Research On The Aesthetics Of Liaoting Bass Drum

Laoting bass drum was originally called “Laoting chamber” or “Laoting tune”,which is the main song of northern China. It originated in Laoting County, is the mostvivid way to express the emotion of humorous and plain Laoting people.As a folk rap art in Laoting Country, Liaoting bass drum its singing solemn is notonly beautiful, but also tactful, with ancient and complete plate-types, concise sentencesas well as cultured tone styles named “nine cavity eighteen tunes” contained in it. Whenperformed, Liaoting bass drum sounds strong yet supple, proper for its appraise andfunny styles and therefore it is regarded as a fairly mature folk rap art on drumclasses.Laoting bass drum, with its pure dialect as its performances’ tones and full ofstrong smacks of everyday life and unique local flavours as well as its functions,aesthetic, educational, recreational and psychological adjustments, has met the simpleaesthetic requirements of local people’s. Thus, it is widely loved by the local andsurrounding masses.As a local folk culture, Liaoting bass drum records Laoting people’s living coursesand reflects their overlooks on life and values as well as their aesthetics. It has a veryhigh cultural value on studying the Laoting local culture. This article intends to explainLiaoting bass drum from the local value of perspective and analyze the folk, social andpsychological details of it by starting from a folklore perspective, contacting literaryaesthetics, psychology, theater performances and other academic knowledge and usingfieldwork and literature searching. The article will help people learn about the localpeople’s daily life by explaining the rich cultural connotations in Liaoting and explore theprospects for the development and future direction of Liaoting bass drum in itsperformances and the cross-mutual infiltration of people’s life.This article consists of three parts, including introduction, body and conclusion, inwhich the body part is made up of five chapters.The introduction part talks about the purpose of choosing this topic and itssignificance, the research status of the subject, data sources and research methods as wellas the theoretical innovation and inadequacies of this article. The first chapter is the statement of the Laoting bass drum’s culture. This chapterwill explain Liaoting bass drum through its perspective of historical evolution, describethe origin of its name, and comb the development courses of Laoting bass drum. At thesame time, in order to make readers have a better understanding of Laoting bass drum’sculture, I will use a comparative approach, that’s to say, the comparison between Laotingbass drums and Jingyun bass drum as well as the one between Laoting bass drum andLaoting shadow play of the scope, to express the irreplaceable position of Liaotingdialect in Liaoting local arts and highlight the uniqueness of the Laoting drums culture.The second chapter mainly describes the geographical and cultural backgrounds inwhich the culture of Laoting bass drum generated. As a unique cultural phenomenon inLaoting, Liaoting bass drum is closely related to the local environment, the material wayof life, and local people’s temperaments influenced by its natural environment. As part ofthe Laoting folk culture, Liaoting bass drum is the accumulation of the traditional cultureof Liaoting people. It can not only reflect the will of civil communities and the crowds,but also refract their people’s pristine state of mind. This chapter intends to analyze thedecisive role that natural and social environment played in the development of Laotingbass drum’s culture by describing the geography, cultural background of LiaotingCounty.Chapter three is about Laoting bass drum and the cultural genes of its dialect. Thischapter will start with the word “tan”. By using the relevant theories of linguistics andlanguage folklore, this chapter will directly talk about Liating folk sayings to analyze andthen build up the necessary links between Liaoting bass drum and Liaoting dialect so thatit can show up the humorous and recreational features of Laoting bass drum.Chapter four is about the folk performances of Liaoting bass drum. This chapter willmake an illustration from the three perspectives of the performers, the audience as well asa process of mutual interaction by using Bakhtin’s “Carnival” poetic theory from theangle of psychology and aesthetics to analyze the reason why Laoting bass drum is sopopular with the local people. Based on the above analysis, I have summarized the folkfunctions of Laoting bass drums, that is, the features of carnival, the characteristics oftheir daily life, as well as its educational and entertaining folk functions.The fifth chapter is about the local aesthetic of Laoting bass drums. I will analyze the Laoting local people’s character and aesthetic psychology from the angle of literatureand art studies as well as the psychological point of view and highlight the regionalcharacteristics of Cultural Aesthetic Standard. In addition, this article will analyze thefield data to explain the great meaning of Laoting bass drum in Laoting people’s life anddiscern people’s aesthetics, views of life and values.The epilogue part is my idea on the prospect of Liaoting bass drum and its futuredevelopment when it is surrounded by the mass culture.With the era of mass culture arriving, many cultural media, such as television,movies and Internet have great impacts on our life, thus bringing about big changes onthe traditional ways of life and people’s spiritual needs. It is worthwhile for us to thinkover whether Laoting bass drum can survive in the trend of the culture age and be handeddown from generation to generation. Protecting our traditional national culture is our duty.In this part, I will introduce and analyze Liaoting bass drum from the angle of the folkculture, folk artists as well as national policies that are involved and search for the newproper path for the development of traditional folk culture which is represented byLaoting bass drum.