Characteristics of Tibetan Songs

Among the Tibetan folk songs, only the mountain songs are pure song bodies, which are only sung but not danced. Then there are Lhasa folk songs, LinYiGongBu folk songs (arrow songs), and wine songs, love songs, wedding songs in various regions, etc., all of which are an important part of folk music. It borrows and absorbs from each other with court music and temple religious music, constituting the main body of today's Tibetan folk music and forming a unique artistic style. When one understands the process of the creation and development of Tibetan music, it is easier to master the style and technique of folk songs. Mr. Li Ling, a musician, has said that it is wrong to think that the use of ethnic instruments basically solves the problem of ethnic style. Singers should also take this as a lesson. In order to sing a national song well, it is not possible to understand the history of its national music development, or to think that just by listening to a Tibetan song and imitating the ornamentation on the voice, even if one has mastered the style of the Tibetan folk songs, it is also not right. There was a singer who sang a song written in the tone of a Tibetan folk song, and because he did not master the style and characteristics of Tibetan folk songs, he sang the accompaniment pattern of the ornamentation as if it were the style of a Tibetan song, and it was not a joke.

The main characteristics of Tibetan folk songs are active and warm, simple and lyrical and beautiful. Sound requirements should first be natural and smooth, in the stronger style of the song, er appeared to use the throat to control the voice. This singing method in the folk called "pillow solid", which means that the voice of the inflection, is a special vocal decorative techniques. Such as Rangma, Tibetan opera singing in the use of pillow solid this technique, mainly to emphasize the style of color changes, which is also inseparable from its national language, Tibetan has a tight tongue tone, is different from the Chinese language. If we sing Tibetan songs in Mandarin, first of all, we should master its musical characteristics of that style of song. Generally are Lhasa folk songs, from the language, the Tibetan language to Lhasa language, Lhasa music is equally representative, but also the easiest to master. Such as "Dagara", "Sangji Zhuoma" and some other excellent songs, is the most characteristic Lhasa folk songs. Singing this kind of songs, the voice should be bright, lyrical, natural, there can not be any support, blocking, pressure, squeezing feeling, breath should be very smooth, can not use the throat to control the voice, because Lhasa folk songs are different from the Langma and Tibetan opera singing.

In summary, whether it is Tibetan court music, temple chanting, or Tibetan hostile song series, from the music and culture phenomenon, they all influence each other, learn from each other, and absorb each other. Tibetan court music, because it only serves the court, the form of monotonous, and thus the circulation surface is narrower, but it is the kind of graceful and noble, deep and subtle tunes formed its unique singing style and skills; temple aria, although the lack of melodic, but in the method of vocalization but it is unique; and the most circulated when pushed the Tibetan folk songs, it can be said that in every corner of Tibet can be heard in these styles, colorful It can be said that these folk songs can be heard in every corner of Tibet in different and colorful styles. It should be said that Tibetan folk songs are an important part of Tibetan music. The author only wants to outline a rough outline of Tibetan music and folk songs by discussing the above three aspects. As we continue to explore these issues, there will surely be newer developments in mastering the singing styles and techniques of Tibetan folk songs.