as reason and emotion, inspiration and intuition, consciousness and unconsciousness. Through the perception, art education helps to improve students' learning dynamics, and through artistic thinking, it promotes the continuous expansion of students' thinking. The famous educator Sna said that artistic creation does not require a true right or wrong way of thinking. Through art education, we can guide us to analyze the things that are often neglected in daily life, to draw new perspectives, to observe and create, and thus to show that art education not only teaches the right and wrong knowledge, but through art diversity. The content and form of education, the expansion of students' imagination and innovative thinking will help to cultivate students' positive and enterprising spirit. Expression is the final stage of the acceptance of art information. Because of the variety of art education methods, art expressions include individual insights into knowledge and thinking.
(2) The relationship between teachers and students is ecological
At present, the international community believes that the curriculum of ecological county has many characteristics such as openness, background, nonlinear structure and self-organization. The teacher-student relationship of the ecological art integration curriculum should also have these elements. In the eco-art education curriculum, teachers and students are no longer the traditional knowledge-instilling learning relationship, but a cooperative and unified relationship of mutual learning and mutual promotion. In the process of fan-shaped art integration curriculum, teachers should reverse the tradition. The teaching mode of teaching, from the traditional discussion-
based teaching to the dialogue of the teacher's life, through equal exchanges and discussions, to obtain a common recognition of learning truth. In the process of teaching, the concept of teaching has been transformed from self-centered to centered on equality and harmony, and an equal and open attitude and thinking mode has been established. Good inter-disciplinary relationships can be established among various disciplines, which helps to promote art classes. Effective integration and penetration, and effectively strengthen the integration of art disciplines, can enhance students' interest in art learning and further improve the quality of teaching.
Conclusion
In summary, we can see that with the rapid development of the times, the integration and penetration of multiculturalism, and the development of art education will help improve the overall quality of students. Based on the development trend of the integrated curriculum, colleges and universities should innovate the art teaching methods, correctly understand the importance of art education, guide students to establish a good learning concept through the integrated curriculum, and lay a solid theoretical foundation for students. To promote the sustainable development of students and effectively improve students' social adaptability.
References
1. Zhang Yun, Li Li. Design of Research Subjects for College Art Education Based on Curriculum Integration[J]. Education and Teaching Forum, 2017(13)
2. Li Juan. The integration and development trend of art education and integration curriculum in colleges and universities[J]. Art Education Class, 2016(08)
3. Zhang Jiang, Xie Hui. Strategies for Strengthening Conceptual Integration and Linkage in the Implementation of Comprehensive Science Cur-riculum[J].new course,2015(03)
4. Teng Qinglin. Research on the Innovation and Development of Art Education Based on the Integrated Curriculum[J]. Education Online, 2016(09)
RESEARCH ON MUSIC STYLE IN XINJIANG REGION OF CHINA
Cui Jian
the V. N. Karazin Kharkiv National University Senior visiting scholar,Associate Professor Associate Professor, Department of Music, Xinjiang Academy of Arts, China Master Instructor
Abstract
Xinjiang has been a multi-ethnic and multi-cultural region since ancient times. Cultural conflicts and exchanges between indigenous residents and foreign immigrants have never stopped cultural and artistic exchanges. This has made Xinjiang's music, dance, art and other cultures and arts have many unique features. This article mainly explains some of my personal views on the musical characteristics of ethnic minorities in Xinjiang and their influence on the music creation of modern Chinese Xinjiang.
Keywords: Xinjiang, China, minority music, artistic style, musical works, theoretical research
First, the characteristics of Xinjiang minority mu- development of human music, the rhythm is set before sic 1, the rhythm The two most important elements of the melody. As for the formation of the system of tone music are rhythm and melody. In the emergence and and harmony, it is even later. Bartok once said: "The
rhythm without melodies is imaginable, and the rhythm without rhythm is unimaginable." A region, a nation, a prominent form of music must inevitably have a unique rhythm. In the music of ethnic minorities in Xinjiang, the rhythm is a distinct feature.
