Research on Qinghai Taijinaier Mongolian life etiquette and music

Date of publication:2006-1   Press: Minzu University of China press   Author:Cui Lingling   Pages´╝Ü275  

The second section research purpose, significance and scope, object, purpose and meaning (a) to Mongolia and entered Qinghai in the Yuan Dynasty, since then until the Qing Dynasty, has been living in the Qinghai plateau as ruler. The local Mongolian Plateau Mongolians call or the mongols. Since the Yuan Dynasty, Mongolia to Qinghai with three large-scale migration, and the local Tu, Kazak, Hui, Tibetan, Han, Sala Nationality living in Qinghai plateau. With the passage of time, change of living environment, customs, dress dress of the Mongolians in Qinghai has changed greatly, in the aspect of culture and art is different from Mongolia and Inner Mongolia. This caused me great interest, prompted me to do a survey, thorough understanding. One of the purposes, of Qinghai Taijinaier Mongolian life rites and ritual music to do a thorough description and analysis, study these rites and music in the local area, the national life of the status, so as to understand their aesthetic, beliefs, world outlook and so on, cultural connotation and characteristics of this life etiquette and music. The purpose of the study is to explore the two, between Qinghai Taijinaier Mongolian and the surrounding minority cultural exchange, mutual infiltration, convergence, convergence condition; through the study on Qinghai Taijinaier Mongolian music culture, similarities and differences of Mongolia Qinghai Mongolia and Inner Mongolia area in the music culture. Objective three, the ritual music in the human environment (i.e., the overall cultural environment of Mongolia group and Qinghai ethnic cultural environment), explore the ritual music is how to display and use of the interaction between ritual and belief system, ceremony, ritual music of the three.

Cui Lingling, female, Mongolia nationality, was born in 1971. He attended Minzu University of China, received a master's degree in music; Central Conservatory of Music Department of music, a doctorate in music. I graduated from the art education center of Minzu University of China College of education. The auspices of the National Social Science Fund, the national art science "fifteen" planning project; presided over the planning project of Ministry of education, the humanities subject. At the national music core journals published several articles. Has visited Inner Mongolia, Qinghai, Gansu, Heilongjiang and other places.For field work. Mainly engaged in the research of Mongolia traditional music. As a graduate, undergraduate students in the traditional music teaching.
Author brief introduction

Cui Lingling studied fourth PhD with my students, the first minority female doctor is with my students. Research on her before I seldom recruiting female students for the professional direction of the students, the reason is not because of discrimination against women, but considering the particularity of the professional direction of what we do -- "minority music research" work. Because objectively speaking, this work for women, it is more difficulty. Because of the need of professional work, we often have a long time into the distant frontier minority area's level, to explore life, customs and culture of local residents. There, both working conditions, living conditions and traffic conditions, can not be compared with the mainland, a lot of difficulties. Some difficult life is unimaginable in the mainland city residents. Minority music work the most important is the basis of further investigation (namely the field work), and a young female students whether can adapt to the hard conditions on-the-spot investigation of border area, whether can overcome all aspects of hard to avoid difficulties, whether can ensure their own safety, these are my worries the problem. But Cui Lingling completed a PhD Thesis experience at the Central Conservatory of Music, made me realize the potential and the courage to female classmate, greatly enhanced my training minority music research direction of female graduate students confidence. After Cui Lingling, I has recruited three female doctoral students and a female graduate students, their name is Lee Yan Hong (Han), He Ling (Buyi), Liu Rong (Tujia) and Li Yafang (Manchu), they are now diligently effective conduct of their own learning, constantly progress.
Catalogue of books

