A Formality Study Of Alashan Hoshot Longsong

Orality is the basic feature of Mongolian traditional music.This article selects the Alashan Hoshot folk songs sung by the national-level inheritor,Erigejidema,who comes from Inner Mongolia,as the research object to analyse the unique internal relationship between arias and lyrics in folk songs sung by Erigejidema.After analyzing,it was concluded that in the specific performance,the Mongolian long-song singer kept the tune-tune frame,the "Nahileg" singing technique,the singing method and other program factors,and on the other hand incorporated these stylistic factors into the performance framework and the impromptu process of oral music.Through the study of Alashan Mongolian folk songs,I find that certain relatively fixed factors are constantly running through and alternating.These factors are a kind of formality,which is often a core element in local style.The "formality of Alashan’s longsongs" mentioned in this article is the study of this highly stylized element.In addition,this article is divided into three parts:The first part gives a brief overview of the cultural background of the Alashan Hoshot folk songs and the introduction of the inheritors.Including the natural environment,historical origins,classification of folk songs and the introduction of Erigejidema,the representative inheritor of Alashan Hoshot long song.The second part analyzes the relationship among the paragraphs of the Alashan Hoshot Long Song and the relationship between the passages and the internal structure of the phrases.Via the analysis of the lyrics and the melody ontology,we explore the unique characteristics and programs of Alashan Hoshot Long Song.The third part explores the rhythm and improvisation in the oral singing of Alashan Hoshot Long Song.By comparing the folk songs sung by Erigejidema and Badema,I explored the style elements of Alashan Hoshot Long Song and the“routine” that how the personal style of Erigejidema was formed.