Ballad And Ceremony

This dissertation takes Glu folksong,the traditional Tibetan singing culture of Amdo,as the research object.Based on fieldwork in Tibetan dialect area of Amdo,the study also pays attention to the application of relevant literature and materials.From the multi-dimensional observation perspectives of diachronic and synchronic,macro and micro,etic and emic,insider and outsider,this paper describes,analyzes and interprets the Glu folksong culture of Amdo Tibetan,and discusses its diachronic,conceptual,singing performance and its ritual field,music ontology form and the functions of social and cultural,also other related issues.This paper consists of introduction,text(six chapters),conclusion.The introduction part mainly introduces the reasons for the topic selection,the relevant research results and trends at home and abroad,the purpose and significance of my own research based on the reflection of previous studies,and the research vision and methods.Chapter one,the temporal and spatial dimensions of the survival of Amdo Glu folksongs.From the aspects of natural geography,population distribution and production mode,as well as language,religious belief and song and dance art,this chapter describes the natural geographical and social historical and humanistic environment on which the traditional Tibetan folk song culture of Amdo exists.Chapter two,the cultural factors carried by Amdo Glu folk songs.Due to the lack of musical notation text in the oral tradition of Glu folk song,and the previous related research on the historical origin and development of Glu folk song culture in Amdo region has not seen any research and discussion.Therefore,it is an important way to solve the diachronic problem of the origin and development of Glu folk song culture by carefully sorting out the Dunhuang Tibetan Historical documents and important historical documents related to the post-prosperity period of Tibetan Buddhism.Through combing the relevant information in historical documents,it is proved that the ancient Tibetan oral poetry form of Glu has appeared since the pre-Tubo Dynasty period,and the singing form of Glu spread in Amdo region is the inheritance and development of The Ancient Tibetan poetry of Glu in Amdo region.The performance forms of Glu’s singing and duet in Amdo highlight a large number of ancient Tibetan cultural factors such as "Drung,Deu and B(?)n" from pre-Tubo to Tubo period,and also reflect the embedding of Buddhist cultural content and ideas since the post-prosperity period of Tibetan Buddhism.The third chapter,the local knowledge related to Amdo Glu folk songs.From the macro scope of traditional singing culture in the whole Tibetan cultural circle,the conceptual definition of what is Glu and what is Gzhas has not been clearly defined based on the local thematic cultural vision in the relevant researches of folk culture holders and academic circles for a long time.The classification model of Traditional Tibetan folk songs and the definition of Glu,Gzhas and Bro put forward from the perspective of etic are biased due to the lack of in-depth cultural internal,which results in the confusion of the classification concept of traditional Tibetan singing culture in current research.From local concept and emic perspective,in combination with literature and fieldwork and theoretical reasoning in the process of research,the author thinks that traditional Tibetan folk songs and dance on the basis of core idea or its classification is not in the surface layer of music form or performance form,more not regional exclusive appellation of folk songs,but with its performance in the field,on the premise of subject matter and genre,Glu or Gzhas style poems are selected as the stylistic structure and metrical pattern of the lyrics,and combined with the local musical style vocabulary to create the singing text.Therefore,the style and pattern of the two kinds of poetry are the fundamental source of the lyrics of Glu and Gzhas as "songs",which is not only the fixed title,but also the conceptual source of classification,which is the common cognition of the classification of singing formed by the Tibetan ethnic group in its historical development.This also shows that,like many ethnic groups in the world,there is no unified concept of "song" in the traditional Tibetan singing culture.The definition and cognition of Glu folk song culture in Amdo area have been confused and unclear for a long time.Through field work,interview,and observation and analysis of performance form and field,it is found that the Glu folk songs in Amdo region have two different cognitive categories,narrow sense and broad sense.In a narrow or specific sense,Glu is based on the stylistic structure and metrical form of Glu style poetry as the core concept that distinguishes it from other singing forms,and uses the Amdo Tibetan dialect and musical form to carry the lyrics and the meanings they refer to.It has certain ceremonial and procedural characteristics and is sung in important festivals and gatherings,and this is also the main research object of this study.In a broad sense,Glu refers to all oral singing forms constructed with Glu poetry as the text of lyrics,including "Le Glu"((?)(?)),that is,Glu sung in labor,and "Sibei Glu"((?)(?)),that is,Glu with the meaning of children’s songs,etc.Whether in a broad sense or in a narrow sense,the Glu folk songs spread in Amdo are the continuation and development of Tibetan poetry in The Tibetan dialect area of Amdo during the Tubo period.Chapter four,the performance of Amdo Glu folk song and its field.This chapter focuses on the description of the traditional Tibetan social and cultural context of the traditional folk festival ceremony in the field of singing and performance.At the same time,what changes have taken place in the traditional and modern social and cultural contexts,and what are the internal reasons for these changes? In the traditional social and cultural context of Amdo Tibetans,Glu’s singing performance is in the ceremonial activity field of traditional folk festivals,so it presents certain ceremonial characteristics.The celebration of this kind of festival ceremony itself is the field where a community,a community or even an ethnic group concentrates their wishes in order to maintain their own moral tradition,cultural tradition and spiritual temperament.But With the deepening of modernization and globalization,Glu has also been greatly influenced,thus presenting the distinction between tradition and modernity from a series of related aspects,such as its inheritance mode,singer identity,music form and performance field.This dualism is both contradictory and interrelated.Although the tradition is still maintained among the folk people,the new cultural form of Glu folk song takes mass media as the carrier,causing greater influence within the ethnic group.Based on the invasion of foreign multi-cultural music,the aesthetic change of traditional music and the change of traditional life mode are brought about.These two factors are the inner driving forces for Glu’s singing and performance to deviate from the traditional Tibetan culture in Amdo and move towards the modern stage performance.Chapter five,the lyrics and music of Amdo Glu folk songs.This chapter makes a detailed analysis of Glu’s lyrics and musical forms in order to find its inherent regularity.Glu has formed two styles in nomadic and agricultural in Amdo area,as well as the original free melody form,the fixed melody form that similar to qupai style,and the derivative type level with more stage and song features added accompaniment in the current modernization process influenced by foreign music culture.Glu’s style types and evolutionary levels are directly related to the historical changes and the development of life and production patterns in the Amdo area.Chapter six,The social and cultural functions of Amdo Glu folk songs.The social and cultural functions of Glu have changed due to the separation of traditional and modern social and cultural contexts.Glu’s cultural functions of education,entertainment and interaction in the traditional social and cultural context of Amdo Tibetans are gradually weakening in today’s modern society,while its functions of cultural identity,cultural inheritance and cultural exchange are becoming more and more prominent.The conclusion part consists of two parts: the conclusions of the research and the reflections in view of the research.The research conclusion is the conclusion and review of the diachronic,conceptual,singing performance and its ceremonial field,the ontology form of music and the social and cultural function related to Amdo Glu folk song culture to be answered by this research.The thinking caused by the study is mainly a brief discussion of the differences and errors caused by the interpretation of different perspectives of the emic and the etic in the study of Tibetan traditional music culture,and the relevant thinking of the protection and development of the traditional singing culture of Glu in the present.In short,Glu is the most important ritualistic singing culture in the traditional Tibetan culture of Amdo.Based on the detailed study of Amdo Tibetan traditional culture of the deep cognitive history,at the same time in the traditional and the modern era of two different cultural context of change and adjustment,can also be in Amdo Tibetan society and culture of the present in the process of modernization of various cultural phenomena through the singing culture level to be attention and solutions.