What are the two major categories of Mongolian folk songs, and the characteristics of Mongolian folk

Liturgy and pastoral songs.

Mongolian folk songs are famous for their majestic voices and high-pitched and melodious tunes. The content is rich, from depicting love and marrying daughters, to praising horses, grasslands, mountains and rivers, and praising the heroes of the steppe, these folk songs reflect the customs of Mongolia.

Mongolian Patriarchal Folk Song is a unique form of singing with distinctive nomadic culture and regional cultural characteristics, which tells the Mongolian people's perception of history, culture, humanistic customs, morality, philosophy and art in the unique language of the steppe people.

Mongolian patriarch long tune art master Lasurong introduced that in Mongolian, the long tune is called "Wuri Tudao", which means long song, which is relative to short songs, in addition to referring to the long tune, it also has the meaning of a long history. According to research, long-tune folk songs have existed since the formation of the Mongolian people, and they have a history of thousands of years.

The long tune is a paraphrase of the Mongolian word "Uritingdo". "Wuriting" means "long-lasting" and "eternal", and "do" means "song". In related works and **, it is also literally translated as "long song", "long tune song" or "steppe pastoral song", etc.

"Mongolian long-tune folk songs" is a form of Mongolian folk songs, which are divided into long and short tunes. In the formative period of the Mongolian people, long-tune folk songs already existed, and the lack of words and long tones were one of its major characteristics.

According to the historical origin of Mongolian culture and the current situation of the form, the long tune can be defined as a kind of folk song created by the nomads of the northern steppe in the production and labor of animal husbandry, and sung in the wild grazing and traditional festivals. Most of the long-key lyrics are about grasslands, horses, camels, cattle and sheep, blue skies, white clouds, rivers, and lakes.

The long melody is long and soothing, the artistic conception is open, the voice is more than the words, the breath is long, and the melody is very decorative (such as the forward leaning sound, the backward leaning sound, the glissandal sound, the echo, etc.), especially the "Nogura" (Mongolian transliteration, wavy or ornamental) singing method formed by the colorful singing method is the most distinctive.

Long and short tones. It seems that there is something else, it is not clear.

When it comes to Mongolians, everyone will think of the scene of riding a horse on the grassland, but Mongolian songs are also well-known to the public, so what are the characteristics of Mongolian folk songs?

Mongolian folk songs are famous for their majestic voices and high-pitched and melodious tunes, and their content is rich, including depictions of love and marrying daughters, praise of horses, grasslands, mountains and rivers, and praise of grassland heroes, etc., these folk songs reflect the customs of Mongolia. Mongolian ** traditional long tune, Humai, Matouqin, etc. have been well known to the people of the whole country, Mongolian folk songs have existed as early as the formation of the Mongolian people, which is closely related to the grassland and the Mongolian nomadic lifestyle, carrying the history of the Mongolian nation, is a landmark display of Mongolian national production and life and spiritual character, in China's Inner Mongolia, Qinghai, Xinjiang, Mongolia, Russia and other places have Mongolian distribution, each place has its own characteristics, In the grasslands of Inner Mongolia, the long tunes of different regions in the east and west also have their own unique charms.

The characteristics of Mongolian folk songs: few words, long tones, rich decoration, loud and melodious tone, free rhythm, reflecting the momentum of the vast grassland and the broad mind of the herdsmen.

Mongolian folk songs are divided into two genres: long tunes are spread in pastoral areas, while short tunes are popular in semi-agricultural and semi-pastoral areas.

1. Characteristics of short tone:

Dafan tunes are short and fast-paced, and they are different from songs with long-key folk songs, and they are collectively known as short-key folk songs. It has the characteristics of concise tune, strong decoration, small ups and downs of melody line, and strong narrative. The rhythm norms are mostly monorhythmic, and the tunes are mostly symmetrical rectangular structures.

In addition to a large number of upper and lower phrases, there are:

Three, four, five or even more complex forms.

The lyrics are mostly four sentences in one paragraph, forming a segmented song form, repeated with different rhythms and steps. Easy to learn, suitable for all ages, with a wide range of people. The themes are very wide, involving almost all areas of Mongolian social life, including love songs, drinking songs, wedding songs, birthday songs, narrative songs, lullaby songs and other songs.

2. Long tune features:

**It is characterized by high-pitched tone, wide vocal range, beautiful and smooth tune, smooth melody, and free and long rhythm, mostly using compound rhythm. Paragraphs consisting of the first and lower sentences are more common, and there are also conjunctions composed of complex paragraphs or even compound paragraphs. They are mostly non-rectangular structures.

The lyrics are often repeated in two different rhythms.

The combination of lyrics and songs is "more cavity and less words", often using the cavity and cadenza dragging, and embellishing the melody with various ornamental sounds (nogura). In addition to solo singing, there are also singing forms such as unison, duet, backing singing, and even "Chaoer" chorus.

There are two traditional ways to classify Mongolian traditional folk songs, one is to divide them into pastoral songs, homesick songs, hymns, banquet songs, proverbs, children's songs, narrative songs, etc., and the other is to divide them into long and short tunes according to genres.

The long tune includes pastoral songs, homesick songs, hymn songs, banquet songs, wedding songs, etc., with free rhythm, long tunes, deep and euphemistic, and is the Mongolian folk song with the most grassland atmosphere. Due to the different popular areas, there are Chahar long tunes, Hulunbuir long tunes, Zhelimu long tunes, and Ordos long tunes. In addition to monophonic long tones, there is also a long tunic with sustained bass in Mongolian called "Chaoer Yindao".

The Mongolian people in the Altai region of Xinjiang retain an ancient and peculiar "Haolin Chaoer", in which one person sings two voices at the same time, forming a sustained tone with the base tone and a beautiful melody with overtones. "Haolin Chaoer" is often used to express magnificent natural scenery.

Mongolian folk singer.

Short tunes are generally neatly rhythmic, compact in structure, short in length, hunting songs, narrative songs, and some banquet dance songs, love songs, and wedding songs belong to short tunes.

The long tune is prevalent in pastoral areas, while the short tune is popular in semi-agricultural and semi-pastoral areas.

Short tone wide loss: In Mongolian, it is called "Bauguni Dao".

Features: The melody is short, the beat is bright, the melody is concise, the ornamentation is few, and the melody fluctuates little.

Representative repertoire: "Gadamerin", "Sengidema", "Norwenjina", "Wuyun Shandan", "Longmei", etc.

Long tune: In Mongolian, it is called "Uritu Harmonic Harmony".

Features: high-pitched tone, wide vocal range, beautiful and smooth tune, large melody fluctuations, free rhythm and skillful staring and long, mostly using compound beats.

Representative repertoire: "The Rich and Vast Alxa", "The Song of Wheel Wine", "Chagantao Sea", "Ci Xing", "Peony Liang", etc.