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important cultural value and influence.It not only reflects the unique charm of ancient Chinese music culture, but also carries the essence and wisdom of traditional Chinese religious culture.At the same time, Sanskrit music has also had a positive impact on the development of Chinese music, providing rich artistic resources and inspiration for future generations of musicians.
Conclusion: As one of the representatives of Chinese Buddhist music, the Sanskrit music of Changzhou Tianning Temple has deep historical accumulation and rich cultural connotation, which is of great significance for the study of ancient Chinese music culture and the development of Buddhist music.Through the study of its source, characteristics, performance form and cultural value, this precious musical heritage can be better understood and inherited, and the inheritance and development of Chinese music culture can be promoted. References
1. Zheng Junyi.Research on the aesthetic characteristics of Sanskrit chanting and chanting in Tianning Temple, Changzhou. Art evaluation. 2019, 22:22-24.
2. Zhao Fang.Chinese religion.Chanting and chanting in Tianning Temple. 2019, 10:68-69.
© Leng Xinyi, Yao Wei, 2024
УДК 78
Qian Mengmeng
Student, 1nd year Taizhou University Taizhou, China Yao Wei
Ph.d of Pedagogical Sciences, senior lecturer
Taizhou University Taizhou, China
RESEARCH ON MAOSHAN HORN IN SOUTHERN JIANGSU Annotation
The Maoshan area, which borders the Jintan region of China and the Jurong region, has a heavy accumulation of history and culture. The folk labor folk songs that circulate contain the rich emotions of the local working people in life. Maoshan folk songs are included in the intangible cultural heritage of Changzhou City. Exploring and studying Maoshan folk songs is the inheritance of Chinese folk music, and it is also conducive to promoting the understanding of traditional music culture in education and improving the soft power of local culture.
Keywords
Maoshan, folk songs, genre, artistic characteristics
Maoshan, at the junction of the Jintan Region and the Jurong Region of China, is a scenic spot.In 2014, the Maoshan Scenic Area was promoted to a national 5a-level scenic area. In 2020, the Maoshan Scenic Area entered the "National Red Tourism Classic Scenic Area List". There is also the Maoshan Anti-Japanese base of the New Fourth Army. It was once an important base created by Su Yu and Chen Yi respectively leading the advance detachment of the New Fourth Army behind enemy lines in China and China. However, Maoshan is located in the southwest of Jiangsu Province. It is an s-shaped series of cities, giving full play to the role of base and hub.
There are also many diligent working people here. People will create some art in their working lives. In the form of labor folk songs, Maoshan folk songs not only reflect the production and life of the local people, but also reflect the mental state of the local people. Maoshan is also one of the sacred places of Taoism in China. It has rich historical relics and many cultural relics and monuments. In the process of development, Maoshan folk songs are also influenced by other multiculturalism and have more vitality.
There are many people's production activities in the Maoshan area, and there are also many types of labor songs. After a series of explorations and discoveries, there are probably the following categories.
1. Waterwheel song. There used to be no water conservancy facilities in the Maoshan area. Whenever the weather started to be dry and hot, the people of Maoshan would use watermills to help rice fields resist drought. Maoshan is rich in terrain, with large areas of hills and semi-polder fields. Rice can be cultivated in these areas. However, the terrain of these naturally formed farmland is uneven, and the high places are easy to dry and the low places are prone to waterlogging, so smart and kind people use watermills to help with farming. When stepping on a waterwheel, working men and women will pedal on the waterwheel while you hum one sentence, and I will take one sentence. If you work hard, you can let go of your voice and sing at will, thus forming a local characteristic. The waterwheel song can relieve fatigue and uplift the spirit.
Some of the tunes of waterwheel songs are free, some are more regular, and the music is rougher.Its number is relatively fixed.There are "three voices" that cheer up before stepping on the waterwheel, "counting pairs" that sing and count, and there are also improvisations in the form of leading and following, leading the crowd and so on, and gongs and drums are commonly used to accompany the accompaniment.Among them, there are gongs and drums chorus style, gongs and drums solo singing style, leading questions and answering style, etc.
Now with the development of scientific farming, artificial watermills have gradually become history, and the songs of watermills have gradually faded out of people's lives, but what they contain is the spirit of working people working hard to live in the face of difficult natural environments. The sonorous rhythm expresses people's emotions and strength.
2. Ramming song. In the past, due to the needs of basic buildings such as road construction, dam construction or house foundation construction in rural areas, when filling the soil to level the site, in order to prevent future collapses, the originally soft land needed to be compacted. The work of compacting the land is called ramming. The tool for ramming is a large and flat Jinyang stone with a flat lower part, and there are grippers or patters left around the stone.Ramming generally requires many people to do it together. In order to allow everyone to unify their hands and concentrate their strength, but also for safety, to prevent them from hitting their legs and feet when ramming, one of them will lead the singing, and the others will follow. Echo.
The length of the ramming song is free, and the singer shouts and sings according to the rhythm of the ramming, because the ramming up and down must not only have a greater force, but also have the same landing point, and also ensure safety so as not to let the ramming stone hit him by mistake, so the ramming song pays special attention to the rhythm, and the ramming song is mainly to gather strength, so the content is not complicated, and the singing is never muddy or watery. The rhythm of the singing is related to the priority of the ramming speed.During the ramming process, the ramming person sings songs based on his voice and emotions, and there is no musical instrument to match it.There are those with a slightly slower rhythm, those with a faster rhythm of four people, those with multiple people and a slightly faster rhythm, etc.The ramming horn is relatively rough, with almost fixed tunes but no fixed repertoire. The lyrics are also influenced by other surrounding cultures and have a wide range of content. The ramming person is very free when singing. You can see what to sing and what to think of. Therefore, Maoshan's ramming songs have the characteristics of arbitrary and informal, and they are rich in a strong earthy atmosphere.
