A Study On The Distribution Patterns And Genres And School Of Mongolian Contemporary Traditional Instrumental Ensemble

The development of instrumental music in Mongolia is closely related to the development of Mongolian society,both of which are synchronous and complementary.Thus,it forms a close logic relationship among society improvement and the development of genres of song and dance and instrument advancement.From the perspective of the process of the presence and development of musical instruments,the percussion instrument,the wind instrument,the plucked instrument and the bowed string instrument appeared in turn and made a prolonged progress,showing a regular pattern.Mongolia instrument with its own evolving peculiarities is no exception.In terms of musical instrument,each historical period in Mongolia has its own representative musical instruments,which are deeply engraved with the stamp of the times and the characteristics of the style.The author focused on the clues of the development and evolution of Mongolian musical instruments,especially on the ensemble form by understanding and grasping the evolution of the Mongolian musical instruments in accordance with the order of the historical dynasties.This dissertation consists of the introduction,the main body,the conclusion and the reference list.The first part of this dissertation is divided into four chapters,entitled with “Historical Trajectory Development of Mongolian Traditional Instrument Ensemble”.In the first charter,the national instrumental culture of Northern nomads is mainly narrated.In accordance with the historical documents and recordings and the achievements of archeology,the author gives an overview of the history of the Northern nomads,generalizing the phenomena in instrumental cultures of the Northern nationalities of Xiongnu,Xianbei,Tujue and Qidan,to research for the linking with Mongolian Traditional Instrument Ensemble.The second chapter is mainly about the instrumental ensemble of Mongolian tribes and that of Mongol Khanate times.Studying historical materials such as historical books and travel notes,the instrumental ensemble of Mongolian tribes and various khans in the Mongol Khanate during the reign of the Khans,is to understand the trace of "Khan court" music in the Mongol Khanate and music activity of Mongolian instrumental ensemble.The third chapter mainly focuses on the instrumental ensemble of Yuan Dynasty and Beiyuan Periods.Through the History of the Yuan Dynasty: Rites and Music Records,the Figure Illustrations of Qing Dynasty and literati poetry and other important historical documents,the author provides the summary of the court music of Yuan Dynasty and the Beiyuan Dynasty.The author gives an overview of musical band in Yuan Dynasty,the court music from Mongolian Ensemble and Jia Instrument Music in Lindan Khan of Beiyuan,rich variety of instruments,music composition and instrumental players as well,which involves with cultural,religious and folk beliefs.The fourth chapter is the introduction of the development of instruments respectively in the late Qing Dynasty,the Republic of China and after the establishment of People’s Republic of China.Under the background of the transformation of Mongolian society in modern times,the evolution of instrumental music culture between Mongolian court music,royal music,folk music was studied.Analyzing from the two social music cultural mainstreams of Mongolian royal music and folk band in the early period of the Republic of China to the exchange and integration of Mongolian and Han music under the background of economic production and lifestyle changes,the author points out the main reasons for the continuous development of Mongolian instrumental music in modern times.Analyzing from contemporary rural(pastoral)areas and cities,the two big music culture carriers,the author also gives an overview of folk artists and professional player interaction,adaptation and instrumental music creation of folk songs and instrumental music playing in the form of new change and the achievements of instrumental music theory research in rural areas(pastoral),the cities,stages and schools for historical reference and experience.There are four chapters in the second part of this dissertation,entitled with “the Styles and Schools of Folk Instrumental Ensemble in Inner Mongolia”.In this part,the author has conducted research and investigation on the Mongolian instrumental ensemble which is the pivotal of the whole dissertation and the important evidence and proof for the conclusion.The fifth,sixth and seventh part respectively discusses the genres and distribution characteristics of the styles of contemporary Mongolian folk instrumental ensemble in the three typical “color areas” of Horqin,Chahar and Ordos.Combining with the contemporary field investigation,the author describes the social and historical changes and cultural context of each tribe as a whole,and specifically analyzes the music form,band organization,musical instrument combination,playing techniques,playing style,repertoire appearance,playing tradition and so on.Finally,the author finds out the commonness and difference of Mongolian instrumental ensemble in the three regions through horizontal comparison,and summarizes the regularity from three aspects of folk song instrumentalization,variation technique and band form.In the fifth chapter of the second part,"Horqin color area",is the deep integration of Mongolian and Han music culture represented by Eight Notes.The sixth chapter is the attribute of cultural reconstruction of Asar in “Horqin color area”.Chapter 7 is about "Ordos color area" "nari"(party)the analysis of a set of music etiquette norms and other concerns,is based on cultural anthropology,sociology,music aesthetic level of thinking.Chapter Eight is entitled with "Inheritance and Development of Mongolian Instrumental Ensemble in the New Era".Through three aspects of Mongolian instrumental culture inheritance channel,special mechanism and modern school education inheritance channel,specific countermeasures,suggestions are put forward to explore the Mongolian instrumental art inheritance and development in the new era.This paper compared the diachronic inspection of the first part with the synchronicity of the second part,tightly around the mainstreams of the instruments,bands and ensembles.He paid attention to the historical materials of Mongolian instrumental music and the present situation of contemporary ensemble music in Mongolia.He also focused on the meaning and positioning of Mongolian musical instruments and ensembles in the context of the culture which they belong to.He gained deep insight in the relationship between the development of instrumental music in Mongolia and social transformation,humanistic context,social function,performing form,musical form and aesthetic value.Through the combination of the internal structure and external structure of the object of study,he conducted comprehensive and systematical research.This dissertation is written in a way of combining macro description with micro analysis.The research methods are mainly historical,data and morphological,supplemented by musical genre,cultural anthropology,cultural geography,aesthetics and sociology.The innovation of this paper lies in: 1.It is the first time to comprehensively discuss the ancient history,development and evolution of Mongolian instrumental ensemble,and to make a comparative study on the repertoire form,band form,style characteristics,performance techniques,music aesthetic connotation and other aspects of the three typical areas in Inner Mongolia.2.A morphological comparative study on variation techniques of Chahar instrumental music Asar and Horqin instrumental music Eight Notes.The above two aspects of Mongolian instrumental art is to fill the gap in field of studying Mongolian Instrumental Ensemble.It can help promote the creation,theoretical research and practice of national instrumental music.