one of the basic genres of Chinese folk songs. It has an extremely wide circulation and distribution, and is also extremely rich in treasures. One way of looking at it is that wherever it is circulated on the plateau, in the mountain
Mountain Song
area, in the hilly areas, people in all kinds of individual labor such as walking, chopping wood, grazing, mowing the grass, or folk songs in order to comfort themselves and entertain themselves with the rhythm of the free, melodious long folk songs, is usually said to be the mountain song. Another view is that, in terms of genre characteristics, the pastoral songs sung by herdsmen on the prairie, hymns, feast songs, fishing songs sung by fishermen on the rivers, lakes and seas, boat songs, some places in the south of the wedding rituals sung on the "wedding song", should also be attributed to the mountain songs. Because they also have the same individual labor in singing, singing free stretch, self-indulgence and other basic features. Generally speaking, this broad concept of mountain song is more helpful to our understanding of the artistic characteristics of the genre.
Distribution
Mountain Songs
The circulation and distribution of Chinese mountain songs are mainly concentrated in the Inner Mongolia Plateau, the Loess Plateau in the northwest, the Qinghai Plateau, the Xinjiang Plateau, the Yunnan-Guizhou Plateau in the southwest, the Dabashan Mountains of the Qinling Mountain Range, the Dabie Mountain Range, the Wuyi Mountain Range, and the Tibetan Plateau. One of the most representative
Singing Songs (8)
The spread of the area and its varieties are: Inner Mongolia, grassland occupation of a variety of "long tone" songs, Jin, Shaanxi, Inner Mongolia, the west of the "letter of the day", "mountain song", "climbing the mountain tune", Ning, Gan, Qing region of Han, Hui and other ethnic groups of the "flower", Xinjiang, "pastoral", Shaanxi, North Sichuan, "Sister Song", "Maoshan Song", "back", "Dabie", "Dabie", "Dabie", "Dabie" and "Dabie". The "Sister Song", "Maoshan Song" and "Erge" of southern Shaanxi and northern Sichuan, the "Slow Cattle Drive" of Dabie Mountain, the "Wu Mountain Song" of Jiang and Zhejiang, the "Hakka Mountain Song" of Gan, Fujian and Guangdong, the "Morning Song" (also known as the "Divine Song"), the "Dading Mountain Song", the "Maidu Mountain Song" and the songs of various ethnic minorities of the junction of Yun, Gui, and Chuan, and the "Tibetan Mountain Songs" of the Tibetan areas, as well as the songs of the various ethnic minorities of the Guangtwo, and so on.
Editorial classification Mountain songs can be divided into three categories: general mountain songs, field rice-planting mountain songs, and grazing mountain songs.
The general mountain songs are widely distributed in the Han areas of China, such as "Albatross" in northern Shaanxi, "Flowers" in Qinghai, and "Catching Slow Cows" in Anhui.
The rice-planting songs are mainly used in rice-planting, water-carrying and other labor, and they are sung by specialized "rice-planting gangs" in the fields in order to inspire the mood of the laborers and improve their effectiveness.
Grazing songs are sung by graziers for yelling at their animals or asking and answering questions to amuse each other, and are mostly sung by children and teenagers, with lively tunes, vivid lyrics, and fun, often with yelling liner notes.
Types of songs
Songs
Songs of the mountain song is a different region of the folk of the local songs of the unique title, the common types of northern Shaanxi Province, "Xin Tianyou", Shanxi, "mountain song", Inner Mongolia, "climbing the mountain tune", "the mountain song", "the mountain song", "the mountain song", "the mountain song", "the mountain song", "the mountain song", "the mountain song", "the mountain song", "the mountain song". The common types are "Xintianyou" in northern Shaanxi, "Shanqu" in Shanxi, "Climbing Mountain Tune" in Inner Mongolia, "Flower Children" and "Youngsters" in Qinghai and Gansu, "Catching Up" in Hubei, "Morning Song" in Sichuan, "Morning Song" in Hubei, and "Morning Song" in Sichuan. Sichuan's "morning song", Anhui's "earn neck red", and so on. Nowadays
The Charm of Mountain Songs(8)
Still popular are Meng Jiangnu's tune, such as "The Moon Bends to Shine on the Nine States"; the tune of Cutting the Pretty Flowers, such as "Returning to My Mother's Home"; the tune of Flowers, such as "Jasmine Flowers"; and the tune of Embroidered Lotus Bags, such as "Walking to the Western Mouth". For example, Zhangjiajie's mountain songs include "Flower Big Sister", "Little Ya Gu", "A Bird with a Head", etc. There are also Guizhou Tujia's "Wang Niu Mountain Songs", Dong's "Ga August", and Zhuang's "Strong Family Sisters". Others include "Playing a Mountain Song Across the Hengpai", "Maidu Mountain Song", "Pair of Birds", "When Will the Sophora Blossom Bloom", "Malan Mountain Song", "Mountain Song Singing Springtime Year after Year", "Mountain Song for Marriage", and "Unforgettable Streams", among others.
