Mongolian long tune

Singing

Speaking of Mongolia, most people should immediately flash out the boundless grassland and the unique Mongolian Long Tune of Chinese star Tengger.

Marseille

Mongolian songs are divided into two main varieties, one is the Wu ri ting dao or "long tune", the other is "short tune". As a way of expression related to grand celebrations and festivals, long tune enjoys a unique and respected position in Mongolian society. Long tune singing can be heard in weddings, new houses, baby birth, horse mark, social activities and religious festivals of other Mongolian nomads. "Nadam", a carnival sports meeting including wrestling, archery and equestrian competitions, can hear a long tune.

Morin khuur

Mongolian Long Tune folk song is a unique singing form with distinct nomadic culture and regional cultural characteristics. It describes the Mongolian People's perception of history, culture, customs, morality, philosophy and art in the unique language of grassland people. In Mongolian language, long tune is called "Wu RI Tu Dao", which means long song. Compared with short song, it means not only long tune but also long history. According to the research, the long tune folk song has existed in the Mongolian formation period, which has a history of thousands of years. The formation of Mongolian long tune is related to the nomadic life of Mongolian people. The words are short, long, high, free, easy to narrate, and good at Lyric. The lyrics are composed of 32 kinds of melodies with a large number of decorative sounds, most of which are about grassland, horse, camel, cattle and sheep, blue sky, white cloud, river, lake, etc. the characteristics of the lyrics are: a large number of decorative sounds and falsetto are used, the long and continuous flowing melody contains rich rhythm changes, a very wide range of sound and improvisation forms. The rhythm of the ascending melody is slow and stable, and the descending melody often inserts the lively three tone repetition sentence pattern, which comes from the imitation of the pace of grassland life. Long tune is the most representative of Mongolian music culture. He expressed the wisdom of Mongolian people and the deep feelings of their hearts. Whenever and wherever Mongolians hear the long tune, they will feel the unique excitement and desolation.

Long tune is the music flowing in the blood of Mongolians and the symbol of national identity. You can't understand Mongolian, but you can't help being moved by Mongolian tone, because it's a kind of direct heart to heart talk. Zhao Songguang, a famous music theorist in China, believes that the greatest charm of Mongolian Long Tune lies in that it is the closest music to nature, or that it is a beautiful natural picture. Long tune was born in the process of Mongolian production mode changing from hunting to animal husbandry, and people's attitude towards nature changing from seizing to raising. It is the product of harmonious coexistence of human and nature, and it is a kind of awakening of people's consciousness of protecting nature. As a folk song on the grassland, the Mongolian long tune is a kind of oral culture left by history, which can be called the "living fossil" of Mongolian music, rasulong said.

Inner Mongolia elderly

Long tune is a kind of folk art that depends on oral inheritance. Because of the difference of region and singer, it has formed many styles. Therefore, the long tune is always attached to the inheritor. But in recent ten years, with the death of some famous long tune singers and the "horseback nationality" changed, the original natural environment of the birth of long tune has changed, and the thousand year's unique singing style and method on horseback are on the verge of being lost.

grassland

There are fewer and fewer people singing long tunes in Inner Mongolia. The once prosperous minister tunes of Tumete, Horqin and mengguolejin have basically disappeared. Only a few old people and special researchers know a little about them. The number of artists who can sing alaa folk songs is less than 100, and they are all old, and there is no systematic inventory of the "base number" of long tune schools. 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. Few theoretical talents are engaged in the research of long tune art. The research field and level are far from the research results of foreign counterparts.  May the long tune of Mongolia be deep and long in the long history, the song still melodious, the horses flying on the grassland, and the cattle and sheep everywhere under the blue sky.