Research On Mongolian Khalkha And Horqin’s Shamanism Arts And Music

Shamanismhas spread, developed and continued in China and between the north folks of the grassland until now by its deep cultural foundation. The Shaman is a kind of spontaneous belief, which has never have an absolute authority that dominated this belief. Shamanism and no record of a founder or leader, it originates from the primitive thinking, which is thecollective spontaneous creation of culture bythe human ancestors. Besides, Shamanism deeply affects the Mongolian culture, customs, art of song and dance.It retains the wisdom of theculture of the grassland folks. The Eastern part of the Inner Mongolia, Horqin Region, still practise Shamanism and ritual activities. Simultaneously, Mongolia’s Khalkha tribes also maintain this ancient religious belief. Shamanism has experiencedthe start, development, prosperity to the decline in the historical process. Since the 90s of the 20th century, after a series of social change, the turbulent history and the changes of beliefs, Eastern Inner Mongolia Horqin Shaman and Mongolia Khalkha Shaman has made great progress in their social and cultural field.Therefore, why Shamanismcontinue to prosper and have more faith groups when people gradually abandon the faith todayin the rapid development of modern industry? What are the differences and similarities of the purposes of the belief in betweenthe Inner Mongolia Horqin and Mongolia Khalkha, the two different geographical culture cultivation? What isthe essential differences between Horqin Shaman and Khalkha shaman ritual music? Is it different in terms of melody or lyrics? How different is the ritual instruments used in the ceremony performances and the symbolic meaning of their own? Based on these problems, the thesis will make Inner Mongolia Horqin Shamanism and Mongolia Khalkha Shamanism and its ritual music as the research object, discuss in cross-border, cross-regional culture from a comparative perspective, as well as from the aspects of the formation and historical changes of the Mongolian Shamanism, the ritual and behavior mode, shaman costumes and musical instruments, theritual music and its construction mode. The thesis also explores the symbolic meaning of Shamanism and the ritual music and to the role and connotation of it in the grassland folks’ life.