Flower children "head and tail Qi", "two loads of water" and "broken waist" is popular in Gansu, Qinghai, Ningxia mountain song "flower children" lyrics structure form. There are two main types of structures for the lyrics of "Hua'er". One is the "head and tail Qi" style, consisting of four lines of lyrics, that is, two pairs of upper and lower sentences composed of the same number of words in each sentence, but the upper and lower sentences of the lyrics of the phrase structure in the rhythm of the formation of the effect of mutual interlacing, a single digit or phrases and the opposite of double-digit phrases; the second lyrics structural form by the local people figuratively referred to as the "two quintals of water" or "break the waist," is a six-sentence structure, that is, a six-sentence structure, that is, a six-sentence structure, that is, a six-sentence structure. The second form of lyrics structure is figuratively called "two loads of water" or "broken waist" by local people, which is a six-sentence structure, that is, between each pair of upper and lower sentences of the "head and tail Qi" style, a three- to five-word half-sentence is added, which not only increases the capacity of the lyrics, but also changes the rhythm, making it catchy to recite. Stacking: Stacking is a technique often used in folk songs. It is generally a dense rhythm, often with one word and one tone, not very melodic, and the rhythm is handled neatly and consistently, with strong staccato, similar to the recitation style of counting boards. Instead of pursuing melodic ups and downs, the palletizing phrase emphasizes the dynamism of the rhythm. The phrase is often inserted in the middle of the section of a folk song, and its resounding rhythm contrasts sharply with the stretching melody before and after it, while at the same time expanding the capacity of the words. It also serves to build up the momentum for the subsequent melody. The addition of stacks is also called "clip stacks". It is an addition to the structure of a folk song, and it is often placed in the middle of a passage.
Dehua Mountain Songs Mountain Songs are part of folk ballads, which are a combination of literature and music with folk stories, and are a form of expression of the moods of the local working people when they go up to the mountains and work in the fields and men and women sing in pairs.
Features of Dehua The characteristics of Dehua songs that distinguish them from those of other places are as follows: First, they have a long history and a clear origin. The origin of Dehua songs can be traced back to the late Tang Dynasty, Guide field (the predecessor of today's Dehua County when the county was founded) field director Yan Renyu "has a hundred poems, passed on to the people", the folk beautifully known as "Yan Sir Poetry", poems are "Nongsang", "Jumen", "Road", "Bianting", The poems include "Nongsang", "Jiumen", "Haklu", "Bianting", "City", "Poor Girl", "Negative Salary", "Empty Door", "Mountain Dwelling", and "Fisherman's Father", reflecting the lives of farmers, Jiumen, the city, the lives of people of all classes, and the realities of feudal society, and the poems made by Yen Renyu have been widely recited in the folklore for a long time. Secondly, the development was driven by local opera. Since the Ming and Qing Dynasties, the rise of rural opera classes, puppet shows, Gaojia Opera, Bubu Opera, lion dances, dragon dances, etc. in Dehua has contributed to the prosperity of the mountain songs. Thirdly, they are sung in Dehua's native dialect. The lyrics rhyme, the language is refined, and the chapters and paragraphs are clear; there are obvious wordplay, customary colloquial phrases and the folk oral arrangement of words and phrases that obey the rhyming syllables and rhythms. Fourthly, the songs are melodious. Dehua mountain song melody is simple, simple rhythm, with the characteristics of the regularity, and the song of the ups and downs is not big, more stable, easy to sing, and the performance of the image, vivid, friendly, natural, simple and unique characteristics.
