I think it is not an exaggeration to say that Inner Mongolia is a singing nation and a music nation. Because anyone who has been to Inner Mongolia will be surprised to feel that Inner Mongolians, regardless of gender and age, can sing their own folk songs. It can be said that they have a talent for singing, and a new song has a special attraction for them. They are easy to learn and popular. They like singing and listening to music. Many villagers in Inner Mongolia cry when they sing or hear Ma Touqin's voice, which shows how important singing and music play in their spiritual life! They respect singing and people who are good at singing. In East Inner Mongolia, "Daoqin" (that is, folk singers) and "Hao" (that is, rappers) are still the most respected people. It is said that most professional singers of the Gilat ethnic group in northwest Mongolia are hereditary aristocrats, and "Toriqi" (the singer's name) is the most brilliant title. They regard "heroic epic" as their precious property and "singing heroes" as their special rights. They sing on a wide range of occasions in their lives. We should not only sing their joys and sorrows in daily life, but also sing them at all important festivals and grand events. In Dongmeng agricultural area, a "New Year's Singing Team" is organized every year, which is similar to the Yangko Team of the Han nationality. During the "Aobaohui" (temple fair), you must sing to worship the gods; During horse racing, people on both sides of the race station sing songs to praise their horses and inspire their racers. Singers must be invited to sing at weddings and banquets; Winter is a good opportunity to sing, and villages compete to invite "Hao" to tell him stories, often for a month or two. Thus, singing has become an indispensable and important means of life for them. They are not only used to express feelings and decorate etiquette, but also to spread knowledge and news. Anything novel will soon be compiled into folk songs and spread widely. Through folk songs, they can know what happened thousands of miles away. Surprisingly, the name and address of the protagonist in a folk song are remembered and cared for by people far away, and even he can tell his current life and death, even his age geometry. We have also seen such folk songs. In order to find the child he lost in the temple fair, the author finally sang: "I don't sing for joy, but to find the child!" " Because of this, the nature and genre of Inner Mongolia folk songs are diversified. Generally, it can be divided into two categories: one is "Tulin Road"; Second, "the road of afforestation". The former is sung in a solemn theater, while the latter is sung in daily life. This is equivalent to the distinction between sacred music and pop music in the history of music. There are many forms of "Turing Road": for example, the song dedicated to the Buddha Lama is called "Duo Houlle Genna" (meaning "the song of our nation"), the song sung at the wedding banquet is called "Good Coming Doorway" (that is, the banquet song), and the song praising the characters is called "Heitalen Road" (translated as a hymn). There are also many kinds of "Yulin Road", such as "Nie Le Nie Road" sung in horse racing, "Xie Laike Road" sung in love and "Gengshiller" sung in nomadic life. There are also songs dedicated to praising mountains and rivers, such as endel at the top of Baohe River (translated as Ode to the Holy Mountain) and allert Enkolikalide (translated as Golden Leaf Pheasant or Golden Leaf Pheasant), and so on. There are still many forms on it that we haven't collected. On the contrary, people in Inner Mongolia don't use many musical instruments. All the more expensive musical instruments (such as loudspeakers, suona, gongs, drums, etc.). ) are concentrated in the Lama Temple, and even a bronze musical instrument is not seen. They only use, and three strings, followed by flute and flute. These musical instruments are the same as those used by Han people, except that Ma Touqin is an inherent musical instrument in Inner Mongolia. Ma Touqin, according to records, has been used since Genghis Khan's period (made of black pine, the speaker is usually trapezoidal, made of sheepskin, the upper end of the piano is carved into the shape of a horse's head, and two ponytails are tied. Bowstring is also made of ponytail, with deep and soft pronunciation and rich expressive force (but the volume is not high), but now Hu Si is rarely used as the main instrument in Dongmeng, even in Ma Touqin. Anyone who studies Inner Mongolia's historical poems almost thinks that "praising heroes" is the biggest feature of Inner Mongolia's folk songs, and most of them take the form of long narrative poems, and the object of praise is also princes and princes. However, in today's Dongmeng, we seldom hear Long song praising the historical hero of Inner Mongolia. Some of them are songs that praise the heroes of modern people, such as "Hero Taoketu", "Gadamer" and "Tianhe" (according to fellow villagers, these songs can be sung for a few days and nights, but unfortunately, except Gadamer's 50 or 60 passages collected by Inner Mongolia Art Troupe, few people remember the rest). They sang the deeds of these heroes who fought and died for the people. They sang with infinite reverence and sadness. Listen: Little Hongyan from the south,

