Narrative songs
There are five genre of narrative songs performed by one or several singers who accompany themselves on plucked lutes or percussion. Some dastan are to do with famous lovers, like the tale of Gh?rip and S?n?m or Horliqa and H?mrajan, others tell of mythical and historical heroes and heroines of the Uygurs. Some of these tales have a long and complex background and are taken from the oral tradition. They have been reworked by the Central Asian poets and returned to the folk context. Others are based on more recent historical events. Musically the dastan employ a comparatively wide pitch range, they are attractive melodically, and may use any of the modes found in Uygur folksongs. Qoshaq are short rhymed poems, on moral or comical themes, employing a narrower pitch range. The l?p?r skits are also counted as a genre of narrative song. The ?ytshish are sung in duets and mix sections of speech and song. They are usually comical and may be theatrical in performance, often involving men in female dress. The M?ddhi n?ghm? are stories relating to the Islamic tradition or on moral themes, with short sung refrains and longer spoken sections, usually performed without musical instruments. Formerly, after Friday prayers, people gathered in teahouses to listen to storytellers, but the tradition is now increasingly rare, a phenomenon of modernization due to the impact of television and cassettes. But storytellers can still be found today on the streets of Xinjiang's bazaars, and especially in the poorer south. They are also a common sight at Xinjiang's great mazar festivals, held at the tombs of Islamic saints as people gather in large crowds to listen.
2007年2月17日星期六
Uyghur Dance Music
Dance Music
Uygurs use the term s?n?m to refer suites of between six and thirteen folksongs played usually for dancing. All the major oasis towns each have their own distinctive s?n?m, as does the Ili valley and the Dolan people. Each s?n?m employs the distinctive vocal style and a fixed suite of folksongs of its own region, but the s?n?m across the region are all related rhythmically, beginning with the same moderate four-beat dance rhythm and move gradually towards a faster four-beat. Each region uses its own preferred instrumental combination to accompanying singers.
Many styles of Uygur dancing involve a theatrical element, like the l?p?r, comic skits with sung lyrics and spoken parts, or the popular dance nazarkum of Turpan. Some Uygur dances are thought to be of totemic origin and may formerly have served a ritual function although they are now performed for entertainment.
Uygurs use the term s?n?m to refer suites of between six and thirteen folksongs played usually for dancing. All the major oasis towns each have their own distinctive s?n?m, as does the Ili valley and the Dolan people. Each s?n?m employs the distinctive vocal style and a fixed suite of folksongs of its own region, but the s?n?m across the region are all related rhythmically, beginning with the same moderate four-beat dance rhythm and move gradually towards a faster four-beat. Each region uses its own preferred instrumental combination to accompanying singers.
Many styles of Uygur dancing involve a theatrical element, like the l?p?r, comic skits with sung lyrics and spoken parts, or the popular dance nazarkum of Turpan. Some Uygur dances are thought to be of totemic origin and may formerly have served a ritual function although they are now performed for entertainment.
Art of Music 2
Art of Music
In the mid-16th century, aided by other musicians, the imperial concubine Amannisahan of the Yarkant Kingdom, who was also an esteemed poetess and musician, devoted all her efforts to collecting and compiling Muqam music, which was then scattered across Uygur-populated areas. She finally worked out 12 grand, yet light and entertaining compositions that are now known as the Twelve Muqam.
The Twelve Muqam are large-scale suites consisting of sung poetry, stories, dance tunes and instrumental sections. Some of the lyrics of the Muqam are drawn from the great Central Asian Chagatay poets. Some are drawn from folk poetry, especially the popular tale of the lovers Gh?rip and S?n?m.
Contemporary scholars refer to four distinct regional genres: the Twelve Muqam of the Kashgar-Yarkand region, the Turpan Muqam, the Qumul Muqam, and the Dolan Muqam. Strictly following the astronomical almanac, each of the Twelve Muqam is divided into three parts: Cong Naghma, Dastan, and Mashrap, each with 25-30 sub-melodies.
After the founding of new China (1949), the local government of the Xinjiang Uygur Autonomous Region made every effort possible to preserve the Twelve Muqam. The whole set of the Twelve Muqam consists of 360 different melodies and takes over 24 hours to play in full.