The types of songs in Dehua include love songs, labor songs, current affairs songs, ritual songs, life songs, etc. For example, labor songs include "Calling Cattle Song", "Cattle Herding Song", "Playing Stone Song", "Picked the Bugle", "Sowing the Field Singing", and "Making the Field Song", etc. Current affairs songs include "Resistance Against Japanese Aggression and Salvation of the Nation", "Moonlight", "Song of the Strongest", "Disciplinary Songs of the Red Army", "Turning Over Song", etc. Ceremony songs include "Knack Art Song", "Festival Order Song", "Sets and Orders Song", "Sectional Songs", "Sectional Songs", "Sectional Songs Song", and so on.
The songs of rituals include "Song", "Song of Festivals", "Song of Rites and Customs", "Song of Rituals", etc.; the songs of love include "Wholeheartedly **** Mother's Goodness", "Mother's Son of the Sangshui", "The Wind and Son Blows with a Taste of Fresh Fragrance", and "Mother's Thou Sees You Look"; the songs of life include "Song of Encouragement of Filial Piety", "Song of Gu Cow", "Boredom of the Heart of the Asking Armor", and "Blossoms in the Garden".
In the economically developed cultural circle of southern Fujian, Dehua songs are a rare carrier of local culture. People sing songs to celebrate the new society and new life, mountainous rural songs are sung everywhere, enriching the cultural life of the rural people, and playing an important role in the local folk ritual activities, local publicity and foreign exchanges. [1] Gannan Hakka Songs Gannan Hakka songs were formed and developed with the formation of the Hakka folk lineage, and they are the products of the fusion of the immigrant culture of the Central Plains and the local indigenous culture, as well as the influence of neighboring cultures. Hakka songs are songs sung in Hakka dialect, which are produced in the middle of Hakka working people. When people are working in the mountains, such as chopping firewood, picking wood and catalpa, felling wood and releasing rows, shoveling pine oil, picking burdens, and working in the fields, they may seek companions to drive away wild beasts and robbers, or they may sing songs and make fun of each other to get rid of fatigue; or they may complain of their grudges, or they may release their indignation; or they may express the feelings of affection between men and women, etc, and all of them are expressed in the form of mountain songs. "The colorful content of the songs is a mirror of the life of the Hakka people. Among them, love songs are the most numerous and the most characteristic. As the song goes: "Since ancient times, mountain songs have been sung with great flair" and "mountain songs are not sung with great flair". Such as adoration, temptation, pursuit, first love, passionate love, refusal of love, farewell, love, broken love and so on, all with a large number of different forms of songs to express. For example, one of the songs in Shangyu says: "When the ridge on the high ridge hits the hooch spell, the fine sister eats yan day; when the fine sister hears the hooch spell ringing, the chopsticks are thrown and the bowl is thrown." It shows the innocent and lively image of the fine sister who is not interested in eating when she hears the yoho sound of her love brother singing a mountain song. Another example is Xingguo's "Entangled in Life and Death": "When I enter the mountains, I see the vine entangled in the trees; when I leave the mountains, I see the tree entangled in the vine; when the tree dies, the vine is entangled in death; when the vine dies, the tree dies, the vine is also entangled in death." This mountain song, which expresses the love of life and death, has been widely sung not only in Gannan, but also in the eastern part of Guangdong, the western part of Fujian, Guangxi and Taiwan. It has inherited the traditional style of "The Book of Songs", and has been greatly influenced by the Tang poetry and the bamboo lyrics, while at the same time absorbing the excellent components of folk songs from all over the south, and has been widely circulated and sung for thousands of years. Hakka songs include labor songs, persuasive songs, industry songs, juggling songs, show-off songs, virtual mystery songs, pull over songs, riddle songs, and guessing tunes, ditties, bamboo songs, etc. Hakka songs are melodious and beautiful. Hakka songs have beautiful melodies, and almost all of the tunes have ornamental sounds such as trills, glissandos, and leaning tones, which make the melody become winding and melodious. Hakka songs are sung in a variety of styles, including Songkou original plate songs, Meixian songs, Xingning Luogang songs, Jiaoling Changtan songs, and Daipo Xihe songs.
