The vast Mongolian grassland is a sea of folk songs. Beautiful, fresh and healthy Mongolian. With a strong grassland flavor.
Interesting and touching artistic charm attracts the vast audience and musicians: learning Mongolian folk songs, in addition to mining fresh tones.
Besides treasures, the creative methods embodied in people's creation are also worthy of our attention and study.
Realism and romanticism are two basic creative methods in Mongolian literature, poetry and folk literature.
It exists in China folk songs as well as in folk songs. It can even be said that since there were folk songs, Shan has had these creative methods-
The small towel romantic soil and writers of Mongolian folk songs have their special forms of expression. In my opinion, the most striking feature.
Is its extremely strong romantic color; Positive romanticism plays an important role in the Mongolian folk song "We Don't Want"
Romanticism in Mongolian ancient art, because compared with realism, romanticism in the field of music is always popular.
It was exhibited earlier and more fully, and its influence was far-reaching: Mongolian primitive art-heroic poetry. Shaman Town Song and Dance and Ningcuo Dance
Dance, etc. This has been confirmed.
What are the romantic features of Mongolian folk songs? What inspiration can we get from the creative method?
First of all, the romanticism in Mongolian folk songs is characterized by ideals, vitality and being good at actively depicting people's beautiful feelings.
Sense-at this point, grassland pastoral is the most representative.
Pastoral is a folk song genre sung by herders when grazing on the grassland. As a nomadic people, Mongolians mainly graze.
The form of the Song Dynasty reflects their nomadic life of "living on aquatic plants". In this way, the basic tendency of grassland pastoral-
Positive and optimistic romanticism is regarded as the main feature of Mongolian folk songs and even the whole Mongolian music creation method. I don't think so
Too much! Music is the art of expression. It is good at the mountain of love; Du Bi's pastoral poems capture (or play) music.
This special property.
Singing grassland, beautiful horses. The most common theme of rural life is, for a nomadic people, grasslands and horses.
There is no doubt that this is an important condition for the survival of the pond. "Beautiful aquatic plants and flourishing five animals" has always been the ideal life of herders.
Therefore, Mongolians focus on singing grasslands and horses with pastoral songs to express their feelings positively. This is precisely his concentrated expression.
Our ideals and aspirations; For example, Hu Mengmin's song "The Vast Grassland" and Ximeng's folk song "Little Huang Ma" are such grassland pastoral towels.
Excellent songs.
Music should have ideals. We should not only portray the people's beautiful thoughts positively, but also enjoy ourselves-the society was in darkness before liberation.
Life is painful. But the Mongolian people did not create gloomy and decadent music art-on the contrary, they did.
The countryside is bright. Stretch your muscles, sing about grasslands and horses, and praise nature and their hard work. What should we do?
To understand this phenomenon, I think it is probably positive romanticism: of course, there are shouts, cries and pains in Mongolian folk songs.
A moan of pain. But the artistic creativity of Mongols lies in that they never try to describe what they are doing in the form of grassland pastoral.
Painful and incoherent-they talk about these life themes skillfully in the form of satirical songs or narrative folk songs.
Performance. In grassland pastoral, they call it pouring out their positive and beautiful thoughts and feelings.
Secondly, the romanticism in Mongolian folk songs is characterized by blending scenes, being good at freehand brushwork, putting in inherent inertia and depicting scenery.
We know that in the field of music aesthetics, the expressive and descriptive nature of music art.
The relationship between * * * and * * has been debated for a long time in theoretical circles, but in Mongolian folk songs, this problem has been solved.
A perfect solution-such as a good grassland pastoral, when we appreciate it, it is both lyrical and a description of the scenery.
Pastoral, don't often feel in the * * *; Yes, the undulating melody of grassland pastoral. It's really a soothing rhythm.
It naturally reminds people of the boundless grassland scenery: the light and flexible decorative sound is like grass dancing in the wind.
Wave, larks crow in the clouds, showing the vitality of Senecio scandens. It is in these respects that the Mongolian people consider themselves great.
Nature and love for hometown are fully reflected in the song. In a word, grassland pastoral is the lyricism of music art and
The descriptive combination mode of pod and pod deserves our careful study and reference.
People are the creators of music and the enlighteners of creative methods: Lenin said that proletarian culture is not abandoned.
Abandoning the most precious achievements of the past era, "it has absorbed and transformed everything in the development of human thought and culture for more than two thousand years."
Something of value. "(The degenerate proletarian culture is true, a musician who loves the people. There is no reason not to go.
Musicians who love the music created by the people but really love Mongolian folk songs will not be ignored by the Mongolian people for a long time.
The songs blindly imitate the foreign creative method-Tang Guti, and simply look for tonal materials from the songs of Mongolian rulers.
It is impossible for people who don't learn and understand Mongolian folk songs from creative methods at the same time to "set sail for treasure". Yes,
In particular, he is just a character wandering on the shore and soaking wet.
The editorial department of Music Research held such a forum to discuss the combination of revolutionary realism and revolutionary romanticism.
The creative method is very timely and necessary? During the ten-year turmoil, Jiang Qing's counter-revolutionary clique denied that "a hundred flowers blossom and a hundred schools of thought contend"
Cultural absolutism and' Three Prominence' are the policies for literature and art.. The creative method is imposed on the vast number of literary and art workers.
This has caused extremely serious consequences. Da told us from the opposite side: the wrong creative method has a bad influence on artistic creation.
Bad influence!
One of the harms that the ten-year turmoil has brought to the literary front is that some people ignore the basic literary theory and deny the correctness.
The guiding role of creative methods in artistic creation. In the eyes of some people, it seems to emphasize the importance of creative methods in music creation.
It's not necessary. They are very funny to equate creative methods with "left" rules and regulations, which is obviously wrong. It seems that,
These people have not correctly summed up the necessary lessons from the painful experience of ten years of turmoil.