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A wedding song
Wedding song and wedding toasts, as is the traditional wedding etiquette of the constituent parts of the two adapted to the requirements of the wedding etiquette of the wedding interspersed with each other, to form an indivisible whole. Therefore, the second chapter of the previous "wedding toast" on the occasion of the Ming and Qing dynasties of wedding toast analysis is also basically applicable to the wedding song, but the wedding song collection records later than the wedding toast, should pay more attention to the modern variation factors, accurately grasp the Ming and Qing dynasties of the legacy of the appearance. As far as we can see now, the earlier collection records of wedding songs can be found in the manuscripts and published collections of various Mongolian folk songs at the end of nineteenth century and the beginning of twentieth century, such as: the manuscripts of Mongolian folk songs collected by the Russian Mongolian scholar A. Bozdeneyev in the seventies of the nineteenth century, and the five records of "Hulinmangnai" and "Head of Ten Thousand Horses" recorded in the 65 songs of "Mongolian Folk Songs" published in 1880; In the early twentieth century, 184 Mongolian folk songs collected by the Belgian Mongolian scholar Tian Qingbo from Ordos, Inner Mongolia, and 7 Mongolian folk songs such as "Shuiheng Zhifu" and "Wulinhua" included in 118 Mongolian folk songs collected by the Russian Mongolian scholar Ba Vulakimirzov from Northwest Mongolia. This part of the works basically preserved the appearance before the late Qing Dynasty. To the seventies and eighties of this century, with the comprehensive and in-depth study of Mongolian wedding rituals and wedding songs, there are complete sets of wedding songs collected and published one after another. The more representative ones are: 31 wedding and banquet songs included in "Ulat Wedding" published in the 1980s; 23 wedding and banquet songs from Xilingol region and 17 wedding and banquet songs from the former Chahar region included in "Mongolian Folk Songs Series - Xilingol League Collection"; 40 wedding and banquet songs from Alxa region included in "Alxa Folk Songs" Volume (I); 40 wedding and banquet songs from Alxa region included in "Alxa Folk Songs" Volume (I); and 40 wedding and banquet songs from Alxa region included in "Alxa Folk Songs" Volume (I). Alashan area; 30 wedding banquet songs of Kulun Banner included in Kulun Folk Songs Collection.
Looking at the wedding songs of various tribes and regions in Mongolia, there are many of them, with different contents, but from the combination, function and characterization of wedding rituals, there are no more than three types of songs: (1) wedding banquet songs; (2) wedding entertainment songs; (3) wedding ceremony songs.
(I) Wedding banquet songs.
Mongolian banquet song has an ancient tradition, it can be said that there will be a banquet song. Banquet is the main form of wedding celebration, many wedding ceremonies are accompanied by the banquet, so the banquet song naturally becomes an important part of the wedding song. The so-called wedding banquet song, is sung at the wedding banquet with a certain ceremonial nature of the song.
Part of the wedding banquet song comes directly from the banquet song, part of the source from the political and religious ceremony song, and some from the hymn, homesickness song, and so on. The combination of banquet songs, political and religious ceremonial songs and other kinds of songs with the wedding, so as to form the singing content, way, the number of wedding banquet songs suitable for the requirements of the wedding ceremony, which is bound to have a development process.