Folksongs
The Uygurs classify folksongs according to their region of origin, and each region has its own distinctive sound. Modally the songs of southern Xinjiang are usually heptatonic while the songs of Ili, Turpan and Qumul are more commonly pentatonic or hexatonic. Many folksongs have recurrent raised or lowered intervals. Folksongs may take any note of the scale as tonic, and many folksongs feature modulation to a secondary mode. Rhythms are in short cycles, with much variation. The Ili style tends to use duple rhythms while in the south 5/8, 7/8 and 9/8 rhythms also appear. Primarily accompanied by the dutar and/or a frame drum, one interesting feature of Uygur folksong is that the accented drum beat does not fall at the beginning or end of the melodic phrase. The singing style is highly ornamented and uses a wide range, especially in the songs of Ili whose attractive swoops and leaps in the melodic line have lead the Chinese to term them 'wolf songs' (lang'ge). The Qumul style is considered softer, while Kashgar style is more vigorous. Songs are usually short, lasting a few minutes, and are commonly strung together into suites (yürüshi), like the street song suite (kocha nakhshisi yürüshi) of Ili. The vast majority of song lyrics dwell on tragic love, others take religious or local historical themes, and others are comical.
In the mid-16th century, aided by other musicians, the imperial concubine Amannisahan of the Yarkant Kingdom, who was also an esteemed poetess and musician, devoted all her efforts to collecting and compiling Muqam music, which was then scattered across Uygur-populated areas. She finally worked out 12 grand, yet light and entertaining compositions that are now known as the Twelve Muqam.
The Twelve Muqam are large-scale suites consisting of sung poetry, stories, dance tunes and instrumental sections. Some of the lyrics of the Muqam are drawn from the great Central Asian Chagatay poets. Some are drawn from folk poetry, especially the popular tale of the lovers Gh?rip and S?n?m.
Contemporary scholars refer to four distinct regional genres: the Twelve Muqam of the Kashgar-Yarkand region, the Turpan Muqam, the Qumul Muqam, and the Dolan Muqam. Strictly following the astronomical almanac, each of the Twelve Muqam is divided into three parts: Cong Naghma, Dastan, and Mashrap, each with 25-30 sub-melodies.
After the founding of new China (1949), the local government of the Xinjiang Uygur Autonomous Region made every effort possible to preserve the Twelve Muqam. The whole set of the Twelve Muqam consists of 360 different melodies and takes over 24 hours to play in full.
Folksongs
The Uygurs classify folksongs according to their region of origin, and each region has its own distinctive sound. Modally the songs of southern Xinjiang are usually heptatonic while the songs of Ili, Turpan and Qumul are more commonly pentatonic or hexatonic. Many folksongs have recurrent raised or lowered intervals. Folksongs may take any note of the scale as tonic, and many folksongs feature modulation to a secondary mode. Rhythms are in short cycles, with much variation. The Ili style tends to use duple rhythms while in the south 5/8, 7/8 and 9/8 rhythms also appear. Primarily accompanied by the dutar and/or a frame drum, one interesting feature of Uygur folksong is that the accented drum beat does not fall at the beginning or end of the melodic phrase. The singing style is highly ornamented and uses a wide range, especially in the songs of Ili whose attractive swoops and leaps in the melodic line have lead the Chinese to term them 'wolf songs' (lang'ge). The Qumul style is considered softer, while Kashgar style is more vigorous. Songs are usually short, lasting a few minutes, and are commonly strung together into suites (yürüshi), like the street song suite (kocha nakhshisi yürüshi) of Ili. The vast majority of song lyrics dwell on tragic love, others take religious or local historical themes, and others are comical.
Art of Music
The Uygur music embraces several distinct regional styles, product of the geography and complex history of the region, whose oasis kingdoms, separated by mountains and deserts, have been subject through the course of history to rule by many different outside forces.
The musical traditions of the southern oasis towns of Hotan and Kashgar are more closely allied to the classical Central Asian traditions of Bukhara and Samarkand, while the music of the easternmost oasis town of Qumul has closer links to the music of Northwest China. Each of the region's oasis towns have to this day maintained their own distinctive sound and repertoire, but they are linked by a common language and overarching culture, maintained by constant communication through trade and movement of peoples. Musically there is much to link these local traditions, in terms of instruments, genres, styles and contexts.