Xingguo Mountain Song "Xingguo County" is located in the south of Jiangxi Province, the northern region of Gannan, under the jurisdiction of Ganzhou City. Three Kingdoms period Sun Wu Jiahe nine years (AD 236) built the county, began to call Pingyang County, Song Taiping Xingguo seven years (AD 982), to "Xingguo" year for the name of the county, so far there have been more than a thousand years of history. Xingguo Zhong Ling Yuxiu, talents, the Tang Dynasty Zhongshu Ling Yue Guo Gong Zhong Shaojing, calligraphy, following the Carefree enclosure Wang, famous in the world; Song Li Qian, Li Park father and son brothers a family of seven scholar, all to science poetry and literature famous in the world ...... historical and cultural deposits are extremely rich. County jurisdiction 25 townships (towns), 304 administrative villages, 730,000 people, the territory of the mountainous, hilly, centipede mountain, Dawu Mountain, Fusu Mountain, Qin E Mountain divided into the east, north, and west, Fangshiling stretches across the center, only towards the south of the corner, the terrain is low and flat. The mountains are densely forested, and in ancient times the mountain people were mostly woodcutters or half-farmers and half-woodcutters.
According to legend, the Xingguo mountain song "started in the Tang Dynasty, the Song Dynasty, and has been passed down from generation to generation." In Xingguo County, there is a record of the Tang Dynasty "Taishang hermit" singing mountain songs; Song Dynasty great writer Su Dongpo also left a "mountain woodcutter to understand the poetry" of the best lines. Folklore, Xingguo mountain song for the end of the Tang Dynasty, Luo Yin created, folk still have a long-lived mountain song: can sing mountain song song refute song, can weave damask shuttle shuttle; Luo Yin showman song book, a sister to a brother. It can be seen that Xingguo songs have at least a thousand years of history. Xingguo mountain song was originally the mountain people in the fields and forests of each other's songs. However, in the middle of Song Dynasty, a kind of feudal superstition activity called "jumping wizard" was spread to Xingguo from Hakka people in western Fujian. Jumping wizard, the original meaning is to pray for good fortune and bad luck, blessing peace and good fortune, it has a set of unique program of drawing talismans and making spells, however, in order to attract more spectators, the clever master of the law to attract more spectators, the masses of the Xingguo Mountain Songs introduced into jumping wizard, so as to make it into two parts: one part of the ritual activities, one part of the entertainment, that is, singing songs. Thus, Xingguo shangsong came into indoor singing. The songs, with their characters, plots, stories and performances, appeared with male and female wizard males and wizard females (men dressed as women), and then, gradually penetrated into the temple fair, marriage, house building, birthday wishes and other folk activities.
So far, Xingguo mountain song appeared two parallel development path: one is the improvisation of the mountain field singing, the other is the indoor entertainment mountain song of professional singers. Soviet period, Xingguo mountain song has become a powerful weapon of war propaganda, wrote "a song of three divisions" of the glorious chapter, a song "Soviet cadres good style" sung throughout the Soviet Union. After the founding of new China, Xingguo mountain song in the propaganda of the land revolution, singing the new China is famous. 1996, the Ministry of Culture officially named Xingguo "mountain song township".
Jingning She Mountain Songs Jingning She Mountain Songs are the oral literature created by Jingning She people in the struggle for production and life, and they are an important part of the traditional culture of the She people. She people love songs, song, communication feelings; song on the matter, good and punish evil; song to pass knowledge, more than wise fight. Not only do they sing songs at weddings and festivals, but they also sing songs when they are working, entertaining guests, resting, talking about love, and even when they are sad at funerals and burials, they also sing songs instead of crying and pouring out their hearts. In the old society, the She people often used songs as a weapon to express their hatred for the oppressors and their pursuit of beauty in their struggle against the ruling class. After liberation, the revolutionary songs and hymns, which mainly glorify the leadership of the Chinese ****producing party and the new life of socialism, reflect the new ideological outlook of the She people and are qualitatively different from the traditional songs.
