An Investigation Of Long Tune Fork Song At ZhalaiTe In Xing An League Inner Mongolia

Long Tune Fork Song is a kind of folk song genre that was created by Mongolian who lived in the prairie and immigrated to wherever water and grass are available. It is also called "Urtin Dao", and the Mongolian in Zhalai Te called "Urta Dao". It is a kind of lyric song which wants to express all the good things in the prairie positively. Long Tune Fork Song started in the nomadic period which is still sung in the areas inhabited by Mongolian nowadays, the UNESCO claimed it as the third Masterpieces of the oral and Intangible Heritage of Humanity in Nov 25th 2005. Mongolian Long Tune Fork Song at the zhalai Te in xingan League Inner Mongolia is a typical kind of Korqin fork song, and it also plays an important role in Mongolian Long Tune fork songs. The writer tries to study the Long Tune fork song in the symbolic base-Bayan Wulan Sumu and Guo Ying Zhong Xu Chang based on the related theory of Ethnomusicology, and discusses the regional features and survival status of Long Tune fork songs in Zhalai Te by comparing with the Long Tune fork songs in other places.This paper aims to study the subjects in it's survival society, economy and cultural background by comparing with other area's Long Tune fork songs, according to the research methods of Ethnomusicology. That is to say, putting Long Tune fork songs of Zhalai Te into their own social background, thus one can describe the evolving characteristics, heritage context and special style during more than 50 years after the Inner Mongolia Autonomous Region was founded. At the same time, one can trace "Music in culture, and Culture in music", and think about the fork song in the perspective of culture, then can know this area's historical development and evolutional rules from the fork songs.This paper including three parts:introduction, main body and conclusion, the main body consists of four chapters. The introduction expounds the reasons, subjects, purposes, significance, research situation and methods. The first chapter of the main part foreshadows to the whole part, and the second chapter is the important part. The first chapter gives the history natural geography and culture of Zhalai Te as well as the origin and regional distribution of Long Tune fork songs in Zhalai Te, thus can study the subject in the whole view. The second chapter expounds the situation of Long Tune fork songs in Zhalai Te in the perspective of the protection of intangible cultural heritage, the situation of the inheritors and the changing of Long Tune fork songs in Zhalai Te parcitularly. The third chapter compares the Long Tune fork songs in Zhalai Te with other symbolic Long Tune fork songs in history, themes, lyrics and singing styles, in this way, it can highlight the differences and special styles between Long Tune fork songs in Zhalai Te and Long Tune fork songs in other places. The fourth chapter is the changing and protection of the Long Tune fork songs in Zhalai Te, the writer discusses the changing under the modern society and the protection by the local government of the Long Tune fork songs in Zhalai Te by using the collecting material in the empirical investigation. The third part is the conclusion, which expounds the achievements in the heritage and protection of Long Tune fork songs in Zhalai Te, the value and significance of Long Tune fork songs in Zhalai Te in the history of Mongolian music, as well as the significance of this paper. At last, the writer looks forward to the future development of the Long Tune fork songs in Zhalai Te briefly.