A Study Of Aesthetical Features And Cultural Connotations In Erdos Folk Songs

Ordos,has long been known as "the hometown of song and dance".In this "Sea of Songs",folk song is its mainstream,and one of the important achievements in the grassland culture,and also a widely recognized carrier of art.Seen from the Mongolian folk songs,there have existed some connections and differences among the so-called national style,local style and the personal style.Either unity or diversity,they relate dialectically.Rich in contents,varied in forms,and abundant in aesthetic connotations,Ordos fork song has developed a unique "colorful area in music style ",which takes an important position in the Mongolian folk songs.The aesthetic culture contained in folk songs,is rooted in Ordos Mongolian productive labor and life practice.As the old saying goes "Workers sing praises of their work ",Mongolian folk songs reflect regional life style and thinking mode.However,for a nation or a region,once the ethnic aesthetic consciousness is formed,a strong stability will be generated,and then followed a unique cultural tradition.It can be conclude that,Ordos Mongolian production mode and life style have constructed their inner potential of aesthetic culture.Starting from aesthetic culture,integrated with aesthetics,music anthropology,folklore,musicology and other related theory and research methods,this dissertation tries to conduct a comprehensive,in-depth and systematic study on Ordos folk songs.By tracing its origin,analyzing its artistic characteristics and aesthetic form,exploring the Ordos Mongolian aesthetic cultural structure and cultural connotation,and interpreting local people's way of life as well as their spirit world,this dissertation attempts to explain the notions between "man and nature,man and society,man and man" with regard to aesthetic scope and natural connection,uncover the Ordos folk art value,explore the historical route of aesthetic culture,so as to better understand their value in the current context of inheritance and development.On the basis of previous research,this dissertation not only traces back the history but also transforms to present vision,with total discussion focused on the Ordos folk songs' aesthetic ideology,cultural interpretation,and the key notes towards survival and development under the condition of globalization,in order to make a detailed academic analysis and theoretical interpretation.Characterized by a strong national and regional feature,Ordos folk song represents a collective aesthetic creativity,reflects people's thoughts and feelings in the given age,social life,specific geographical environment,aesthetic ideas,and artistic interest.As a major reflection of group life,the monographic research on Ordos folk songs,especially the classical ethnic folk art will not only expand the space in academic research but also fill the vacancy between the domestic aesthetics and northern grassland cultureThis dissertation is composed of five chapters:The first chapter,entitled "the regional environment and cultural background of folk songs",mainly introduces the "Hetao area",the bend of a river,where Ordos folk songs grew,and its geomorphic feature,economic form,the historical evolution or humanities of the Mongolian Ordos tribes,and the formation of its folk song styles.Based on the folk songs,the second chapter,"the worship prototype and humanistic qualities of Ordos folk songs" unfolds a picture of Ordos Mongolian world view,ecological view,life values and their senses towards grassland,summarizes a belief in "heaven,earth and people" in which dependency and coexistence could drive people to a grand state.From those worships on gods,nature,Lord,etc.,Ordos Mongolian spiritual beliefs are step and step explored.What are mainly discussed here are about aesthetic connotation and denotation of some prototypes,such as Tengger(Mongolian heaven),Genghis khan,guardian angels of mountains and rivers,grasslands nature as well as their dependent relationship from each other.Taking nomadic life as their mode of production,Ordos Mongolians always cherish a virtue of respecting nature,loving grassland,and protecting the ecological system.Seen from the contents of folk songs,Ordos Mongolians have broad-mind,indebted heart towards nature,and forever awe towards Tengger.From emotional knowledge to rational thinking,they constantly explore the mystery of green grassland culture,and find the root of their life.It deserves admiration that the eternal themes could always be found in Ordos folk songs,namely the life-environment-existing awareness,which reflect their people who have gone through hardships from ancient times to present.Ordos Mongolians stick to the tradition,keep pace with the times,and never ignore the concepts as self-examination and updating.Thus,Ordos folk song,always keeping vitality and strong ability to update,has constructed a fresh and ever-lasting aesthetic heritage.The third chapter is "the aesthetic styles of Ordos folk songs ".By case analyzing,seven styles are concluded and confirmed:beautiful and fresh,passionate and vigorous,deep and restraining,fervent and excited,cheerful and lively,humorous,and solemn.The fourth chapter is "an aesthetic analysis of music ontology on Ordos folk songs".From the perspective of music ontology,the basic mode and special tonality,melody and its structural characteristics,the features of lyrics,and figures of speech are discussed,aiming to make every effort to explore the aesthetic connotation of Ordos folk songs.Through the analysis of various forms in Ordos folk music,the aesthetic thought and aesthetic taste in Ordos Mongolians can be touched.The fifth chapter,"A cultural interpretation of Ordos folk songs "is mainly a observation from the perspective of cultural anthropology,such as,the connection between banquet songs and ethnic harmony,carols and hero worship,anthems and life ideal,folk songs and mother culture,folk songs and horse culture,folk songs and love etc,.The diversity of culture connotation in Ordos folk songs is discussed.