A Study On The Aesthetic Experience Of Mongolian Long - Tune Music

Choosing Long Song (Urtin Duu in Mongolian),a symbolic representative of Mongolian culture, as her research object, the author develops her discussion focusing on the aesthetic experience of Long Song in traditional nomadic Mongolian society. The theoretical foundation of this dissertation lies in the concept that aesthetic experience is dynamic, synchronic and perceptual, which is combined with life experience as a continuous unity. This dissertation discusses respectively the metaphor in terminologies of Long Song, the aesthetic criteria as well as the musical value and function of Long Song. The discussion also extends to the aesthetic experience, the aesthetic taste, the aesthetic ideal and the aesthetic values in Mongolian cultural concepts.Through the description and interpretation of aesthetic experience of Mongolian Long Song, the author tries to find answers to the following questions:1. How did Mongolian people convert the perceptual awareness of nomadic culture to the aesthetic experience of Long Song which represents the traditional Mongolian cultural concept-the unification of beauty and fineness? 2. How did the aesthetic experience of Long Song, which is filled with emotion and able to soften the listener’s heart, shape the life of Mongolian people through traditional banquets and ceremonies?The dissertation falls into three parts.In part one, starting with the body-subject awareness of Mongolian nomadic culture, through discussing the metaphor in terminologies of Long Song, the author analyzes how Mongolian people named musical terms by means of metaphor, how they conveyed aesthetic experience through metaphors of life experience, how they regulated and constructed the acoustic perceptive manner of Long Song during the process of the transition and conversion from metaphor to meaning so that finally managed to represent the real state of the world.In part two, the author explains the formation of the free-and-long aesthetic criteria of Long Song and the evolution of the very musical genre featured with regularity and purposiveness through analyzing Mongolian people’s spatial and temporal awareness of grassland,the accumulation of life experience in typical free-clustered Mongolian social structure, and the grasp of the skills of taming and controlling horses as well.In part three, the author points out that Mongolian Long Song is a perfect manifestation of Mongolian people’s cultural values-the unification of beauty-fineness, by discussing the four coexisting elements-heaven, earth, god and man-in the nation’s spiritual world. Besides, the author concludes that in traditional Mongolian banquets and ceremonies, this beauty-fineness Long Song has fulfilled the value and function of using beauty to reveal truth and using beauty to store up kindness via aesthetic experience,and has finally helped to fulfill the responsibility for life.