Tibet is a place with a long historical and cultural tradition. Its regional characteristics and national traditions determine the particularity of local folk music. Since Tibet has been hidden on a distant plateau for a long time, Tibetan music culture has had little influence from the outside world, and not much has spread out of the region. Therefore, when we talk about Tibetan folk music, we must pay attention to two characteristics:
First, its simple nature. Tibetan music is pure folk music. Unlike the music of other ethnic groups, which has more or less the flavor of commercial performances, Tibetan music is similar to the most primitive time when human beings produced music. Music is only used for sacrifices, labor, and courtship; another feature is the influence of Tibetan Buddhism. Before liberation, Tibet was a serf society that combined politics and religion. In the local area, religion was the only cultural life of the people, and all folk music was deeply influenced by it. Religious influence is buried. Therefore, most of the songs contain religious atmosphere.
In the eyes of outsiders who don’t know much about Tibetan music, the representative of Tibetan music is the high-pitched singing voice of some mainland singers using modern techniques, which is like the ups and downs of the Himalayas and the extremely wide range. This is actually a major feature of Tibetan folk songs discovered by modern musicians. The reason why Tibetan songs have the above unique singing method is due to their traditional "Zhengu" singing method. The famous Tibetan song "Meeting" (Xigaze song) uses the "Zhengu" singing method. "Zhengu" singing method means "the corner between the throat" in Tibetan, that is, singing in the "turn between the throat" very regularly and skillfully. It is a unique singing skill of the Tibetan people since ancient times.
Because of the same origin, Tibetan music is closely related to Indian and Nepalese music. The famous group "Going to a Foreign Land" (Shire) was influenced by Nepali folk songs. The long dharma horns that we usually see played by lamas before their sacrifices can be said to be one of their musical instruments, but they can also be said to be a dharma instrument of the temple, and the armor bell is also one of the dharma instruments. The French horn is a low-pitched wind instrument with only three tones in the scale. It is very primitive, has a rough and powerful tone, and has a sacred and majestic sound effect. Jia Ling is a high-pitched wind instrument with a soft and melodious tone. Due to the different playing methods, it is obviously different from the Suona. When the two parts of the horn and the bell are played together, it reflects the unique horizontal comparison characteristics of Tibetan melody, with no vertical interval relationship. The main types include palace music and dance, performed in the palace of religious leaders, with special emphasis on serious and deep emotions. The main tracks include "Snow Mountain Temple" (Chamdo), "Kashmir" (Shigatse, the melody originates from Kashmir. Reflecting the religious exchanges between Tibet and Kashmir), "Peacock Song" (Lhasa, praising and yearning for the beauty of a peacock) life) and so on.
Types of Tibetan folk songs
1. Labor songs: These songs are mainly spread in pastoral areas and are sung by people on working occasions.
Example: "This is how you milk a cow" from Lali area.
2. Gongbu Arrow Song: It is a heroic battle song of hunters, with a rich forest style and smooth and complete melody.
Example: "Beijing's Golden Mountain" is said to be influenced by the arrow song "Sign of the Day" (an ancient folk song in Linzhi area).
3. Duixue: A relatively mature singing method, it is the song and dance of western Tibet. In addition to the Zhanianqin, Duixie's accompaniments include dulcimer, Qudi, Huqin, Teqin and string bells, which have formed a fixed orchestration pattern and unique performance techniques.
Examples: "The Water of the Lhasa River" (Lazi, Shigatse), "How Broad the Sky is" (Dingri, Shigatse), etc.
4. Langma: Tibetan band performance method. Founded in 1795, the Doren Pandita Tenzin Party introduced it from the mainland. There are usually six people singing, and the music played is called Langma, which means internal (singing and dancing).
Example: "Song of the Snow Mountains" (Lhasa, lost).
5. Hundred: The war song was produced as early as the Songtsen Gampo period, and then became a custom. Bai's singing method is very unique, and his voice must be hoarse to show the warrior's heroic spirit of charging into battle. According to records in "History of Japanese Music" and "Music of Japan", ancient Tibetan music once spread to Japan, and some folk singing methods are very similar to those of Tibetan folk songs.
6. Wedding songs: Weddings are in harmony with youth. When entering the door, you should sing songs in praise of the door. When going upstairs, you should sing songs in praise of the stairs, toast songs, hada songs, bridal chamber songs, songs in praise of parents, songs in praise of the bride and groom, There are songs in praise of building houses, songs in praise of wine utensils, songs in praise of stoves, songs for sacrifices and songs to ward off evil spirits. The melody is humorous, cheerful and festive.
7. Funeral songs: Originated from the Tibetan native religion "Jilu Sect", it is religious music formed by absorbing folk music. It is usually sung by monks to the accompaniment of musical instruments such as daru drums, bells and leg bone trumpets.
Examples: "Chang Tiao" (Chamdo), etc.