3. Take on the song. In the past, the tools and methods used by people to work in the fields were relatively primitive. For example, when picking soil and delivering soil fertilizer, they used a pole and tied two manure
keels, and carried them on their shoulders to run back and forth for transportation.Most of the burdens are also worked together in groups, so in order to coordinate and unify the burden, and at the same time to relieve fatigue, uplift the spirit, enliven the atmosphere, and improve labor efficiency, the working people hummed songs in accordance with the rhythm of the burden.
Burden-bearing songs are generally sung during group work, led by the one in front, and everyone echoes Hopewell, their voices are high and passionate.The leader takes on the lead singer and everyone responds with their shoulders. The rule is generally what the leader does and sings. The meaning of the lyrics is simple and suggestive. Everyone just follows the call to harmony, not focusing on the content, but on the momentum.The styles of burden-carrying songs sung by men and women are similar and different. Men have a thick voice and a lot of strength. They sing the burden-carrying horn to be bold and bold, and they are rapid and powerful; women have a sharp voice and a thin heart, and they sing the burden-carrying song to be light and delicate, gentle and melodious.Moreover, the burden-bearing horn is also sung entirely by the voice and emotions, without musical accompaniment.
The burden song was more popular during large-scale collective labor from the 1950s to the 1970s. After the implementation of the division of fields to households in the late 1970s, it gradually disappeared with the changes in the scale and form of large-scale collective labor.Nowadays, most of the people who can play burden songs in Jintan are elderly people in their 70s and 80s. Burden-carrying tools are still more common in rural Jintan, but burden-carrying songs are already very rare.
4. Hit wheat song. Most of the people in Maoshan depend on farming for their livelihoods. In the past, the wheat needed to be threshed after it matured, but there is no such advanced machine help now. Manual labor is used to separate the wheat. After the wheat is harvested, it is laid flat on a flat field, and then dozens of men and women stand in opposite forms in two rows, each holding a flail, which is used to slap the wheat on the field.In order to unify the beat of wheat beating and at the same time improve people's spirit and labor efficiency, a song that can be freely played but with a uniform rhythm has been hummed, which is popular when wheat is on the stage.
Playing wheat songs is usually a leader of the crowd, the rhythm is coordinated and synchronized with the movement of the flail in everyone's hands, the beat is neat and uniform, and the atmosphere is warm.The labor of beating wheat is generally in the scorching sun. Male and female workers generally wear straw hats, reed hats and other sunshade tools, and hold flails. Therefore, there is no musical instrument to accompany them, and they rely on the voice and emotions of the wheat beater to express their singing.The group nature of the wheat horn is strong, so the tune and lyrics are very simple, and the content is basically not heavy, and in order to have enough strength to slap the wheat stalk, it is generally very powerful when singing.
5. "Push Aconitum" song
"Pushing aconitum" is a kind of farm work that people do to help rice grow in rice fields. People who "push aconitum" need to work barefoot and roll their pants in water. This kind of labor has more individual actions, and its movements are not too demanding. It is relatively loose and free. When workers "push aconitum", in order to relieve fatigue and soothe their mood, they casually hum a song suitable for "pushing aconitum", called "Pushing aconitum" song, this kind of song has a simple meaning, and the singing method has a leader and a single singer. The rhythm is free and can be used to improve labor by letting the workers play at will. efficiency.The song "Push Aconitum" has no fixed lyrics, but most of the tunes are similar. The singers can play at will and sing whatever they want to eat. Therefore, such lyrics best reflect the various psychological activities and symbols of faith of the working people. The song of push aconitum does not have musical instruments to match when it is sung. It depends on the voice and emotions of the workers. It is characterized by a relatively long and soft tone, which sounds melodious and long.However, with the modernization and science of rice cultivation, the farm work of "pushing aconitum" has gradually disappeared, and the song "pushing aconitum" is also gradually disappearing.
Conclusion: Maoshan is not only a famous mountain of Chinese Taoism, but in the eyes of ordinary people, Maoshan is also their home for survival. In this land, the working people rely on their spiritual dependence for survival day and night, and on their love of life. From the appearance of the Communist Party in the lyrics of their labor songs, it can be seen that the party and the people are deeply in love. From the lyrics, some historical figures and some classic story protagonists can be seen that with the continuous advancement of culture, the education level of grassroots working people is improving, and the average quality of society is slowly improving. This kind of The labor number reflects extraordinary value in both practicality and spirit.And what we can do is not only to find out these music cultures that have been gradually forgotten by people, we must also do a good job of popularization and publicity, so that music culture has more historical connotations and cultural connotations in education, and let these historical precipitation crystals shine a new light in education. References:
1. Chen Dacan. Maoshan Taoist Music Examination. Chinese Taoism 1987 (04) Page number: 35-37.
2. Survey of Intangible Cultural Heritage Materials of Jiangsu Province. No. 32048204100057. Pages 122-132.
3. Zhu Jiayi. The Changes and Development of Maoshan Folk Songs. Contemporary Music. 2020 (11) Page number: 64-66.
© ^Hb Мэнмэн, flo Вэм, 2024