The songs are generally written in four lines, seven lines of rhyming text, and four lines for a song. There are also a few songs with three or five words in the first line, which rhyme, and the last word of the third line must be in an oblique tone. Most of the songs are sung in "falsetto", solo, in pairs or in unison. They are rarely accompanied by movements and music. Famous singers include Lan Chunchui (female), Lei Shilian, Lan Zhenshui, Lei Longhua (female), Lei Yangyin (female), Lei Yongqing, Lan Rongchang, Lan Yugen, Lan Peiju (female) and so on.
She songs include narrative songs, custom songs, labor songs, love songs, seasonal songs, novel songs, revolutionary songs, children's songs, miscellaneous songs and other kinds of songs, and there are more than 3,000 hand-copied songbooks with more than 20,000 songs in Jingning. The 4 couplets of "Fighting Wine Bureau", "Fighting Salt Bar", "Ancient Song" and "Lady Tang Song" compiled with local historical facts are included in the "Chinese Folk Literature Integration-Zhejiang Province Volume", and there are 935 She wedding songs and 642 She lamentation songs, which are compiled and printed by She Folk Literature and Art Society of Zhejiang Province.
"Eighteen Little Sisters Learning to Plug in the Fields" is a folk song of the She people, in which the shithole is facing the back and the face is facing the front, and the merchants on the road do not laugh at it, but plug in the fields on behalf of my husband. She folk songs are the oral literature of the She people and an important part of their culture. The She people only have language but no writing, and often borrow Chinese characters to memorize their songs by hand. In the old society, the She people did not have the opportunity to receive cultural education, and learned to sing songs as an important part of their cultural life. Therefore, before the 1960s, the popularity of folk songs was high, and they often used songs to express and communicate their feelings; they used songs to discuss things, to promote goodness and punish evil; they used songs to spread their knowledge, and they fought for wisdom, forming a set of songs for laboring in the mountains, receiving guests, and celebrating weddings and funerals.
She folk songs have seven words and four lines, and they rhyme in the She language. Many people can improvise and sing, and some singers sing for one or two nights without repeating themselves. Some singers sing for a couple of nights without repeating themselves. When they sing, they sing in "falsetto" with the sounds of "li, lo, ah, yi, le", etc. When they learn to sing, they don't sing in falsetto, so they call it "flat singing". Each county has a tune for singing joyful songs, and the whole nation is united by one tune for singing sad songs. The form of singing includes solo, duet and unison singing, rarely accompanied by movement and instrumental music. Labor on the mountain, a single person is often to sing to drive loneliness, someone heard in the distance, listening to the age of the opposite sex, it is often connected to the development of love singing. Mountain often people singing, so some people say that Jingning Shexiang is the sea of song, so some people also called the She song mountain song.
The above are all original mountain songs. There are also some such as "Mountain Song is Better than Spring River Water", the theme song of "Liu Sanjie", which was adapted later.
Liuzhou Mountain Songs Fish Peak Mountain in Liuzhou City, Guangxi, is the birthplace of Liuzhou Mountain Songs, and legend has it that Liu Sanjie, the Song Fairy of the Zhuang people, is here riding a fish to fly to heaven and become immortal. Liuzhou mountain song has a long history, since the Tang Dynasty, through the vicissitudes and not decline. To this day, every year on holidays, under the fish mountain, small dragon pool, the people's square, there are singers spontaneous companion singing songs, around the audience, a lot of people, the scene is cheerful and warm. In the modern city still retains the ancient cultural form of singing songs, which is rare in the country's cities.
Liuzhou songs are sung in solo, joint and duet forms, of which the duet is the most commonly used and most distinctive form of traditional Liuzhou songs. Duet singing, commonly known as the song, is a singer or song team to test each other's singing talent in the form of competition, so it is also known as the song, playing the ring, with a strong confrontation, competition. Whenever the song pueblo, the two sides of the song you sing and I, improvisation, on-the-spot play, export song. The words are witty and vivid, and the songs are quick and sharp, often making the listener hilarious.
