Similarities and differences between Tibetan music and Han music

Tibetan music

Tibetans mainly live in Tibet, Qinghai, Gansu, Sichuan, Yunnan and other provinces on the Qinghai-Tibet Plateau in China, with a population of 3,870,068 (1982 statistics). Believe in Buddhism (Mahayana Buddhism). Tibetan language belongs to the Tibetan branch of Sino-Tibetan language family of Tibeto-Burman language family, and there are three dialect areas: Wei-Zang, Kang and Amdo. Tibetan-speaking areas include the whole of Tibet (except Qamdo); Kang dialect area includes Ganzi Prefecture in Sichuan, Qamdo Prefecture in Tibet, Diqing Prefecture in Yunnan and Yushu Prefecture in Qinghai. Amdo dialect area includes Hainan, Huangnan, Haixi, Haibei and Guoluo in Qinghai, Aba in Sichuan and Gannan in Gansu. People in Xizang has created splendid national culture, and has rich cultural heritage in literature, music, dance, painting, sculpture, architectural art and so on. As early as around 12 and 13 centuries, there were monographs on Tibetan national music, such as "Gongge Jianzan on Tibetan Music" by Sakya Bandazhi. Up to now, the temple still preserves and uses the ancient Tibetan graphic music score-Central Tune. Tibetan traditional music has distinctive features and a wide variety, including folk music, religious music and court music. Folk music can be divided into five categories: folk songs, song and dance music, rap music, opera music and instrumental music. There are obvious differences in styles and types of folk music in Weizang, Kang and Amdo dialect areas. Religious music includes chanting music, religious ceremony music and dance Qiang and temple instrumental music; Gail, the court music and dance, is only popular in Potala Palace in Lhasa and Tashilhunpo Temple in Shigatse. Folk music plays an important role in traditional music. The folk songs in the middle class include folk songs (pastoral songs), labor songs, love songs, folk songs, classic ode and so on.

Folk songs are called "Lalu" in Weizang area, "Lu Lu" in Kang area and "Le" in Amdo area. They are freely performed and sung. Folk songs have a wide range, free beat and rhythm, large ups and downs in melody, long and high-pitched, and full of plateau characteristics. The folk songs in Amdo area are also called Jiuqu locally. Pastoral songs are popular in pastoral areas, similar to folk songs. There are many kinds of tunes in folk songs and pastoral songs, mostly in the form of upper and lower sentences, which are often used in the five (or six) tones of feather, sign, Shang and Gong. Ganzi folk song "A Zhong" is one of the representatives. Labor songs are called "Lexi" in Tibetan, and there are many kinds, and there are specific songs in almost all kinds of labor. Some have distinct rhythms, which are closely coordinated with labor movements, such as beating highland barley, digging and hitting the wall. Some rhythms are more free, such as grazing, plowing and milking. Labor songs are in the form of solo, chorus and chorus.

Love songs include love songs, tea songs and other love songs, which are called "Rai" in Amdo and "Garu" in Uygur Tibet. Some love songs are more affectionate, while others are more open and free, close to the folk style. Love tea songs, called "Kejia" in Tibetan, are popular in Zhongdian and Yunnan. They are songs sung by young men and women when they get together for tea to show their love, including hello song, entrance song, antithesis song, thank you song, farewell song and so on. Folk songs include wine songs, guessing love songs, wedding songs, arrow songs, farewell songs and so on.

1 wine song. Tibetan is called "Qiang Harmony", which spreads all over Tibetan areas and is sung when toasting at festivals. Zerou in Amdo and Geer in Gannan belong to the category of wine songs. The singing forms of wine songs vary from place to place, some sing and dance, and some just sing and don't dance. The music is cheerful and enthusiastic, mostly in court mode. For example:

Guess the right song. It is called "Cijia" in Weizang area, "Mo Ye" or "Gomo" in Kangkang area and "Harmony Mo" in Amdo area. It is a song sung by Tibetan youth when they meet for entertainment or play divination games, and it is widely spread. Youth games in Tibetan areas of Sichuan often use rings as tokens of divination, so they are also called "ring divination". Guessing the music of love songs is relaxed and lively, and most of them are mixed beats of five beats and four beats. The common ones are Gong, Yu and Diao.

