| This study collects,collates,translates,transcribes and systematically summarizes Tibetan Yushu folk songs.By means of acoustic analysis,the general acoustic parameters,special singing methods and acoustic characteristics of Tibetan Yushu folk songs are described and analyzed,and the following conclusions are drawn.Through the collation of Tibetan Yushu folk songs,it is found that they can be divided into "Lequ" and "Glu","Yiqu" and "Gzhas" and so on.Here we refer to the Tibetan Yushu folk song mainly refers to the "Bro" folk song.From the content,it can be divided into: wine song,couplet song,love song,labor song,chanting classical tune,folk song,etc.Its content covers the heaven and the earth,everything,as well as the stylized form of singing.The main research object of this paper is "Lequ" folk song,and five different styles of "Lequ" folk song are selected,which are analyzed and studied from the acoustical point of view.The maximum energy value of Yushu folk songs is basically concentrated between 70 and 80 dB,with an average value of about 75 dB.Compared with other ethnic singing methods,Yushu folk songs have relatively high energy,uniformity,stability and good continuity,which conforms to the characteristics of Tibetan folk singing in broad mountain areas.The basic frequency curve fluctuates obviously,and the fluctuation range is large.The basic frequency of 1,3 and 5 beats moves in the same direction.The basic frequency of 2,4 and 6 beats moves in the same direction,and the number of high-pitched areas is large and the duration is long.Dragging cavity mainly manifests in the transformation between beats and the sublimation of emotion,which can increase the overall stability of folk songs and form a strong contrast between tones and colors.Female voice has a wide range,frequent vocal cord vibration,and a certain periodicity,which can form several range.In addition,the original Tibetan folk songs of Yushu are vividly and vividly displayed by using ingenious voice,resonance and dragging tone.Compared with the overall energy of each song,the energy of the tremolo segment is mainly concentrated between 76 dB and 78 dB.The tremolo segment of Yushu Tibetan folk songs is obviously distributed in the higher energy region.The energy trend of each tremolo unit shows a trend of rising first and then falling,and the overall fluctuation of each tremolo segment is not obvious.This shows that the singer's energy distribution is relatively uniform in the process of singing the tremolo segment.The length of the end of the song is indefinite,depending on the need for emotional expression.The final drag tune is the same as the inter-word drag tune,and it distributes in all frequency domains.The average energy of the final drag tune of five tracks is between 75 dB and 77 dB.Compared with the energy intensity of the inter-word drag tune,the energy of the final drag tune is weaker,which corresponds to the emphasis on the end of the whole song in Yushu Tibetan folk songs.In the process of female singing of Yushu Tibetan folk songs,the low-energy formants mainly concentrate in the frequency domains of 500 Hz-800 Hz and 1500 Hz-2000 Hz,while the high-energy formants mainly concentrate in the frequency domains of 3000 Hz-3200 Hz and 4000 Hz-4500 Hz;while in the process of male singing,the low-energy formants mainly concentrate in the vicinity of 500 Hz and 1500 Hz,and the high-energy formants mainly concentrate in the vicinity of 3000 Hz and 3800 Hz.This singing technique makes their songs loud enough and penetrating.In the process of female singing,the area of energy concentration is wider than that of male singing,which reflects the different singing characteristics of male and female singers.In the process of female singing,the overall energy attenuation is not as obvious as that of male singing,which reflects that in Yushu Tibetan folk singing,female singers emit more loud and loud voices than male singers,while male singers' voices are more mellow and deep than female singers' voices. |
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