1 split rhythm
The rhythm of the division has a very wide application in the music of ethnic minorities in Xinjiang. In the folk songs, instrumental music, and dance music of Uighur, Kazak, Tajik and other ethnic groups, the rhythm of the division and its variant forms, such as the rhythm type of XX X X X, can be seen everywhere. It can be said that this rhythm is the most prominent and distinctive feature of Xinjiang minority music.
The segmentation rhythm changes the position of the accent in the phrase, which can give people a feeling of swinging, and this rhythm has a strong dance character, which makes the music have a cheerful and pleasant emotional factor. The strong dance characteristics are also closely related to the characteristics of ethnic minorities who can sing and dance. Some people describe "the music can't help but dance", and it is precisely because of this unique rhythm type.
2 weak rhythm
The weak rhythm is mainly caused by the folk songs of some ethnic minorities, especially in the Uy-gur folk songs. This phenomenon is very prominent, which is closely related to the Uyghur language characteristics. In Uyghur, the position of accent is generally backward. In folk songs, this linguistic feature also affects the rhythm change, so the style of weak rhythm is formed.
3 point rhythm
The rhythm of the dot is a common rhythm in some ethnic song and dance music accompaniment. This rhythm is rich in national characteristics, and it makes the music have a cheerful, lively and dynamic emotional color.
2, beat
Beats are also an important element in music. Different beats give people different feelings. At the same time, beats are also one of the characteristics of certain music types. In the music of ethnic minorities in Xinjiang, there are many distinctive features on the beats that are different from other forms of music.
1 mixed beat
In the national music of most parts of the world, the main form of rhythm is the rhythm of uniformity. For example, the music in the Central Plains of China is dominated by two beats and four beats. The Korean folk songs have more applications of three beats. Some folk dance music in Europe such as Tarantella is 6/8. In Xinjiang's minority music, the use of irregular beats and mixed beats is more common, such as 7/8 beats (the seven-beat beat type is a distinctive feature in Tajik music), 5/4 beats, and so on. The unique beat of this non-uniform rhythm gives a feeling of swaying, dancing, and boldness.
2 change beat
In Xinjiang music, especially in Kazakh folk music, change beats are often used. Like the mixed beat, the application of the changing beat also breaks the
rhythm of uniformity into a non-uniform rhythm, bringing a free, rough, unrestrained style to the music, which makes it have distinct national characteristics.
3 loose plate type beat
The loose-plate type beat is sometimes called the free beat. There is no obvious accent in the phrase, and the rhythm is free. It is suitable for expressing the lyrical music, with a little romantic atmosphere. Xinjiang is sparsely populated, and the vast living space injects a cheerful personality factor into the blood of these people who live in this hot land, so that people here have an open mind and the most simple love for life and nature. When this kind of emotion is transformed into music, it has a free and unrestrained musical color, which is the characteristic of the loose-fashioned beat.
4 summary
In general, the above three beat features have one thing in common: a non-uniform rhythm. It is this way that brings a strong national character to the music, showing a free, rough, unrestrained, swaying, and dance-like musical style, which has become a distinctive feature in Xinjiang music.
3, melody and tonality
The music of ethnic minorities in Xinjiang and the music of the Central Plains of China are very different in terms of melody and tonality, mainly due to the differences in the music system. Xinjiang music combines the three music systems of China, Persia, Arabia and Europe. It has both Chinese characteristics and exotic flavors, making the national characteristics of music very distinct.
1 tonal characteristics
Among the ethnic minority music in Xinjiang, there are five traditional tones of Chinese tradition, as well as European tones and churches, and sometimes even a mix of two different types of tones in a piece of music. The scales used are only five or six, some as many as ten, eleven, and often semitones. This diversity of scales lays the foundation for the expression of rich music, and serves as the pillar of the national characteristics of the melody.
2 characteristics of the melody trend
Unique tonal characteristics require a certain melody texture to reflect. In the music of ethnic minorities in Xinjiang, the relationship between the melody and some special melody intervals constitutes the most distinctive feature of these music in the melody.
