Mongolian Folk Songs
01 · Historical Records
Wenquan county lies in the Bortala Mongol Autonomous Prefecture in the far north-west of Xinjiang, borders Kazakhstan and Russia, and is an area inhabited by many ethnic groups. The local Mongolian short-tune folk songs have broadly two origins: part of them developed from the simplification of long-tune folk song melodies, while the rest are the product of exchange and fusion between the music of different ethnic groups; in the way the tunes progress and in the matching of words to music they therefore carry the dual traces both of the Mongolian tradition and of the neighbouring peoples' folk songs.
02 · Core Techniques & Process
Part of the Mongolian short-tune folk songs of Wenquan county developed from the simplification of long-tune folk song melodies, while the rest are the product of exchange and fusion among different ethnic groups. The Bortala Mongol Autonomous Prefecture lies in the far north-west of China, borders Kazakhstan and Russia, and is an area inhabited by many ethnic groups. In the process of exchange and intercourse among the peoples of China and of other countries, influenced by the tunes of the folk songs of the Russian, Kazakh, Tatar, Uyghur, Han and other peoples, the Mongolian short-tune folk songs of Wenquan county in Xinjiang gradually took shape and continued to develop. The Mongolian short-tune folk songs of Wenquan have a wide range of content, touching on almost every field of Mongolian social life; they mainly deal with respect, filial piety, history, praise, love and dancing, fully reflecting every aspect of the social life of the Mongolian people of Wenquan, and also expressing their rich inner world. The Mongolian short-tune folk songs of Wenquan have a simple structure and an unadorned style, giving a sense of antique simplicity and vigour. Their words and music are regular in structure, mainly in two-line and four-line forms; the lyrics are fine, mostly four lines to a stanza, repeated in antiphony on different rhyme steps; they carry the character of western Mongolia, are easy to learn and easy to sing, suit young and old alike, and have a wide mass following. Mongolian short-tune folk songs are sung by singers or by the people at festivals, at weddings and at gatherings; those who sing them often improvise the words on the spot, with a brisk rhythm, witty content and a solemn, elegant melody that lingers long in the memory. On every festive occasion, or whenever friends gather, people drink and sing to their hearts' content, one voice leading and all responding, in an atmosphere of great joy and warmth. They are the product of exchange and fusion between the cultures of many ethnic groups and a vivid witness to friendly intercourse between peoples, playing a positive role in enriching the lives of the people and in promoting social harmony.
Respect and filial-piety songs
One of the subject categories of the Mongolian short-tune folk songs of Wenquan, classified by content.
Historical and praise songs
One of the subject categories of the Mongolian short-tune folk songs of Wenquan, classified by content.
Love and dance songs
One of the subject categories of the Mongolian short-tune folk songs of Wenquan, classified by content.
Two- and four-line structures
The Mongolian short-tune folk songs of Wenquan have a simple structure and an unadorned style; their words and music are regular in structure, mainly in two-line and four-line forms, the lyrics are fine and mostly four lines to a stanza, repeated in antiphony on different rhyme steps.
Improvised banquet singing
Sung mostly at festivals, at weddings and at gatherings by singers or by the people; those who sing them often improvise the words on the spot, with a brisk rhythm and witty content, one voice leading and all responding, in a joyful and warm atmosphere.
03 · Regional Records & Related Items
The Mongolian short-tune folk songs of Xinjiang are one of the important cultural heritages of the Mongolian people of Xinjiang; they have the marked characteristics of nomadic and regional culture, and are distributed mainly in the Mongolian settlements within Xinjiang, including the Bortala Mongol Autonomous Prefecture, the Bayingolin Mongol Autonomous Prefecture, Emin county and Wusu city in Tacheng prefecture, and Zhaosu county and Nilka county in Yili prefecture, and they are especially famous in Wenquan county of the Bortala Mongol Autonomous Prefecture.
Other submitting regions for the same item: Mongolian Folk Songs · Mongolian Folk Songs · Mongolian Folk Songs · Mongolian Folk Songs · Mongolian Folk Songs · Mongolian Folk Songs · Mongolian Folk Songs · Mongolian Folk Songs.
04 · Cultural Value & Contemporary Safeguarding
The project is transmitted mainly within families and from master to apprentice, and its line of transmission is clear. The Mongolian short-tune folk songs of Wenquan county in Xinjiang are an important component of the traditional culture of the Mongolian people; their melodies are beautiful, their content wholesome, and they are rich in the breath of the grasslands and in ethnic character; they have important academic value for the study of the history of the ethnic minorities, and especially of the history of Mongolian music.
05 · Associated Representative Bearers
Representative bearers recorded under this item, organized by national nomination batch:
- Haleizhen 04-1533
- Guribasier 05-2111
- Suyaletu 05-2112
- Hanmei 05-2113
- Guli 05-2114
- Aoyunbielige
- Houqinghe
06 · Authoritative Sources & Bibliography
Sources
China Intangible Cultural Heritage Network (ihchina.cn)
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