The most prestigious and well-known genre of Uygur music is the Muqam, the large-scale suites of song, instrumental and dance music. In addition to the Muqam the Uygurs maintain popular traditions of song epic tales and other forms of narrative song; suites of dance music; instrumental music; musical genres linked to the ceremonies, and a huge repertoire of folksongs which commonly dwell on the suffering of life on earth and the torments of frustrated love. Today these traditional genres compete with a lively pop music industry and the music of the professional, state-sponsored troupes.
Known as the "mother of Uygur music," the Twelve Muqam has a long history. Some scholars believe its origin can be traced back to the "Great Western Region Melody" that flourished during the Han (206BC-AD220) and Tang (618-907) dynasties and enjoyed a high popularity in Central China.
The musical traditions of the southern oasis towns of Hotan and Kashgar are more closely allied to the classical Central Asian traditions of Bukhara and Samarkand, while the music of the easternmost oasis town of Qumul has closer links to the music of Northwest China. Each of the region's oasis towns have to this day maintained their own distinctive sound and repertoire, but they are linked by a common language and overarching culture, maintained by constant communication through trade and movement of peoples. Musically there is much to link these local traditions, in terms of instruments, genres, styles and contexts.
The most prestigious and well-known genre of Uygur music is the Muqam, the large-scale suites of song, instrumental and dance music. In addition to the Muqam the Uygurs maintain popular traditions of song epic tales and other forms of narrative song; suites of dance music; instrumental music; musical genres linked to the ceremonies, and a huge repertoire of folksongs which commonly dwell on the suffering of life on earth and the torments of frustrated love. Today these traditional genres compete with a lively pop music industry and the music of the professional, state-sponsored troupes.
Known as the "mother of Uygur music," the Twelve Muqam has a long history. Some scholars believe its origin can be traced back to the "Great Western Region Melody" that flourished during the Han (206BC-AD220) and Tang (618-907) dynasties and enjoyed a high popularity in Central China.
Uyghur Art of Song and Dance
Xinjiang has long been known as "a land of song and dance." Singing and dancing are integral parts of the local life and have been around for centuries. Influenced by the ancient Silk Road civilizations, and the exchange and integration of the Eastern and Western cultures, the song-and-dance styles have developed their own unique charm and stand out as sparkling jewels among all such art forms across China.
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The splendor of Xinjiang song and dance is attributed to all ethnic groups in the region. The vastness of the land, the variety of the population, natural environment, economic conditions and cultural backgrounds, as well as people's working modes, lifestyle, mindset and aesthetic tendencies, have resulted in their immense diversity and richness of these arts.
The occasions of drinking wine with big bowls, eating large portions of meat, singing and dancing warmly are everywhere in Xinjiang. The song and dance is the main celebration form at minority nationality weddings and birthday parties, and at celebrations of good harvests of grapes and other fruits.
Minority people are very hospitable and warm-hearted, so they always sing and dance together. The Uygurs' classical music divertimento "Twelve Muqam" is the most familiar music to Xinjiang people, and the Nazirkom and Maixilaipu dances (party) are the most popular folk dances.
Since the beginning of the 1950s, Xinjiang has produced a large number of talented musicians and dancers. These artists, nurtured by the rich cultural traditions of the region, have gained the appreciation of the entire nation. Many of their masterpieces have become part of the larger repertoire and have brought honor to the country, including such large stage productions as Rainbow of the Tianshan Mountains, Our Wonderful Xinjiang, Happy Songs from Tianshan, Mountain Father and Water Mother, Flower of Dolan, Kashgar and the large dance Daughter of the Desert.
Particularly after the reform and opening-up, artists have drawn upon a great variety of cultural resources worldwide, as well as new inspirations emerging from China's modernization and contemporary life, producing a good many outstanding works that combine local and ethnic appeal with contemporary dynamism.
thank for coming.
yasinjan
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The splendor of Xinjiang song and dance is attributed to all ethnic groups in the region. The vastness of the land, the variety of the population, natural environment, economic conditions and cultural backgrounds, as well as people's working modes, lifestyle, mindset and aesthetic tendencies, have resulted in their immense diversity and richness of these arts.
The occasions of drinking wine with big bowls, eating large portions of meat, singing and dancing warmly are everywhere in Xinjiang. The song and dance is the main celebration form at minority nationality weddings and birthday parties, and at celebrations of good harvests of grapes and other fruits.