In the music of ethnic minorities in Xinjiang, the melody is carried out in a variety of ways. There are also large-scale jumps and gentle progressions, and there are many decorative sounds. Among them, the increase of the second degree and the semitone are two kinds of melody intervals that best reflect the distinctive characteristics of the nation.
Semitone is a pattern commonly used in traditional Chinese music, including semitone melody intervals and semitone decorative sounds in melody. Among them, the application of semitone decorative sound in the music can bring a strong Chinese charm. It can express the chords and portamento of the string instruments of national instrumental music (including stringed and stringed instruments), and can also imi-
tate the vibrato and tongue of the wind instrument. Sounds, etc., can also express the rich emotions such as grievances, griefs, complaints and even praises of vocals in the melody of the melody. In Chinese music, semitones are a melodic texture with Chinese characteristics. The music of ethnic minorities in Xinjiang is influenced by it, and there are also a large number of semitones with ethnic characteristics.
The addition of the second-degree interval is unique in the music of ethnic minorities in Xinjiang and has distinct national characteristics. There is no second-degree interval in the traditional Chinese five-tone tone, and there is no such thing as the six-tone and seven-tone modes (although the minor third-degree interval in the five-tone mode is the same as the audio ratio in the twelve-average law system, Harmony, tone, etc. have different meanings. In the European system of small and small, the harmony of minor and harmonic majors has an additional second interval, which also shows that Xinjiang music has the characteristics of the European music system. The harmony minor is often used in Xinjiang music. One of its distinctive features is the second-order interval between the sixth and seventh-level tones. The second increase in the music is also derived from this. Others also have a degree of increase formed by varying the sound level. These unique intervals give the melody a slightly enhanced sense of ups and downs, which makes the emotions richer, and has a rough and unrestrained national sentiment, highlighting the characteristics of national music.
4. The ideological connotation of Xinjiang minority music and its association with other art forms such as dance
Xinjiang's unique natural geographical environment has created its distinctive historical and cultural background, and has also created a corresponding personality trait for the people of all ethnic groups here. These factors have jointly influenced the development and changes of music, dance and other art forms in this hot land, so that the current Xinjiang minority music has a unique aesthetic and ideological connotation.
Xinjiang is sparsely populated. In the face of the natural environment, human power seems so thin or even small. This makes people living here full of deep and profound reverence and love for nature. At the same time, the people who have grown up in such a natural environment have the spirit of unity and forge ahead in the blood. The character is also full of rough, bold, cheerful and enthusiastic features, but without losing the most beautiful simplicity and friendliness of human nature. . The character traits of these peoples are reflected in their artistic forms such as music, dance, art, and cultural products, and they also add profound ideological connotations to these literary wealth.
Specific to different natural environments, their impact on human personality is not the same. Xinjiang's natural environment is diverse, which brings subtle differences in the formation of people's personality. These differences also affect the thoughts of people from different regions and different ethnic
groups, and then manifest themselves in artistic and cultural forms such as music.
Xinjiang has a vast expanse of grassland greenery, mostly distributed in the stretched mountains, and there are also flaky forest areas in the middle. The Kazakhs lived in such places for generations and lived a nomadic life. On the vast grasslands, they spurred horses, freely galloped, and happily enjoyed life grazing under the blue sky and white clouds. This kind of environment has made their mind and body already integrated with nature, enjoying the reverence of nature while enjoying nature. The most primitive and simple nature of nature and respect for nature in human character is reflected in their music. . In the Kazakh music, the melody is gentle and melodious, just like the most concise but most authentic praise to the vast land; the tonality is in the Western minor tune and the Chinese-style feather-style and commercial style, although the worry Resentment still can't conceal the happy mood and the love and yearning for life; the rhythm and the rhythm of the rhythm are also one of its distinctive features. This dance-like rhythm is cheerful and lively, and it is reminiscent of the horseshoe. The sound and the joy of people singing and dancing. The Kazakh music is natural and simple, it is the language of nature, and it is the deep admiration of their hearts.
