A Case Study of Folk Songs in Traditional Areas

There have always been differences in musical styles between the north and the south. Like Liu Yong's graceful ci school, the songs in the south are gentle, delicate, subtle and beautiful. Northern songs are more like Tang poems written by Li Bai, generous and unrestrained. On the macro level, China folk songs can be divided into three major color regions: North, South and Middle. The color differences in each region are obvious, which are reflected in the comprehensive function of some formal elements. San Shi Li Pu, written by Xin Tianyou in northern Shaanxi in Song Dynasty, is a typical tune with northern tone color. Its formal characteristics are: corresponding to three up and one down four sentences (a variant of two sentences), six-tone scale deviation, wide palace rhyme structure of 5 12, and multi-purpose five-degree jump. The dialect pronunciation of the lyrics "I" is E, and the song is desolate. It is also a song named "Red Army Brothers Come Back" written by Xintianyou, which embodies the northern accent. Its morphological performance is similar to that of Sanshilipu: up-down sentence pattern, seven-tone band method, four-two partials, wide rhyme 623, multi-jump, and seven-degree jump in the spin method. Dialect vocabulary includes "chicken baby, dog baby" and so on; Words such as "le", "lai" and "bite" have dialect phonetic features, such as "bite" pronounced as "NIO" and "lai" pronounced as "le". The songs are open and generous. Wait a minute. Then randomly select some Nanyin folk songs, which are completely different in style, charm and form. For example, the Jiangnan minor "No Tin Scene" is a typical southern tone color. Its formal elements are characterized by the comprehensive use of five tones, narrow rhyme 56 1, 653 and small rhyme 123. Progressive spiral method, continuous development, four-sentence structure moving down gradually, exquisite and gorgeous melody decoration, soft and charming style. Wharf tune, also a Jiangnan minor, is slightly similar to the previous tune in color beauty and morphological characteristics, so I won't go into details here. When we arrived in Jingchu Hubei, the middle zone between the north and the south, the color of folk songs had another interest. Hubei is located in the border area between the north and the south of China, and its culture and music have a neutral tone of neither south nor north, thus forming its unique personality. Thousands of miles away, Qianjiang County, Jianghan Plain, wrote a barley song "Cui Dong Cui", which is a typical alto color. The whole song is composed of Dagong Rhyme 135 and its various forms of transposition and order change, with a clear and lively style and a combination of rigidity and flexibility. Shangchashan, a folk song in Yichang, Hubei Province, also has a alto color, and its melody and tone are similar to the previous one, adding a fresh Shan Ye charm.