Longtouqindanchang
01 · Historical Records
It is a branch genre of the chanting of the ancient Tibetan zanyin, a two-stringed fiddle; it took shape more than three hundred years ago and was gradually formed through innovation on the basis of monastic religious music. It originated in Maqu County of Gannan Tibetan Autonomous Prefecture, Gansu Province, and gradually spread to other parts of Gansu and to Qinghai, Sichuan, Yunnan and other places. Its sung texts grow out of its special geographical environment and the customs of nomadic life; they cover a wide range of subjects, touching on history, religion, culture, daily life and many other aspects, and take as their main orientation the praising of the true, the good and the beautiful and the condemnation of the false, the evil and the ugly, so that they carry a sound meaning for guidance and education. Longtouqin narrative singing is not a mere performance gesture; it is close to daily life and to the feelings of the people, draws its material broadly from folk culture, and sets forth the spiritual outlook of the children of the grasslands in the form of plucked-and-sung performance.
02 · Core Techniques & Process
Maqu longtouqin narrative singing is a genre of narrative singing (quyi) unique to Gansu Province and to its ethnic minorities; it is a comprehensive form of quyi performance in which the performer both plays and sings, improvises the words, and combines singing, playing and dancing in one. The longtouqin takes its name from the fact that the head of the instrument is carved in the shape of a dragon's head. Maqu longtouqin narrative singing is sung in a variety of organizational forms: single-part, meaning one person playing and singing alone; two-part, meaning two people playing the instrument in antiphonal song; and multi-part, meaning three to five people playing in linked song. The manner of performance includes antiphonal singing by men and women, singing on horseback, singing in small ensembles, and singing by a hundred or a thousand people. Its performance is not restricted by venue or time of day; it can be played and sung while herding, inside the tent, or at gatherings. Its tunes are elegant and its artistic conception far-reaching, and it is created by an improvisational method. The plucked-and-sung pieces generally have a narrow range, with a plain pitch, a marked rhythm, even metre and a lively, distinctive character. Its accompaniment takes the melodic pitch of the singing as a framework and elaborates and subdivides it, so that a corresponding texture of 'closely played, broadly sung' is formed between the voice and the accompaniment. Moreover, the performance employs devices that give the melody flavour, endowing the music with fluidity and a sense of depth. Maqu longtouqin narrative singing is an important component of Tibetan culture and art, and it has accumulated a profound cultural content. Its lyrics reflect every aspect of Tibetan life, express the Tibetan people's view of the world, and reflect their understanding of life and of the doctrines of Buddhism; they are an important means of understanding Tibetan culture. It exhorts people to be compassionate in heart and to love nature, and plays a positive role in enriching the spiritual and cultural life of the masses and in promoting social harmony and stability.
Solo, duet and group formats
It ranges from a solo self-accompanied singer to duets and groups of three to five, including men-and-women duets and mass performances.
The dragon-head lute
The instrument takes its name from the dragon carved at the head of the neck, a branch of the ancient Tibetan dramnyen.
Tight playing under broad singing
Accompaniment ornaments and subdivides around the vocal line, creating a tight-played, broadly-sung texture with fluid depth.
On horseback and in thousands
Performable while herding, in tents or at gatherings, its tunes are elegant and improvised, with modest range and clear rhythm.
Six generations
Taught master to pupil in a clearly ordered line of six generations, protected by the Maqu county cultural centre.
03 · Regional Records & Related Items
Longtouqin narrative singing originated in Maqu County of Gannan Tibetan Autonomous Prefecture, Gansu Province, with the pastoral areas around the upper reaches of the Yellow River as its core of transmission; it later spread gradually to other counties and cities of Gannan and to the Tibetan areas of Qinghai, Sichuan and Yunnan. It belongs to the branch of the chanting of the ancient Tibetan zanyin, a two-stringed fiddle, takes its name from the dragon head carved on the head of the instrument, and took shape more than three hundred years ago, gradually taking its final form through innovation on the basis of monastic religious music. Singing takes organizational forms such as single-part, meaning one person playing and singing alone; two-part, meaning two people playing in antiphonal song; and multi-part, meaning three to five people playing in linked song, as well as antiphonal singing by men and women, singing on horseback, singing in small ensembles and even singing by a hundred or a thousand people; it can be begun while herding, inside the tent, or at gatherings. The Maqu County Cultural Centre is the safeguarding unit of the project; the performance is transmitted by masters teaching their apprentices, its lineage is clear and orderly, and it has now been handed down through six generations.
04 · Cultural Value & Contemporary Safeguarding
Maqu longtouqin narrative singing is transmitted by masters teaching their apprentices, its lineage of transmission is clear and orderly, and it has now been handed down through six generations.
06 · Authoritative Sources & Bibliography
Sources
China Intangible Cultural Heritage Network (ihchina.cn)
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