Minority people are very hospitable and warm-hearted, so they always sing and dance together. The Uygurs' classical music divertimento "Twelve Muqam" is the most familiar music to Xinjiang people, and the Nazirkom and Maixilaipu dances (party) are the most popular folk dances.
Since the beginning of the 1950s, Xinjiang has produced a large number of talented musicians and dancers. These artists, nurtured by the rich cultural traditions of the region, have gained the appreciation of the entire nation. Many of their masterpieces have become part of the larger repertoire and have brought honor to the country, including such large stage productions as Rainbow of the Tianshan Mountains, Our Wonderful Xinjiang, Happy Songs from Tianshan, Mountain Father and Water Mother, Flower of Dolan, Kashgar and the large dance Daughter of the Desert.
Particularly after the reform and opening-up, artists have drawn upon a great variety of cultural resources worldwide, as well as new inspirations emerging from China's modernization and contemporary life, producing a good many outstanding works that combine local and ethnic appeal with contemporary dynamism.
thank for coming.
yasinjan
About Uyghurs
Brief Introduction
Uyghur (ooey-GHUR say Uyghurs, WEE-gur say Americans), also spelled Uighur, is the name of an ethnic group of people mainly live in Xinjiang (means "new frontier" in Chinese) Uyghur Autonomous Region of China , and their language. Historically the term "Uyghur" means "united" or "allied", and was applied to a group of Turkic-speaking tribes that once ruled what is now Mongolia. The Uyghurs were one of the largest and most enduring Turkic peoples living in Central Asia.
Records show that the Uyghurs have a history of more than 4000 years. Situated along a section of the legendary Silk Road, Uyghurs played an important role in cultural exchanges between the East and West and developed a unique culture and civilization of their own. Uyghur culture is a rich lifestyle centred around the family, food, dance and music. Uyghur architecture, particularly their religious architecture is quite fine and as reflective of a glorious past. Uyghur religion has also played a major part in Uyghur culture and has has evolved through several transitions including Shamanism, Manachaeism, Buddhism and even Christianity before Islam became the predominate religion. Each has added indelibly to the richness of Uyghur culture.
Uyghur communities were typically based in oases or fertile valleys, growing cereals and fruit. The strategic importance of these oasis bazaars enabled many Uyghur traders to become key middlemen on the Silk Road caravan routes between the Orient and Europe.
Now, over 9.3 million Uyghurs live in Uyghur Region of China. Some major cities in the east and south of China also have small Uyghur communities. Several hundred thousand Uyghurs live in communities worldwide in Kazakhstan and Uzbekistan, in Turkey, Europe, North America and Australia.
Uyghur (ooey-GHUR say Uyghurs, WEE-gur say Americans), also spelled Uighur, is the name of an ethnic group of people mainly live in Xinjiang (means "new frontier" in Chinese) Uyghur Autonomous Region of China , and their language. Historically the term "Uyghur" means "united" or "allied", and was applied to a group of Turkic-speaking tribes that once ruled what is now Mongolia. The Uyghurs were one of the largest and most enduring Turkic peoples living in Central Asia.
Records show that the Uyghurs have a history of more than 4000 years. Situated along a section of the legendary Silk Road, Uyghurs played an important role in cultural exchanges between the East and West and developed a unique culture and civilization of their own. Uyghur culture is a rich lifestyle centred around the family, food, dance and music. Uyghur architecture, particularly their religious architecture is quite fine and as reflective of a glorious past. Uyghur religion has also played a major part in Uyghur culture and has has evolved through several transitions including Shamanism, Manachaeism, Buddhism and even Christianity before Islam became the predominate religion. Each has added indelibly to the richness of Uyghur culture.
Uyghur communities were typically based in oases or fertile valleys, growing cereals and fruit. The strategic importance of these oasis bazaars enabled many Uyghur traders to become key middlemen on the Silk Road caravan routes between the Orient and Europe.
Now, over 9.3 million Uyghurs live in Uyghur Region of China. Some major cities in the east and south of China also have small Uyghur communities. Several hundred thousand Uyghurs live in communities worldwide in Kazakhstan and Uzbekistan, in Turkey, Europe, North America and Australia.
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