Judging from the inheritance history of Mongolian wedding songs, this combination has been started long before the Mongol and Yuan Dynasties, and has been standardized during the Mongol and Yuan Dynasties; during the time of Ming and Qing Dynasties, it has been developing and mutating along with the deepening of the feudal system and the penetration of the Buddhist thought. Due to the lack of complete original data, although it is difficult to describe this historical process, especially the situation before and after the early Mongol-Yuan period, the accumulation of this historical union has been passed down in the wedding feast songs of various Mongolian ministries and regions that we have collected later. On the basis of these reliable data, it is still possible to make a perspective scan of the content, form and singing characteristics of wedding feast songs in the Ming and Qing dynasties by using the method of historical comparison. Comprehensive research results in recent years at home and abroad, these features are: (1) the wedding banquet song is a group of solemn content, musical accompaniment, in the wedding banquet without repeating the singing of Geng; (2) the content of the wedding banquet song is generally to celebrate the rise of politics and religion, praise the seasonal landscapes, hometown scenery, parental kindness, healthy horses, etc., the form of tunes, some areas completely sing "long tone ", some areas of the "long tune" "short tune" and; (3) wedding banquet song generally by the man and the woman specifically hired by the wedding song singers sing alone or lead the singing to the end of the paragraph sung by the crowd to drag the repeated sentences and sing and to enhance the joyful atmosphere; (4) the wedding banquet song is generally sung by the man and the woman specifically hired by the wedding song singers sing alone or lead the singing to the end of the paragraph sung by the crowd to drag the repeated sentences and to enhance Joyful atmosphere; (4) wedding banquet song as a set of agreed ritual songs, with the beginning, progress, the end of the wedding banquet, with a fixed song, the middle of the song, folk song, different regions of the song, the middle of the song, the end of the song, as well as the way of singing are different. For example, the song of the Chahar region of China is "Snowy Mountain", the middle song and folk songs are "Sanlix Song", "Wine Song", "Little Red Horse", "Zitan Horse", "Little Yellow Horse", "Parents and Two Elders", etc.; the song of the Kalka of Mongolia is "Huqin's First Song", "Head of Ten Thousand Horses", etc., and the middle song is "Three Treasures", "Tall Buildings", "Summer", "The Golden Sacred Buddha", "Mountain of Sweat", "Enxiaoqiqiquan" and "Happy", etc., and the end song is generally "Haoxiao" and "Joy". Joy", etc. The end songs are usually "Cuckoo Bird", "The Little Red Horse Taken Away", "Manglai Tulikeng", etc. In the Bahrain region of the country, it is sung in two songs and two choruses, while in most other regions, it is sung in three songs and three choruses.
The most ceremonial of the wedding banquet songs are the song and the end song. At the woman's wedding banquet, the singing of the song marks the beginning of the wedding banquet, and the singing of the tail song marks the end of the wedding banquet and the beginning of the ceremony of sending off the bride; at the man's main banquet, the singing of the song marks the beginning of the welcoming banquet, and the singing of the tail song marks the end of the welcoming banquet and the beginning of the ceremony of sending off the guests.
(ii) Wedding entertainment songs.
The so-called wedding entertainment song, refers to the wedding ceremony accompanied by the wedding ceremony of the wedding banquet is over, with a certain degree of ceremonial wedding banquet singing after the wedding guests to participate in the wedding celebration, especially young people have not been enjoying themselves, in the free continuation of the banquet sung in a short song. This wedding entertainment song in the Ulat region called "flower song", in the Alashan region called "time-consuming bottom song", in the Buryat region called "ring song", its function in the wedding ceremony Its function in the wedding ceremony is mainly to celebrate and entertain.
Wedding entertainment songs are sung freely, but the scope of the content is not unlimited, vulgar and sad as well as songs that are not in harmony with the atmosphere of the wedding banquet are still prohibited, and the way of singing is mainly to take turns to offer a song, a toast, and a penalty. The chosen wedding officiant has the right to designate any of the wedding participants to sing, and when the designated person sings, everyone *** drinks. If you do not sing, the penalty is a large scoop of horse milk wine. So all participants in the wedding, everyone should prepare the content of the form suitable for singing at the wedding, "the wedding of the three songs". Because in accordance with the requirements of the rituals of the three songs (actually more than three) is not easy, folk proverbs have "three songs of the wedding banquet, Naadamu three" off "metaphor.
Wedding entertainment songs and wedding ceremonies are more loosely combined, variability is also greater. After comparative analysis, living in China's Balkhu region of the Buryat wedding in the "ring song" is a wedding entertainment song before the late Qing Dynasty. In the "girl's understanding of the Naadam" - that is, during the marriage ceremony held on the first night of the girl's marriage, after the carnival songs and dances outside the yurt are over, everyone goes back to the house and starts the game of "hide the ring". The game of "Hide the Ring" is played and "Ring Song" is sung at the same time. The young people who take part in the game are divided into two parties, one of which hides the ring and the other searches for it. The one who hides the ring hides it in the hand of someone on his side, and then both sides sing to find the ring, and both sides can't repeat the song, which is a bit of a song contest.
(3) Wedding Ceremony Song.
Wedding ceremony songs are songs that are inseparably combined with the wedding ceremony and are sung for the realization of certain interpersonal relationships, ethical and moral norms that the ceremony confirms and upholds. Compared with the first two types of wedding songs, wedding ceremony songs are more closely fixed with the wedding ceremony, and are wedding songs in the true sense of the word.
