Singing And Life: A Study Of Pipa Songs Of The Dong Nationalit

The Dong Pipa song,which originated from the southern dialect region,Nan Dong,has a unique cultural intonation combined with the element of artistic vocal expressivity.Due to the genre’s unique characteristics of integrating life in the field alongside its ease of vocal accessibility built with practical singing functions,it has become the most circulated folk song genre in the Nandong district.The Dong Pipa song came with an array of singing functions spanning from marriage,romance,social interactions,entertainment,and inheritance.Therefore,the creation of such folk music played an intricate role in building the self-sufficient ideal life for folks residing in traditional Nan Dong communities.Unfortunately,with the rapid infiltration of cultural globalization driven by modernization,the Dong Pipa song,like every other traditional culture has started to diminish.The mere existence of the song now faced serious threats in terms of its viability and development.Though continuous expansionary efforts were made based on an increase in performances,education,and virtual networks,these efforts alone were not enough to improve the survivability of the Dong Pipa song.As a result,this phenomenon deserves our attention and warrants an in-depth investigation.Based on the above thinking,I focused on the vocals of the Dong Pipa songs.Moreover,I drew upon Bourdieu’s field theory to constitute the main theoretical basis of this paper.This paper puts the singing elements of the Dong Pipa song in the field of view,and deeply analyzes the formation and characteristics of the Dong Pipa singing field,singing habits,singing functions,as well as the adaptation or continuation of singing habits and functional changes.It is believed that the singing field of the Dong Pipa song can only be formed when various positional relationships enter a specific geographical or virtual space and play a role,and it is relatively independent and temporary,reflects various social relationships,and is full of power.The characteristics of games,blurred boundaries,life and locality;based on the definition of habit,the singing habit of the Dong pipa song can only be formed in the traditional field of village life,including singing content derived from life,easy to Singing form and program.And it has individual or collective characteristics,and when the habitus of all individuals in a group tends to be consistent,individual habitus may develop into collective habitus;singing in the field of village life,as a whole,produces rituals,education,The functions of social interaction,marriage and love,inheritance,livelihood,entertainment,etc.,different sub-fields,such as houses,drum towers,etc.have different specific functions,but they all play an important role in building a better life style of traditional Nan Dong society;social changes leads to the decline or reconstruction of the Dong Pipa singing field,which brings about the adjustment or continuation of the singing habit within the field and across the field,as well as the change of the singing function.For example,the change of singing function is mainly reflected in the weakening of cultural inheritance function and the enhancement of external aesthetic function.Through the comprehensive application of field,functionalism,performance and other theories and methods,it explains the relationship and significance of the Dong Pipa song singing in the traditional and modern society Nan Dong people’s life,and draws the following conclusions.First,the practice of the Dong pipa vocal followed the developmental logic of the "function-field-habitus method".Therefore,the dynamic intermediary that penetrates it is capital where it determines the nature of the singing field,the characteristics of the habitus,and its functional orientation regarding whether to continue on,or to make adjustments.Regardless of these elements,the performance of the Dong national pipa song is truly based on the functional daily requirements in both modern and traditional societal lives.In short,the new point of view presented in this paper brings innovations through the application of Bourdieu’s field theory.Though Bourdieu’s field theory excluded functionalism,this paper integrates the vocal function of the Dong Pipa songs into the field.Thus,adding habits into the mix and utilizing them as key elements in interpreting the relationship between the Dong Pipa songs and the life of the Dong residents.Second,in the traditional Nandong community,the Dong Pipa vocal was performed by the mass about their daily endeavours.However,with the progression of modern society,habitual singing has turned into a less popular option where only a few performed the song as an artistic expression.Admittedly,this situation is closely related to the location of the field and the characteristics of the capital composition.Third,the Dong Pipa song historically improved moral values,uplifted nationalist spirits,enhanced national esteem as well as balanced the act of human loyalty and selfish gains.Through the Pipa song,“rural civilization” established itself as the cultural foundation of rural revitalization where the singing of the Dong Pipa songs still contributes to the construction of a better life in the contemporary Nan Dong society.Along with the continuation of historical experience,that is,how song contents integrated daily lives,the construction method is also required to correctly handle the logical relationship of how Dong Pipa practical singing developed.From this,we need to solve the issues about the number of singing groups and audience and build a more Multi-fixed,life vocal performance genre.The aim is to normalize performance activities of the Dong Pipa genre and to assist in the development of the synergetic integration of the Dong music,Dong operas,and Dong Pipa song.In essence,we need to absorb the spirit of various cultures to enable complementary cultural nourishment in other channels.