Artistic Research Of Mongolian Four-string Fiddle

Mongolian four-string fiddle,called “Huur” in Mongolian,is a representative bow stringed instrument of Mongolian nationality.It is popular in the eastern region of Horqin,central Chahar,and the western region of Ordos,Inner Mongolia.As one of the representative music instruments in Mongolian traditional music,it has a very profound connection with other Horqin traditional music genres.In 2006,four-string fiddle was listed in the first batch of national intangible cultural heritage list.In 2007,it was rated as the first batch of intangible cultural heritage at the level of autonomous region.It retains the traditional charm of "original flavor" and pays attention to the human centered living inheritance.People are the fuel of traditional music research and the core of inheriting and developing traditional music culture.Therefore,exploring the unique artistic essence of the holders of traditional culture is the important way to inherit and develop traditional music culture.In this paper,Tubuxin Baiyila,the famous Horqin folk artist,is taken as the research object.The paper analyzes and combs his four-string fiddle career,and excavates his “personalized”performance characteristics from the inside perspective.It also analyzes the presentation of “improvisation-multiple texts” in the performance of Tubuxin Baiyila from the perspective of oral transmission and tries to add new “additives” with different charm to the performance of four-string fiddle.The paper consists of six parts.In the introduction part,it explains the research object,the reason of choosing the topic,the research significance,the research method,the research status and the point of innovation;The first part of the paper summarizes the background of four-string fiddle Music in Horqin culture,including the brief introduction of Horqin history,culture and the development of four-string fiddle Music.It also gives a briefdescription of the art environment on the object;The second part writes the classification of Mongolian four-string fiddle shape and music.It classifies into the three shapes,different works and performance forms of four-string fiddle,which lays the foundation for further research and provides theoretical basis.The third part is the compilation and performance of four-string fiddle repertoire of Tubuxin Baiyila,which includes his folk art career,performance characteristics of four-string fiddle,adaptation and compilation of four-string fiddle repertoire;The fourth part is the introduction of family lineage of Tubuxin Baiyila and a brief arrangement of the family linage.It explores the inheritance and protection of Mongolian four-string fiddle from different ways and perspectives;The last part summarize from three aspects;the "recreation" in the performance of four-string fiddle and the "sower" in the inheritance of four-string fiddle the future prospect of the four-string fiddle art.This paper studies the family lineage and the unique performance style of Tubuxin Baiyila.The study is to explore the mystery of its folk technology and inject the new vitality into the new age music of four-string fiddle.