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Folk Songs Local Color Debate

I. What is Local Color?

The local color of Chinese folk songs is an important feature of the style of folk songs, which also involves the basic style of Chinese music, and has gradually become a more popular topic in musicology teaching and research work.

The so-called color is a term borrowed from painting to express the overall experience of the aesthetic characteristics of music. The local color of folk songs implies the unique musical personality of the folk songs in a particular region. Folk songs in different places have different personalities, which constitute different aesthetic effects, thus forming a wide variety of "local color".

The formation of local color is closely related to cultural elements. China is a vast country, with great differences in natural geography and unbalanced levels of economic and cultural development, which have led to the formation of different characteristics in language, customs, aesthetic psychology and literary traditions, and the combined effect of these cultural factors on the aesthetic interests of the local people and the form of folk songs has resulted in the formation of diversified and multi-layered differences in color.

The formation of the color of folk songs has been ancient, as early as in the pre-Qin, Han and Wei Dynasties, Chinese folk songs have a south sound north sound east sound west sound of the difference, and later there is a more Chu sound Cantonese song Wu song Qin sound difference. This phenomenon still exists today, very much like the Chinese dialect culture, folk songs from all over the world also have their own unique "musical dialect", so as to show its local color.

The richness and beauty of the local color of Chinese folk songs are difficult to be compared with those of other countries in the world, which is the artistic expression of China's heavy historical and cultural deposits, and is one of the important attributes of folk music and one of the important reasons for its popularity among the people.

It is not difficult for people who know a little bit about music to feel the color difference of folk songs from all over the world, but generally they can only stay in the state of observing the flowers on the other side of the river and watching the moon in the fog. If you want to make a detailed distinction and accurate identification, and can say some basis and reason, to achieve a rational grasp, even as a professional research scholars are not easy. The reason for this is that people have not yet made a more specialized and detailed inquiry into the specific form of the expression of the color of folk songs, and they lack the means and methods of rational analysis.

This paper intends to make some preliminary theoretical analyses around this topic, in order to deepen the understanding of the essence of folk music by knowing the color characteristics of the folk songs both by heart and in words, and by knowing both what they are and why they are.

As an art form mediated by music, the aesthetic experience of folk songs is firstly grasped by the comprehensive effect of some formal elements. Therefore, if we want to solve the mystery of local color, we must first analyze the formal representation of the color of folk songs.

Second, the folk song color of the formal representation

Folk song is a comprehensive art of music and literature, the folk song of the aesthetic experience and local color is mainly expressed in the specific characteristics of the elements of the musical form, and the characteristics of the lyrics, usually as a secondary analytical factors. In terms of musical form, it mainly involves the characteristics of scale, structure, pitch, meter, melody and other elements, and in terms of lyrics, it mainly involves the characteristics of dialect vocabulary, liner notes and vocal rhyme and tone. The characteristics of any of the above elements in the form of lyrics and songs, or the combined effect of the characteristics of multiple elements, can constitute the individuality of the color of folk songs and their changes, and these elements are the rational basis for the analysis of the local color of folk songs. The following is an example of the analysis of two folk songs, from which we can understand the specific expression of the local color of folk songs and the basic method of analysis.

1, Shanxi Zuoquan folk song "Cherry is delicious, hard to plant", this song is the color of the "northern sound" works, its specific form is characterized by: six tones with the palace, wide plosive rhyme of the tonal structure of 623, the corresponding nature of the upper and lower sentence structure, the spinning method contains six degrees of the big jumps, the dialect singing word "open" of the "open".

2. Sichuan folk song "Kangding Love Song". This song is a work that embodies the color of Nanyin, characterized by the following specific forms: the pentatonic scale, the four-string structure, the tonal structure of the narrow plosive rhymes 612 and 356, the gradual progression of the melodic method, and the use of Sichuan's unique dialectal liner notes, such as "running horse slipping and slithering", etc.

This song is the first of its kind in the world to be written in Sichuan.

The two folk songs respectively reflect the local color personality of China's northern and southern tones, in the aesthetic experience, the northern song has a long and lofty beauty, the southern song for the soft and gentle beauty, from the above analysis can be seen, the north and south of the folk song music is not the aesthetic color difference is not vague and elusive, it is specific and clear by the scale, the structure, the tonal spinning method and the dialect rhyme rhyme all elements of the features of the integrated role and reach. We have the possibility to analyze and grasp it rationally from the detailed analysis of the formal elements of the words and songs and their characteristics.