③ Wedding songs. Wedding songs and singing forms vary from place to place, including wedding songs, leaving home songs, songs on the way, wedding songs and so on. Some melodies are long, and some are cheerful with the nature of dance music.

4 Arrow Song. Tibetan is called "Daxi", which is mainly popular in Linzhi, Tibet. Also known as "the arrow song of the Ministry of Industry". In spring and summer, it is sung when Karin hits the dam. This is a song sung by archers when they brag about their bow and arrow skills. Singing is accompanied by dancing. Stress, triplet and syncopation are commonly used in music, which is fresh and lively.

⑤ Farewell song. Popular in Danba, Sichuan and other places, it is sung by middle-aged and elderly women when they bid farewell to VIPs and relatives. The songs are sincere and touching, and the seven Otoha modes are commonly used, including the Gongdiao mode and the Qingyu mode. Ode to scripture is also called six-character mantra song. The Tibetan name is Manet, which is sung by people who believe in Buddhism when they worship Buddha in the temple. Different places have different tunes. In addition, the melody of children's songs is concise and lively, and the rhythm is lively. Bitter songs, called "Juelu" in Tibetan, are slow in music and sad in melody. Zamuni (Liu Xianqin) plays and sings, which are mainly popular in Xigaze, Linzhi and Gannan, Gansu. The music is fresh and lively, with a little dance music characteristics, and feathers are used more. Others include hypnotic songs, quiz songs and humorous songs.

Tibetan folk songs and dances have various forms and distinctive features. Song and dance lyrics range from praising the sun, moon, stars, mountains and rivers, praising the beauty of women's looks and costumes, missing their loved ones, wishing each other good luck, and religious beliefs. Since 1950s, the masses have written and sung many lyrics reflecting their new life.

Fruit harmony, an ancient form of singing and dancing, is widely spread. Sakya is called Suo, Ministry of Industry is called Bo or Qiangbo, and pastoral areas, Kang areas and Amdo areas in northern Tibet (commonly known as Guo Zhuang) are called Zhuo or Guo Zhuo. Guo sings at festivals, after work and religious ceremonies. Participants hold hands, shoulder to shoulder, singing and dancing without musical instruments. The structure of fruit and harmony music in Tibet is simple, enthusiastic and concise. Generally, it consists of two parts: slow song section and allegro section. The latter is a simplification and contraction of the former melody, with feet as the prelude, interlude and ending of music. The beat is the main thing, but it often changes in the prelude, interlude and epilogue. Multi-tone music is dominated by five-tone style, and individual music is six-tone and seven-tone scales; Commonly used palace tune, feather tune and tuning style. Some excellent operas circulating in Kang area have added a lead singer before the slow song section and expanded it into a three-part structure; Third degree, fifth degree, syncopation, dotted sound and decorative sound are often used in slow songs, and the music is rich and deep, while fast songs have simple melody, distinct rhythm and vigorous and dynamic music. Pot houses popular in Jiarong Tibetan areas in Sichuan are divided into two types: big pot houses and small pot houses, which are commonly used in the mode of seven Otoha numbers. In addition to natural sounds, variations or feathering sounds often appear in the melody, which has a unique musical style. Here is an example: Duihui is a kind of song and dance in western Tibet. Dui means plateau, which refers to the whole area of the Yarlung Zangbo River basin from the west of Shigatse to Ali. Dui Harmony is very popular in Lhasa. At first, it was only accompanied by Zamu Nie, and later it developed into a small band accompaniment. The structure of heap harmony consists of prelude, slow song, interlude, fast song and ending. The slow song is beautiful and cheerful, and the fast song adopts the method of pulling tightly and singing slowly to make the music cheerful and compact. The melodies of prelude, interlude and epilogue are basically fixed, but the melodies of slow songs and fast songs are different. Palace mode is often used, and there are also feather monk modes. Gong Yu's mode is often interchanged in the song, and at the end, it changes from the main mode to the subordinate mode, which becomes the unique termination of the harmony.

