The multi-voiced Miao songs of western Hunan are mainly circulated in counties and cities such as Huayuan, Jishou, Luxi, Guzhang, Baojing, Longshan, etc., and some other parts of them are circulated in Huaihua, Changde, Zhangjiajie and other places. There are many clans within the Miao people of western Hunan, and they are divided into various clans according to regions, tribes, and family names, such as the Green Hmong, Flower Hmong, Raw Hmong (Black Hmong), Gelao Hmong, and Tuban Hmong (Mature Hmong). [1] Inhabited for generations by their ancestors, the Miao people are industrious, brave, able to sing and dance, and have created a glorious and splendid national culture and art in their long-term labor and life. Xiangxi multi-voice Miao song collection of mountain songs, Nuo song, crying marriage song, story song, cattle drumming song, stopping the door song, carry fairy song, jumping incense song (Xin female song) eight as one, the lyrics are mostly seven words a sentence, two sentences to form a couplet, two couplets for a song. Sometimes, according to the needs, it can be developed to six or even dozens of lines. When the song is sung, the voices rise and fall one after another, and the polyphonic character is obvious. In multi-voice Miao songs, the high and low voices enter one after another, and the two voices alternate with each other, and sometimes, with the addition of the "pulling voice" and the "leading song", three to four voices can be sung at the same time. Multi-voice Miao songs have simple tunes, smooth melodic development and smooth lines. Multi-voice Miao songs are a very popular form of folk songs sung by the Miao people in western Hunan, which is conducive to the exchange of feelings, ideas and culture among people, and it is cheerful and catchy, and has been passed down for a long time among the Miao people in western Hunan. (A) the emergence and development of Xiangxi multi-voice Miao song Xiangxi Miao and more than 5,000 years ago, "three Miao", "Jiu Li" has a common origin, due to the rulers of successive generations of the implementation of the policy of national oppression and ethnic discrimination, the Xiangxi Miao were driven into the mountains and old forests. History, about "Jiu Li", "three Miao" territory, there are many records, according to Wang Tongling's "History of China": "Yangzi River Basin seven provinces (Jiangsu, Anhui, Zhejiang, Jiangxi, Hubei, Hunan, Sichuan), the distribution of the Miao people". The distribution of the Miao people". According to Han Fei Zi: "The three Miao are not convinced by the fact that Hengshan Mountain is in the south, Minshan Mountain is in the north, the wave of Dongting is on the left, and the water of Pengli is on the right". Also according to the Historical Records, Wu Qi's Biography; "In the past, the Three Miao Clan, the left Dongting, the right Pengli." From the records in history books, if we connect Jiu Li and San Miao, it is a vast land. The Miao people in western Hunan, like other Miao people, were forced to move deep into the mountains due to historical reasons, and most of them live scattered in the mountains and valleys; they work hard to produce in order to survive, and their only way is to communicate their thoughts and feelings in the form of songs and music. [2] Since the Miao people have no writing, their cultural transmission can only be realized by songs and music. In this way, song and music have become a means of cultural exchange for the Miao people. When did the polyphonic parts of Xiangxi Miao songs appear? According to An Introduction to Chinese Polyphonic Folk Songs (by Fan Zuyin, People's Music Publishing House, 1994 edition), "The emergence of agriculture led to the consolidation and development of a sedentary life for human beings. The more stable farming collective life provided the necessary environment and conditions for the development of group singing." It can be inferred that the factor of multi-voiced Miao songs in western Hunan also sprouted in the period of the Miao people's farming collective life accordingly. Due to the needs of the settled life itself and the expansion of the scale of agricultural production, the multi-voiced Miao songs in western Hunan came into being depending on the collective labor mode. In the Miao area of Luxi County in western Hunan, there circulates such a two-voice ancient song that records the origin and migration of the Miao people, the song is called "Tribal Changes", which is the earliest one among the multi-voice songs of the Miao people in the western Hunan area that we have found, and the content is mainly about the migration of the ancestors of the Miao people and the tracing back of the roots of the tribe. The lyrics of the song ***128 lines, according to Mr. Shi Zongren's translation and Mr. Lu Qun's collation, an excerpt is quoted as follows: Anciently the Miao people lived in the vast side of the water village, Anciently the Miao people lived in the place by the side of the water village, But from the earth there appeared the devil, and the Miao people were not allowed to live in peace, and the Miao people who suffered had to be moved from the water village, the Miao people who suffered had to be moved from the water village, and the Miao people who