Mongolian folk songs with a long history are as old as Mongolian history.
"The nomadic tribes that appeared on the Mongolian plateau have always been accompanied by their history. Their joys and sorrows, ups and downs, are often pinned on the language of music. " Among these "musical languages", only folk songs are closest and direct to people's lives, and always accompany the whole development process of the rise and fall of a nation's history.
Although Mongolians have absorbed the musical wealth of many nationalities in different historical stages, they have never abandoned or downplayed their local musical culture. On the contrary, as a result of every music reform, local music has always been greatly promoted and developed. Because of this, many ancient Mongolian music forms have continued to this day. In the sea of folk songs in Wang Yang, it is rare for a large number of ancient folk songs like the Mongols to spread so far, which is undoubtedly a great blessing for modern musicians. While developing their own music culture, the Mongolian people firmly "stick to" their original music culture form, which seems to be an inspiration to us.
Most Mongolian folk songs with unique singing methods, if unfamiliar people only look at the music score, seem to have little characteristics except some decorative sounds. But when you really hear the singer sing live, you will be surprised and won't believe the music you see. The secret lies in the unique vocal style and singing skills.
In the singing skill system of Mongolian long-tune folk songs, "Nogula" skill is the most representative. The word "nogula" means "turning around" and "turning around" in Mongolian, and its Chinese translation generally means "bending sound", which has a unique and rich decorative color in music performance.
In addition to the "Nogula" singing method, the high-pitched singing methods such as "Chai Ru La Hu" (true voice) and "Shu Riga" (falsetto voice) in the long-tune folk singing system also make Mongolian folk songs full of infinite charm in singing timbre, dynamic change and contrast between reality and reality, forming a unique timbre and penetrating sound quality, just like the voice of nature swaying between grasslands and white clouds, making the tune radiate colorful light.
The collection of Mongolian folk songs with rich cultural connotations is a brief history of Mongolian culture. From primitive hunting period to grassland nomadic life, from political, military and religious beliefs to folk customs and living conditions, it is recorded in Mongolian folk songs. If the folk songs of different periods are regarded as "points", they will be connected into a "line" with clear outline of Mongolian history. From the heroic epics Gesar and Jianger, which were born among nomadic people, to the appearance of the first Mongolian historical masterpiece The Secret History, they have never left the influence of folk songs. The language rhythm charm of folk lyrics in The Secret History of Mongolia is enough to prove this.
Mongolian folk songs are "living fossils" of northern grassland culture, and the carrier of Mongolian culture can be said to mainly rely on folk songs. This kind of folk song reflects a wide range of social life and contains rich and all-encompassing emotional levels, which is rare in the world.
There are many such proverbs among the introverted and lyrical Mongolian people: "The tooth falls into the stomach and the arm is broken and hidden in the sleeve." This introversion is also reflected in Mongolian folk songs and even the whole artistic aesthetic concept.
On the whole, we know something about the nomadic people in the northern grassland who are brave and bold, but we know little about the other side of their delicate feelings, kindness and worries. If rough and bold is an external character, then kindness and hardship are internal characters, and this kind of yin and yang just complement each other. This inner character is more manifested in Mongolian music art, so it is not difficult to understand the appearance of "slow, fast and little" in Mongolian folk songs, and the formation of the inner lyric expression of "long tune" songs is inevitable.
This national character of emotional introversion is not only reflected in the appearance of folk song melody form, but also in the profound implication of song content. This can be clearly understood in long-tune folk songs such as Lin Chaoduo, Banquet Song and Homesickness Song. The perfect combination of the profundity of song content and the lyricism of music form makes the introversion of Mongolian emotion artistically presented in folk songs. "Long tune" folk songs are better at expressing and exerting introverted emotions, even to the fullest extent.
Hope to adopt.