The following examples are fragments of a bunch of harmony tunes: Heizi Tibetan is called "Page", "Yi" or "He Kang", which is popular in Conway and Tibetan areas. Because when singing and dancing, men lead the dance in front of the team with trumpet beards or erhu, so it is called black boy. Heizi originated in Batang, Sichuan. Heizi in Batang is famous for its beautiful tunes, rich repertoire and stretching dance. Black boy's music is full of singing and simple structure, mainly in feather mode, followed by tone-seeking and monk mode, and there are often alternating modes in music. The song is composed of six syllables and four sentences; Most songs are filled with new words at will. Here's an example: Naomai is mainly popular in Lhasa. Nangema's music is basically composed of three parts: medium-speed intro, adagio song and allegro dance music. Some of the songs are elegant and beautiful, accompanied by simple dance movements when singing; The dance part is enthusiastic and lively, and the dance is brisk and stretched, and the performers only dance and don't sing. The tune of the introduction is basically fixed; In the dance part, the songs are similar, mostly in Shang mode, and some end in Yu and Gong mode; Some songs have different tunes, and some songs have similar tone sandhi. The accompaniment form is the same as the pile harmony.

Heqin is an ancient form of sacrificial song and dance that spreads in Lhasa, Shannan, Xigaze, Ali and other places in Tibet, and is often sung at grand festivals or ceremonies. Heqin is generally composed of many songs and dances with titles. The first song and the last song are called "Heguo" (introduction) and "Tashi" (auspiciousness) respectively. Every song and dance is composed of adagio and allegro, or adagio, adagio and allegro. The music is simple and passionate. Lyrics include human origins, historical legends, praises and blessings. Reba Harmony is a popular song and dance performed by wandering artists in Kangba area. Including bell drum dance, vaudeville, musical, stick dance, deer dance, knife dance, Reba Heizi and other forms of performance. Reba Heizi's music is the same as popular folk strings. Drum dance music includes the lead vocalist of Sanban and the adagio chorus. Music is warm, beautiful and full of charm. In addition, there are Zhuo Xie popular in Tibet, Xiong Chong and Zhuo Jian popular in Zhongdian, Yunnan, Dodi Dance and Gaba Dance popular in Gannan, etc.

Rap music Tibetan rap music includes harmony, Zhega and Mamani, which are mostly sung by folk artists and monks. "Harmony" means a story-telling song, which is widely spread, and its content is mostly long folk stories or narrative poems, such as "Biography of King Gesar" and "Zanglingni Maigongjue". There are a large number of vocals, most of which have the characteristics of recitation, and the structure is mostly paragraphs composed of upper and lower sentences and their changes and repetitions.

Zhega is a kind of rap music, played by poor vagrants when begging, or by tourists when begging for alms. Accompanied by the horn and the huqin, I played and sang alone. Some artists only use sticks as props and perform actions while rapping. Some lyrics tell stories, some improvise lyrics, and most of them praise the host's auspicious words. The music is simple and simple, with the characteristics of rap. Mamani is an ancient form of rap. Most singers are nuns or folk artists. They hung up axial paintings depicting Buddhist stories and told stories in the paintings to the crowd.