Both local color and geographic characteristics and the scope of the region are indispensable parameters. Folk song local color is always associated with a specific regional scope, different regional scope of the folk song, the concentration of its color performance is different, the composition of the color of the form of parameters also have the corresponding complex changes. In this way, the specific expression of folk song color is multilayered and diversified, requiring specific analysis according to local conditions, and cannot be simply generalized. In the comprehensive participation of these complex factors, there is still a certain law to follow.

Third, the regional color of the local folk songs

Chinese have a household saying called "it's hard to change the accent of the township", the ballad has a cloud: "ten miles of different winds, five miles of different tones," "gongs and drums out of the countryside, each is the accent of each". The folk song says, "Ten miles have different winds and five miles have different tones", and "The gongs and drums do not go out of the townships. It can be seen that even between different townships, their dialects and folk songs also have different colors, which is certainly a very extreme example, but also shows that the color of folk songs is combined with the region and embodied, with universality and diversity. For the convenience of explanation, this paper only intends to make some theoretical analysis and discussion from a wide range. According to the different geographical areas, the color of folk songs can be divided into multiple levels of color areas to be recognized. The general rule is that the larger the area is, the more distinctive the individual color of folk songs and the more obvious the differences are; on the contrary, the more vague the individual color is and the more subtle the differences are. Therefore, the area of the region is inversely proportional to the color concentration. Accordingly, when analyzing the colors of different regional folk songs, the analysis parameters used will change. The basic principle is that the color area and analysis parameters are inversely proportional to the relationship between the color area, that is, the larger the area of the color area, the more obvious the color of the folk songs, the analysis of the form used in the less parameters, the analysis method is more rough; on the contrary, the analysis of the parameters to increase, refinement.

For example, if you look at the color of Chinese folk songs from the macro level, you only need to consider the characteristics of the three factors: scale, structure, and tone, and then you can clearly identify them. The northern songs are mostly in six or seven tones, with a more standardized structure of upper and lower stanzas, and the tones are mostly in large and wide rhythms (135, 512). From the meso level to see the differences between the provinces and regions within the north and south, due to the use of the same scale, tone and structure, it is necessary to add more and more detailed formal parameters such as spinning method, Runya, etc. to make a deeper level of division, in order to find out the color of the differences between them. And so on and so forth.

The following combines the specific examples of the color area of folk songs to recognize the specific elements of its formal expression, and puts forward some preliminary analysis techniques and methods.

(I) Color differences between north and south (macro level)

From the macro level, Chinese folk songs can be divided into three major color areas: north, south and central, with obvious differences in the color of each area, which are specifically reflected in the combined effects of some formal elements.

The song example 3 Shaanbei Albatross "Thirty Mile Shop" is a typical tune of the northern color, its form is characterized by the following features: the corresponding three-on-one and four-phrase style (a variant of the two-phrase style), the six-voice scale with the FA deviation, the wide-gallery rhyming structure of 512, and the spinning method of five-degree jumping in. The lyrics "I" are pronounced as E in the dialect, and the mood of the song is bleak and desolate.

Also reflecting the color of the northern sound of the albatross "brother of the Red Army is back" song, the form of the character and the "thirty-mile store" is the same: the upper and lower sentence body, with FA, SI two partials of the seven-tone scale, the wide Shang rhyme 623, more jumps, spinning method of the use of the seven degrees of the big jumps. Dialect vocabulary includes "chicken wazi, dog wazi", etc. The words "了、来、咬" are characterized by dialectal sound and rhyme, such as "咬" is pronounced as "NIO" and "咬" is pronounced as "NIO". NIO" and "LE" for "come". The mood of the song is open and generous. The first is the "NIO", the "LE", and the "NIO".

And then casually some of the Nanyin folk song works, its style and flavor and form of representation is very different. Such as the Jiangnan ditty "Wuxi Jing" for the typical Nanyin color. Its formal elements are characterized by the pentatonic scale, the comprehensive use of the narrow levy rhymes 561, 653 and the minor rhyme 123. The melodic style is characterized by the gradual progression of the melody, the continuous development and gradual downward movement of the four-string structure, the delicate and gorgeous melodic embellishments, and the soft and charming style of the melody.

The "Dock Tune" is also a minor tune of Jiangnan, and its colorful beauty and morphological characteristics are slightly the same as those of the previous piece, so I will not repeat them here.

To the north and south of the intermediary zone of Jingchu Hubei, folk song color and another interesting. Hubei is located in China's north-south border zone, its culture and music are not south or north, also south and north of the neutral tone, thus forming its unique personality. The song "Cui Dong Cui" of Qianjiang County in the Jianghan Plain of thousands of miles is a typical example of alto-colored music, with the whole song in the form of 135 three-note cadences in the big palace rhyme and its various transpositions and sequences, and the style of the song is bright and lively, and is compatible with rigidity and softness. Hubei Yichang mountain song 〈on the tea mountain〉, also with alto colors, melodic tones and the above song is much the same, adding a fresh mountain charm.