Editing the structure of this section Lian Bajie: Lian Bajie, also known as "Lian Bajie", is a type of mountain song structure popular in Sichuan and southern Shaanxi. Its structure is as follows: before and after are two up and down phrases, the second phrase is a repeat or change of the first phrase; in the middle is inserted a part of the nature of the counting board, the rhythm is relatively more dense than the two phrases before and after, and the sentence length is compact. The whole piece has one ****8 lines. In some cases, even the middle section of the eight verses constitutes a complete four-verse section, forming a three-part structure with repetition. Five-sentence Song: The five-sentence song is also a structural type of mountain song, popular in areas such as Sichuan, Hubei, Hunan and southern Shaanxi. The structure of the song is as follows: the 1st and 2nd phrases are the corresponding sections of an upper and lower phrase; the 4th and 5th phrases are the repetition or variation of the 1st and 2nd phrases; the 3rd phrase in the middle is either a variation of the 1st phrase (i.e., a change in the end of the phrase), or a synthesis of the 1st and 2nd phrases (the head of the 1st phrase plus the end of the 2nd phrase is more common), or the use of new material. At the same time, the falling note of the 3rd phrase is often the tonic dominant, sometimes a second or fourth above or below the tonic dominant. In this way, the falling notes of the five stanzas of the song form the following pattern: fifth - dominant - dominant (or diatonic or quadratic) - fifth - dominant.
The free and long rhythmic pattern is characteristic of the typical mountain song genre, and it is mainly manifested in two interdependent aspects. First, in the statement of the lyrics, the rhythm of the music is close to the rhythm of natural language, in order to speak directly and clearly from the heart; second, in the words or phrases of the lyrics, that is, at the end of the melody or phrase, the song often has a free prolongation, in order to express the emotion in the heart to the fullest. The regular and dense rhythm of the statement part of the lyrics and the free prolongation of the emotional aria form a sharp contrast between density and relaxation, regularity and freedom, and due to the frequent and diversified alternation of the two, enriching the rhythmic layout of the songs and strengthening the expressive power of the songs.
Lyrics GalleryMore GalleriesShan Song Duet(8 pics)The Charm of Shan Song(8 pics)Lyrics Pictures(4 pics)
References
1. Information on the Dehua Shan Songs ． Open Categories:
Music, Songs, Folk Songs, Mountain Songs, Wu Language
2. Wu Language Ancient Books Edit this Item
Help Edit Mountain Songs Catalog Content Influence Mountain Songs The Mountain Songs is a collection of Chinese folk songs from the south of the Yangtze River, written in the Ming Dynasty, and collected and compiled by Feng Menglong. It is a collection of folk songs from the Wu-speaking region of Suzhou (including present-day Suzhou, Huzhou and Jiaxing) during the Ming Dynasty. The Songs of the Mountain has been long lost, and the collection of folk songs from the Wu-speaking region around 1934 (including present-day Suzhou, Huzhou and Jiaxing). The Songs of the Mountains has been lost for a long time, and in 1934 the master of the Shanghai Transfiguration Hall visited the original book in Huizhou, and it was typeset and published after proofreading by Gu Jiegang.
Songs of the Mountain Editorial content Songs of the Mountain in the editorial style, breaking the previous purely genre-based classification of the practice, to the content of the main, taking into account the genre and supplemented by the necessary commentary. The whole book *** 10 volumes, collected 356 Wu songs, Tongcheng seasonal songs 24. Many of these chapters truly reflect the passionate and courageous pursuit of love, with obvious significance of anti-feudalism and strong artistic influence.
The method of expression is characterized by the use of a large number of picaresque techniques. The language is quite distinctive, close to colloquialisms, with many puns. Proverbs and epigrams are also used. The work has a strong flavor of life.
Because of the limitations of the editor's worldview, there are still some vulgar and even obscene pornographic works in the selection of "Mountain Songs". The vast majority of this almost lost "Mountain Songs" are undesirable in terms of content.
Mountain Songs Editorial Influence Feng Menglong in the book before the Narrative of Mountain Songs, the characteristics of folk songs and its history of development, its value and social role and other issues are briefly described, is an earlier short essay on folk songs, is an important source for the study of Feng Menglong's folk literature and art thought. In his commentary, he proposed that the organization of folk songs should follow the original appearance of folk literature and art works, which is of great significance to the collection and selection of folk literature. This book is a reference for the study of the development of folk songs and the social life in Jiangnan during the Ming Dynasty.
The Songs of the Mountains objectively preserves many of the Wu words spoken in Suzhou at the end of the Ming Dynasty, and is of great value to the historical study of the Wu language nowadays.
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