Research On Folk Songs And Singing Art In Gaochun, Southern Jiangs

This article takes "Gaochun Folk Songs" as the research object and conducts in-depth research from two paths: "Folk Songs" and "Singing".The dimension of "folk songs" is examined and discussed from the perspectives of the relationship between Gaochun folk songs,southern Jiangsu folk songs,and Wu songs,as well as the historical context,musical forms,genres and themes,and multidimensional changes of Gaochun folk songs.The dimension of "singing" is analyzed and explained in depth and detail from the aspects of language,embellishment,voice pursuit,singing techniques,charm characteristics,adaptation and singing practice in Gaochun folk songs.The first chapter believes that Gaochun folk songs,Sunan folk songs,and Wu songs belong to the former and the latter.Gaochun folk songs emerged in labor,production,and daily life,nurtured and infiltrated by rich historical and cultural relics represented by the Xuecheng Site and Yangqiang Mulian Opera.The "River Song" in the "Wu Yue Spring and Autumn Annals" is the earliest recorded Gaochun folk song,with a large number of "songs" found in ancient poetry and other literature.Therefore,the saying "Go out to the mountains and sing and play at the door",which is popular among Gaochun people,should be "vulgar but not fake".The local folk songs often have a fifth tone level and an octave,with occasional small characters consisting of three groups of C and above.They often use corner and symbol sounds to start,and corner and symbol sounds to stop;The western polder area of Gaochun and the Xuhe River basin in the southeast are often degraded and peaceful folk songs,which may be related to the "water culture" where rice planting and fishing are the main production methods;The two characteristic tones are "feather symbol horn" and "palace feather symbol",with "multiple characters and multiple cavities";The melody is mainly composed of a combination of progressive and small jumps,with occasional large jumps and rarely pure progressive movements;Mainly characterized by the use of symbolic and angular modes,with an angular mode accounting for over three;The rhythm and rhythm are concise,with a single cavity shape and corresponding structure on the top plate,as well as a flat narrative structure.The embedded lining structure is relatively developed.Songs,folk songs,and minor tunes include eight types of folk songs,including labor life,worldly affairs,love and marriage,legendary stories,praise and praise,social struggle,and children’s lives.The second chapter delves into the characteristics of Gaochun dialect and its relationship with singing and melody,as well as the issue of embellishment.Gaochun dialect belongs to Wu language and is known as the "living fossil of ancient rhyme dialects".The "Shanxianghua" in the east belongs to the Piling section of the Wu language the Taihu Lake Lake section,and the "Weixianghua" in the west belongs to the Taigao section of Xuanzhou section.The timbre of "relaxed,clear,smooth,forward,gentle,and rounded" in singing is highly corresponding to the phonetic phenomena of "clearing","gasification","pre transformation",and "zero transformation" presented by the initial consonants of dialects;The timbre of "relaxation,clarity,unity,leaning forward,high pitched,bright,and concentrated" in singing is highly corresponding to the phonetic phenomena of "simplification","prefabrication","elevation",and "centralization" presented by dialect vowels;There is a direct correspondence between the height,strength,and duration of the melody and the changes in tone,strength,and duration during speech.One of its characteristics is that "no song without embellishment" and "no cavity without embellishment".There are six embellishment forms: pitch type,blocking type,timbre type,rhythm type,strength type,and comprehensive embellishment.The first two are the most widely used and complex.Runqiang has a "correction" and "polishing" function on "characters" and "sounds".Through Runqiang,the goal of "correct and round characters" and the realm of "clear and pure characters" can be achieved.The third chapter provides an in-depth analysis of Gaochun’s folk song singing from three aspects: sound pursuit,skill application,and charm characteristics.In terms of the pursuit of natural attributes in the singing voice,it presents the characteristics of "personalization","elegance",and "diversification" in timbre,with "parabolic sound form" as the main embellishment of "zigzag sound form" and "straight line sound form",pursuing the natural release and control of sound intensity,pursuing natural pitch and length suitable for the voice conditions of "insiders",and advocating "valuing weakness".The pursuit of social attributes in its voice includes three aspects: practicality,entertainment,and aesthetics.Its singing skills are mainly presented through the use of "casual" breathing,"appropriate" throat position,"natural" vocal cord vibration,"moderate" resonance,and "natural" language pronunciation,which fully demonstrates the "regularity" and "self consistency" of Gaochun folk songs in singing skills.Its charm features are mainly reflected in five aspects:language beauty,line melody beauty,melody beauty,timbre beauty,and emotional charm beauty.The fourth chapter believes that the changes in Gaochun folk songs are like "the flow of a great river"-unstoppable.With the development of China’s economy and society,the local folk songs have presented a multidimensional changing landscape: as their cultural identity gradually withers,the natural transmission and inheritance have gradually declined;Driven by the power of "state presence",the trend of artistic and stage oriented development has sharply increased;Moving towards a return to collective cultural memory in the context of "new urbanization";Against the backdrop of the booming self media dissemination of "short videos","spontaneous reflection" has become an important way of its current dissemination;The difference between the "evolution" and "use of music" in dialects reflects the changes in their internal perspective.Therefore,Gaochun folk songs have shown a changing trend from "primary environment" to "secondary environment",from "field stage" to "art stage",from "practical function" to "aesthetic function",and from "real world" to "virtual world".This chapter also explores its inheritance,dissemination,and dissemination from the perspective of adaptation and singing,and proposes the basic principles that need to be followed in adaptation and singing practice.The conclusion elaborates on the relationship between Gaochun folk songs and Chinese folk songs,as well as "Chinese vocal music".It is believed that Gaochun folk songs are a magnificent and elegant folk wonder and unique musical existence in Chinese folk songs.Chinese folk songs are the root of "Chinese vocal music" culture,and "based on tradition,absorbing and inheriting" is the only way for the continuous development of "Chinese vocal music".