From the information we now possess, in Balkhu, Xilingol, Bahrain and other places in the wedding ceremony can not see the obvious wedding ceremony song; in the Ulat wedding wedding sung at the end of the wedding banquet song, "Altay Hanggai," and so on, is both the wedding banquet song, but also like the wedding ceremony song, both functions; in the Ordos wedding wedding ceremony to send the bride to sing, "once a long black hair," "send the bride to the song", "the Kerqin wedding" dedication to the wedding, "the wedding", "the wedding", "the wedding", "the wedding", "the wedding", "the wedding", "the wedding", "the wedding", "the wedding". In Ordos wedding ceremony of sending off the bride, "once long black hair", "sending off the bride song", in horqin wedding "offering stirrup wine" ceremony sung on the "stirrup wine song", China's Buryat Wedding bride snatching ceremony sung on the "bride snatching song", "girl's understanding of the nadabu" ceremony sung on the "five crosses of the song", belong to the full meaning of the wedding ceremony song. In connection with the analysis of the wedding hymns in the second chapter, it can be seen that the Mongolian wedding and ceremony are inseparably combined in the form of folklore literature is mainly wedding hymns, but not wedding ceremony songs; wedding ceremony songs, although rooted in the wedding ceremony, but from the direct connection of the development and evolution of the wedding feast songs from the tribes in various regions did not form a unified specification.
In the regions where wedding ceremony songs exist, their ceremony songs are mainly the various kinds of "Songs of Sending Relatives" combined with the ceremony of sending relatives, which is related to the traditional system of extra-ethnic marriages of the Mongols and the custom of marrying far away from each other. Among them, the "Five Forks Song" of Buryatia in China is the most representative.
Two, men's three game songs
The men's three games - wrestling, archery and horse racing, which are regarded as the most entertaining Mongolian games, have ancient traditions whether they are inherited from the folk or examined from the documentary records. And wrestling, archery, horse racing, some of the rituals combined with the ritual song, although so far have not found more accurate and reliable documentary basis, but from its relationship with the men's three games and close integration of the relationship between the analysis of the form of some of the ritual song itself, some of the ritual song itself is basically older belongs to the late Qing Dynasty before the works such as "invitation to wrestling song", "Sulin Oh Hi Song", "the head of the ten thousand horses".
(I) Invitation to Wrestling Song
Mongolian wrestling matches of a certain scale, especially those in the Naadam Conference, have certain rituals. These ceremonies are: wrestling entrance ceremony, match appearance ceremony, awarding ceremony. The Invitation to Wrestling Song is a ritual song sung at the entrance ceremony. Xilin Gol League traditional match appearance ceremony, the general process is this: in the wrestling field in the northwest, southeast two directions, divided into the left and right two groups of wrestlers standing opposite each other, two groups of wrestlers in front of each other, two elders standing side by side to form an entrance into the field. The wrestlers of the two groups who meet for the match put their arms on the shoulders of the two elders and bend down to wait for the entrance. At this point, the pre-invited singers sing the "Invitation to Wrestling Song," which is repeated three times. Once the song is sung, the wrestlers on both sides leap into the field from between the two elders, dance the eagle dance and begin the match.
At present, we see the folklorists collect and record the "Invitation to Wrestling Song" has two variants, one is collected by the U-Narenbatu, Da-Renqin from Chahar, Dulbert, in the 1979 Inner Mongolia People's Publishing House published the "Mongolian Folk Songs 500" volume, and after that by the Da, Sangbu, etc. from the Xilingol league collection, income, in 1988 the Inner Mongolia People's Publishing House published the "Mongolian Folk Songs Series" volume, and then by the Da, Sangbu, etc. from Xilingol league collection, income, 1988 Inner Mongolia People's Publishing House published the "Mongolian Folk Songs Series" volume. The other is a variation of the title "Invitation to Wrestling Songs" (II) of the "Mongolian Folk Song Series - Xilingol League Collection" published by the Inner Mongolia People's Publishing House; and the other is a variation of the title "Invitation to Wrestling Songs" (I) of the "Mongolian Folk Song Series - Xilingol League Collection" collected by Da, Sanbu, etc., and collected and collected from Xilingol League in 1988. We interviewed comrades such as Da, Sangbu, the collector of this song, and Temur, the old coach of the Inner Mongolia Wrestling Team, who both agreed that this song has been passed down for a long time as a part of the Mongolian wrestling ceremony, and that it is an ancient song. Coach Temur, who is in his eighties this year, is a famous wrestler who defeated Japanese sumo wrestlers in Inner Mongolian wrestling during the Anti-Japanese War. He said, in his grandfather just know how to ride a bareback horse to watch the Naadam wrestling matches, when he heard singing this song. It is reasonable to assume that this song has been passed down as part of the Mongolian wrestling rituals before the late Qing Dynasty. However, in the process of data collection, we also found that the song was basically circulated in the south of the desert, mainly in Xilingol, Chahar, Zhaoda, Zherimu, Hulunbeier and other allied banners. This shows that the age of this song is not too early, did not go through the administrative power of the Mongol and Yuan empires to promote and popularize, and even did not go through the middle of the Ming Dynasty, Dayan Khan united Mongolia again to restore the political, economic, and cultural ties to exchange and disseminate, but in the later part of the Ming Dynasty, the Mongolian feudal lords once again appeared to cut off the country to form the south of the Desert Mongolia, the north of the Desert Mongolia and the west of the Desert Mongolia, and then in the south of the Desert Mongolia, it was produced and formed.
