A Study On Rhetoric Of Original Ecological

In people’s heart, Indigenous Music is the language essence, so it is regarded as "the second language" and an indipensable and important part of word-of-mouth intangible cultural heritage. In a sense, Indigenous Music is a concentrated ethnic history of language, custom and culture. Rhetoric phenomenon in Indigenous Music is almost on the basis of the life of all peoples, and it is all peoples’art language. Although Indigenous Music has provoked some interest, it still has not been seperated from the area of familiar literature colloquial language. Indigenous ethnic music in the tone of Han nationality is still a blank in academics. It is important and necessary to explore the theoretical basis and value of language rhetoric of Indigenous Music on the basis of Han culture from the angle of rhetoric.In consideration of the uniqueness and importance of Indigenous Musicm, this paper has deeply explored the most important parts of Indigenous Music in the ways of field investigation, quantity and quality, comarison, multi-object, regarding the colloquial rhetoric textsof Indigenous Music in Yunnan as a carrier.This paper consists of six chapters The first chapter is introduction. This chapter firstly introduces and criticises Yunnan music history briefly, and then defines music, namely Chinese traditional music and modern western and Chinese music. In addition, this chapter also explains the concept of Indigenous Music, demonstrates the significance of research, combs the category and the origin of texts, recalls brirefly the research history and literature review of music rhetoric and points out the objects, significance, purpose, methods and creativity of this paper. In the significance of research, the significances has been pointed out:take music rhetoric as research object, and open a new path for colloquial rhetoric; extend the research area of music language, and further enlarge the scope of music study; the study of Indigenous music colloquial rhetoric is useful to cultural heritage protection and culture harmony. Furthermore, this paper has three creativities:first, it is the first time to explain the rhetoric rule and value of Yunnan ethnic music in the tone of Han; second, on the basis of field survey data, it is the first time to establish the rule of color word application in Yunnan ethnic music in the tone of Han; third, it is the first time to deeply explore the ambiguity, permeability and uniqueness of color rhetoric of Yunnan ethnic music.The second chapter is to develop the cause of Indigenous Music rhetoric. This chapter attempts to deeply analyze the inside and outside factors of influencing Yunnan indigenous music. The inside factor is the uniqueness of language and the closure of area; the outside factor is amalgamation of nations and intercultural permeation.The third chapter is mainly about the rule of Indigenous Music rhetoric. This chapter explores the rule of Indigenous Music rhetoric from three dimensions of linguistics, aesthetics and philosophy, taking Yunnan indigenous music rhetoric ananlysis as an example. Two fundamental rules have been come up with in indigenous music rhetoric under the fusion and permeation of Han culture. They are "the real rule" and "the hanmornious rule". Because it follows the rules of feelings and contexts, Indigenous Music rhetoric scrupulously abides by these two fundamental rules.The forth chapter is to perceive the special rhetoric phenomenon of Yunnan indigenous music in the tone of Han. This chapter deeply discusses the rule of music rhetoric in three of the most characterful songs:"one-word song of Bai nationality","seaweed song of Yi nationality","and information song of Yao nationality", and has a restricted view on the feature and value of the rhetoric in Yunnan indigenous music.The fifth chapter is the usage of love image in Yunnan love music and the power of its rhetoric. Combing, category and destruction of rhetorical texts expressing love image can not only be useful to dig the rhetoric significance of love music, but can also help people understand its language usage and aesthetics. The love image in love music is real, pure and sensible.The sixth chapter is about the rule of the usage of color words for some certain nations and its rhetoric forms in Yunnan. This chapter researches the usage of color words of indigenous music in some certain nations in Yunnan. Through careful mathematic statistics of the usage of color words,"amoda precedence" and basic rules of the usage of color words have been refined. This chapter also deeply interpretates the most typical rhetoric phenominon, such as Diego tone, contrast and symbol, in these nations’ colors, and indicates that the usage of rhetoric of color words in music still follows the rules of rhetoric.