The Modern Evolution Of Folk Music In Meilisi Daur District, Qiqihar City

The Daur nationality is a minority with a long history and a profound national culture, whose population is scarcer compared with other minorities. Currently, it is mainly distributed along the Heilongjiang river and in the Inner Mongolia autonomous region, with other Daur people living in the Tacheng county in Xinjiang. Although Daur is a minority with only a language and no words, its national music and culture has its own national characteristics just like China’s other nationalities’ traditional folk music. The folk music of the Daur nationality is the soul of the Daur nationality, which not only reflects the history, life, customs and religious beliefs of the society and other aspects, but also has gradually formed the music characteristics that are unique to its nationality. The research range of this topic centers on the Daur nationality settlement in the Meilisi District, Qiqihar City, and the research focuses on the research and investigation of the traditional music in this region.This paper uses five chapters to analyze and expound on the development and changes of the folk music of the Daur nationality in the Meilisi District. First, it depicts the history of the Daur nationality. The paper mainly sums up from such aspects as the origin, the nationality title, the nationality origin and its national customs. With the changes of the times, how the Daur people work has changed, so has the music of the Daur nationality. In the third chapter, the author carries out in-depth researches on such factors as the themes, tuning and tonality, melody techniques, rhythm and beats, and the structure of the traditional Daur nationality’s folk music, Zhaan Durham, the folk dance, Hakumaile, the folk rapping, Wuqin and the religious music, Shaman, from the perspectives of music analyses. In this part, there are a large amount of music score materials, which are the first-hand materials obtained by the author through on-site investigation, and provide important evidence to the researches on the music ontology of this nationality.Through the analysis of the modern folk music of the Daur nationality, the fourth chapter draws the conclusion that the folk music of the Daur nationality is also gradually evolving towards being modern, while the changes lie in that the changes in the music ontology, the variation of the music environment, the transition of the social life and the mutual integration of multi-nationalities cause the changes in the music itself. In the end, it analyzes the inheritance means and transmission methods of the folk music of the Daur nationality, and also puts forwards its own suggestions, which have certain theoretical and realistic significance to inheriting and developing the music and culture of the Daur nationality.