Call The Mai Art Music Psychology Research

"Humai", the Chinese literal translation of Tuvinian word"xoomei", also named as"Holin-Chor", is a kind of ancient and unique art form in northern nomads, which is rare to see, as the form of vocal music, that one person can sing two musical parts simultaneously. Becauses of the restriction of language and singing skills, it appears only in Mongolia,the Russian Republic of Tuva,as well as Altai in Xinjiang province and part of the areas in Inner Mongolia in our country.On current situation, there is only a small number of people know something about Humai. What's worse, the research seems weaker on its unique vocalizational principle, singing methods and skills, history of performance, characteristics and style, etc. This condition is not consistent with the status of typical non-material cultural heritage, and the requirements of protection, inheritance and development. The weak status and the urgent necessity of this academic research becomes a big challenge for musical professionals. From the aspect of music psychology, this paper will do the study on artistic unique vocalizational principle, singing methods, artistic characteristics and so on. Meanwhile, I hope to enrich the academic achievement of this precious artistic heritage, and promote the protection, inheritance and development positively.This paper consists of five parts. Introduction is the first part, which introduces basic theories and practical significance of this topic, current situation of this research, reference resources, object, range, goals and importance of this study.Charpter one, Humai's history and current situation. In this charpter, historical development of Humai is arranged as an integration; the similarities, differences and relations between Humai and other Mogolian music are elaborated; the current development of Humai from various aspects is described in details.Charpter two, Humai's vocalizational theories and singing skills. The singing methods of Humai have been summarized and analysized from two aspects, physical principle of voclization and sining skills of Humai.Charpter three, psychological basis of Humai's art production. Tracing the source from the initial form of Humai, combined with the historical background of age; exploring its soil, especially the cultural and religious roots for further development of music artistic form as Humai; then, inquiring the psychological reasons of Humai's art production and development thoroughly.Charpter four, the reasons of Humai's closed-disappearance and inheritance protection. In view of Humai's present development, two aspects have been studied and elaborated, including the indifference, even"the abandonment"by our national members to Humai from psychological angle, as well as the limitation of other national members'acception to Humai. At last, I propose pesonal point of views in inheritance protection.