Study On Musical Emotional Map Of Tibetan Villages In Xiaojiezi

Music geography is a component of cultural geography.It advocates the use of geological thoughts,theories,and methods to study the structure,style,and characteristics of music,and to explore the unique regional characteristics and humanistic connotations of music in different regions.This article is based on the perspective of music geography,based on the theory of emotional geography,and conducts research on the core issues of local music emotion generation and local identity.The field sentiment method and the cartographic method were used to study the emotional map of Xiaojiezi Village.The emotional interpretation of the relevant music by the villagers of Xiaojiezi Village in Shangri-La was collected.Emotional characteristics,researching and combing the sense of place of the entire group,trying to reveal the human spirit contained in Tibetan music,so as to understand the spiritual world of Tibetan compatriots shaped by music,and provide guidance for the better application of musical sentiment maps in practice.The results of this study are as follows:(1)The village activity room and basketball court of Xiaojiezi Village are the intersection of the villagers 'daily life,and they are also the center of the villagers' music life.Central Jingyuan is the place where villagers' most positive emotions are concentrated.The positive emotions are generated through the interaction between people and various music in collective activities.Therefore,upgrading and reconstructing Central Jingyuan can strengthen the center.Jingyuan's music and activity attributes enhance villagers' positive emotions,thereby enhancing the sense of place.(2)Through the analysis of the landscape data in the emotional map of the villagers in Xiaojiezi,we can get which ideas and emotions of the villagers have expressed their approval,so that they can reflect the local scene they recognize,and the sense of place that is reproduced is this Embodiment of this local complex.According to the analysis of sentiment evaluation of traditional song and dance music and popular music in Tibet,the highest score is in the group of 35-50 years old,followed by the group of over 60 years old,and the group of 10-25 years old has a lower sense of local identity.This shows that the group of 35-50 years old has a more diverse understanding of the concept of place,and they have a better understanding of the spiritual and cultural core shared by the Tibetan area,and use this to identify their local identity.(3)The audience was affected by different ages,genders,education levels,etc.,and had different preferences,needs,and perceptions of music.The field survey method was used to investigate 30 villagers in Xiaojiezi,including 12 key investigators.By comparing the different age groups of Xiaojiezi Village with the music sentiment map,it can be concluded that the range of the emotional map is inversely proportional to the age of the Xiaojiezi villagers.The younger the age,the larger the range of the music sentiment map,and the more sources of music;The older the age of the music map,the smaller the source of music.Focusing on the emotions of traditional song and dance music and religious music in the music sentiment map,it can be seen that groups over 60 years of age have the highest familiarity and emotional evaluation of traditional song and dance music and religious music,followed by those in the 35-50 age group,and 10 The-25-year-old group has the lowest familiarity and emotional evaluation of traditional song and dance music and religious music.Attention should be paid to the role of young people in the protection of national culture.