Cultural Connotation Of The Mongolian And Tone And Singing Style

Inner Mongolia-Han melody (literally, Mongolia-Han melody) is informally called as "Desert melody" ( popular parlance in Inner Mongolia) melody or "rough-Han melody" ( do not represent the derogatory sense, popular parlance in Inner Mongolia) melody is a new kind of folk song when lots of Han people swarmed into the Zhunge'er town area during the reign of Emperor Qianlong in the Qing Dynasty, which is the crystallization of the intelligence and culture of Mongolian and Han people, and which reflects the living culture and profound friendship of Mongolian and Han people. In recent years, owing to the opening up to the outside world of Zhunge'er town, Inner Mongolia-Han melody has spread to the areas surrounding Inner Mongolia and even to the whole country, and has got favorable comment from public. In addition, it has constantly absorbed the music elements of other area and thus has achieved quite great progress.Inner Mongolia-Han melody is a special musical culture phenomenon, which not only boasts unique historical and cultural meaning and special singing methods, but also embodies the blending of the culture of Mongolia and Han. Therefore, it deserves exploration and research. This thesis carries out in-depth analysis and demonstration forthe origin, singing methods, carrying on and development of Inner Mongolia-Han melody from historical perspective with investigation method and comprehensive research method based on such theories as culture anthropology, folklore and musicology.The whole thesis consists of five sections: section I, history of Inner Mongolia-Han melody This section talks about the name origin, circulating area and historical background etc. Section II, the general musical overview of Inner Mongolia-Han melody. This section talks about the musical characteristics of Inner Mongolia-Han melody from five perspectives such as the song category, singing pattern, melody characteristics, melody structure and accompaniment. Section III, the classification characteristics and artistic feature of the libretto of Inner Mongolia-Han melody. This section explains the classification of libretto by content, characteristics of libretto and some common language feature and artistic feature of libretto of Inner Mongolia-Han melody all-sidedly, which demonstrates the uniqueness of the libretto of Inner Mongolia-Han melody roundly. Section IV, singing characteristics of Inner Mongolia-Han melody. This section is the keystone of this thesis. Due to the lack of the singing data of Inner Mongolia-Han melody, the writer collected first-hand data on singing by personal practice and in-depth and painstaking folk song collecting in rural area. Under the guidance of professional theory and on the basis of summarizing folk song singingexperience, the writer summed up the singing style and characteristics of Inner Mongolia-Han melody from three perspectives: (1) folk song artists talk about singing Inner Mongolia-Han melody; (2) experts and scholars talk about singing Inner Mongolia-Han melody; (3) my opinion of singing Inner Mongolia-Han melody. This section not only sums up the singing characteristics of Inner Mongolia-Han melody, but also proposed corresponding solutions for the problems arising in singing Inner Mongolia-Han melody. Section V, inheriting, development and prospect of Inner Mongolia-Han melody. This section looks into the future of the development of Inner Mongolia-Han melody from such features of Inner Mongolia-Han melody as being blended, unique, sung in certain collectivity and the whole society, spread widely and varied much. The thesis carries out in-depth discussion on the cultural meaning and singing style of Inner Mongolia-Han melody, and thus, is innovative based on theory.