A brief score of herdsmen's new songs?

New Songs of Herdsmen was written by Jane Guangyi in 1966 according to the tone of Zhao Mengmin's songs in Yike, Inner Mongolia. With its rich and fresh fo

A brief score of herdsmen's new songs?

New Songs of Herdsmen was written by Jane Guangyi in 1966 according to the tone of Zhao Mengmin's songs in Yike, Inner Mongolia. With its rich and fresh folk music style, cordial and touching melody and lively rhythm, the works show the scenery of Inner Mongolia prairie and a vibrant and gratifying scene on the grassland, and show the spiritual outlook of herders in the new period.

Creation background

1966 Jane Guangyi came to Zhao Meng, Inner Mongolia to experience life. She was deeply moved by the scenery of Inner Mongolia prairie and wrote this song. After the creation was completed, the work was in the era of "",and it had not been widely spread at that time. It was not until 1973 that it was officially broadcast on the radio and became a well-known flute melody. He was selected as one of the top ten national golden songs in China, and became the only flute selected as a teaching material of the United Nations for science, education, culture and health, which occupies a high position in flute music.

Music appreciation

The melody of the introduction part is very moving, and the natural sound series of feather mode fluctuates up and down and stretches freely. The melody is skillfully decorated by flute techniques such as pad, vibrato and sliding, depicting a specific artistic conception: endless grassland, green grassland, blue sky and white clouds, flocks of cattle and sheep ... The melody adopts the method of "changing the palace into the corner", that is, the "changing the palace" sound in the original tune is transformed into a new tune. There is a short out of tune in the middle, which adds bright and upward color to the infinite scenery of grassland. The exquisite performance of breath control and strength contrast also makes the beautiful melody more full of rich and exciting feelings. The first paragraph is a beautiful and affectionate adagio. The melody is melodious and smooth, showing a serene, happy and beautiful artistic conception. The rhythm of "Ma bu" or horse stance just look and the emphasis and application of feather-mode melody in the melody have rendered the scenery of northern grassland in China, which is full of charm of national folk songs in Inner Mongolia. It shows that herders ride leisurely on slow horses, sometimes cheerful and sweet, sometimes with their backs down inward, and sometimes excited and enthusiastic to sing about life and praise their hometown. When the first paragraph reproduces the theme melody, it is Allegro Jumping. The adagio melody changes, the tempo changes, the speed increases, and the melody is lively and jumping. With the skills of enunciation and jumping rhythm, it depicts the happy scene of herdsmen riding horses, thus revealing the artistic conception of the theme from another side and vividly showing the happy scene of herders whipping Ma Benteng like the wind.

In the second paragraph, the rhythm of the theme sound is widened, and the musical thinking is developed into four small segments, each of which is a square with sixteen bars. In the development of musical thinking, there is a relationship of enlightenment, inheritance, turning and combination, which is rich in the structural characteristics of multi-voice national tradition. Each short melody has integrity and singing, and the melody stretches warmly, which deeply expresses the magnanimous mind of the rider on horseback and the enthusiastic praise of the herdsmen for socialism, adding to the heroic momentum of the whole song. In particular, the melody of the third paragraph forms a clever contrast with the whole song with its high-pitched tone and bright palace tune, which makes the music artistic conception by going up one flight of stairs. The third paragraph is the incomplete reappearance of the first paragraph. Through the use of tongue and flying fingers, the theme appears in a more cheerful atmosphere, vividly simulating the vigorous and heroic posture of a fine horse whistling and swinging its mane. At the end, the mood was even more intense. With the rapid advance and strong rhythm of 16, Ma Benteng roared, rendering a warm atmosphere of people screaming on the vast prairie ... After the allegro was transferred, the tonic fell back to feathering mode, making the music end with * * * *.

Social value

"New Songs of the Herdsmen" has absorbed a variety of playing skills, which not only has the bright, flexible and hearty style of northern bangdi, but also has the characteristics of mellow, subtle, lyrical and soft in southern Qu Di. It is a great innovation in the history of flute playing. With its unique charm of "male and female, strong and weak, rigid and soft, crazy and elegant, spiritual and clean", it has become a masterpiece of flute music, which has been compiled into the music teaching materials of UNESCO and is also the reserved repertoire of China Radio Art Troupe.