suffered had to be moved from the water village ... ... This two-voice song has a simple melody, similar to a recitation tune, and the liner notes play a major role in the alternation of the two-voice melody. In the Hepeng area of Guzhang County in western Hunan, there is a famous folk chorus called "Picking and Harvesting", which is sung and worked at the same time, and is known as the "Work Song" among the Miao people. The lyrics of the song are as follows: "The seeds of the tung tree are bending, Ah Ru, all the branches are full of ravines, and all the people work together to pick them carefully, Ah Zu, picking them carefully and blowing on them carefully. [3] This multi-voice Miao song starts with a low voice, followed by a high voice, and then the two voices alternate with each other. Although there are only two voices, each voice expresses a different theme, which is a very skillful interlacing. From the point of view of the formation and development of multi-voice folk songs, the Miao multi-voice folk songs are also dependent on the collective labor folk songs, but also in the formation of a certain skilled way of labor, such as the Xiangxi Miao multi-voice chorus songs "drums bursting with songs", "singing like flying springs", etc., they are all the products of the high development of the Miao people's agricultural production. With the evolution of the times, a spiritual pursuit and a higher aesthetic way will arise, multi-voice Miao love songs, Nuo songs, crying marriage songs, story songs, cattle drumming songs, stopping the door song, carry immortal song, jumping incense song will gradually spread in the Miao people, because the formation of this multi-voice folk songs of the social background is very broad. (B) the content and genre of Xiangxi multi-voice Miao songs Xiangxi multi-voice Miao songs are rich in content and diverse in genre, and most of them belong to or are close to the mountain song genre in terms of the singing style of Miao songs. Xiangxi multi-voice Miao song content are: 1. the performance of young men and women in love, reflecting the daily life of the Miao people. 2. sacrifices, sacrifices to the gods, but also Nuo wish to pay God. 3. daughter to get married, crying marriage. 4. recounting the heroes of the Miao people, telling folk stories. 5. vertebrate cattle dancing, customary rituals. 6. Miao hospitality, stopping the door to eat sprinkles. 7. carrying fairy sacrifice, to get rid of the disease and the devil. 8. the Miao people celebrating a bumper harvest, wishing for the next year! Wind and rain. [4] Xiangxi multi-voice Miao song genre is very complex, the author according to the singing occasions and singing form, the multi-voice Miao song is divided into "Shao唔"(高腔)和 "shao萨"(平腔),and some of the domestic researchers of the folk song according to the characteristics of the singing of the Miao Song to Some domestic folk song researchers have also regarded "shao-wu" as a lyrical singing accent and "shao-sa" as a "declarative singing accent" according to the singing characteristics of Miao songs. [5] The melody of "Shaowu" has a big undulation, strong lyricism, high pitch, and beautiful lyricism. The melody of the "Shaosha" accent is straight, and the tune is clear and melodious, belonging to the recitation tune. In the multi-voice Miao singing, genre classification is very strict, on different occasions, need to use different cadences and categories of singing. When singing the five types of songs, namely, "Sacrifice, Crying Marriage, Cattle, Jumping Incense, and Carrying Immortals", the songs must be sung in "Shaosha" (flat tone). In the lyrics of the multi-part Miao songs of western Hunan, I found that in addition to expressing the moral of the songs, it can also be used as a liner notes, that is, in the singing of the songs, in order to strengthen the "harmony" of the songs, some of the liner notes are used, and the liner notes are mixed with the main words, and sometimes the liner notes are mixed with the main words. In other words, in order to strengthen the "harmony" of the song, some liner notes are used in the song, and the liner notes are mixed with the main lyrics, and sometimes the liner notes are used as a part of the voice alone. In this way, the multi-voice Hmong songs become more colorful and thicker under the effect of liner notes and cadences. According to the author's rough statistics, there are four main types of this kind of multi-voice Miao songs with liner notes and cadences. Firstly, the liner notes and cadences enter behind the main words or phrases, and then seep into each other, with interwoven and clear melodic lines. Secondly, the melody of the liner notes and cadences starts first, followed by the main words and phrases, and then seeps in. Thirdly, the liner notes and cadences enter at the same time as the main words and phrases, and the two different melodic lines bleed into each other, imitating and echoing each other. Fourthly, the liner notes and cadences are inserted in the middle of the phrases, twisting the melodic lines of the main phrases, so that the polyphonic effect appears and disappears. As a result of the diversity of multi-voice Miao songs in western Hunan, the original kind of square monophonic music thinking was broken, and