The formation of northeast folk customs has a close and inseparable relationship with the geographical and humanistic environment in Northeast China. Northeast folk music has a long history and culture, which has nurtured Manchu, Hezhe, Xibo and other national cultures, and later absorbed Mongolian, Han, Korean and Hui cultures, providing rich soil for the development of northeast folk.
Northeasters are characterized by humor and wit, and have the evaluation of "liveliness, beauty, waves and entertainment". Many songs often show this characteristic of northeast folk incisively and vividly. Many Han people in Northeast China come from northern provinces such as Shandong and Hebei. Together with the nationalities in Northeast China, they created and developed northeast folk with unique style.
Northeast folk is pungent, bright, hot and rough, which vividly embodies the warm, generous and simple character of the people in Northeast China.
The expression comes straight to the point, with little embellishment, beautiful melody, natural fluency, simple language and straightforward feelings. After a long period of development and evolution, northeast folk has gradually integrated into the life of every working people and become an important part of their working life.
To put it simply, northeast folk songs are the general name of Han minor popular in kanto region. Minor has a long history, also known as "ditty", "slang" and "seasonal tune". It is a kind of folk song that people use to express their feelings and entertain themselves in their daily lives and weddings. It has the characteristics of balanced structure, regular rhythm, delicate and soft tunes. It has the widest distribution, the largest number of places and the strongest representation.
Northeast folk is divided into folk songs, dance music and shaman tune. Lively and lively, with local characteristics and high artistic value, it occupies an important position in China folk songs.
Folk songs are divided into long tunes and short tunes. The long tune is powerful, the beat is free, the short tune is stable and the rhythm is regular. Most songs and dances are in the form of crowds.
Shaman tune is a song sung for inviting gods, jumping, ancestor worship and funeral. Tunes are being sung, mostly to bring peace.
Northeast folk is the poetic language of people's life in Northeast China, and its content is often a true portrayal of people's life and a direct expression of thoughts and feelings. It sang the people's sufferings and joys, and recorded the people's life and spiritual outlook in different historical periods.
Northeast folk also have a strong sense of the times, a distinct class consciousness and strong class feelings, and a very clear tendency of love and hate.
There are many folk songs in Northeast China that are closely related to productive labor practice, such as labor songs with distinct rhythm. Some directly reflect the working scene, the working scene and the working mood, and also reflect that the broad masses of working people are hardworking and brave, not afraid of difficulties, and full of the belief that man can conquer nature. There are also songs that reflect real life and express love and customs.
Northeast folk, bred in this dark land, bred in the blood of bold and optimistic Northeast people. In a cheerful, simple, unrestrained and gentle tone, they sang the bitterness and joy in people's labor, the joy and sadness in life, the folk customs, tastes and beautiful scenery, and the shy love between young men and handsome girls, weaving a folk picture with rich colors and unique local flavor.
Some folk tunes in Northeast China are influenced by the duet of local operas, so they are very local and lively, reflecting the cheerful personality and rich life interest of working people.
In terms of modes, northeast folk is mainly in minor, mostly in Gong Zheng and Shangyu. For example, the northeast wind, flying kites, turning five tables, celebrating the New Year, looking down on the theater, going back to parents and lullabies are all forms of tune. Lose your ring, sell jiaozi, show off your shoulders, pay a New Year call, etc. It's all court mode. Jasmine II and Duihua are Shang Yu's modes. Generally speaking, northeast folk songs give people a clear and lively feeling.
In addition, the manifestations of northeast folk are mainly festive and cheerful, and there are not many sad folk songs. Most folk songs are lively and joyful scenes reflecting the festive atmosphere.
Look at My Lover is a Liaoning folk song, and it is one of the excellent tracks with typical "northeast wind" in lyrics and songs. The theme of Seeing Lovers is very distinct, which shows people's frank and simple feelings about love.
The whole song is divided into nine paragraphs, and the segmentation mark of each paragraph is a fixed melody that must appear at the end of each paragraph. This technique is called "ending with a new head" in China traditional music. In other words, a folk song and music with variations are only different at the beginning, and their similarity is reflected by a relatively fixed tone at the end.
The story described by the lyrics is very hierarchical. In terms of tone characteristics, except the tone with the same ending, the seventh degree jump is one of the representative tones of northeast folk.
Northeast folk songs are generally high-pitched, broad in melody, long in charm and straightforward in sound. Melody, the songs of northeast folk songs often repeat in the same tone, or use repetitive expressions, and the two often overlap, followed by adding flowers, relaxing or tightening.
Northeast folk songs often have a fourth melody in his rotation, but at the same time they highlight the use of third intervals, with strong melody and regular rhythm.
Northeast folk is also good at using the expressive factors of music and short and pithy techniques to create vivid, accurate and vivid musical images and express profound contents and thoughts and feelings.
