Research On The Selection Of 99 Mongolian Folk Songs

Mongolian, which has a long history and splendid culture, is one of our ethnic minorities. During the process of its development, music plays an important role in its history. Folk song is the main stream among all the forms of music. In other words, we can say that Mongolian is the minority of music and the prairie is like the sea of folk songs. Nowadays, we are surprised at the creation of Mongolian minority; meanwhile, we know the necessity and the importance of studying, protecting and spreading the folk songs. There has been a lot of research work done by other scholars in this field and we can find a lot of research writings. The Selection of 99Mongolian Folk Songs is one of the writings. The aim of the book is to popularize the folk songs of Mongolian minority, to develop its culture and promote its music. The book is a good selection of Mongolian folk songs. The songs in this book is selected and edited by Mr. Wu Lartjie, who is the musical theorist, and Miss Ma Yurui from thousands of Mongolian songs. The book has a good value of aesthetic and cognition. Every song in the book is provided with both Chinese lyrics and Mongolian lyrics, is also provided with both staff and numbered notation. The famous musician Mr. Zhao Songguang gives the piano accompaniment. The book can be a course book for vocal music.The first chapter of the book gives a general introduction of Mongolian folk songs. In the second chapter, from the angle of composing theory, the writer categorizes the songs according to literature analysis, music forms and minority music. It gives a deep research based on the traits of music forms and typical regions, the style and the theme. Among these, the form is the important part, which includes scale mode, melody, construction, and three-bar meter. In such a way, the writer concludes the traits of Mongolian folk songs and gives us a deeper understanding of it. The piano accompaniment embodies the principle of combining minority mode and scientific harmony, which reflects functional power and the harmony color. It also gives a good expression of the image of the folk songs and the style of music aesthetic. It also has a exploration of combining multi-voices and Mongolian styles. In the third chapter, the writer analyses the accompaniment from these angles: multi-voice texture and unique harmony management. The first one develops into four aspects: texture of harmony, the usage of polyphony, the typical rhythm of accompaniment and the composing of chang diao. The second one gives an explanation of the theory of harmony and composing, exploring how to combine folk songs and the form of accompany texture. In summary, the writer of this paper hopes that more and more people will be familiar with and use The Selection of 99Mongolian Folk Songs, which can be a base for further study of Mongolian music. The writer also hopes this paper can do some contribution to the development of Mongolian culture.