The Uygurs mainly live in the southern Xinjiang region, and the Yili in the northern Xinjiang and the Hami and Turpan areas in the eastern part of Xinjiang are also distributed. The oasis agriculture is the main production mode, and it is also used for animal husbandry, handicrafts, and commerce. Settlement life has made the Uyghur character less revered of nature, but added a sense of enjoyment and love for life, and has a more gorgeous side. The rich production and living activities have brought the most daring and most pleasant emotions of the Uyghur character. There is never any sorrow in their thoughts. The momentary melancholy can not conceal the optimism that never fades in the depths of the soul. In Uyghur music, the rhythm is mostly fast, dynamic, and has a strong dance nature; the melody has a small range of loopback reciprocating progression, as well as sudden jumps (mostly ups and downs); emotional changes It is also richer but overall remains pleasant. The Uyghur music is very suitable for dance accompaniment. The song and dance is almost non-separated. With music, you can dance. Moreover, the types of sounds in music are very diverse, and percussion, plucking, stringing, and pipe music can all be components. The vocals, which are best suited to express human emotions, are of course included; the types of dances and The movements are equally rich and varied with the music. This kind of gorgeousness is closely related to the Uyghur optimistic attitude towards life. There is no sorrow, no resentment, and optimistic heart has created a gorgeous appearance. The optimistic beauty is often revealed in the decoration of Uygur clothing, architecture, and daily necessities, but it is not just a flashy appearance. It tastes these gorgeous, and can read the long history and culture of the nation, so that it is profound. Philosophical thinking.
In the Pamirs Plateau in western Xinjiang, there is a Tajik family, the Alpine Tajik, who live half-settled and semi-nomadic, and have a close relationship with the mountains and the eagle. The majestic grandeur of the mountains and the brave freedom of the eagle have deeply penetrated into the skeletons of the Tajiks, giving them a brave, unrestrained and simple character. In their national music and dance, the image of the mountain eagle is contained in every detail, thus creating a unique artistic form of the "Eagle Dance" music dance. Therefore, the Tajik people are also known as the "Eagle's Nation". The eagle's persevering will, and the fear of danger and character, are reflected in their character and art form.
The above lists only three of the many ethnic minorities in Xinjiang. In fact, the differences in the living environment of each ethnic group are reflected in their human character and artistic form, which makes them have distinct characteristics. Not only music, but also dance art, art, literature and other sister art.
Second, the more characteristic forms of ethnic minority music in Xinjiang
1. Uygur large-scale set "Muqam"
"Mukham" is a form of music and dance genre
widely existed in various ethnic groups in Central Asia, West Asia and North Africa. The Muqam folk songs are composed of songs (Sui Yu songs and narrative songs), songs and dances, A large set of music composed of instrumental music. Muqam is divided into "Gaolang Muqam", "Hami Muqam", "Ili Muqam", "Kashmukam" and "Tulufan Muqam" according to different regions. The style is different. Among them, "Kashmukam" is the most ambitious, the most complete form of tune, the development and standardization of this Muqam, the second generation of the 14th century Yar's second-generation monarch, Abu Dhabi, the queen of Amanisha Khan Has made an indelible contribution. This is a huge, complete musical epic that almost sums up the Uighurs' struggle for centuries and all its national art forms.
2. Tajik "Eagle Dance"
"Eagle Dance" is the "Eagle Dance". The Tajik language is called "Chope Susie", which means "quick, skilled". It is a two-way dance-oriented impromptu performance with a competitive dance form. The musical characteristics of the eagle dance are represented by the 7/8 beat of the Tajik characteristics. The 7/8 beat is composed of a 3/8 single beat and a 4/8 beat. The single beat is lively and the beat is stable and powerful. The rhythm of rhythm that is repeated and continued, forms the unique dance steps and style of Chap Susie. There is also a form of competitive Tajik eagle dance called "Knights", meaning "party, gathering." Its musical characteristics are unique 5/8 beats in Tajik folk song and dance music, composed of 3/8 beats and 2/8 beats, featuring a jump in the extension. The eagle dance is the artistic expression of the life, emotions and ideals of the Tajik people. The eagle's movements, postures, expressions and brave and determined qualities are reflected in the dance and its music.