Mongolian feudal lords were once again divided in the late Ming Dynasty, forming the Southern Mongolia, Northern Mongolia and Western Mongolia.
The ceremonial songs in the history of Mongolian people are generally sung in long tunes, and "Invitation to Wrestling Song" is no exception, so the folk will also call "Invitation to Wrestling Song" as "Invitation to Wrestling Long Tune". Determined for the appearance ceremony of wrestlers' matches, the song has only one line: "Our wrestlers are out!" The language is simple and plain, rich in agitation. The two so-called variants are mainly different tunes. Invitation to Wrestling Song" (a) is B-flat, the structure of the song is a double sentence and double phrase composite modal structure, the melody is more twisted and curved, "Invitation to Wrestling Song" (2) is D-flat, the structure of the song is a double sentence and single phrase structure, the melody is relatively straight. Comparing the two, apart from regional differences, the Invitation to Wrestling Song (II) is probably older. These two variants of the tune is different, but the melodic progression shows **** the same characteristics: first, the pitch to the bass and middle tone, the proportion of the bass region than the general long songs; second, the melody is flat and straight, jumping is small, triplets, decorative notes than the general long songs less. So the two songs sung by Europe are showing **** the same style, majestic and strong, bold and bold, set off the atmosphere of the upcoming battle, fueling the might of the wrestlers who are eager to try. Once the song fell, the two sides of the wrestlers jumped into the field, jumped in a robust eagle dance, like eagles spreading their wings to fight generally run towards each other. In a few moments, the two sides arm entanglement, legs and feet hit each other, launched a stormy battle, fully demonstrated the traditional spirit of the Mongolian nation character - force and courage.
(2) "Sulin Oh Hi Song"
The traditional Mongolian archery competition is basically divided into two forms, a riding shot and a foot shot. Different tribal regions tend to develop different rules and ceremonies during the long process of conducting these two forms of competitions. The oral literature that is combined with the archery competition rituals is mainly the "Bow and Arrow Hymn" recited at the prize-giving ceremony, which is found in almost every tribal area and has many variations. At the same time, in some tribal areas accompanied by some special rules and rituals of the competition, a part of the ceremonial songs are also inherited, such as the "Sulin Oh Hi Song" in the Khalkha region of Mongolia.
Archery competition in Mongolian history, although once very popular and prevalent, but in modern times, with the invention of the use of guns, bow and arrow in the war, hunting in the use of the value of the decline of sports games in the archery competition is also a declining trend. Although it cannot be said arbitrarily that it is impossible to produce archery ritual songs after modern times, the possibility is very small after all. The book "The Three Arts of the Steppe" describes the "Sulin Oh Hi Song" and writes: "Sulin Oh Hi is a form of expression of the archer's joy passed down from ancient times." This is credible.
"Surin," in Chinese, means a leather-rimmed target used in archery competitions, and "oh-lin" is an exclamation of appreciation. "Sulin Oh Hi" is a kind of appreciation shout after the archer hits the target, it first plays the function of reporting the target in the competition, and later this function has been expanded, "Oh Hi" shout evolved into a melodious music melody, which developed into "Sulin Oh Hi Song". According to the written records and video data, there are two main types of "Surin Oh Hi Song" expanded by the function of target reporting, one is "Samburin Oh Hi", and the other is "Naijin Oh Hi", the lyrics of which are very simple, only one sentence, with the center word being "Oh Hi". Samburin-oh-hee" is a song in which the referee and other athletes stand at right angles to the target in two rows, and sing "oh-hee" in a long, soft, and gentle tone to invite the shooter to shoot before he or she shoots and snaps. If the shooter hits the target ring, he or she shouts "Oh-hi" vigorously to announce the target. Naegeum-oh-hee, which is sung at the opening and closing ceremonies of the competition, is sung in a soft and friendly tone and expresses the desire and feelings of the archers participating in the competition to learn from each other and to be friendly with each other.