a new, three-dimensional, multi-voice aesthetic consciousness of Miao songs was created. (III) The basic characteristics of multi-voice Miao songs in western Hunan Due to historical reasons and economic constraints, the multi-voice Miao songs in western Hunan play the role of indoctrination in the process of inheritance, and are the crystallization of the collective wisdom of the Miao people. After examination, the multi-voice Miao songs are gradually formed and developed through long-term mass oral creation and oral transmission. The Miao people in western Hunan have preserved and spread the excellent musical culture of their nation in their singing, recounting in song the origins of their nation, men and women falling in love and giving birth to children, people's living habits and folk customs, and this kind of polyphonic Miao song goes far beyond the music itself, giving it an epic-like character. In Xiangxi Autonomous Prefecture and Songtao Miao Autonomous County in Guizhou Province, there is a kind of multi-voice Miao song called "Sha Sieve", in which each voice enters neatly into seven lines, four lines in a couplet, and the whole song is in four couplets or more than four couplets, which are sung about the origin of the Miao people, the rituals of ghosts and gods, and the contents of production and life, which are very similar to the general characteristics of Han folk songs. For example, this multi-voiced "sand sieve" Miao song, "Love Song": Looking at Jiao'e's year 28, the shoots of Denglin are sprouting, people are young and flowers are flourishing, and it's just right to covet wildflowers.[6] This song has two parts, one for each of the two parts, and the other for each of the two parts, which are sung in four or more couplets. [6] The song's two-part melody is intertwined and prominent, with the upper and lower voices moving in major second and major third, and between phrases, the typical "harmony rhyme" of Miao songs is used, utilizing techniques such as rhyme exchange, alliteration, and harmonization, to make the two voices skillfully connected, and the harmony harmonies are well organized. Xiangxi multi-voice Miao songs are the natural products of the development of Xiangxi Miao folk songs, which have not been carved and professionally processed, and belong to the simple and primitive folk songs, which are the best blueprints for us to study multi-voice folk songs. The Miao scholar Lu Qun, in his study of Miao songs, has this to say: "Miao songs are the Miao people's sensual depiction of nature, and these songs are based on the background of the mountains, rivers and earth of western Hunan, so they can be regarded as the best expression of nature." (See "Religious Perspectives on Miao Witch Culture", by Lu Qun, published by Guizhou Ethnic Publishing House.) The basic characteristics of the Xiangxi Miao multi-part folk songs are also manifested in the aspect of the formation of polyphonic thinking in such multi-part songs. In the western Xiangxi Miao songs and polyphonic Miao songs, generally the lowest of the melody in the beginning of the tone, and the end of the lowest of the tone; or the highest of the melody in the beginning of the tone, and the end of the lowest of the tone; due to this low rise and fall or high rise and fall of the melodic flow, resulting in a curve, mountain peaks of two types of melodic lines, which for the western Xiangxi Miao polyphonic song formation to create a good external conditions. In the initial thinking formation process of the Miao polyphonic songs, the melodic lines of the Miao songs, the appreciation habits and the singing treatment of the singers make this polyphonic, three-dimensional thinking form from unconscious to conscious, forming a conscious and unconscious harmonic characteristics. Like other ethnic polyphonic songs, Xiangxi Miao polyphonic songs don't need professional processing and intentional arrangement, it is a natural and balanced product, and sometimes the improvisation of singers in singing still takes up a lot of time and position. The study of the basic characteristics of Xiangxi multi-voice Miao songs requires us to master its basic laws and basic programs from the actual situation, which is a key technical issue. Second, the morphological characteristics of Xiangxi Multi Part Folk Song The study of Multi Part Folk Song (Multi Part Folk Song) has started very early in foreign countries. In China, the research and study of Multi Part Folk Song originated in the early 1950s, and now it has been confirmed that there are 23 ethnic groups, including Han, Zhuang, Buyei, Dong, Maonan, Mulao, Yi, Hani, Lisu, Naxi, Lahu, Jingpo, Qiang, Tibetan, Miao, She, Yao, Tujia, Wa, Gaoshan, Mongolia, North Korea, Russia, and so on, that there exists a relatively stable form of Multi Part Folk Songs. [7] Xiangxi Miao polyphonic songs have their own unique artistic characteristics. (I) Singing Forms and Methods The multi-voice Miao songs of western Hunan are generally sung with introductions, interjections and endings, with very free and complex rhythms, and there are often many pauses in a song. Due to the different regions and vocal characteristics, the singing form of Xiangxi polyphonic Miao songs has a fixed organizational form, which is