Chapter 37 Section 6 New Development of Minority Music

As early as the Spring and Autumn Period and the Warring States Period, the ethnic groups in the southwestern border created the "Barbarian Bronze Drum Culture" that shocked Chinese and foreign scholars; during the Qin and Han Dynasties, acrobatic music and dance from ethnic minority areas were introduced to the Central Plains, adding a strange brilliance to the popular art of Baixi at that time; Sui and Tang Dynasties During the Ming and Qing Dynasties, the brilliant achievements of music and dance art were the crystallization of the integration of music and dance of the Central Plains and ethnic minorities; Music and dance has entered its full prosperity stage.

Singing songs in antiphonal competitions in groups is a basic characteristic of the folk songs of ethnic minorities in China.During the Ming and Qing dynasties, folk song gatherings were very popular. During festivals and festivals, men, women, young and old gathered together to sing songs to each other.In the northwestern region, every April or May or June of the lunar calendar, people from Tu, Hui, Dongxiang, Sala, Baoan, Yugu and other ethnic groups hold regular "Huaerhui". "Hua'er", also known as "juvenile", "yequ" and "folk song", is a type of folk song.When the session comes, tens of thousands of singers of all nationalities gather in the "Hua'er Club" to compete with each other for several days, and the scene is extremely spectacular.In the living areas of Zhuang and Yao ethnic groups in Guangdong and Guangxi, there are many gatherings and singing sessions throughout the year. It is said that this is related to the "song fairy Liu Sanmei".Zhuang, Yao and other ethnic groups worship Liu Sanmei (also known as "Liu Sanjie"), the god of song, and regard Liu Sanmei as the mother of song making.Qu Dajun of the Qing Dynasty (AD 1630-1696) recorded a story about her in "Guangdong Xinyu": Liu Sanmei, who lived in the Tang Dynasty.She is very good at singing folk songs, and travels to and from various ethnic minority areas in Guangdong and Guangxi all the year round.One day, a boy from Baihe Township sang to Liu Sanmei. After hearing the news, singers from Zhuang and Yao ethnic groups flocked to watch and help sing. There were hundreds of people.The two competed songs continuously for seven days and seven nights, and finally turned into a huge rock standing forever in the singing field.All the people of all ethnic groups respected them, so they regarded the huge stone as the "song fairy stone" and the three sisters as the song fairy, and they gathered and sang to sacrifice to them every year.So far, the popular folk music activity "Song Fair" of the Zhuang people is said to be the relic of this custom of group singing competitions. The folk songs are still being sung by the folks, "Now Guangxi has a sea of ​​songs, all of which are handed down by the third sister."The collection of folk songs "Yuefeng" edited by Li Tiaoyuan (AD 1734-?) in the Qing Dynasty contains many lyrics of folk songs of the Zhuang and Yao peoples (Figure 43).

When the music of the Han nationality entered the heyday of rap music and opera music in the Ming and Qing Dynasties, the music of ethnic minorities in the frontier was still in the golden age centered on singing and dancing music.In the Uighur region of Xinjiang, classical singing and dancing music represented by "Muqam" was very popular.Muqam originated from Kucha music, and its structure belongs to divertimento, and each set is composed of songs, dances and instrumental music.Since the development of Muqam in modern times, there have been as many as 12 sets, so they are generally called "Twelve Muqams". "Xavirek", "Qairido", "Panjiduo", "Ozhal", "Ejam", "Ushak", "Bayat", "Nava", "Siduo" , "Iraq".In Tibet, a folk song and dance called "Nangma" in Tibetan language emerged during the period of the eighth Dalai Lama Changbai Gyatso (AD 1780-1804). It is also a comprehensive performance art of singing, dancing and instrumental music. Its singing includes solo and duet, and its instrumental accompaniment includes solo, ensemble and ensemble.The musical instruments are Zanianqin, Yangqin, Dizi, Tiehu, Tibetan Huqin and Chuanling, which have the characteristics of combining Tibetan and Chinese music.In the southwestern region, the ancient reed music and dance of the Miao, Yao, Dong, Yi and other ethnic groups has developed more extensively. Among them, the Miao people call this music and dance activity "moon jumping", which is one of the folk music activities that young men and women love very much.Qing Xie Shenglun's "Gianlue Chronicles of Yunnan and Guizhou" (1763 preface) records: When young men and women of the Miao nationality danced to the moon, they "choose Pyongyang as the moon field, with flowers and makeup, men playing Lusheng, women ringing bells, dancing and singing and dancing". .There are many kinds of reeds used, such as large, medium and small. When they are together, the sound shakes the trees.In the engraved edition of "Guangyu Shenglan" in the Qing Dynasty, there is a picture of "Jumping the Moon", in which two men and two women are dancing the Lusheng dance together (Figure 44).In the Yi and Bai areas of Yunnan, they are very fond of "playing songs" during festivals and gatherings. "Dage", also known as "tumbling feet" and "stepping songs", is a form of singing and dancing. During the performance, participants form a circle and sing and dance, and some are accompanied by Lusheng and flute.Qing Guifu's "A Journey to Dian Continued" (printed version in 1813) said that "a man and a woman meet, one plays the flute and the other plays the lusheng, and dozens of people sing around stepping on the ground, which is called 'Tage'" is this kind of music and dance.The Qing Dynasty mural "Da Ge Tu" in Wenlong Pavilion, Weishan, Yunnan, is a vivid record of this image of music and dance.