(C) "the first of ten thousand horses"
Mongolian horse racing is both the speed of the competition, but also the endurance of the competition, both the riding skills of the competition, but also on the horse's conditioning hanging control technology of the competition, so the race distance is longer, generally between 50-70 miles. The end of the race is at the Naadam venue, and the starting point is somewhere between 50 and 70 miles away. Early in the morning, before the wrestling has begun, the young riders (usually children under fifteen years of age) ride in on their horses, circle the arena around a fire that has been lit to pray for their safety, and follow the judges to the starting point. According to the book "Mongolian Culture and Society" by Zachschin, the riders sing as they circle the fire. However, Zachschin does not indicate what songs are sung, nor does he clarify whether singing is a part of this ceremony. According to the literature and folklore folklore workers to collect the horse racing ceremony songs, words, as well as our fieldwork, up to now, has not found and this departure ceremony inseparably combined with the song, and in many places this way of horse racing is not sung. Therefore, we hypothesize that the songs recounted by Zachschin were not necessarily ceremonial songs, but probably general horse hymns or entertainment songs expressing joyful emotions. When the little riders dressed in brightly colored costumes start from the starting point, like colorful arrows off the string, after about 70 miles of galloping, in the whistling and cheering to the finish line, the cross-mounted, holding a long card of the ranking of the finish line judges to see the ranking, urged the horse to meet up, the long card into the hands of the little riders, and then held a ceremony of awarding prizes. The number of award-winning horses according to the size of the scale of Naadam, the number of horses participating in the number of three to more than one, the winners, including the horse and the owner of the horse, the rider, the prizes with the same wrestling, archery, is a different level of nine hundred and ninety-eighty-one prizes, with the prizes awarded to the head of the horse, the second horse, the third horse ...... "festive", "the head of the", "the first of the", "the first of the", "the first of the". The first", "auspicious steed", "rising sun", "harrier eagle", "elephants "The Lucky Steed", "The Rising Sun", "The Harrier Eagle", "The Elephant", "The Green Lion" and so on. At the same time, the award, folk praise for the head of the horse, two horses, three horses and other dedication to recite the words of praise. In some tribal areas, the recitation of words of praise at the same time to sing the horse hymn.
Mongolians with a variety of ceremonial words of praise, although it is recited, but and recite the general poetry rhyme is different, the rhythm of its staccato pitch is more fixed, with a certain rhyme, commonly known as Xuanxiu tone. As the Ma-zan words in the area of Abahanal Banner of Xilingol League have strengthened their musicality in the inheritance, some folk artists have recorded the melodic sheet music of their rhymes and included them as songs in the collection of Mongolian folk songs. Judging from the word and song, which are the basic elements of folk songs, it should be said that it is possible to collect them as folk songs because the Ma Zanzan in the area of Abahanal Banner has both of them. However, from the point of view of the distinction between the two different genres of traditional Mongolian hymns and folk songs, the composition of stanzas and stanzas in the area of Abahanal Banner is exactly the same as that of traditional hymns, which is one stanza of many lines and one paragraph of many stanzas, different from the two lines and one stanza of four lines and one stanza of two stanzas and one paragraph of four stanzas of folk songs; and the basic part of the rhyme scheme and melody has not yet been detached from the declamatory tone of the traditional hymns, which is the same as the one of traditional hymns. The basic part of the melody is still not out of the traditional declamatory tone, each phrase (i.e., each line of the poem) basically has no pitch change, and the rhythm of the whole melody is simple and uniform, which is far away from the melody that is rich in changes of the folk songs, only that a colorful trailing accent of the long folk songs is added at the end. Therefore, no matter from the rhythmic characteristics of the words or from the melodic characteristics of the song, the Ma Zanzan around the Abahanal Banner should be basically categorized into the scope of Zhu Zanzan as the Ma Zanzan in other places.