Opera Music-Tibetan Opera Tibetan Opera includes Ajram, Nanmut, Dege and Qamdo Tibetan Opera, which have their own characteristics in singing, music, performance and costumes. Western Tibetan Opera and Amdo Tibetan Opera are widely spread and have great influence. Tibetan opera in Tibet has a long history, and its origin can be traced back to Chisong Dêzain in the 8th century. At the fall ceremony of Sansi Temple, artists combined Tibetan folk dance with Buddhist stories to form a pantomime dance ceremony. In the past, Tibetan operas were performed in the square, accompanied by drums and cymbals, and human voices were used as the voices of actors. Since the founding of the People's Republic of China, Tibetan opera has been put on the stage, and the vocals and bands have been reformed, enriching the expressive force of Tibetan opera music. The traditional structure of Tibetan opera in Tibet is divided into three parts, with 1 part "Dun" as the prelude; The second "Heap" is the highlight; The third "Tashi" is the ending song and dance with good luck. The traditional singing of Tibetan opera is a scattered board with free rhythm, which can be divided into five types: Daren (long tune), Datong (short tune), Blocking Lu (anti-tune), Juelu (sad tune), Harmony Mulangda (folk song type singing), and some folk songs and dance music. Among them, the long tune and short tune are determined by the people in each play, and the vocals are named after the characters, which are different and cannot be used at will. There are dozens of vocals, some of which are similar in melody. Anti-tune, sadness and folk songs are universal singing methods, which can be used by any track or role. The lyrics are mostly 7-9 words, every two sentences 1 paragraph. Malanda the Bear begins and ends with an aria, with a recitation in the middle. The number of words in the lyrics is relatively free and can be mastered as needed.

Tibetan opera music in Tibet is closely related to Heqin (large-scale song and dance) and post-Tibetan folk songs. The unique "real" singing method in Tibetan opera (a decorative coloratura) originated from Jiuge and Houzang folk songs. The singing of Tibetan opera helps, mainly by repeating the end of the aria. The range of Tibetan opera is generally within octave, and the female voice sings with real voice, and the range is mostly between ~; Male voice adopts the singing method of combining true and false voice, with high voice area, often between ~; Both men and women pay attention to the use of tongue rolling singing, and their lines are loud and clear.

There are many kinds of Tibetan national musical instruments, such as Zamu Nie and dulcimer. Bowstring instruments include trumpet whiskers, harpsichord, root card, huqin and lyre. Wind instruments include clarinet, bone flute, tuba, horn, suona, brass flute, conch, oral string, bamboo flute and mud flute. Percussion instruments include drums, reba drums, Damma drums, Balang drums, gongs, cymbals, string bells and so on. Among them, Zamuni, Niujiaohu, tuba and clarinet are the most distinctive. Zamuni is a six-stringed instrument, which is said to have a history of 600 ~ 700 years. It is the main accompaniment instrument of folk songs and dances, played and sung by Marceau and Zamuni. Niujiaohu is called "Wang Bi" or "Biyong" in Tibetan, and its shape is similar to that of erhu, but the piano barrel is made of horns, which is mainly used for strings and folding ga. Because of the short bow, all the long notes in the melody are repeated as homophones of eighth notes, and the second or third leaning or double leaning sounds are added to the weak beat, which forms the main characteristics of Heizi music. Clarinet and bone flute are circulated in pastoral areas. Clarinet is made of wood, and bone flute is made of eagle leg bone or sheep leg bone. High range, low volume and sharp voice are often used to play pastoral songs. Tuba, called Tongqin in Tibetan, is made of copper, with a non-porous tube, about 3 meters long, with a big horn at the lower end, which can blow out the pitch and the fifth overtone with a loud volume, and is mostly used for temple fair ceremonies and Tibetan opera music.

Since the founding of New China, especially after the democratic reform in Tibet in 1958, Tibetan music culture has developed greatly. Mass art museums and professional cultural and artistic performance units have been established in various regions, such as Xizang Autonomous Region Song and Dance Troupe, Tibetan Opera Troupe, Qinghai National Song and Dance Troupe, and state (district) and county-level cultural and artistic troupes and teams affiliated to various provinces (districts). Famous Tibetan opera artists include Tashi Dhondup (deceased) and Amazelin. The rappers of King Gelsall include Zhong Kezaba Yumei and so on. Folk singers include Amayol (deceased), Poor Buzhen (deceased) and Anne. Singer Dan Zhuoma, composer Bai Denglangji, Ge Sang Daji and conductor Otsuka Duoji are all professional musicians trained after the founding of the People's Republic of China. Luo, a composer of Han nationality, has long been rooted in the plateau and made valuable contributions to the development of national music.