Intangible culture with Related Tags
Mongolian long-tune folk songs
In November 2005, it was selected into the third batch of the Representative List of the Intangible Heritage of Humanity. In 2008, it was automatically included in the Representative List of the Intangible Cultural Heritage of Humanity. Mongolian songs are divided into two main types, one is Uzhidindao or "long tune", and the other is "short tune" (bogino duu). As a form of expression related to grand celebrations and festivals, long tunes enjoy a unique and respected status in Mongolian society. Long tunes can be heard at weddings, housewarmings, baby births, foal markings, and other social activities and religious festivals of Mongolian nomads. Long tunes can be heard even more at the "Naadam" convention, a carnival sports event that includes wrestling, archery, and equestrian competitions. Long tunes are lyrical songs composed of 32 melodies with a large number of ornaments. They praise the beautiful grasslands, mountains, rivers, the love of parents, close friendships, and express people's thoughts on fate. Its characteristics are: extensive use of ornaments and falsetto, long and continuous flowing melodies with rich rhythmic changes, extremely wide range and improvisation. The ascending melody has a slow and steady rhythm, and the descending melody often inserts lively three-note repeated phrases, which comes from the imitation of the pace of grassland life. The singing and creation of long tunes are closely linked to the pastoral lifestyle of herders, which is still widely continued by the Mongolian people. The history of long tunes can be traced back 2,000 years and has been recorded in literary works since the 13th century. To this day, long tunes still retain a rich variety of regional styles. Long tunes play a major role in the social and cultural life of herders in Mongolia and the Inner Mongolia Autonomous Region in northern China, in performances and contemporary music creation.
Xinjiang Uyghur Muqam Art
"Xinjiang Uyghur Muqam" is a general term for various Muqams spread in various Uyghur settlements in Xinjiang, China. It is a large-scale comprehensive art form that integrates singing, dancing and music. In the specific cultural context of the Uyghurs, "Mukam" has become a term that encompasses various artistic elements and cultural significance such as literature, music, dance, rap, drama, and even national identity and religious beliefs. Xinjiang has been a place where many ethnic groups have lived since ancient times. It is located in the center of the ancient Silk Road. Various religions coexist and spread, and Eastern and Western cultures collide and blend. It has a rich national cultural accumulation. Xinjiang Uyghur Muqam has a long history of formation and development. The singing content in Xinjiang Uyghur Muqam art includes philosophers' aphorisms, literati poems, prophetic warnings, folk stories, etc. It is an encyclopedia reflecting the life and social outlook of the Uyghur people. The song genres include both narrative songs and narrative songs; the singing methods include chorus, unison and solo; the lyrics rhythm and rhyme methods are complex and diverse. Singing and dancing are the most important features of Uyghur Muqam. The dance techniques are rich and varied, and the formations and steps of group dances are varied. In addition to the main representative of Uyghur Muqam, "Twelve Muqam", there are also "Daolang Muqam", "Turpan Muqam" and "Hami Muqam". In the 1940s, there were only a handful of artists who could sing it completely. In the 1950s, the government rushed to record "Twelve Muqam" sung by Uyghur Muqam masters such as Turdi Ahong. After 1978, the Xinjiang Uyghur Autonomous Region Government and other social organizations resumed the work of large-scale collection, sorting and folk culture. In recent years, various popular cultures that have flourished with urbanization and industrialization have swept across Uyghur communities, causing a strong impact on Xinjiang Uyghur Muqam and other traditional cultures.
flower
Huaer originated in the early Ming Dynasty (around 1368 AD). It is a folk song created and shared by the Han, Hui, Tibetan, Dongxiang, Baoan, Salar, Tu, Yugu, and Mongolian ethnic groups in Gansu, Qinghai, and Ningxia in northwestern China. It is named because the lyrics compare women to flowers. It is sung in Chinese and is influenced by the traditional music of Qiang, Tibetan, Han, Tu, and Muslim ethnic groups. Due to the different musical characteristics, lyrics and regions of circulation, Huaer is divided into three major categories: "Hehuang Huaer", "Taomin Huaer" and "Liupanshan Huaer". In addition to impromptu singing while working in the fields, grazing in the mountains, and traveling, people also spontaneously hold a large-scale folk song competition "Huaerhui" at a specific time and place every year, which has the special value of multi-ethnic cultural exchange and emotional integration.