In most of the Mongolian tribal areas, the only oral literature combined with the prize-giving ceremony of horse racing is the Horse Praise, but in a few tribal areas, the recitation of the Horse Praise is accompanied by the singing of the Horse Praise Songs, such as "The Head of Ten Thousand Horses," which was sung at the Naadam Races of the Seven Banners of the Khalkha in 1696. The song "The Head of Ten Thousand Horses", though started as a nobleman's work, was later completely transformed into a wedding song and was not sung at the prize-giving ceremony of the horse race. However, this song written by the kalka prince of dalhan, its creation of the initial, I am afraid that is imitated the horse racing prize awarding ceremony horse praise words or horse praise song and write, and immediately with music sung dedicated to the nadam assembly; And, later the song did become the kalka seven banners once every three years of the nadam assembly horse racing prize awarding ceremony of the horse praise inherited for a period of history, has been completely folk folk folkloric folk.
Three, mocking the song
This century after the sixties, China's Inner Mongolia folk artists from Xilingol region has collected more than 10 mocking the song. 1979, U-Narenbatu and other collection and organization, published by the Inner Mongolia People's Publishing House of the "five hundred Mongolian folk songs" (on the) selection of which the "Holy Lord Genghis Khan" and other 5; in 1988, Da-Sanbu In 1988, D. Sambu collected and organized, Inner Mongolia People's Publishing House published "Mongolia Folk Songs Series - Xilingol League set" liturgical song classified in the selection of the "like the sun rises" and other 10 songs. Comparing the same works published twice, there are different degrees of differences in the lyrics and songs, and some of them belong to different variants. The earliest version of the word "taol" is found in "Hua Yi Translation", which is translated into Chinese as "搠兀儿", and interpreted as Xiao, which is actually Hu Jia, an ancient wooden pipe and three-hole musical instrument of the northern ethnic groups. The Mongolian folk call the bass of music as "taol", and the horse-head qin is also called "taol" in the earlier time. Mocker song, i.e., a ceremonial song accompanied by "mocker" harmony, is usually sung only at solemn ceremonies. The specific way of singing is: one or two ceremonial guest singers sing the main song at the same time, a few called "mocking Erqi" accompanied by singers from the root of the throat and voice with a bass harmony, to the main song with a kind of bottom sound, in order to emphasize the atmosphere.
According to the evidence, the taolu song originated from the folk song "Hao Lai - taolu". "Hao Lai", the Mongolian throat voice, "Hao Lai - mocker", that is, with the throat voice to send out a beautiful music bass, in order to entertain themselves. Around the middle and late Ming Dynasty Mongolia, folk "Hao Lai, Lal" was "Etoch", "Aimak" and other large and small social groups solemn celebration ceremonial songs used to absorb, by professional or semi-professional protocol singers processed. By the professional or semi-professional protocol singers processing transformation, the development of a kind of ceremonial song with "taunt", that is, taunt song, and entered the court. During the Qing Dynasty, the taolu song continued to develop, and began to die out with the changes in social etiquette at the end of the Qing Dynasty and the beginning of the Civil War. By the time it was collected in the 1960s, only a few senior folk artists could sing and recall a small number of songs. Now the collection of more than 10 taol songs, basically Ming and Qing Dynasty works, the content can be summarized as three aspects:
(a) praise home landscape, seasonal migratory birds and other objects related to the kinship
Genghis Khan and his descendants to unify the Mongolian ministries, although the successive establishment of ten thousand households, thousands of households, hundreds of households for the military and political unit of the slavery, feudalism, but in Mongolia, the indigenous people have never completely broken the clan, the clan, the clan, the clan, the clan, the clan, the clan, the clan, the clan, the clan, the clan, the clan, the clan, the clan, the clan, the clan, the clan, the clan, the clan, the clan, the clan. native never completely broke the blood ties of clans and tribes. After the collapse of Yuan Dynasty and the return of Emperor Shun to his homeland in the north, the social groups such as "Otok" and "Aimak" appeared in Mongolia in the Ming Dynasty instead of Thousand Households System, which were the economic units of the people who lived in a certain area and often were the union of the people with the unit of kinship. Therefore, about one-third of the more than 10 songs sung at the celebration ceremonies of the social groups such as "Etok" and "Aimak", which were supposed to be sung at that time, are now collected, and they all contain the content of glorifying the relationship of the kinship. For example, "Golden Tibetan Green Fruit". Six of the eight good things celebrated in this song are related to kinship. The nutrition of five animals is the economic foundation for the survival of the tribal group; Tusimode is the administrative official who manages the tribal group; the education of children by their parents and the good luck brought to nephews by their uncle's family are the important guarantee of the well-being and happiness of members of the tribal group; and the harmony of the young people of the same generation and the joyful gatherings of the same tribe are the symbols of the prosperity of the tribal group. The so-called "good" here is actually important. The lyrics summarize the most important ethical principles of the social life of the tribal group at that time with figurative metaphors and typical life pictures.