Do not leave the Yangtze River, do not take off;

Speaking of Gadamer's uprising,

It is for the land of the Mongolian people! The big swan goose flying from the north,

Do not leave the Yangtze River, do not take off;

If you want to talk about the rebellious Gadamer,

It is for the land of the Mongolian people! It can be seen that their tradition of praising heroes has not changed, but the objects of heroes are different. It is these folk songs that reflect the sufferings of the people in Inner Mongolia over the years and inspire them to persist in their struggle. Of course, this is the first thing we should cherish!

But besides praising heroes, the people of Inner Mongolia also sing about all aspects of their lives. For example, the love of mountains and rivers often reaches unimaginable depths. For example, the lyrics of Four Seasons and Dayabalai are so simple and repetitive, but profound and powerful. And this kind of rural love is closely related to their unstable life. Such as Xing 'an Mountains: On the high Xing 'an Mountains,

Snow is endless.

I remember when my hometown will turn around.

Tears rolled down my sleeve! Tired, weak,

The whip is heavy,

Go one way and go another,

Why is it so long?

..... What an unpretentious painful confession, what a beautiful and vigorous poem. Because the land is so vast and the traffic is so closed, it is even more terrible when these experiences fall on married girls. They often get married hundreds of miles away and dare not express their opinions. When we hear the songs "Broccoli", "Beijia" and "Miss My Family", you will almost forget what this "song" is. It is just a poor girl crying from the heart. Why should a car with a broken wheel be set in the yard? !

Girls are all losing money, why do you want to be reborn? ! Broken iron car, why catch the journey? !

It's hard for a girl to be filial, so why do you want to be reborn? !

"Green cauliflower" But what makes people feel sad is that the songs of orphans and widows account for an amazing number of folk songs in Inner Mongolia. For example, Lonely Little Camel Lamb is the symbol of Orphan Song: the cold wind is blowing,

Pity my orphans wandering in the wild,

Old mother misses you,

I am the only one in the empty Yuan Ye! The cold wind blows,

Like a steel needle stuck in my chest,

Look around,

I see the stars hanging above the horizon! This is something that any compassionate person will regret. Former Inner Mongolia, desert camel, turned out to be the abyss of human suffering! Naturally, Inner Mongolia folk songs, like those of other nationalities, also have a large number of love songs. But what deserves our attention is that their love ballads show more simple, true and warm feelings (some natural vulgarization things), which make you feel like flowers after the rain, bright and dazzling, but not glamorous. They often use unexpected metaphors and images. When I translated and matched them, I couldn't help but think of the "national style" of Thinking Innocent and the vigorous ancient songs of China. Originally, it was essentially a thing, so it was just as cute. These contents are the main contents of today's Dongmeng folk songs. Some people may be determined to find something particularly novel, but of course they will not be completely disappointed, such as Buddhist carols, pastoral songs that directly reflect nomadic life, Daur dance music and so on; However, it must be noted that this kind of songs only account for a very small number of folk songs in Inner Mongolia. At first glance, it seems strange, but it is also easy to understand: although Buddhism is believed by the general people in Inner Mongolia, the concept of being born for heaven is quite different from the will of the living; Of course, herding sheep and horses is their daily life, but people are always people, not cattle and horses, and people can't praise them more. The actual situation is often that they are driving cattle and horses, but they are singing "people" songs. From the content, Inner Mongolia folk songs also have great defects, that is, the lack of labor songs. Especially those labor songs with bright rhythm and strong strength, we have never heard of them. But on second thought, what's so strange about this? Although there are some agricultural areas in Inner Mongolia, more areas are nomadic societies, and there are few heavy and rhythmic collective labor. How can we ask them to sing like this? When we study Inner Mongolia folk songs, we should start with Inner Mongolia folk songs. Subjective curiosity is unreasonable, and we will get nothing. Thirdly, to study the structural characteristics of Inner Mongolia folk songs lyrics, I think we should start from two aspects: one is the characteristics of Inner Mongolia language and writing, and the other is the literary expression used by Inner Mongolia people. There are fundamental differences in structure between Inner Mongolia and Chinese, and Inner Mongolia belongs to the rubber family. Its nouns have the change of noun case, and must be accompanied by auxiliary words; The syntactic order is also different from Chinese, which is the order of "subject-object-predicate", such as "bi (I) bicigi (writing) (reading) on Sina". Due to the language requirements, the most striking feature of Inner Mongolia's poetry is the difference in rhyme. Different from Chinese, it only needs foot rhyme, but besides foot rhyme, it also uses "alliteration" and "semi-homophonic". The so-called "alliteration" requires that the first sound of the first word in each paragraph and line must be homophonic; The so-called "semi-homophone" means that each phonetic symbol must have the same or the same vowel (for example, A, O, U are male vowels, E,? , ü is the vowel, I is the neutral vowel, and female vowels must not be mixed in one syllable). Therefore, as soon as Inner Mongolia folk songs are sung, they will immediately feel the beauty of rhyme, which is an irreparable loss after being translated into Chinese. Inner Mongolia folk songs are usually in the form of four sentences and four lines. In order to deepen their feelings, they used the method of repeating paragraphs, such as Deng Xing 'an and Jin Xing 'an.