(2) Color differences between different provinces in the south (meso-level)

The differences in the colors of folk songs between the north and the south of China are obvious, so are there any color differences between the folk songs of the provinces within the south or within the north? Of course there are, as the color of the folk songs of the sub-level embodiment of the color of the folk songs around the color differences tend to be slightly weaker, but there is still a clear line of reasoning between them. Now take the two provinces of Sichuan and Yunnan as an example for a brief analysis.

The two provinces are geographically close to each other, with a lot of music and cultural ****, and the folk songs have the most basic features of the Nanyin, such as the pentatonic scale, the core tone of 613 rhymes, and the typical structure of the four-sentence system. But the two provinces because of the specific melody of different preferences, and the formation of color differences. Sichuan folk songs mostly use the zigzag jumping spinning method, so it has a few spicy mood, such as the popular Sichuan Yibin rural ditty "Embroidered Lotus Bags", which adopts the small feather sound rhyme of the sequence of zigzagging spinning method 631, and the musical repertoire follows the tone of the dialect to become a cavity, such as "satin", etc. The dialect liner notes "clothes", "clothes", "clothes", and so on. The extensive use of the dialect liner notes "衣儿牙儿哟,猪儿嘎,金刚梭罗妹" reinforces the local color of Sichuan. Yunnan folk songs favor the downward scale type of progressive spinning method, more charming and soft style. Coupled with other musical forms and the dialectal characteristics of the lyrics, the color differences are still clearly distinguishable. For example, the "Horse Releasing Song" adopts the typical downward scale melodic method, 3216, which is fixed at the end of the phrase, giving people a strong impression.

(3) Color differences within the provinces (micro level).

The local colors of folk songs are not only reflected in different provinces and regions in the north and south of China, but even within the same province and region, there are subtle color differences due to differences in geography, dialectal tones and traditional aesthetic habits. Hubei Province, for example, is a good example to analyze and illustrate. If we travel around Hubei and listen to the local music, we can feel the richness of its colors, or with the southern flavor, or with the northern flavor, or with the colors of Southwest Sichuan, or stained with the rhythms of the Yangtze River East Wu, the realm of things change, the music is also different from its interest. Really colorful, colorful. According to Hubei folk song expert Professor Yang Kuangmin study, Hubei folk song can be divided into five color area:

1. southeast E color area now Xianning area, to narrow rhyme tone [SOL LA DO], [LA DO RE] distribution of the most, spinning method is often a small six degrees, pure four degrees of jumping into the. 2. [Northeast E]: today's Huanggang and Xiaoqin two areas, mostly low hills, with the cause of the scenery of Jiangnan. Influenced by the culture of Jiangnan, the music style favors gracefulness. The tone of [SOL LA RE] is dominated by the sound of "Kuan Zheng". It is only separated from Southeast Hubei by a river, but the tone and melody of the folk songs have a clear difference in color. 3. South Central Hubei: Jingzhou area, known as the Thousand Mile Jianghan Plain, the land of rich fish and rice. Geographically, it is close to Xiangyang in the north and Dongting Lake in the south. The tone of the song is based on the "Dagong sound rhyme". The voice is gorgeous and beautiful.4. Southwest Ezhou is now Yichang and Enshi two areas. The whole area has overlapping mountains, canyons, dangerous terrain, inconvenient transportation, and the language is very uniform, belonging to the Southwest Mandarin area, which is the same as the East Sichuan dialect. Tone "narrow feather" sound rhyme [LA DO RE] melody for the typical style.5. Northwest E now Xiangyang and Utopia two areas, located in China's north-south convergence line slightly south, natural landscape both north and south scenery, local people's lives and customs also both north and south characteristics, music style on the basis of compatibility, slightly more in favor of the north of the central plains of flavor, the ancient people said that the local people "more than one", the local people are "more than one". Ancient people said that the local people had "many Qin sounds and good Chu songs". Folk song melody emphasizes the four degrees of jumping in, the style is more lively and cheerful, with the flavor of the northern sound. Five regions in Hubei are popular a "ten embroidered purse" ditty, sung around the same words, but due to the influence of different local cultures, melodic forms such as modulation, melodic intonation, etc. are formed accordingly different styles

, reflecting the local color of the five districts, it is really a mishmash of five sounds, a riot of colors.

The local color of folk songs is a very complex musical phenomenon and the field, a more in-depth study will involve a variety of musical and cultural factors, this paper's preliminary discussion, if it can deepen people's understanding of the qualities of the folk songs, triggering a more sophisticated study, it is fortunate.

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