(2) Glorifying the Holy Lord Genghis Khan
The fact that large and small tribal groups with kinship relations still occupied an important position in the social life of Mongolia in the Ming Dynasty is one aspect. On the other hand, the unity of the Khan's right, "heavenly Khan's right," the highest representative of Genghis Khan, in the minds of all Mongolians also occupy an unshakeable position, especially in the Ming dynasty Mongolia central Khan's right and the long struggle of the foreign ministers, the descendants of the Yuan dynasty and their supporters in order to establish the authority of the Khan's authority, and continue to advocate and strengthen the worship of Genghis Khan, the emergence of the praise of the holy Lord Genghis Khan, the first time in the Ming dynasty Mongolia, the first time in the Ming dynasty Mongolia. The emergence of mocking songs in praise of the Holy Lord Genghis Khan can be said to be a historical inevitability. Chatter - the holy lord Genghis Khan created, all Mongolia's laws and regulations, let us pour back to the pot of milk sprinkles, *** with the celebration of singing. Ah-ee-call-cough, ah-ee-feed-dooza. This is the center of several variations of the song "Holy Lord Genghis Khan", although the lyrics are concise, but the idea is clear, highlighting the creation of Genghis Khan, including "all of Mongolia" of the nation-state, highlighting the sign of the new social system of "laws and regulations". The number of stanzas in the several variants varies, but the structure of each stanza is the same, only the words and phrases are different, forming an isomorphic repetition. The whole song highlights the central idea in the repetition of the central section, highlighting the infinite worship of Genghis Khan.
(C) feudal ethics and morality of the Oracle Zhu Zan
The Oracle Zhu Zan is an important content of the traditional Mongolian feast songs, and Mongolian etiquette is often combined with the feast, so the collection of the Mocker songs in the Oracle Zhu Zan content of the mountain is very prominent, "the past life of virtue", "like the sun rises", "the stars and the moon" three favors the Oracle, the "sunny skies", "the peacock" two favors the Oracle, accounting for almost half of the more than 10 songs. They make up almost half of the more than 10 songs. The most prominent formal feature of the taol songs is the "taol" accompaniment. Some of the lyrics consist of two lines and one paragraph, while some consist of four lines and one paragraph; the contents of the two lines and one paragraph are mostly admonitions and praises, similar to two-line proverbs and maxims, while the four lines and one paragraph are the same as general folk songs. The main theme of the tune is "long tune", which matches the lyrics. The structure of the two lines and one paragraph of the tune is mostly a single phrase with two phrases, and the four lines and one paragraph of the tune is mostly a double phrase with four phrases. Serious content, smooth and soothing "long tune", the beginning of the "chirp--" call, the end of each section "ah ee call cough, ah ee feed dooza The "long tone" is accompanied by the "chirping" call at the beginning and the "ah ee zhao cough, ah ee oi doo za" chorus at the end of each section.
Through the above analysis, we can see that the mocking-er song, as the ceremonial song of the large and small tribal groups in the Ming and Qing Dynasties, reflects the relationship between the relatives and the interests of the tribes from the content to the form, and at the same time, it mainly expresses the thoughts, aspirations, and feelings of the feudal ruling class at that time, and basically it is for the service of the feudal ruling class. Therefore, the collectors and organizers found that the taol songs, "though highly artistic, were not widely circulated".
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Four, hymns
Hymns are evolved from shamanistic sacred songs, which are the result of the development of the Mongolian people's belief in shamanism from the divine praise of the object worshipped to the reality of rational praise. For example, the hymns praising the four seasons of mountains and rivers are evolved from the hymns of sacrificing mountains and water to migratory birds, which is the product of the development of the divine praise to the divine mountains and water and the change of seasons associated with the species of birds (migratory birds), to the realistic and rational praise to the material benefits and spiritual pleasures given to people by mountains and rivers in the four seasons; the song of praising the horses is evolved from the praise to the horse in the men's triathlon game associated with sacrificing the Ao Ou, and it is the development of the praise to the horse from the divine praise to the realistic and rational praise of the people. The horse praise song evolved from the horse praise lyrics in the men's triathlon game associated with the Ovoo sacrifice, and is the result of people's development from the divine praise of the horse to the real rational praise.
