‘Elephant TrunkBand’(Hei Guang Hei Mang) And Dai(Dai Na) Study On The Relationship Between Music Culture Identity

Yunnan ethnic musical instrument is a vast and heavy branch of Yunnan ethnic culture and an important resource of Yunnan ethnic music treasure house.As a unique ethnic group in Yunnan,Dai’s rich music culture has become an important component in the treasure house of minority music in China.Dai music culture in the most iconic musical instrument,when the elephant foot drum(guang).From the standpoint of music geography and from the angle of language and culture circle,the Dai music culture circle in China is composed of Xishuangbanna dialect area and Dehong Dai dialect area,which use the northern sub-dialect of Tai dialect as the core and other dialect areas.Therefore,this topic is aimed at the "elephant drum band" in Dai culture circle as an academic concern,which originates from the practical foundation laid by the author in the field work of Jingpo Autonomous Prefecture of Dehong Dai ethnic group in Yunnan Province.The "three-head band" or "elephant-foot drum band ",which is composed of elephant drum(guang),mang)and cormorant(xiang),has become an important configuration of Dai folk musical instruments in daily life.As a professional term for cultural holders,the Dai ethnic group called the combination "hei guang hei mang",means " beating gongs and drums ",which is given by outsiders.However,how to base on the "sound in culture" and interpret it as a "meaning system" is very thin.As Susan Langer put it: art is a symbolic form of human emotion,which is used to transform emotion into visible or audible form for human viewing.It is not enough for the scholars to explore how the "elephant drum band" can be molded by sound,promote the harmonious symbiosis between man and man,man and nature,and realize cultural identity,which provides a writing content and research space for the study of this topic.On the basis of the early field,the author based on the multi-angle,multi-disciplinary method and relying on the method to follow the problem of the "far experience" position,in the "dialogue" of the Dai culture circle of the "elephant drum band" targeted investigation,enhance the perceptual experience and rational induction,For the later writing laid the "near experience" foundation.Through the study of the geographical distribution,cultural background,folk tradition and religious schools of Dai ethnic group in Dehong Dai culture circle,the text investigates the symbolic status and the relationship of power distribution of "elephant drum band" in social life.On the basis of the interpretation and value transcoding of the musical standpoint,and from the standpoint of the music culture identity,the author studies the drum rhythm,the voice expression,the coordination relation and the body practice in the sound technique of the elephant drum,and probes into the homologation relationship between the group and the cultural subject,From the "signal" level to the "symbol" level,Cahill’s consciousness that "all the cultural forms created by human beings are symbolic forms" has reached a logical recognition of the relationship between auditory consciousness and cultural identity.The first part introduces the basic situation of Dai music under the background of Southern Buddhism.While briefly describing the appearance of Dai ethnic group in China,the traditional music and dance situation of Dai ethnic group,especially Dai branch in China is introduced in the form of overview,which provides the support of basic materials for the follow-up research.In the second part,the symbolic interpretation of "connotation" and "extension" of the main musical instrument elephant foot drum is carried out.First of all,from the literature and oral interview position to trace the history of the elephant drum,complete the description of the extension of the elephant drum,and then through the interpretation of physical symbols,The "connotation" of the object drum is analyzed and explained in the three different dimensions of the traditional society,modern life and religious field.The third part,as the main content of the study,first of all from the perspective of musical instruments to carry out a multi-point ethnographic investigation,the formation of "elephant drum band" of all kinds of elephant drum,respectively from the structure,shape,configuration,sound,body skills and other aspects of the systematic combing,for the subsequent "elephant drum band" multi-angle,multi-level research and analysis to provide the Noumenon cushion;Then,from the "band" sound Noumenon position: through the combination of single point and multi-point ethnography,the different performance forms of various "elephant drum bands" in different ritual spaces of Mango and Ruili were compared.The psychological model of cultural identity between the people of Dai ethnic group and the sound of "elephant drum band" was interviewed and written.The fourth part,first of all,uses the music ethnography way to carry on the musicology standpoint analysis to the "elephant drum band" the sound form and the body behavior,has carried on the spectrum surface analysis and the written record to the cultural holder artistic fact many kinds of music dance paradigm and the "elephant drum band" practice rhythm;Then,by the way of "aggregation" in the field,this paper investigates the typical "out-of-the-wa" ceremony in Mangmao Village,Mango City,and describes the difference of the performance state and function of the two "elephant drum bands" in the scene.As american anthropologist kami anthony apia points out : " identity creates a form of solidarity ".The fifth part,based on the different space of family,community and school,makes a typical investigation on the various forms of inheritance mode of "elephant drum band" under the background of cultural diversity,summarizes and analyzes the different conditions of cultural inheritance at present,and summarizes the whole article.