Overlooking the mountain, oh,

I seem to see my father's hometown.

Mongolian true flag! Climb Xing 'an, protect Xing 'an,

Overlooking the mountain, oh,

I seem to see my father's hometown.

Mongolian true flag!

The repetition of the whole paragraph of Daya Bora, which only changes one or two words like this, is widely used in Inner Mongolia folk songs. Of course, people who are not used to this repetitive method may feel burdensome; But it plays a great role in deepening the portrayal of emotions and deepening the memory of impressions. Sometimes this unified and changeable simple beauty is heartbreaking. A foreign Mongolian folk song researcher said: "Mongolian poetry has no originality in form or content, and it should be created according to more advanced artistic methods." Exactly. In addition to the accuracy of the image and the richness of the language, we also see that the most prominent point is the clever use of "Xing" and "Bi". For example, how fresh, natural and appropriate they used the sentence of "Xing": the sound of geese came from the forest,

The whole national flag is singing over Gazalin,

Smart and beautiful Gazaling!

Do you think the blue sky has changed, Dagora?

Do you think a person's heart has changed, Dagora?

Why do you forget me,

Be careful. God won't let you succeed, Dagora!

There are many "happy sentences" like this in Dagora, which are not only closely related to the topic sentence, but also effectively render the power of the topic sentence. Please look at their application of "comparison" again: the plane tree is dry,

It doesn't matter if you do it,

Poor brother Hua Ling's kite.

Where to fall, where to sing? ! Young ODA and,

It doesn't matter if you die,

Poor old parents,

Depend on who? Depends on who has been here.

"Tianhe" is blowing cold wind at dawn.

Think about my fur coat. Oh,

When couples get together happily,

Think of my Hu Wei Suiling.

Clever metaphors like this can be seen everywhere in Hu Wei's Nianling, for example, Nianling is the combination of "Xing" and "Bi". Their artistic imagination is amazing. Their descriptive ability can sometimes reach an "amazing" level. For example, to describe the nobility and beauty of Miss Gao, please see how they started: the place where golden phoenix built her nest.

Where Jin Ju was born,

Where the golden dragon hall was built,

That's where Miss Gao was born!

