| The JingHe County Xinjiang Mongolian Turehot’s are a tribe descending fromthe old Turehot Qimuhalangbeilei tribe portion, and up until now they have beenresiding on the fertile land thereat. While settled down alongside other ethnic groups,they still maintain their traditional folk music. Because of the development of societyin both economic and social as well as civil terms, all kinds of other musicalelements quickly developed, and there is a population of5thousand Torehot’s in thecountry (the majority of Uut Duu (long song) singers tend to be elderly people), andunder the great pressure of external cultural influx it has become endangered.Therefore, this research engages the topic of Uut Duu of the Turehot’s in the county.Through collection of field materials, sorting, and analysis, a rough theoreticaloutline has been sketched out hereat, and alongside this, analysis of the state oftraditional folk music in the region has been conducted, reasonably suggestingstrategies for preservation and development of the inherent traditional musicproperties. The paper has seven sections:The introductory outline is composed of the topic selection significance,research status as well as paper writing method, logic, reason, course of action aswell as focal points, the innovative point of this paper lies in the notation of relatedtraditional music onto score sheets;The second section address the cultural and social background of the Turehot’sin the county, while considering in depth the history of long songs with these people;The third section conducts analysis about the musical forms inherent to the tribein the area emphasizing Uut Duu (Long Song), therein arriving to the conclusion thatthe area tends to use a pentatonic (5tone scale), possessing a “Tianshan Range”styled melody characteristic, and this is the focal portion of the entire paper;The fourth section conducts analysis of the Uut Duu lyrical characteristics,confirming that there is a tendency to have many paragraphs with odd numberings,with alliteration also often appearing.The fifth section conducts categorization of Uut Duu and makes an outlineregarding lining words and lining cavities. Within folk Uut Duu “a, e, i, o, la, oi, io,ie, xio, ho, oe” is used moreso, the “linen cavity (referred to in Chinese as chènqiāng)” sung performance is the hardest to grasp, and it is also the differentiatingaspect when compared with folk Uut Duu in other regions.The sixth section outlines conditions of transmission and performance regarding Uut Duu in the county. The performance applications tends to mostly involvehousehold and holiday usage, and transmission tends to be conducted naturally andtherefore learned inadvertently, however currently following the development ofsociety, through all kinds of mediums it has incurred rather large scale occupations.The seventh section is the authors’ considerations and opinions regarding thecurrent state of Uut Duu in the county. Due to the unique historical period,“faults”have appeared within the structure of Uut Duu, and because of this it has also lost alot of folk “riches”, and most of the current performers of Uut Duu are elderlyindividuals. In recent years many elderly artists have passed away in succession, andthus Uut Duu is incurring more “faults”. Therefore, the author believes that“protection” less so requires “encirclement” and moreso requires “stimulation”, andthrough the shared development practices and efforts of local government,educational institutions and specialty schools as well as hobbyists. In this way thetraditional folk music can be cultivated and pushed forward.Xinjiang Mongolian Folk Uut Duu (Long Song) of Investigation and Research... |
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