The Local Accent Is Full Of Sentiment

Any kind of music art has own form of expression to show its personality.This artistic form has formed its own unique typical structure in the long historical process,and so has the Errenzhuan.Its uniqueness lies in the symbiosis of his musical genre,literary genre and stage performance,which makes it has literary,musical and deductive.In the nearly 300 years of history of the Errenzhuan,it has absorbed the music forms of various regions and nationalities in Northeast of China,and constantly gathered and regenerated,making it have the characteristics of "changing with time","changing with place","changing with people" and "changing with emotion".In the long process of the spread of the Errenzhuan,due to the common influence of regional environment and cultural environment,four main styles of the Errenzhuan have gradually formed: East,West,South and North.In the nongovernment,they are known as "south by Lang,north by singing,West by Bantou,East by playing sticks".Therefore,the Heishan’s Errenzhuan called "West by Bantou " refers to the “West of Errenzhuan”,which is represented by the "West of Errenzhuan in Heishan county.This area’s Errenzhuan is also unique Errenzhuan in the Northeast with its unique artistic features of vocal tone,Bantou,speaking and vivid.Moreover,in September 2005,the Heishan county was designated as the birthplace of the Northeast Errenzhuan by the Ministry of Culture,which undoubtedly played a certain role in promoting the inheritance and development of Errenzhuan in Heishan.This paper mainly traces back the history and investigates the current situation of the Errenzhuan in Heishan county,and analyses its regional environment,music characteristics and cultural phenomena.The full text is divided into six parts: introduction;the first chapter,Heishan’s geomorphological environment and ecological environment;the second chapter,the historical overview of Errenzhuan in Heishan county;the third chapter,the investigation of the status quo of Heishan’s Errenzhuan;the fourth chapter,the artistic ontology analysis of Heishan’s Errenzhuan;the fifth chapter,the cultural interpretation of Heishan’s Errenzhuan;the "conclusion".