Song classification of Mongolian songs

First of all, it is narrative folk songs. This kind of folk songs include narrative songs, ancient hunting songs, pastoral songs, banquet songs and so on. This kind of folk songs, while describing things, express the emotional color of folk songs, either praise or depreciation, or joy or sadness. Music melody is mainly based on song content or singing environment or plain description, or intense and cheerful, or depressed and deep.

1. Ballad. Narrative song is a large-scale folk song genre with complex plots and many characters, which first appeared and developed in the semi-agricultural and semi-pastoral areas where Mongolian and Chinese lived together in the past hundred years. Its formation process has its profound political, economic, ideological and lifestyle reasons. From the perspective of national art, Mongolians have always been good at reflecting their lives with huge and epic art forms and shaping their lofty heroic images. For example, as early as14th century, there were ancient narrative folk songs among Mongolian folk songs, whose main content was to praise the legendary story about Genghis Khan. It should be said that this fine tradition of national art undoubtedly provides rich nutritional value for the emergence and development of modern long narrative songs. At the beginning of this century, the Qing government carried out the policy of "emigrating to the real border" in Inner Mongolia, reclaiming grasslands and plundering land. In order to defend their hometown, the Mongolian people took up arms and held an armed uprising, which violently impacted the reactionary rule of the Qing government. At the same time, the Mongolian people vividly sang and reproduced these epic uprising struggles with the genre of long narrative folk songs. Gadamer, a long narrative song, is an excellent representative of this kind of songs. Gadamer's long narrative folk songs are flexible in form, vivid in language and full of life. Its music is characterized by short and square tunes, close combination with language and strong rap.

During the Qing Dynasty, due to the cruel exploitation of the landlord class and frequent famines, many Han farmers left their homes and flooded into Mongolia from neighboring rural areas of Shandong, Hebei, Shanxi and Shaanxi to make a living. In the productive labor of * * *, the people of Mongolia and China have forged a profound friendship. With the influx of farmers of Han nationality, the politics, economy and culture of Han nationality also followed, and affected the development of Mongolian grassland area. The fast-developing trend of the times also impacts people's thoughts. It is against this background of social change that ballads of storytelling have developed into a mass folk song genre in agricultural areas and semi-agricultural and semi-pastoral areas where Mongolian people live in concentrated communities. This kind of folk songs are square in structure, regular in syntax, cheerful in rhythm and much shorter in tune than pastoral songs. Therefore, in form, people call it short songs or short-tune folk songs.

The social life reflected by narrative folk songs is extremely diverse. First of all, the strong folk songs that reflect the Mongolian people's resistance to imperialist aggression and expose the evil behavior of the feudal ruling class in modern history, as well as the revolutionary historical folk songs produced in the revolutionary struggle under the leadership of the Production Party, are the essence of the inheritance of Mongolian folk songs. Li Hongzhang, a popular revolutionary historical folk song, came into being under such a social background:

2. Ancient hunting songs. Hunting song is a kind of folk song sung by hunters when hunting in deep mountains and dense forests. /kloc-Before 0/3rd century, the Mongolian ancestors living in the Ergon Valley on the present Sino-Russian border used hunting as their main mode of production and labor. The production of hunting songs is closely related to the hunting and productive labor of Mongols in primitive society. In order to catch more prey, they should issue a call and cry for Qi Xin to work together to boost morale and unify hunting operations. This cry is the most primitive art of Mongolian people-hunting songs. A lot of singing and dancing are combined. The hunters sang and danced, imitating the movements of all kinds of birds and animals captured by them. For example, the hunting song and dance "Hunting Wisdom", which has been circulating in Horqin, Inner Mongolia, belongs to this primitive hunting song and dance. Usually two people dress up as hunters and animals, and there are songs and dances in the performance, which is very lively and interesting

3. Pastoral style. As early as more than 700 years ago, due to the unification of the Yuan Dynasty, all parts of the country reduced the disasters caused by war. With the economic prosperity of all parts of the country and the implementation of the measures of Yuan government to support the development of animal husbandry economy, Mongolians scattered in the west bank walked out of the mountains and migrated to the vast grasslands. In the long years, with the transformation from hunting to animal husbandry, they expressed their feelings about social changes, magnificent natural landscapes and surrounding living environment with a long and slow rhythm and a free and rough voice. Grassland pastoral, a new genre, came into being and developed under this background of life. In a long historical period, pastoral has occupied the dominant position of Mongolian folk songs and formed the typical style of Mongolian music.

As a genre of folk songs, pastoral is a mirror of Mongolian nomadic life. It reflects many aspects of social life. Singing grasslands and praising horses are common themes in pastoral songs. Therefore, it is natural for Mongolians to concentrate on singing grasslands and horses in pastoral songs. For example: vast grassland, countryside and so on. As can be seen from the above song, the pastoral is generally characterized by high notes, free rhythm, ups and downs of melody, rich colors and strong lyricism, and it is a representative grassland pastoral.

4. Banquet songs. Banquet songs are also called wine songs. Banquet song is a kind of singing genre with strong life customs that Mongolian people sing when drinking or feasting. Especially when Nadam convention or grassland wedding is held on the grassland, it is singing and dancing. For example, the song "Golden Cup" has a beautiful melody and a strong local flavor in Ordos. This is a well-known wine song, and almost every Mongolian can sing it. Its tunes are concise and stretched, and its musical image is outstanding. In the first sentence, "A golden cup of wine overflows with fragrance" was sung steadily, followed by a warm and cheerful episode of "Sailal White Knocking Competition" in the second sentence, which raised the artistic conception of the song to a higher level. The third sentence sang "Let me be together …", and the melody reached its climax, followed by a warm and cheerful lining, which made the joyful atmosphere reach its peak.