3. Hui folk song "flowers"
The genre of Hui folk songs in Xinjiang can be divided into three categories: "flowers", "minor" and "banquet songs". Among them, the "flowers" genre is the most widely spread. "Flower" is also known as "Mountain Song", "Wild Song", "Love Song", "Flower Song", etc. It belongs to high-caliber folk songs. The songs are high-pitched, euphemistic, and more expressive between men and women and between friends and relatives. Missing, two or a few people form an opponent, one sing. After a long period of singing, "Flower" has formed a certain form in the folk. The two people have developed a variety of forms such as multi-person and multi-person singing and party singing. The scene is getting bigger and bigger, and the number is increasing. The folks call it "Flower Concert."
4, Kirgiz Dai "Dastan"
Dastan is a kind of ensemble of long poems, which is called "Jiong Mok". It was renamed "Da Stan" because of the influence of Islamic culture. The content is completely based on the historical legends and heroes of the nation. Folks have professional and semi-professional artists, calling them "Dastan." The most important and most famous of Dastan is Manas, which is regarded as one of the three heroic epics of Chinese ethnic minorities. Its content embodies the history of the development of the Kirgiz, mainly reflecting the Kirgiz resistance against the Kalemaks. The process of invasion and slavery. The artist who specializes in "Manas" is called "Manas." The more complete Manas songbook to date is based on the singing record of the most well-known Kirk Dadar-stein artist in the 20th century, who is known as the Manas, who is famous for singing Manas. Organized eight volumes of this epic.
5, review
These are just a few of the many distinctive musical forms in Xinjiang minority music. Due to the vast territory of Xinjiang and the large number of ethnic groups, the music of different ethnic groups in different regions has commonalities and characteristics. Even for a certain form of music, geographical differences have different effects on their musical style, and are also reflected in sister art such as dance and art.
Third, the creation of modern Chinese Xinjiang style music works
Chinese traditional music, whether it is the court music for the aristocrats of the royal family, or the folk music that is widely sung by the masses, or the literati music of the scholars and the religion-related religious music, there is usually no author, music The way of creation is based on improvisation and does not form certain rules. Most of the music and related dance, art and other sister art inheritance are passed through oral communication, and there is no systematic education system. This phenomenon is no exception in Xinjiang minority music. Until modern times, the theories and ideas of the Western music system were introduced to China. Under the influence of some progressive intellectuals, the creation of Chinese music gradually found a law, and the development speed exceeded the slow process of thousands of years.
In the 1950s and 1960s, a large number of intellectuals came to Xinjiang to support the construction. Many musicians also studied and studied the uniqueness of Xinjiang music during this period, and created a large number of distinctive instrumental and vocal works. At the same time, this move has also enabled more people in China and the world to get to know and understand the music of ethnic minorities in Xinjiang, as well as their cultural and artistic characteristics. Until now, there are still many composers who are committed to this and have created a large number of outstanding works.
In the past 50 or 60 years, instrumental and vocal works with Xinjiang characteristics have been widely circulated in the Chinese music industry, and there are quite a few excellent works. For example, piano works include Shifu's "First Xinjiang Suite", "Second Xinjiang Suite", "Tajik Inspiration", Ding Shande's "First Xinjiang Dance", "Second Xinjiang Dance", Chu Wanghua's "Xinjiang Capriccio", Sun Yiqiang's "Spring Dance" Et al; violin works Chen Gang, "Sunshine shines on Tashkurgan", Du Mingxin "Journey of Xinjiang", Ma Yaoxian, Li Zhonghan, "Spring of Xinjiang", etc.; "Turn me a rose", "Spring Silkworm", Guzheng "Ili Riverside", Flute music "Spring of Pamir", dulcimer "Happy Xinjiang" "Beautiful Tianshan"; song "Why is the flower so red", "remembering the comrades in arms", "Tulipan's grapes cooked" and so on. These works absorb many elements of Xinjiang minority music in their creations. They can find the textures and elements derived from the folk folk music vocal music in terms of beats, rhythm, melody, harmony, and music style. They even borrowed directly from their tunes, sound patterns, etc., and their national characteristics are very clear. In the technique of playing skills, I also try my best to closely match the traditional folk instrumental music playing techniques, so that the source of music is reflected in both the shape and the like. Let's take a brief analysis of some of the works below.