There are more records of the musical instruments of various ethnic minorities in the literature than in previous periods.In the northern Mongolian area, Sihu, a stringed instrument called "Huwu'er" in Mongolian, and Matouqin, a stringed instrument called "Chaoer", have developed into musical instruments with high solo performance. The Mongolian book "Genghis Khan's Proverbs" praised The "beautiful playing" of these two instruments.Today's Sihu song "Ba Yin" and Matouqin song "Zhu Baolie" are works inherited by Mongolian artists in the Ming and Qing Dynasties.In addition, the tongue-reed musical instrument "reed" (kouxian) produced in ancient times disappeared in the Han areas by the Ming and Qing Dynasties, but the Kouxian was still circulated in folk music activities in various ethnic minority areas (Figure 45).Qing Yu Qingyuan's "Weixi Wenwenji" (1770 preface) introduced in detail the bamboo pull-type single-reed chords and finger-style three-reed chords used by the Naxi people and the Bai people (Nama branch), and they are called the Naxi people of the Bai people. The horsemen "all wear tubes, play them in response to the songs, and those who play them dance and dance with the songs." Others include "long drums", "bronze drums" and "gudaoqin" that use ancient musical instruments as accompaniment and also serve as props. Dance", "Xianzi Dance", "Elephant Foot Inspiration", "Petle Music", etc., are also spread among the Yao, Korean, Zhuang, Wa, Buyi, Miao, Yi, Dai, Brown, Gaoshan and other ethnic groups.As a symbol and symbol of the traditional culture of the relevant nation, they still occupy an important position in folk music life so far.

Just as the high development of song and dance art in the Tang Dynasty created the necessary conditions for the formation of Song and Yuan opera art in the Central Plains, the overall prosperity of frontier ethnic song and dance music in the Ming and Qing Dynasties also contributed to the rise of rap music and opera music of these ethnic groups. Foundation.In addition, the rulers implemented the policy of "garrisoning people" in the frontier areas during this period, which accelerated the rhythm of music and cultural exchanges between the Han nationality and the frontier ethnic groups. Therefore, among some frontier ethnic groups with profound cultural traditions, rap music and opera music began to appear. initial development.

The rap art of the frontier ethnic groups that emerged during this period, the more representative types of tunes include the Tibetan "Zhega", the Bai nationality's "Dabenqu" and "Benziqu", the Yi nationality's "Jiasu", and the Buyi nationality's "Jiasu". Buyi playing and singing, Zhuang's "Mo Lun", Dong's "Gajin", Dai's "Zanha", Korean's "Panyuli", Kazakh's "Dongbula playing and singing", Uyghur's "Kexiake", etc. .Most of these types of music are developed on the basis of the widely circulated folk songs of the nation, and are accompanied by characteristic musical instruments common to the nation, thus forming distinct local and national characteristics.For example, the basic singing tunes [Shangjia Tune], [Xiajia Tune], [North Road Tune], [South Road Tune] of the Zhuang nationality's "Mo Lun" are directly related to the folk songs of Jingxi and Debao, which are different from the general ones. The rhyming method of the libretto still maintains the traditional rhyming method of the waist and feet that the Qing people said "use more ancient rhymes, and rhyme with each other" (Lu Zuofan's "Idioms in Western Guangdong").In terms of accompaniment instruments, the "Zanha" of the Dai nationality uses Bawu, the "Gajin" of the Dong nationality uses the Dong pipa, the "Korshake" of the Uyghur nationality uses Rewafu, and the "Panyuli" of the Korean nationality uses Gaya [yeye]. 〕Qin or Xiqin, these instruments with special performances make the national characteristics of related music more intense and prominent.

The frontier ethnic operas that appeared during this period are more representative of the Tibetan opera of the Tibetan nationality, the blowing tune of the Bai nationality, the Buyi opera of the Buyi nationality, the Zhuang opera of the Zhuang nationality, and the Dong opera of the Dong nationality.Some of the tunes of these operas are developed from the folk songs and singing and dancing music of their own nation, such as Tibetan opera and Zhuang opera, etc.; That belongs here.The blowing tune of the Bai nationality originated from the Yiyang tune in the Ming Dynasty. After the Yiyang tune flowed into the Bai nationality area in Yunnan with the "Tunmin", it was transformed by the Bai people with national characteristics, and it became the blowing tune of the Bai nationality.Qing literature mostly refers to the Bai people as "Minjia" and the Bai language as "Minjia language". He said: "Folk songs, based on folk language, have different tones, and the phonology is leisurely and moving. There are also drama performers, or mixed in Chinese, which is called Han Bo (Bai) Chu Jiangqiu." This "Han Jiabai" singing tradition is still maintained.

The music life of ethnic minorities in the Ming and Qing Dynasties has preserved for us many ancient musical instruments, types of music, music and dance, rap and opera that have disappeared in Han areas or have not been found in Han areas.As part of the great musical cultural treasures of the Chinese nation, they have created favorable conditions for the diversified development of the music and dance of various ethnic groups in modern times, and at the same time provided extremely valuable and rich and vivid materials for the study of ethnomusicology and music history.