divided into two major categories, just like the Miao mountain songs. The first category is the shao-wu category, this kind of multi-voice Miao songs are popular in western Hunan Huayuan, Jishou, Guzhang, and Baojing area, because it is a high-voice category, the lyricism of the tunes is very strong, the rhythm is very free, and the lyricism is beautiful. This form of multi-voiced Miao songs is suitable for singing in field labor, with big interval jumps and high and exciting pitch. We found that Shaowu multi-voice Miao songs are mainly sung by male chorus, because this kind of songs are sung in the field labor, labor intensity, only by men to undertake labor multi-voice Miao songs. For example, the song "Dance of the Shih Ngau" (for female guests): The big drum of the Shih Ngau is placed in the center hall, and the youths beat the side to shake the hillocks. We invite guests to dance the drum to add color to our festival. The big drum of the vertebrate ox is placed in the dapeng, and the young people hit the edge and shake the hill. All the guests are invited to dance the drum dance, so that we can have a good harvest every year. In addition to this kind of multi-voice songs with male chorus and female chorus, some custom songs are played by female chorus, and like male chorus, it is also a kind of Shao-Wu category. The second category is Shaosha, popular in Xiangxi Autonomous Prefecture counties and cities, which can be divided into the following categories according to their different singing forms. 1. Love Songs: These multi-voiced Miao songs are most popular in Jishou, Huayuan, and Baojing. When singing, the soprano voice for the introduction appeared, the latter part of the cavity, plus some address language, such as "Hi a Oh" or "Nai Thames a color Oh", etc., sounds like the melody of the gentle, smooth, as if the mountain springs and water. 2. Ancient songs: This is a rough, primitive songs, the melody is not much jumping, the structure is not too organized. This kind of song usually has only two parts, with three words, four words, five words, seven words with each other and become. 3. Carrying the immortal song category: this kind of multi-part Miao song has a thin momentum, and the number of singers is usually around three or four people. It is characterized by singing before the singer first yawn, and then sang with a bleak trill. This kind of song has only two parts, a part of the trill singing liner notes, another part of the trill singing lyrics, the atmosphere is serious, the mood is miserable. 4. Crying class: this type of multi-voice songs are sung by the bride, bridesmaids, family members (can only be women), the bride's mother and so on crying a class of multi-voice Hmong songs. Crying class of multi-voice Miao song artistry is very strong, the accent has a certain degree of decorative, singing drag cavity, trembling throughout the song music. Multi-voice singing, there are often some of these features: a part of the first crying, another part of the first voice and then the second phrase for the head of the first singing, the third part of the next imitation of the second part of the approach, so that repeatedly and continuously down to sing. 5. Jumping incense class: this kind of multi-voice Miao song is popular in Jishou, Luxi, Guzhang and other counties and cities. It is the same as other Miao songs of the flat tone, are often used to drag the cavity, under the tone and other methods, quite a lot of liner notes. When singing, people dance to celebrate the harvest; the leader of the dancers holds a skein of scarves in his left hand, and the right hand holds a teacher's knife or a cow's horn, followed by four young men, dancing and singing at the same time, together with the rhythm of the dance, and the atmosphere is joyful and harmonized. When singing the multi-voiced Miao songs, the singers use the singing methods of glissando and falsetto. The glissando is the basic method of singing Miao songs, which is to sing from one tone upward or downward into another tone, and then straighten the real voice. In polyphonic Hmong singing, glissando can be used at either the beginning or end of a phrase. False voice singing is also a common method of singing multi-voice Miao songs. Due to the wide melodic range of some Miao songs, melodic ups and downs and big, in order to achieve enough breath when singing, have the right **** sound and the voice does not shake, the only way is to use falsetto to replace the real voice, so that the long tone is easy and comfortable, the voice part is sharp and rooted. The author would like to mention here that the real voice is still the most basic method when singing declarative multi-voice Miao songs, because it needs to have a rough, recitation-like tone. (ii) Beat and Rhythm The rhythm of Xiangxi Polyphonic Miao Song is relatively free, similar to that of the Scatterboard, but it is scattered but not chaotic. In the study of Xiangxi multi-voice Miao songs, we seem to feel that it is very free rhythm, and we can't find regularity in it, as if it is all loose boards, which can't be divided into small section lines. However, upon closer observation, there is actually a certain, fixed beat in the multi-voice Miao songs, only that in some phrases, due to