The first chapter is the introduction section research status and data source second day study purpose, significance and scope, object third research methods and theoretical sources of fourth day field work and thesis outline chapter second Qinghai Mongolia nationality, Taijinaier Mongolian survey of the first section of the Qinghai Mongolia family history, the Mongols ruled Qinghai two, the first to start migration of Qinghai three, Mongolian second migration to Qinghai four, the third migration to Qinghai second festival Qinghai Taijinaier Mongolian migration history section third Qinghai Taijinaier Mongolian of production, way of life two, Mongolia three languages, Mongolia folk literature, folk five, four religious and Monastic Education Section fourth Qinghai Taijinaier Mongolian life etiquette of fifth section of the Qinghai Mongolia traditional music in general, Mongolia traditional music in two, Qinghai Mongolia traditional music in three, Taijinaier Mongolian music third chapter of life rites and ritual music record and data section, De Xiang Guo Taijinaier Mongolian birth rituals and rites the music data and record a, De Xiang Guo, background information, before 1949 two Taiwan Taijinaier Mongolian Customs three, baptism in four, baptism baptism custom field collection data of five, baptism data comparison section second Wutumeiren Xiang Taijinaier Mongolian Haircut rites and ritual music data and record a, Wutu beauty Ren Xiang background data of two, three, Haircut ritual customs and rites music record Haircut rites four, Haircut Li data comparison section third wedding ceremonies and rites music data and record a, Mongolia wedding in two, Taijinaier Mongolian wedding ceremony of three, Ji Naier the formal wedding ceremony in four, Golmud City Taijinaier Mongolian wedding rituals and rites music record five GA, Wusu group Ji Naier Mongolian wedding ceremony and ritual music record six, wedding data comparison section fourth Golmud City Taijinaier Mongolian funeral ceremony and a data record, Mongolia two, Qinghai Mongolia nationality funeral of funeral customs three, Taijinaier Mongolian funeral customs, four, Golmud Taijinaier Mongolian funeral ceremony, funeral in five contrasting data the fourth chapter Taijinaier Mongolian life etiquette in the music section of rites music The history and present situation of Inner Mongolia area in Mongolia, a family of two, the ritual music of Taijinaier Mongolian life rites Music Festival second rites music category and analysis, long ritual songs two, short tone ritual songs three, Mongolian message four, other ethnic songs third Festival rites music forms and characteristics, life ritual music morphological characters of two, life etiquette in speech musical features fourth Festival rites music comparison and study, Taijinaier Mongolian folk songs in Mongolia and Tibetan folk songs two, Taijinaier Mongolian Long Tune folk songs and Inner Mongolia area of Mongolia is three, Taijinaier Mongolian speech and Inner Mongolia area of Mongolia group by comparison the fifth section of rites and music general structure and analysis, birth etiquette and music, message structure and analysis of two, Haircut etiquette and music, I wish. The structure and analysis of three, the wedding ceremony and music, message structure and analysis of four, the funeral ceremony and chanting music structure and analysis of five, the life etiquette and ritual music of macro structure analysis of the fifth chapter Qinghai Taijinaier Mongolian life rites and ritual music culture. Release the first festival rites of tacit rites -- a belief rituals, rites of life rites and beliefs ritual, ritual and belief in two life expressed in the religious factors and the influence of section second rites and ritual music culture, and a Tibetan rites and ritual music culture, and the relationship between the two Inner Mongolia area Mongolia family life rites and ritual music culture between third day life etiquette music cultural function, social function, education function of two three, four five, art function of entertainment function, aesthetic function fourth day Taijinaier Mongolian life Rites Ceremony and ritual music culture heritage, Mongolia nationality cultural heritage two, Taiwan Ji Naier the rites and music culture inheritance. The changes of the Fifth Festival Rites Ceremony and ritual music of life ceremony ceremony, two, life analysis conclusion references figures the postscript @##@ change meter ceremony music three, life rites ritual music culture mode Taijinaier Mongolian music culture of Mongolia nationality music culture is one important part of, is a rich national cultural heritage. Ritual and music in the rites of life, not only embodies the Taijinaier Mongolian folk and colorful music, but also reflects the Mongolia national historic traditional culture. Taijinaier Mongolian region from Xinjiang Oirat Mongolia tribes moved to the Qinghai Tibet Plateau, and the local Tibetan, Tu, Sala, Hui, Han, Kazak and other nationalities. Multi ethnic living environment formed AC, convergence and fusion among different cultures. Because of the Qinghai Tibet Plateau, traffic is relatively closed, the reservation of the ancient national culture also plays a role can not be ignored. Through the study of Qinghai Taijinaier Mongolian life ceremonial rites and music, we can see the Mongolia nationality ancient cultural relics, but also can see the process of cultural changes. "Qinghai Taijinaier Mongolian life etiquette and music research" with reference to the life etiquette study theory, according to the actual situation of Taijinaier Mongolian life rites and ritual music as the basis, combined with the traditional ideas, try making a research pattern, carries on the analysis, interpretation. Namely: Overall, Taijinaier Mongolian life etiquette, as a complete circle, separated from the middle, upper half part is the process of people from birth to death in the ceremony, called a life rites; the lower half part is people from death to life cycle process of ritual, called religious rites. The sum total of two part of ritual, shows a complete process of rites Taijinaier Mongolian traditional concepts of.
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