Tibetan Folk Dance "heap Harmonic Study

The paper takes Tibetan folk dance 'DuiXie' as an object of study. After summarizing and sorting out large amounts of historical documents and achievements in predecessors' research, and making a field-research, the author thoroughly analyses the historical origin, distribution and inheritance of 'DuiXie'. Moreover, the pattern and the style of 'DuiXie' are comprehensively and meticulously studied and described. The author makes a comparison between 'DuiXie' and Irish tap dance on pattern, style and formation in order to have a feasibility done to find out if drawing lessons from the elements of Western dance choreography will work when trying to choreograph Tibetan tap dance. The author also try to find some new ideas to develop and choreograph the contemporary Tibetan tap dance, so as to contribute my share towards the flourishing of Tibetan folk dance.The paper contains three parts: introduction, three chapters and conclusion. In introduction, the author gives a brief account of purpose, significance, material and method, and moreover, introduces the development and the achievements in related research.In Chapter one, it is divided into two sections which discuss the source of 'DuiXie'. In the first section, the author does textual research on the source of 'DuiXie'. Analyse the situation of the emergence anddevelopment of 'DuiXie' by seeking the source of 'GuoXie', another kind of folk dance, and 'Zha Nian', the main accompaniment of 'DuiXie'. In second section, the author tries to analyse the historical distribution and inheritance, meanwhile tries to summarize the regular pattern of its development by studying the material of field-research and achievements in predecessors' research.Chapter two is about the pattern of 'DuiXie', and divided into four sections, which analyse and discuss the content, school, music, dress, prop and dance movements of 'DuiXie'. In the first section, the author gives a brief account of the content and form of performance, then discusses and compares separately the patterns and the styles of the three different schools of 'DuiXie': DingRi, LaZi and LaSa. In second section, the author describes the music of 'DuiXie' from three aspects: accompaniment, adjustment and structure of music, lyric of music. In third section, after a brief introduction of dress and prop, the author expounds on the development and evolution of 'DuiXie' in history. The fourth section is mainly about analysis and description of the dance movements and style of 'DuiXie', including explanation of basic movements, description of traditional combination of dance movements, and summary of style.Chapter three is about the stage choreography of 'DuiXie'. This chapter is divided into three sections: appreciation of Tibetan tap dance,problems of contemporary choreography of ethnic folk dance and preliminary study on the choreography of 'DuiXie'. In first section, the author gives a general review of contemporary works of Tibetan tap dance, then analyses and comments in great detail on two works: Going for An Outing in Early Spring, Brisk Dance. In second section, based on the theory of the difference in Sino-Western dance languages, the author makes a comparison between Tibetan tap dance and Irish tap dance in style and pattern, and discusses the feasibility of drawing lessons mutually between folk dances in China and Western countries. The third section is about preliminary study of choreography. The author discusses some techniques and ways in choreograph of contemporary Tibetan dance from two aspects: the development of elements of 'DuiXie' and exploitation of types of 'DuiXie', aiming at offering some new ideas for contemporary choreography of Tibetan tap dance.In conclusion, besides the summary of research process and achievement, the author also sums up some weakness. After finishing the paper, the author hope that the experience got from the paper will be helpful for the future research.