The Traditional Banquet Songs And The Singing Custom In Erdos

The studying subject of my thesis is about the traditional Banquet Songs and the Singing Custom in Erdos. These are two main purposes to carry on a series of analysis and research as to the traditional Banquet Songs and the Singing Custom in Erdos. 1. According to its past and status quo, being a kind of cultural phenomenon, the studying subject can be placed into the fixed cultural background to discuss its style, historical evolution, and characteristics of music form. 2.The studying subject can be considered as a part of multinational music. So the studying subject that have been ignored. Can help not only set up a new the orical system to the traditional music culture, but also give a thorough new concern and a proper attention by using the theories and studying ways from branches of know tedge. The heritage of the Banquet Songs in Erdos depended on word of mouth from folk artists and historical records. Surely, it cannot do without the cultural conditions, such as folk Banquet Custom, ritual activities and various feasts. From the present situation, we can see that the inherit and development of the Banquet Songs in Erdos are being in some difficult position, including historical evolution, cultural changes and fern cent of national culture, which are gradually having the primitive music assimilated. My thesis is composed of three chapters. The first chapter analyses the studying subject. The source of data and the studying ways through new theoretical frame. The Banquet Songs in Erdos can be concluded as follows: 1.The Banquet Songs in Erdos is a part of Mongolian multicultural, which results from group thinking and behavior. The Banquet Songs and the Singing Custom is an unique musical cultural phenomenon on Erdos Mongolian areas, which mixes history, culture, folk custom and music together and has formed a pronounced local color in musical style. 2.The Banquet Songs in Erdos were influenced by Hetao-Tumd Culture and instilled by people of special category in Western Region—one of the classes into which China's population was divided during the Yuan Dynasty, including Central Asian allies of the Mongols, mostly Uygurs and Turks. Therefore, the music has the characteristics oxisted side by side of Changdiao (long tune)and Duandiao(short Tune). The second Chapter briefly discord historical evolution and distributions of the Banquet Songs on Erdos areas. The distributions of the Banquet Songs result form the natural features and the surrounding where Mongols live. One or two areas have different features of singing of Banquet Songs and the singing custom. As for traditional Banquet Songs, group singing is one of the most individual features in the Erdos Banquet. The Banquet Singing is a complete set of integral and fixed formula. Well perfectcooperation of singer and the masses, singer and band shows the special value and meaning only in the etiquette and custom occasions for wedding and ritual. The third chapter researches and depicts the musical forms of the Banquet Songs in Erdos and the common feast instruments form its melody, Rhythm, tune and other aspects. The melody of the Banquet Songs in Erdos has obvious local color. Some Duandiao, its jumping interval, changing rhythm and various modes make the Banquet Songs passers highly artistic attainment and creativity. The Erdos banquet is never lack of the accompaniment for instrument. The ancient Mongolian imperial palace music style has stun been inheriting in Erdos folk so far, which is a rarely seen traditional phenomenon. The group singing and instrumental accompaniment represent multifunction of the Banquet Songs and Singing Custom in Erdos and traditional music cultural value and meaning in Erdos.