"Miss Gao" took "Miss Gao" to heaven. Some poems like this are inexhaustible for us to appreciate and learn. The beauty of Inner Mongolia folk songs and poems is naturally due to many other reasons, but I think it is inseparable from the basic characteristics mentioned above. When we hear Mongolian folk songs singing, we will feel a special color beauty: bright, long, cordial and refreshing. So what are the characteristics of its tunes? Inner Mongolia folk songs are basically five-tone, and seven tones are rare. Although "4" and "7" can also be found in notation, they are mostly used to convey sound. This seems to be a step behind the evolution of Han folk songs; The "mode" of Inner Mongolia folk songs is widely used, which is more different from Han folk songs. The most commonly used one is "Gong Zheng Tone" (5? 6? 1 2) and "minor tune" (1 5), but they use "6? 6? Modal 13 "and" 26 "and its auxiliary modes" 36 "and" 6 "? 6? 12 ",which is probably one of the main elements of Inner Mongolia folk songs. But that doesn't mean they don't have to use other modes. On the contrary, "1 5" and "5? 6? 12 "mode is also used a lot, but this mode, especially" 5? 6? 1 2 "folk songs are very similar to Han folk songs. It is not a problem that some folk songs are influenced by Han folk songs (for example, the melody of embroidered pillows is more China-like). The influence of foreign music is an important reason for the complex mode of Inner Mongolia folk songs. Today, many folk instrumental music in Inner Mongolia has been completely moved by the Han people (such as doors, ya, eight boards, water, etc.). For religious reasons, some Tibetan tunes may be imported. In the past twenty years, new "Outer Mongolia" songs have been introduced into Inner Mongolia. It can be seen that all these external influences are eclectic and strive to create their own new tunes. For example, "Little Ying Huang" has its own characteristics in the folk songs of Inner Mongolia in the change of mode. However, it is not the "mode" that determines everything, and there are other reasons that constitute the characteristics of Inner Mongolia folk songs. The tune of Inner Mongolia folk songs is "strong recitation and weak rhythm", which is another feature. Some people call Inner Mongolia folk songs "poetic tune", which is very appropriate. Because poetry requires recitation, it causes the melody of recitation, and because it is the environmental impact of "singing grassland life and singing grassland people", it is necessary to ask for an extension of the end of the phrase. In this episode, several songs recorded in triple time (such as "Green Vegetable Flower", "Xing 'an Mountains" and "Silver Plate Intestine Hook" are recorded in 3/4 beats, while "Blade Butterfly", "Orphan" and "Four Seasons" are recorded in 3/8 beats) are not as obvious as those recorded in the western triple time. Moreover, even if recorded as four beats or two beats (such as homesickness, Li Xuesan Dan, Daya Bora, etc. ) is not a rhythm with obvious laws of strength and weakness. If you don't master this, you often can't understand the essence of these tunes. There are also 5/4 beats of Inner Mongolia folk songs, such as Wind in the Sky, which is an ancient song. The original words are full of Buddhist meaning, probably influenced by ancient folk songs in China, because the 5/4 beat basically meets the requirements of four-character writing. There is little such demand for Inner Mongolia language. There are also singing reasons that constitute the characteristics of Inner Mongolia folk songs. First of all, "treble" is inseparable from tuning. When Inner Mongolia people sing, they always try their best to raise their voices. If they lower their voices sometimes, they will suddenly feel dejected. In addition, the singing method of the long sound at the end of the sentence is also worthy of attention. Generally, the vibration is small, and the final sliding sound is short, and the sliding is more and less. Other factors, such as the progressive law of music and the decorative function of Inner Mongolia language, are also factors that form a special style. In what direction should Inner Mongolia folk songs develop? This is also a meaningful question. We know that all literature and art are the reflection of political and economic life, and folk songs are no exception. Today, the folk songs in Inner Mongolia have changed a lot, because the life of the people in Inner Mongolia has changed a lot. "Eight? 6? 1. 15 ",for the people of eastern Mongolia, it's really earth-shaking change! There has been an unprecedented situation in music. The first is the spread of our revolutionary songs, followed by the influx of revolutionary songs outside Mongolia (such as Our Hero, Red Flag Song, Internationale Outside Mongolia, Shepherd Song, etc.). ) These are all new things compared with the old Dongmeng folk songs. Bright, healthy, powerful and magnificent-these are the things that the old Mongolian tune lacks, so it is natural for the people of East Mongolia to like these new revolutionary songs enthusiastically, in addition to their political and ideological consciousness, from the singing requirements. They quickly transitioned from accepting new songs to writing their own songs. Song and Gesketeng cavalry after the liberation of Inner Mongolia, namely "Eight? 6? 1 new works after the first five-year plan. Obviously, the former came from the hands of intellectuals, while the latter came from the hands of herders or farmers. They sing their new life from their own perspective, which is also the inevitable result of the arrival of a new life. The people of Inner Mongolia not only have such an excellent folk song heritage, but also have such a long singing tradition. Coupled with the guidance and stimulation of the new democratic revolutionary culture, the emergence of new folk songs, new songs and new music can be expected. Let's pray for the people of Inner Mongolia to create the most advanced modern culture and art in the near future.