With the development of the tendency of the divine praise gradually fading into obscurity and the real rational praise gradually strengthening and highlighting, the object of praise in the hymns also gradually departed from the object of worship in shamanism, and there appeared a variety of contents in praise of khan masters, ministers, generals, Buddhists, temples, and monks, etc. In the first section, we mentioned that after the break of the hymns, they had become the most popular ones in the world. In the first section of the two sources mentioned by us after the identification of the broken generation, the number of hymns praising various contents is already large. For example, the 17th song of the forty-seventh volume of "Mongolian Music", "Barbarian Pipe Music Chapter", "Bright Light Song", is a hymn in praise of the Lord of Khan:
To say that the decorations of the space,
is the sun and the moon:
To say that the essence of the human world,
is the two of the Lord of Khan and the Queen of Khan.
Fifth, thinking of family and homesickness song
The life of thinking of family and homesickness song is based on the Mongolian extramarital marriage system of marrying and marrying far away relative to the internal and external wars in the expedition, the root of the idea is the traditional concept of kinship and filial piety and respect for parents and elders of the mentality. Therefore, in terms of the development and evolution of the ideological content, the song of homesickness is related to the song of sending off relatives in the wedding song, the song of military service, and the song of proverbs and aphorisms to promote filial piety. The two military service songs reviewed in the third section of the first volume of this book, Mongolian and Yuan Folk Songs, "The Book of Birch Skin in the Golden Horde" and "The Song of Alechimber", are in fact of the nature of songs of homesickness for one's relatives. The generation of songs of long-distance marriage and homesickness should also be relatively early. From the more clear and reliable "Mongolian music", "Aruhangai folk song 300", there are a lot of such songs.
Sixth, Buddhist songs
Buddhist song is the end of the sixteenth century after the yellow religion in Mongolia folk popularization period of penetration of the song category. From the "Mongolian music", "Aruhangai folk song 300" two kinds of data collection, the number of its works accounted for a large proportion, which shows that this kind of song was very popular at that time. Mongolian Music" has 73 songs with words and songs, nearly half of which belong to Buddhist songs; "Aruhanggai Folk Songs 300", nearly one-third of which belong to Buddhist songs. In this nearly half and nearly one-third of the Buddhist songs, most of them belong to the written works of monks and scholars. This further shows that the reason for the prevalence of Buddhist songs, mainly the feudal upper ruling class on the support of Buddhism advocates and temple monks on the dissemination of teaching doctrine indoctrination, the lower masses, although there is a certain degree of pandering, but fundamentally is paralyzed by the poisoned. Therefore, as far as the ideological content is concerned, there is a clear difference between the Buddhist songs created by the monks and the literati and those produced by the lower class people. Generally speaking, the songs produced by the people were not as didactic and full of scripture as the compositions of the monks and literati. On the one hand, the lower class people just follow the feudal ruling class on the "Three Jewels", "politics and religion" and other superstitious dogma blind praise; on the other hand, they are from their own interests to understand Buddhism, especially easy to accept the cycle of life and death, karma and retribution of a kind of sermon, in addition to their hope that the infinite power of God and Buddha can punish the bad and good, and justice, they also prayed for the benevolent Buddha can bless themselves, to get rid of the disaster.
Seven, love songs
Love songs produced in when, it is not clear. According to the collected works of information, before the late Qing Dynasty began to popularize is not in doubt. 1918 became a book of "Mongolia customs Jian" recorded a title for the "Angsra" love song, the author of the author of Lobsang Chaitan said that the song has been circulating for nearly a hundred years. There are about 30 love songs in the 300 Folk Songs of Arukhangai, which is not a large proportion or too small, indicating that love songs were already more popular at that time.
Angsra is the name of a beautiful girl. Legend has it that because Onsla was born as beautiful as a butterfly, many men missed her day and night and wanted to get her.
The purple bay horse with the smartly clipped ears,
I wonder when you can be my mount?
The girl who loves you with all her heart,
I don't know when you will be worthy of me?
............
If there were no roiling winds and thunder,
I would be able to accompany the warm sunshine;
if there were no harsh regulations,
I would be able to marry you in my felt room. (
No matter how fast a racehorse runs,
it cannot get out of the hand;
No matter how much a lover hides,
it cannot hide from the eyes of the crowd.
No matter how wild the horse is,
it is afraid of the gravel on the road;
No matter how passionate the lovers are,
they are afraid of the crowd. (The Black Upside Down Horse)