The long-tune pastoral "The Vast Grassland" is a typical work, which is concise in music language and music structure. The whole song has only two antithetical phrases, but it is passionate, which achieves the perfect unity of image and artistic conception, man and nature, and also gives people a vast and unrestrained masculine beauty. The ancient banquet song "Sixty Beauty" sang sixty beautiful things in a simple song. The song lists grassland land, youth life, cattle, sheep and horses, migratory birds and geese, clear clouds and haze, bright moon and stars, mountain scenery and seascape, blooming flowers, clear running water, plucked strings, loud songs, parents' kindness, brothers' brotherhood, elders' guidance, world peace ... This scene is integrated with nature, and people live in harmony with nature.
Mongolian long-tune performers wear Mongolian robes, with Ma Touqin music, eulogize maternal love, praise life, tell love, and mainly sing with true voice, which is the closest voice to nature. In Mongolian long tune, besides the colorful decoration of the melody itself (such as pre-sound, post-sound, sliding sound, echo and so on). ), there is also a special melody decoration formed by pronunciation skills, called "in Mongolian" and "Mongolian long tune". Everyone sings differently and can improvise, which is also its charm. It is mainly composed of songs that I miss and appreciate. Most of them describe grasslands, cattle and sheep, white clouds and so on. , especially singing horse songs. "
The living environment of Mongolians has always been vast and sparsely populated, and the unique nomadic lifestyle makes them think and express their love in a unique way. Long-tune folk songs are produced and developed under the impetus of this kind of love. Therefore, the essence and connotation of this kind of love are reflected in long-tune folk songs all the time. Grassland Music "Living Fossil"
Mongolian long-tune folk songs are a unique singing form with distinctive nomadic culture and regional cultural characteristics. The Mongolian people's understanding of history and culture, humanistic customs, morality, philosophy and art is described in the unique language of grassland people. La Su Rong, the master of Mongolian long tune art, said that in Mongolian, long tune is called "Wuri Tudao", which means Long song, which means that compared with short songs, it has a long history besides long tune. According to textual research, long-tune folk songs have existed since the formation of Mongolians and have a history of thousands of years. The appearance of Mongolian long tune has a certain relationship with Mongolian nomadic life, which is characterized by short words, long cavity, long sound, soothing freedom, suitable for narration and good at lyricism. Generally, the lyrics are two sentences: up and down. Most of the lyrics describe grasslands, horses, camels, cattle and sheep, blue sky, white clouds, rivers and lakes. La Su Rong said that the long tune is the most representative of Mongolian music culture, and he showed the wisdom and deep feelings of the Mongols incisively and vividly. Whenever and wherever, as long as Mongolians hear a long tune, they will feel the unique excitement and desolation.
Long tune is music flowing in the blood of Mongolians and a symbol of national identity. You can't understand Mongolian, but you can't help but be moved by the long tone of Mongolian, because it is a direct dialogue. Zhao, a famous Chinese music theorist, believes that the greatest charm of Mongolian long tune is that it is a kind of music closest to nature, or it is a beautiful picture of nature itself. Long tune originated in the process of Mongolian production mode changing from hunting to grazing, and people's attitude towards nature changed from demanding to nurturing, which is the product of harmonious coexistence between man and nature and the awakening of people's awareness of protecting nature. La Su Rong said that Mongolian long tune, as a folk song on the grassland, is an oral culture left over from history, and it can be called a "living fossil" of Mongolian music.
The Millennium swan song is almost extinct.
Hazab, the master of Mongolian long-tune folk songs, is the only singer who has mastered all the long-tune techniques and is an outstanding representative of the grassland traditional vocal music genre. He creatively inherited and carried forward the singing method of Mongolian long-tune songs, and founded a unique Mongolian grassland vocal music school, which was praised as "the people's singer" by Ulanhu.
Hazab has trained famous singers such as La Surong, Hu Songhua and Dedema. Director of China Musicians Association, executive director of Inner Mongolia Musicians Association, national first-class actor, 1995 was awarded the title of "King of Songs" by the government of Inner Mongolia Autonomous Region. However, such an iconic figure in the history of Mongolian long tune died on June 27, 2005, leaving no complete record. The 380 records of more than half a person's height, which he sorted out before his death, were all destroyed during the Cultural Revolution. Even Chaoerdao (a long tune), which he is good at, is almost extinct now.
Long tune is a kind of oral folk art, which has formed many styles because of different regions and singers. Therefore, the long tune is often "attached" to the inheritor. However, in recent ten years, with the death of some famous long-tune singers and the dismounting of "people on horseback", the original natural environment in which long-tune was born has changed, and some unique singing styles and methods on horseback are on the verge of extinction.
There are fewer and fewer people singing long tunes in Inner Mongolia. The tune of the once-flourishing East Tumote Department, Horqin Department and Mongolian Lejin Department has basically disappeared, and only a few old people and specialized researchers know a little about it. However, there are less than 100 artists who can sing Allah folk songs, and they are all elderly, and there is no systematic inventory of the "foundation" of the long-tune genre. In addition, there is a lack of comprehensive and in-depth theoretical discussion on the theory, singing skills and classroom teaching of long-tune folk songs, and there are few theoretical talents engaged in the research of long-tune art, and the research field and level are far from those of foreign counterparts. In this regard, relevant experts suggest that Mongolian long tune protection institutions should be established as soon as possible, and special long tune colleges should be set up to step up the training of theoretical research talents and use modern means to study and protect them, so as to change the history of oral inheritance of long tunes. Mongolian songs are divided into two main varieties, one is Wuritingdao or "Long Tune", and the other is "Duwu in Boggino". As an expression related to grand celebrations and festival ceremonies, long tune enjoys a unique and respected position in Mongolian society. Long-tune songs can be heard in social activities and religious festivals such as weddings, housewarming, baby birth and pony marking of Mongolian nomads. Long tunes can be heard in Nadam, which is a carnival sports meeting, including wrestling, archery and equestrian competitions.
Long Tune is a lyric song, which consists of 32 melodies with a lot of decorative sounds. It praises the beautiful grasslands, mountains and rivers, praises the love and close friendship of parents, and expresses people's thinking about fate. It is characterized by the extensive use of decorative sounds and falsetto, including long and continuous flowing melodies with rich rhythm changes and improvisational forms with a wide range. The rhythm of ascending melody is slow and steady, and the descending melody is often inserted with lively three-tone repetitive sentences, which comes from imitating the rhythm of grassland life. The singing and creation of long tunes are closely related to the pastoral lifestyle of herders, and are still widely continued by Mongolians.
The history of long tune can be traced back to 2000 years ago, and literary works have been recorded since the 3rd century. Until today, the long tune still retains the rich styles of different regions. In the social and cultural life of herdsmen in northern Mongolia and Inner Mongolia Autonomous Region of China, long tune plays a major role in performance and contemporary music creation.