1. Piano Pieces Ding Shande's "First Xinjiang Dance"
This song uses the Uygur folk song "The Song of the Carriage", which is created by using the techniques of recurring the theme and translating and changing. The music uses a lot of small second-degree intervals, which are rich in Chinese music and add a cheerful, witty and humorous atmosphere to the music. Ding Shande is very good at using the second degree harmony, especially the small second degree harmony. Although it is not a harmony interval, there is no disagreement in the works, but it also enriches the inner deep thoughts and makes it rich in Chinese characteristics. The addition of the second interval is less applied in the song, so it lacks some national characteristics, but the overall melody trend can still show the national style.
2, piano music Sun Yiqiang "Spring Dance"
This song was created in 1980 and was created
by Liu Shikun during the collection of Xinjiang. It has a typical Kazakh music style. The theme melody has a strong lyrical color, although it is a minor tune, but the "smallest sad little tune" d minor tune, revealing a
touch of melancholy but can not stop the deep joy. The theme melody appears five times in the song, each time has different emotional changes, sometimes bright and uplifting, like the praise of a song, sometimes low and long, like an old man affectionately telling, rich emotional changes enhance the picture for the music Sense and narrative. The accompaniment sound pattern uses the segmentation rhythm in many places, highlighting the national characteristics and giving people a cheerful and lively feeling. A large number of semi-tone and second-degree melody intervals are used throughout the music, which is also a prominent feature of Kazakh music. The whole piece of music shows that when the spring blossoms, the Kazakh men, women and children gather together to sing and dance and share the good life.
3, violin songs Chen Gang "Sunshine shines on Tashkurgan"
This song was created in 1976 by the author based on the song "Beautiful Tashkurgan" by Tursen Ka'er and Liu Furong's flute song "Spring of Pamir" and Tajik folk music material. Tashkurgan is located in the southwestern part of Xinjiang, in the eastern part of the Pamirs, and is one of the Tajik settlements. This piece of music is also the element of Tajik music. At the beginning, a piano (or band) plays a piece of loose-leaf primer, which is tall and bright, and is as holy as a towering snow-capped mountain. The tonality is used in the tonality, with a little bit of sadness, but the second interval increases the undulation of the melody, adding a bit of roughness in the national character of the plateau. The theme part adopts the 7/8 beat rhythm, which has a typical ethnic style and strong dance nature. The effect of the harmony minor is similar to that of the introduction. The 7/8 beat and 5/8 beat change rhythm are used to make the position of the accent change and no longer a uniform rhythm, giving people a swaying sense of dancing, which is also a common feature in many minority music in Xinjiang. . There is a piece of violin plucking the strings back and forth (this time the piano or the band plays the main melody), which is a performance technique that imitates the plucked instruments of the minority (Hot Bupp, etc.), and is close to the characteristics of the national music from the similar and similar aspects. . This composition technique was also used in Chinese-style music works performed by other Western instruments.
4, humming Wang Fandi, "Give me a rose"
This song was created in 1961 and was adapted from the Xinjiang Uygur folk songs. The tunes are cheerful and lively, with a strong Uighur music style. The whole song is created in the form of a variation, and the theme appears five times in total, each with a change in tone and mood. In the technique of playing, there are a lot of round fingering methods in the song, which creates gorgeous national art characteristics and adds a cheerful and lively feeling to the music. At the same time, there are gaps in which the left and right fingers are used to tap the panel and the right middle finger is used to wrap the tape. Special techniques such as squeaking the strings are used to imitate the
sound 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 VII-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
