Modern The Monan Mongolian And Chinese Immigrants Music,

This dissertation discusses the process of formation and the characteristics of the Mongolian people and Han people migration music at Monan (South of the Desert) area in modern times. The constant flood at the middle and lower reaches of the Yellow River in modern times has forced a large number of migration inflows. With the migration of the poor farmers and handicraftsmen, the agricultural culture of the region of Yellow River moved north and infused with the nomadic culture of Monan. The migration music which discussed in this dissertation, the man-han-diao (mongolian-han folk song), errentai (two-people opera) and Huren Uleger (Han story in Mongolian language) were formed during the interaction and acculturation of the aforementioned two cultures.During the early Qing Dynasty, the government carried out "Manchus-Mongol marriage alliance" policy in upper Class and "Segregation Mongol-Han" policy in lower Class. Under the policy, the farmers moved north to do agriculture in the way of "back and forth during spring and autumn" as refuges. When there were certain amounts of refuge population, the Qing government set temporary local office to rule them. With more and more farmers settled down as migrants, the culture communication between Mongolian and Han people deepened. Until the late Qing Dynasty, the government finally carried out "Policy of Migration to Reinforce Frontier Defense" policy and set up governs organizations officially, while consequently, the migrants settled down officially. Generally speaking, there are roughly three periods of the process of the inclusion of the migrants to the Mongolian society-economical, cultural and political inclusion. This process has deeply influenced the emergence and development of the migration music, and vice versa, the migration music reflects this process as well.The history of migration music need to be further studied. On the basis of former research results and with the history of" migration society" as guidance, this dissertation divides the history of migrantion music into three phases:pre-migration music, migration music, post-migration music, and focuses on discussing some key aspects, to name a few, the inappropriate research paradigm of "wuligeer", the "errentai" from the perspective of "the meaning of migration music", the regionalism of migration music and "Cultural regurgitation-feeding" phenomenon, etc.The distribution of migration music mostly depend on the distribution of migrants, the different migration culture of east and west also brings out different styles of migration music, such as non-migration joined style wuligeer and migration joined style manhandiao and errentai. Wuligeer's types of the subject, style of performance and melody in Mongolian and han aspect, the change of mongolian-han folk song compared with the source ones, the support of Mongolian factors to two-people opera, etc. All of them are my first step attempt on the basis of the change of music and non-music factors, such as the history of culture and oral.On top of that, as an theoretical exploration of integration of the western theories of migration-the "Multi-Culturalism","Cultural formation theory","clash-integration theory", I put forward the "clash and formation of culture theory", which refers to the culture of the clash and formation between two distinguished culture in a short period and as well as the series of consequences. The dual-culture resource of the migration music directly leads to the duality of the formation of it, which also caused its contrastive combination in the aspects of "genus-category-music".