Abstract: The emergence and development of Dong folk songs depend on the specific ecological environment. This paper analyzes the profound influence of environment (natural environment and social and cultural environment) on Dong folk songs, and discusses the inheritance and cross-cultural significance of Dong folk songs in today's social and cultural environment.
Dong's big songs are the collective name of Dong's folk chorus multi-voice songs. As far as its melody and singing art are concerned, it can be regarded as one of the most advanced varieties of Dong folk songs, especially the multi-voice tunes of songs, which can be called the treasure of world folk songs. In Dong language, Dong folk songs are called "gallaox or gal mags", which means "Ga" and "Lao" means "Da". The precious value of big songs is embodied in literature and music.
In terms of literature, the lyrics of traditional Dong songs are mostly long lyric songs (love songs) or narrative songs, which are rich in content, revealing the face of ancient Dong social life, reflecting people's thoughts and feelings in a certain historical period, promoting the moral quality of promoting good and restraining evil, expressing the ideal of pursuing happiness and freedom, while retaining the characteristics of Dong ancient poetry and literature and the refined, vivid and vivid language art.
In music, in order to reflect the rich content of lyrics, a variety of structural forms and expression techniques have been formed in music, the most valuable of which is the method of using multi-voice to express content in collective singing. It can be seen that Dong folk songs are the highest realm of Dong folk music. This kind of folk polyphony music enjoys a high reputation at home and abroad for its unique flavor, mottled colors and romantic charm, and enjoys a high reputation in the music industry at home and abroad. 1986 10 The folk Dong folk chorus in Qiandongnan prefecture of Guizhou province went abroad to participate in the art festival held in Paris, France. Dong people's big songs caused a sensation in the art capital, and both the audience and scholars were fascinated by them. Maagel Witt, the executive chairman of the festival, said excitedly after watching the performance: "It is extremely rare in the world that a minority with a population of only one million in the East can create and spread this ancient, pure and shining art, which is not only loved by French audiences, but also by people all over the world." The far-reaching influence of Dong people's big songs has broken the conclusion of some foreign music experts that there is no polyphonic music in China, which has surprised and impressed world art masters. Why can such exquisite art be produced in an oriental minority with a population of only one million? In order to prove this problem, it is necessary to study the literary ecology of Dong folk songs.
First, big songs originated in the local area.
There are different opinions about the origin of Dong people's big songs, some hold the theory of "foreign", some hold the theory of "labor" and "imitation", some hold the theory of "transformation", and so on. According to the theory of imported products, the Dong nationality is a backward nation, and its cultural backwardness is doomed to be unable to create such colorful multi-part music as "Dong songs". The multi-voice part of Dong folk songs must have been influenced by religious music brought by foreign missionaries. The "transformation theory" holds that the multi-voice part of "Dong folk songs" is the result of the processing and transformation of Dong folk songs by foreign music cadres. This "foreign theory" and "transformation theory" can't stand the test of history. Foreign missionaries introduced western music to Dong people at the end of 19 and the beginning of the 20th century. Moreover, it is impossible for some western music to be deeply rooted in the Dong people who are not recorded and circulated by China's music score, so as to achieve the goal of nationalization. It can be seen that Dong folk songs have nothing to do with foreign missionaries and religious music. Dong people's big songs have been recorded in history books as early as the Song Dynasty. "Notes on the Old Learning Temple", Volume 4, says: "Chen, Yuan and Jing are quite savage. During the agricultural break, one or two hundred people were Cao, singing hand in hand, and several people were led by blowing sheng." It took hundreds of years for foreign missionaries to enter China. As for the "transformation theory", it is even more unreasonable to say that Han music cadres have been processed and transformed, because it was not until the liberation of 1949 that Han music cadres entered Dong township one after another, more than one hundred years later than foreign missionaries entered China. Therefore, both of these statements are untenable. We believe that Dong people's big songs originated in the local area and were created by Dong people through labor and artistic practice in a specific environment.
Dana, a French art historian, said: "All works of art are determined by the general conditions caused by mood, surrounding natural environment and customs." Plekhanov wrote in "On Art": "The art of any nation is determined by its psychology, and its psychology is determined by its situation, which in the final analysis is restricted by its productivity and its relations of production". Because Dong people have lived in this beautiful but almost closed ecological space for generations, they work at sunrise, rest at sunset, dig wells to drink water, plow fields to eat, and it is difficult for some foreign cultural and recreational activities to enter Dong areas. After this cultivation, the Dong people naturally imitate the singing of birds and cicadas in the mountains and carry out their own unique cultural and recreational activities. It is this carefree and simple life, plus long-term exploration. Naturally, the Dong people will make use of the aura and wisdom of life, combine their own natural landscape and humanistic phenomena to understand, treat nature as nothing but beauty, and pay attention to the integration and harmony between mind and nature, thus creating beautiful chorus music-Dong folk songs.
Second, the natural ecology on which Dong folk songs depend.
Literary ecology believes that the emergence and development of each art can not be separated from a specific environment, including natural environment and social and cultural environment. Any human group must first survive in a certain natural environment, and take this natural environment as the object of labor and communication space, and then create different national cultures (including folk art). It is the close connection between the natural environment and social life that makes Dong singers have intuitive and harmonious aesthetic feeling, thus producing multi-tone imitation psychology and emotional activities at the same time. This is the singer's emotional response to objective things. After a long period of processing, selection, generalization and concentration, it has formed a beautiful melody and harmonious harmony, and produced a vivid musical image, which is essentially the emotional image of the singer, so it has a high appeal.
The geomantic omen has nurtured both the human side and the artistic side. The ancients said, "Every sound is born of the heart. When people move, things will be logical. " "Musicians are born of sound; It is based on the feelings of people and things. " (2) "The beast of Qi is touching, so it swings its temperament and dances and swims". (3) These discussions show that external things cause changes in people's thoughts and feelings, and the changes in thoughts and feelings are the internal driving force for Butuo to create music. The oral creation of any nation in the world is based on its natural environment. Most Dong villages are surrounded by mountains and rivers, and the scenery is very beautiful. In front of the village, there is a long green water flow and gurgling sound of running water. The banyan tree by the river stands erect and unstoppable, with birds singing and flowers singing and Lin Tao singing. Dong nationality is a hard-working and simple nation, which has thrived in this beautiful and fresh natural environment for a long time. Beautiful rural living environment and simple agricultural working life of men and women can easily make singers have strong interest and extensive association with colorful natural harmony with musical sense and rhythm, such as birdsong, flowing water and Lin Taosheng, and this kind of natural harmony will inevitably form their instinctive unconscious simulation objects. Qiu Si, a modern music theorist, once said: "The oldest and most primitive tunes may only appear again and again, which is due to the natural and conscious reflection of human beings on simple bird songs or other natural sounds." ④ Qiu Si's conjecture and deduction just confirmed the appearance of Dong folk songs, and explained the reflection of music on natural acoustics.
As far as the circulation scope is concerned, Dong folk songs are not widespread. Mainly distributed in Liping, Congjiang and Rongjiang counties in Guizhou Province and some villages in Sanjiang, Guangxi. As an early art of Dong nationality, it is a change of thoughts and feelings about the surrounding objective things. By imitating the natural sound, the singer produces emotional activities and aesthetic images, thus creating this fixed and unique folk polyphony form, which is the inevitable pursuit of beauty by the Dong people. The names of songs in Dong people's big songs are often named after natural objects or animals that make noises in nature. The famous Song of the Golden Cicada (Gahahai in Dong language) is created by directly imitating cicada singing and various natural sounds. Example "cicada singing":