the needs of the songs themselves, the singers improvise shortening, lengthening, and resting, so that the beats and rhythms appear to be diversified in a song. It is not difficult to find out the regular beats and rhythms, as long as we understand the living habits and polyphonic way of thinking of the Miao people in western Hunan, the mystery of this polyphonic Miao songs with scattered and unruly beats will be unveiled. After mastering the natural law of beat and rhythm formation of the Miao songs, a typical characteristic of the beat of the multi-voice Miao songs in western Hunan will appear, which is: the first beat is strong, the second beat is weak, and the third beat is secondly strong in terms of intensity, which is obviously different from the law of beat intensity in the European music theory. In the western traditional beat law, the strength law of 2/4, 3/4, 4/4 and other beats is strong, weak or strong, weak, weak or strong, weak, sub-strong, weak, but in the Xiangxi Miao polyphonic songs the back beat or the second half of the 2/4, 3/4, 4/4 is stronger than its previous beat. This kind of treatment is a special phenomenon of western Hunan Miao songs and multi-voice Miao songs. (C) Vocal composition and harmonic characteristics Most of the multi-voice Miao songs in western Hunan are two-voice, three-voice and four-voice Miao songs sometimes appear under the role of the liner notes (the liner notes are used as the inner voices, and sometimes as the melodic voices as well). When we studied the two-voice Miao songs in western Hunan, we found that most of the two-voice Miao songs are of the branch-voice type, that is, two voices singing the same melody at the same time, and this is the most common type of vocal structure of the multi-voice Miao songs in western Hunan. The Shao-wu category is mainly based on the technique of adding flowers to the vocal parts, using flowers and imitation as variants of each other, resulting in a contrast between melodic fluency and rhythmic sparseness. The shao-sa type is mainly based on the technique of separating and crossing voices. When singing this type of two-voice Hmong songs, each of the two voices sings the same lyrics with the same tempo and the same rhythm, using the same melody as a variant. The singing of three- and four-voice Miao songs is rare, and sometimes the charm of these multi-voice folk songs can only be heard during specific festivals such as the "April 8" and "Catch the Autumn" festivals of the Miao family. The number of people singing the three-voice and four-voice Miao songs is usually more than ten, and sometimes they are also arranged into two or three rows according to age and gender, using the alternation and combination of the liner notes and lyrics, which constitutes the phenomenon of the three-voice or four-voice rounds of the singing, and the composition of this form of the vocal part makes the western Xiangxi multi-voice Miao songs break through the primitive style of the multi-voice folk songs in terms of style. Xiangxi multi-part Miao song harmony is characterized by the harmony of the five-tone interval, it is the same as other ethnic groups of multi-part folk songs, are five-tone natural intervals, mainly four, five degrees within the dense intervals, to the big two and pure four, five and the use of the small third is the most common. (D) the formation of the weave Xiangxi multi-part Miao songs are mostly composed of two or three parts (four parts are rare), the formation of the weave is diverse. Our common form of weaving is the main melody and backing voice or bass voice (second melody) combined with the development of a form of vocal structure. For example, the lyrics of this three-voice "Story Song" are as follows: Thunderbolt went to make iron in the furnace, and made four or five quick arrows. Pangu took the arrows in his hand and stuck them into the sea water gate. One arrow shot out to eliminate seawater, two arrows shot out to see the mountain village ...... In singing, one voice part sings the melody, another voice part as a companion or complementary to carry on, the third voice part as a sustained tone, fixed tone type singing, the two voice parts of the melody voice part played the role of accompaniment, accentuation, complementary respectively. In the weaving form of the western multi-voice Miao songs, we find that it has more weaving forms of accompanying and supporting (imitating supporting) in the singing, and sometimes there are also occasional pairs of weaving forms, which is close to the contrasting polyphonic weaving form of the Han Chinese. In the author's opinion, this kind of weaving form of western Xiangxi multi-voice Miao songs reflects that western Xiangxi multi-voice Miao songs have matured in the form of multi-voice thinking. The multi-voice Miao songs of western Hunan are extremely rich in singing style, performance content, singing and embellishment, etc. In addition to the common branching voice, there is also a tendency to respond to the main key type and other forms of weaving. (E) modulation and tonality Xiangxi multi-part Miao songs have a lot of modulation, Gong, Shang, Horn, Levy, Feather or class of major and minor modulation. In terms of tonal composition, the Palace (Do) modulation