Style characteristics of Shandong folk songs

Based on the historical investigation of the development of the longitudinal folk song style and the concrete analysis of the elements of the horizontal style, this paper discusses several important aspects that affect the Shandong folk song style in detail as far as possible, and tries to take care of the aesthetic characteristics of Shandong folk songs from different levels with the help of multidisciplinary and fruitful research methods. On this basis, several important singing skills and successful experiences of folk singers are recognized and summarized. It aims to provide some help for fully understanding the style and characteristics of Shandong folk songs and mastering the general skills of singing Shandong folk songs. The article is divided into seven parts. The first three chapters focus on cultural studies and are guided by historical aesthetics. The middle two chapters discuss the ontological characteristics of music style. The last two chapters focus on the application of basic singing skills. Writing ideas, aesthetic comprehension, music analysis, and concrete practical application. The first chapter expounds the potential influence of geographical environment on the style of Shandong folk songs. It is pointed out that the ecological situation of geographical relationship plays an important role in the choice of theme genre for folk song style transformation. The second chapter takes the historical evolution of Qilu Music Culture Zone as the breakthrough point, traces the origin of Shandong folk songs and recalls the national characteristics of the clan. The primitive totem reflects the difference and integration of the two musical cultures. On this basis, the deep connotation of Shandong folk song style and existing folk song style is compared and analyzed. The third chapter focuses on the aesthetic orientation and general personality characteristics of Shandong people's cultural psychology to form the style characteristics of folk songs. This paper analyzes the innate conditions of Shandong people's artistic expression motivation, summarizes the internal relationship between humorous personality and folk songs, and locates the lyricism of style. The fourth chapter starts with the phonology of Qilu dialect and comprehensively uses the achievements of phonetics, dialectology, phonology, artistic performance and other disciplines. Firstly, the melody and dialect tones of Shandong folk songs are compared and summarized, and then the pronunciation habits of Shandong people are analyzed to identify the nasal phenomenon of Shandong folk songs. It is pointed out that Shandong dialect provides favorable conditions for cultivating folk song style singers. The fifth chapter lays a theoretical foundation for the genre division of Shandong folk songs, and discusses three types of folk songs respectively. On this basis, combined with structural gyration and comprehensive demonstration of representative examples, it shows the stability and diversity characteristics of various folk songs. The sixth chapter combs the longitudinal historical development of Shandong folk songs, summarizes the long tradition of Shandong folk songs, and tries to lay a theoretical foundation for mastering playing skills. The seventh chapter focuses on the objective description and discussion of eight singing skills that express the style of Shandong folk songs, and provides methods to learn and master these skills from time to time. In the last part, the successful experiences of Shandong folk song performance artists and Shandong China national vocal music performance artists are summarized. Based on dialectical materialism and historical materialism, this paper links top-down abstract thinking with music reality, and at the same time studies aesthetic thinking from bottom-up music analysis, music aesthetic psychology and so on, and comprehensively considers ontology, epistemology and practical axiology to make qualitative and quantitative analysis of music style with multiple reference systems. In order to avoid generalizations, Shandong folk songs, a profound traditional culture and art, tend to adopt descriptive and open research methods.