Followed by lyric folk songs. This kind of folk songs include bitter songs, hymns and love songs. The vast number of Mongolian people have tasted the hardships and sufferings of life in different historical periods. In addition, due to the different living environment, special occupations and customs, everyone's psychological feelings are different. This kind of different psychological feelings, revealed or vented in the form of folk songs, are lyric folk songs that express all kinds of true feelings. Because it is related to the region and climate where the Mongolians live, this kind of songs mostly express various feelings in a long tone. Melody is melodious, long and soothing, singing is loud and exciting, and all kinds of feelings are expressed incisively and vividly.

(1). Bitter song. For centuries, the Mongolian nation has experienced countless sufferings, and continuous wars and endless hard labor have caused people's suffering; The primitive feudal marriage custom led to the pain of distant married girls missing their relatives in their hometown; The pain of migration caused by the sale of pastures and rural areas by princes and nobles and so on. In this social background, a large number of bitter songs have been produced. Its classification is as follows:

1) conscription songs. This type is mainly manifested in the fact that soldiers and laborers who have been recruited into the army complain about the suffering caused by war and labor, and express their feelings of being tired of war, enslaved and homesick. There are also some songs about their parents, wives and children missing their distant relatives. Among them, many ancient soldiers' songs are the most precious, such as Noriegema and Dinkel Zabu.

2) Marry a distant bitter song. Mongolians live in a clan society. In order to maintain the purity of their blood, they strictly implemented the system of intermarriage, forming the custom of distant relatives. Over the years, this marriage custom has continued. In modern times, the reason for marrying far away is far from "pure blood", but it has a strong economic and political color. Far marriage brings endless pain to girls. They get married alone in a strange place, struggle to be wives, and miss their relatives in their hometown infinitely in extreme depression. So they shed blood and tears in their hearts and sang a sad song about distant marriage.

The art of marrying far away is very high. It is characterized by beautiful and smooth melody, stretching rhythm, delicate and euphemistic emotional expression and sincere and touching artistic features. The homesickness and distant marriage genre of bitter songs, with rigorous musical structure and rich and bold use of modes, often develop tunes by analogy. Therefore, it has rich internal driving force. Works such as Derigerima, Novendgia, etc.

(2). Hymns. Praise songs are folk songs sung by Mongolians at Nadam Conference or other public gatherings and celebrations. According to its content, hymns can be roughly divided into the following categories:

1) ode to the hero. This kind of folk songs has been accompanied by the development of Mongolian nationality since ancient times, which fully embodies the Mongolian tradition of advocating heroes, such as Ode to Genghis Khan. This hymn warmly praises Genghis Khan with its solemn feelings and high-pitched and passionate tone. He spoke highly of Genghis Khan's great achievements in unifying Mongolian ministries. This famous song, which is popular in Xilin Gol region, is a typical representative of hymns in both content and form.

2) Hymn of the steed. Horses occupy an important position in the lives of Mongolian people, far exceeding the meaning of livestock and tools in people's minds. Therefore, horses have long been worshipped and praised by Mongolian people as gods. These songs are not only abundant in quantity, but also rich in words and beautiful and moving tunes, reaching the level that it is difficult to translate them properly in other national languages. Widely circulated "jujube", "hairy horse" and "little Huang Ma".

(3) Hometown hymns. It is an ode that people express their love for life and hometown and sing from the heart. This category can be divided into songs written by people who have lived in their hometown for a long time to praise their hometown; A song written by a wandering wanderer who left his hometown and missed his hometown and expressed his grief in a foreign land. The former is the Eight Banners of Chahar and my hometown, and the latter is the high Xing 'an Mountains.

The girl sang a song. In the eyes of Mongolians, the purity and beauty of girls are often regarded as a symbol of beauty. This kind of songs are full of touching poems and beautiful melodies. Works by Zibu Ghehiri, Uudai and others.

(5) Hymns of the Four Seasons. This is a folk song genre created by people praising the scenery of the four seasons in nature. The song describes the alternation of four seasons and scenes of people's production and life, and is full of love for nature and life. This type of folk songs can be seen everywhere. Almost every Mongolian inhabited area has a unique style of four seasons songs.

3. Love songs. This genre of songs is the most part of Mongolian folk songs, and its expression techniques are also extremely rich. Its main content is to express the feelings of missing between men and women and people's unfortunate experiences in love life. For example, for a long time, bound by feudal ideas, many young men and women could not achieve a beautiful marriage, and it was difficult to get together in love, and many love tragedies like Senjidema appeared. In addition to the above-mentioned sad and tragic types, love songs also include songs of falling in love and missing. They focus on expressing their passionate love. Generally, the first person technique is used to sing admiration and affection for each other with vivid words. The language is gorgeous and simple, which embodies sincere feelings and is accompanied by a stretching melody. Its representative figures are the Moon and Lilac Bohr in the Tenth Five-Year Plan.

Mongolian folk songs are a huge art treasure house, which is not only a valuable treasure of the Mongolian nation, but also a rare treasure in the cultural treasure house of all mankind. Therefore, no matter from what angle, it is of great research value.