is the most common, followed by the Feather (La) modulation, Levitation (SoL) modulation, Shang (Re) modulation, Horn (Mi) modulation is sometimes occasional, while other ethnic groups have no horn modulation phenomenon of multi-voice folk songs. For example, the Miao weeping tune "Catching Strong Men", which is now circulating in the area of Huayuan in western Hunan, is in the angular mode, and its lyrics are as follows: Recalling the past, I hate the long night, and I cry on the pillow and coverlet in a sad way. My son was shot when he tried to run away. He cried out for his mother and fell to the ground, spitting out blood and killing himself. Its tune is free and sad, the first part of the melodic voice of the song is in the key of E, and the lining voice is also in the key of E at the beginning, and then in the middle of the song it goes to the key of D, forming a kind of tonal alternation phenomenon. Why is there no angular modulation in the multi-voice folk songs of other ethnic groups? Prof. Fan Zuyin explains, "This may be related to the order in which the five voices are produced in the three-part loss and gain law, with the horn as the last law." [8] The author believes that it is not surprising that due to the differences in regions and harmonic ways of thinking, the composition of each piece of music in the tonal form also has its own national favorites. Most of the Xiangxi Miao polyphonic songs use a pentatonic scale, in which the other tones may be seen as passing tones when the main tone is determined, and there is diversity in the organization of the scale form. In the diverse tonal forms, there is the phenomenon of transposition. Due to the variations in the melodies of polyphonic Hmong songs (e.g., *1, b7), this causes the other voice to shift into the key of the lower fifth of the Gong tone system at the end of the repetition by using the technique of "clearing the horns for the Gong."[9] Such transpositions can be seen in a variety of tonal forms in the organization of the scale. [9] This phenomenon of prosody is characteristic of Hmong polyphonic songs and is one of the best and most convenient means of their natural transposition. (F) Song Structure Compared with the polyphonic folk songs of other ethnic groups, the song structure of Xiangxi Miao polyphonic songs is the most special, which takes the phrase as the core of the unit in its song structure, and divides the song's form and paragraphs with the phrase before, during, and after. The beginning part of a polyphonic Hmong song is often referred to as the introduction, which is the beginning of the whole polyphonic song. As there are many liner notes and cadences in Hmong multi-voice songs, the middle or intermediate phrases are often regarded by the singers as the presentation part of the song, and are also referred to by the singers as the inter-cadence (plus cadence). At the end of the song, there is a liner note specifically for setting off the ending, which is also known as the coda of the Hmong song. This is the expression of the Miao people's song structure over the years, and it is a set of unique song structure of the western multi-voice Miao song itself. There are mainly one-part, two-part, three-part, four-part, and multi-part song styles in western Hunan multi-voice Miao songs, which are often categorized into even-phrase songs and odd-phrase songs, with most songs having two lines as a couplet, and two or more couplets as a song. A polyphonic Miao song or a section of a polyphonic Miao song usually consists of one or two phrases plus an introduction, an interlude, and an epilogue. In the singing, each phrase may be repeated and varied by one or several different cadences. The compositional structure of Xiangxi Miao polyphonic songs is a concentrated manifestation of the art form of polyphonic songs, which shares many similarities with Xiangxi monophonic Miao songs. In our investigation, we also found that although the song structure of western Xiangxian multi-voice Miao songs has its own particularity, it still has many ****similarities with multi-voice folk songs of other ethnic groups, and is a general reflection of the art of multi-voice folk songs. The study of Xiangxi multi-voice Miao songs is another kind of excavation and undertaking of Xiangxi multi-voice Miao songs. Xiangxi polyphonic Miao songs are the treasures of national music and art. Unfortunately, they have not been able to escape the man-made disasters over the years, and most of them have been lost. Nowadays, Xiangxi Autonomous Prefecture governments at all levels attach great importance to the excavation and rescue work of Xiangxi multi-voice Miao songs. In order to carry forward the traditional national culture, the local governments and Party committees have actively cultivated specialists to collect and organize the information and orally transmitted music materials, and have formulated effective measures for the collection and arrangement work. The author is y heartened and encouraged by this. After writing this short article, marveling at the art of Xiangxi multi-voice Miao song profound, always feel that this article roughly Chen Jianxian, is to strive for everyone and peers to correct.
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