Northeast folk's melody is fresh and clear, with regular rhythm, close to the natural language form. More than 2/4 beats are used, and the image is accurate and vivid, full of vitality and strong local characteristics. There are many outstanding features in expression.
We wrote many lyrics with Four Seasons, Five Seasons and December, which formed the form of decomposing songs, thus showing the people's high creative talent and artistry.
The use of mezzanine words shows the unique humor and wit of the northeast people.
The vibrato of the tip of the tongue runs through the whole song, and with the words used to imitate the sound of gongs and drums, northeast folk's lively, beautiful, exciting and superb singing skills are vividly displayed. Northeast dialect is sometimes used in lyrics, which highlights the regional characteristics of Northeast China and makes people feel cordial.
Northeastern folk promoted the development of Errenzhuan and Northeast Yangko. Several categories of traditional music, such as folk songs, song and dance music, rap music, opera music and national instrumental music, have always influenced, absorbed, enriched and promoted each other. Northeast folk District mainly includes Daxing 'anling and Xiaoxing 'anling in the northeast, represented by Oroqen folk songs.
Manchu folk songs are the product of Manchu social production, from which we can see the shadow of Manchu social and historical development. These folk songs are full of vitality, reflecting the production, life and customs of Manchu people, expressing their pursuit and yearning for a better life, with strong national flavor and local characteristics.
Manchu folk songs are rich in content. Compared with Han folk songs, there are more fishing and hunting pastoral songs, eight banners monk songs and homesick songs. Manchu folk songs include lullabies, children's songs, love songs, labor songs, folk songs, minor songs, happy songs, battle songs and narrative songs. Its forms are diverse, covering almost all aspects of national life.
Manchu lyrics are popular and lively, and the melody is concise and concise. This feature of Manchu folk songs in rural areas is more obvious.
Manchu people can't live without singing in their daily lives. Lively and emotional singing involves almost all the life of Manchu people, singing their wishes and aspirations. Manchu people grew up in the song of riding a car sung by their mother. "Babu wow, Russia! Yo-yo, Babu wow ... "This song has been passed down from generation to generation and is a household name.
When the Manchu ancestors fished and hunted, they often used horns or conchs as horns, beating gongs and drums and making a loud noise. After the hunting, they sang and danced in the wild, and the rhythmic labor songs developed into smooth labor songs, which accommodated a broad life scene.
Manchu people express their love for their hometown and labor with passionate folk songs, some of which are labor songs. Among them, folk songs praising the rich and magnificent rivers and mountains are called "cross-mountain tune" Manchu folk song Bayinboro sings a bumper harvest belongs to this kind of folk song.
The other is called "mountain climbing tune", which is often sung when grazing. This kind of folk song is often sung in response to each other's words, commonly known as "seesaw" and "handling".
The lyrics are all improvised, and most of them are sung at the touch of the scene. The rhythm is free and powerful, the tunes are loud and open, and the emotions are unrestrained. Tunes such as "Backing Mountain Tune" and "Climbing Mountain Tune" are widely absorbed by Bajiaogu and Danxian.
Manchu folk songs are also very distinctive, such as the "official blowing" on the way to the wedding banquet, the happy song "La Congqi" sung in the wedding ceremony, the mourning in the funeral ceremony and a large number of sacrificial songs are very touching. Manchu folk songs are concise in structure, smooth in melody and sincere in feelings.
Daur folk songs are also famous in kanto region. In the treasure house of Daur folk art, folk songs occupy a considerable proportion. The style and characteristics of Daur music are also embodied in folk songs.
Daur folk songs are characterized by rigorous rhythm, square structure and clear sentence reading. Its mode is based on pentatonic scale, among which Gongdiao folk songs have the largest number. This reflects the strong and distinctive character and optimistic national spirit of the Daur nationality.
Secondly, there are modal folk songs and feather folk songs, the number is roughly the same. Although there are not as many tuned folk songs in quantity, they have the basic characteristics of beautiful, unique, vigorous and lively Daur music.
Among Daur folk songs, only the folk dance song "Hakenmai" has a superior mode, so the number is very small. Shang-mode folk songs are simple and euphemistic in tone and gentle in rhythm, so most of them have minor colors.
Tone-tuning folk songs are lively in rhythm and clear in sentences. In the past, it was mostly used for singing and offering sacrifices to gods, so Jiaoshan songs only appeared in shaman songs, with the least number.
Traditional Daur folk songs are short, pithy and concise. Although the lyrics of some folk songs are multi-paragraphs, their musical structure is composed of one, two or four sentences.
The content of Daur folk songs is very rich, which involves almost every aspect of Daur people's life. Social life, productive labor, spiritual culture and customs are all reflected in folk songs.
From the genre, Daur folk songs can be roughly divided into folk songs, dance songs, narrative songs, shaman songs, game songs, ritual songs and so on. Its performance content, mode structure and melody have their own characteristics.