An analysis paper on the regional cultural characteristics of folk songs
Abstract
Folk songs, in a certain sense, are the characteristics of a region and a nation. Symbols and markers of values. Southern Liaoning folk songs (Xinjin folk songs, Jinzhou folk songs) not only have the characteristics of Northeastern folk songs that are popular, enthusiastic, high-pitched, and upright, but also incorporate elements of Manchu shaman song and dance and Shandong folk songs, reflecting the distinctive regional cultural characteristics of southern Liaoning.
Keywords
Folk songs; Folk art forms and unique cultural forms passed down orally and from generation to generation most truly and profoundly express the feelings, will and wishes of the people, and in a certain sense have become symbols and markers of the character and values ??of a region and a nation. . As a branch of Northeastern folk songs, Dalian Xinjin folk songs not only have the characteristics of Northeastern folk songs that are popular, enthusiastic, high-pitched, and upright, but also incorporate elements of Manchu shaman song and dance and Shandong folk songs. Jinzhou folk songs with various genres also reflect the distinctive Liao style. Southern cultural characteristics.
1. The basic types and artistic characteristics of folk songs
Folk songs, that is, folk songs, are collective oral creations and oral transmissions of working people in production and labor for thousands of years, and have been passed down through continuous What is processed, transformed and refined is the crystallization of the collective wisdom of the working people, with strong local color and national characteristics. Generally speaking, traditional folk songs have two major functions: practicality and entertainment. According to different occasions, different functions, different expression methods and musical form characteristics, they can be divided into six categories: chants, folk songs, minor tunes, chant tunes, dance songs and drinking songs. Big categories. Among them, chants, folk songs and minor tunes are important categories of Han folk songs. Haozi is used in the process of production and labor, and workers sing in harmony with the rhythm of labor and rhythmic body movements; folk songs are used for working in the mountains, leisure, or socializing; minor tunes are used for leisure and entertainment, or for relaxing work; chant tunes are used for Folk hawking, mourning, poetry reciting, coaxing children, crying for marriage and other activities; dance songs are used in folk song and dance performances in festivals and daily activities and rituals, which are a kind of singing that integrates dance; drinking songs are used when gathering to drink. The songs sung are an important part of our country's ancient etiquette culture.
2. Types and artistic characteristics of Northeastern Han folk songs
Northeastern folk songs refer to Northeastern minor tunes spread in the three northeastern provinces, which are divided into folk songs, shaman tunes, song and dance songs, etc. Northeastern Han folk songs mainly include labor chants, folk songs, field songs, minor tunes, etc. The lyrics of Northeastern Han folk songs are poetic expressions of the language used in the lives of the Northeastern people. They have distinctive regional characteristics. They often use interpolated words and lyrics, and often have a certain narrative nature. They reflect the cheerful and forthright character and rich taste of life of the Northeastern people. In particular, the use of dialects in the lyrics highlights the regional characteristics of Northeast China. The mode of Northeastern Han folk songs is mainly minor, with high and loud tones, broad melody, cheerful rhythm, long charm, and relatively upright use of voice. At the beginning of songs, the expression technique of repetition or homophonic repetition is often used, and expression techniques such as "filling in flowers" and "condensation" are also used. Representative repertoire such as "Northeast Wind", "Little New Year Greetings", "Lullaby", "Back to My Mother's Home", etc.
3. The artistic characteristics of Dalian Xinjin Folk Songs
Dalian Xinjin Folk Songs originated in Xinjin County (now Pulandian), integrating folk songs and minor tunes and influenced by Manchu shaman songs and dances. Single-drum music, Ying Tiao opera from Luanzhou, Hebei, local folk drum music and "Errenzhuan" in Northeast China, as well as Shandong folk culture and other factors. Xinjin folk songs not only have the characteristics of Northeastern folk songs that are hot, enthusiastic, high-pitched, and upright, but also have the characteristics of Shandong folk songs that are simple, mellow, humorous, and interesting. At the same time, under the influence of shadow opera, they also have a delicate, tortuous, and tactful charm. Xinjin folk songs are rich in genres, mainly including minor-key yangko, single-drum music, shadow puppet music, labor trumpets, ancient songs, and new folk songs.
Most of the Dalian Xinjin folk songs are in major mode, short and concise, with high-pitched and loud tones; some are in minor mode, used to express witty and humorous emotions. Xinjin folk songs are generally sung with a real voice, often using lining tunes, lining words and throwing tunes, requiring clear enunciation and beautiful mouth shapes. In terms of singing forms, it is divided into solo singing, duet singing, and "one person leads, everyone joins in" and so on. There are also some folk songs that combine singing and speaking, and interact with the audience. The accompaniment instruments of Xinjin folk songs mainly include dulcimer, sanxian, ruan, flute, erhu, banhu, suona, percussion instruments, etc. The content mainly includes singing about the love between men and women, the joy of labor, the scenery of the four seasons, the beauty of home, etc. Representative works include "Selling Dumplings", "Paper Mountain", "Plum Blossoms Are Blooming Well", "Guess the Flower", "Flowers Blooming in Four Seasons", etc.
IV. The artistic characteristics of Jinzhou folk songs
Jinzhou folk songs have various genres, including minor tunes, labor chants, Yangko tunes, single drum tunes and other miscellaneous tunes. The tunes of Jinzhou minor are smooth, its mode is mainly pentatonic scale and heptatonic scale, and its rhythm is mostly 2/4 time and 4/4 time. The main singing forms include solo singing, chorus singing, duet singing, etc. Jinzhou Labor Haozi, also known as Hai Haozi, is generally of medium speed and has sonorous and powerful tunes. It clearly reflects the bold temperament of Jinzhou fishermen. According to different divisions of labor, Jinzhou labor chants mainly include fishing chants, oar chants, tugboat chants and other types. Jinzhou Yangge tune is a kind of folk tune with singing and dancing, such as "Looking at the Doll", "The Little Widow Watching the Lantern", "Looking for Lover", etc. There are also narrative tunes based on folk stories, such as "Ten Ten" "Eight Phases Farewell", "Liang Shanbo and Zhu Yingtai", etc. Jinzhou Dangu Tune is also a form of singing and dancing music. It was initially mainly used for religious activities such as worshiping and dancing to gods, and then gradually evolved into a form of folk entertainment. In addition, local artists have developed a so-called Zaqu style by combining Errenzhuan, Jinzhou Yingdiao, Dagushu and other tones. In addition to the above-mentioned Jinzhou Yangko tunes, representative works include "Selling Bianshi", "Turn Off the Lanterns", "Second Girls Pay New Year's greetings", "Little Widow Watching the Lantern", "Four Seasons Tune", etc.
In short, Liaonan folk songs not only have the overall characteristics of Northeastern folk songs, but also incorporate Shandong folk culture and other elements. regional cultural characteristics. ;