[Representative work] Uyghur Muqam
Xinjiang Muqam art has diverse varieties, among which the "Twelve Muqam" is the most representative and is the brightest among the colorful pearl of desert oases in Xinjiang Muqam.
The sobering melody played by the Sathar and the vigorous and sad melody sung by the slightly hoarse voice of the old artist brought us deep into the desert in an instant.
The "Twelve Muqams" are like cups of fine wine that make people intoxicated, and the "Twelve Muqams" can be like picture pictures, allowing people to see the vicissitudes of history and colorful life of the Uyghurs.
In addition to the "Twelve Muqam", there are also several local Muqam with their own characteristics circulating in various Uyghur inhabited areas in southern Xinjiang and eastern Xinjiang.
The most important of them are "Daolang Muqam" and "Turpan Muqam" and "Hami Muqam".
The "Twelve Muqam" and various Uyghur local Muqam have both commonalities and individuality, thus forming the colorful Muqam Music Garden style in Xinjiang with the artistic characteristics of "the same root, each branch has multiple shows, harmony but differences".
Xinjiang Uyghur Muqam Distribution Map Twelve Muqam
In the 1950s, Xinjiang People's Radio recorded the scene of veteran artist Tuerdi Ahong and his son singing the Twelve Muqam (Provided by Kawur Tuerdi)
The "Twelve Muqam" are mainly spread in the Kashgar, Shacha, Hotan on the southern edge of the Tarim Basin in southern Xinjiang, the Aksu and Kuqa oases on the northern edge of the Tarim Basin, and the Ili Valley in northern Xinjiang.
It consists of twelve large-scale sets such as "Lakmuqam","Chebibayat Muqam","Chaharga Muqam","Panjiga Muqam","Uzihale Muqam","Aijemmu Muqam","Ushak Muqam","Bayat Muqam","Nawammu","Muxiawu Laike Muqam", and "Ilak Muqam".
Each of them contains three major parts: "Qiongnai Erman","Dastan" and "Masirefu".
Among them,"Qiongnai Erman" means "Daqu" and consists of several reciting songs, instrumental music and song and dance music;"Dastan" originally means "narrative long poem".
In Uyghur people, this "narrative long poem" is mainly performed by "Dastanqi", which becomes a kind of art form of rap.
The "Dastan" part of each of the "Twelve Muqam" is organized and evolved based on the folk circulation of "Dastan" and consists of a set of narrative songs and instrumental music; the original meaning of "Maixirefu" is "party".
In towns in Uyghur inhabited areas across Xinjiang, various mass gatherings mainly composed of self-entertainment songs and dances are often held, among which the larger ones are called "Maixirefu".
The "Masirefu" of each Muqam in the "Twelve Muqam" is not only related to the "Masirefu" gatherings held in Uyghur inhabited areas in southern Xinjiang, but also Sufi Muslims, especially the most pious among them, known as "Ashic"[meaning "obsessed with Allah"], often recite the tune of "Telken (meaning 'begging ')".
Most of the names of each Muqam in the above-mentioned "Twelve Muqam" originate from Persia and Arabia.
Regarding their meaning, except for "Sga","Chaharga" and "Panjigga", which are clearly Persian and mean "third (part)","fourth (part)" and "fifth (part)" respectively, the academic community has not yet formed a unified view.
Some scholars believe that "lak" means "pure" and "exclusive", which means pulse and artery in Persian; others believe that "lak" is derived from the word "rango" and contains "purity" and "nature".
"Uzihar" means "(one 's) situation, situation, sorrow, pain, grief"; but some scholars believe that this term means "high state".
"Ajem" originally "refers to non-Arab countries and non-Arabs", but it can refer to Persians or Turks, and scholars all say their own.
"Ushak" means "lovers, lovers", and some scholars say that this term can be extended to "love song".
"Bayat" is "one of the ancient Turkic tribes", and some scholars believe that this term also contains the meaning of "heaven".
"Nava" means "sound, sound, chirping, chirping".
"Mushawurek" means "very exciting".
"Chebibayat" and "Ilak" may be the names of the tribe.
The versions of the "Twelve Muqam" circulated in various places are not the same.
Each of the "Twelve Muqam" circulated in the Ili area only includes "Muqam Preface","Dastan" and "Maisirefu".
The reasons for the disappearance of the "Qiongnai Eman" parts other than "Sanxu" remain to be investigated.
In the 1930s, local musicians supplemented and processed comparisons, gradually forming the characteristics of the "Ili School" with gorgeous and euphemistic tunes and lively and passionate singing.
When singing the "Twelve Muqam" in Kashgar and Aksu regions, the stringed instrument is mainly accompanied by the Satar tune tune, accompanied by the "Nagemanqi (a smaller shape of the tambourine) Dapu".
You can also add the stringed instruments Karon, Rewafu, Danbur, and Dutar; when singing the "Twelve Muqam" in Hotan region, the wind instrument Balaman tune is mainly accompanied by the Dapu tune, and other instruments such as Satar, Karon, Danbur, Dutar, Rewafu, etc.
can also be used; When singing the "Twelve Muqam" in Ili area, they mainly use the instruments to play Boer and Dutar, and the stringed instrument Skripoka (violin) to accompany them, accompanied by Dapu.
Ashiks singing the tune of the Twelve Muqam "Masirefu"
Daolang Muqam
Daolang is also transliterated as "Daolang","Duolang","Dolan","Duolun","Duolan","Dulan","Sui Lan" or "Daonan", etc.
Most scholars believe that this term is the self-proclaimed name of a group of Uyghurs living from both sides of the Yarkant River and Tarim River to the Lop Nur area.
The area where they live is also called the "Daolang Area".
"Daolang Muqam" is mainly distributed in Shache County, Maigaiti County, and Bachu County in Kashgar Prefecture, and in Awati County in Aksu Prefecture.
In Yecheng County, Zepu County, and Yuepuhu County in Kashgar Prefecture, Shaya County and Kuche County in Aksu Prefecture, Luntai County, Korla City, and Yuli County in Bayingoleng Mongolian Autonomous Prefecture to Turpan and Hami, the influence of "Daolang Muqam" can also be seen.
"Daolang Muqam" is an important part of Uyghur Muqam, and it is inextricably related to the "Twelve Muqam".
"Daolang Muqam" is rooted in the oasis culture on both sides of the Yeerqiang River in the northwest margin of the Tarim Basin.
It contains factors from the grazing and hunting culture of northern Mobei and has the typical characteristics of "diversity and integration".
"Daolang Muqam" belongs to a song and dance repertoire.
According to folk artists, there were originally 12, but now only 9 can be collected.
The names and orders of the "Daolang Muqam" among the three counties of Maigaiti, Bachu, and Awati are the same and different.
The folk "Daolang Band" in Yangtak Township, Maigaiti County
Different from the "Twelve Muqam", most of the Muqam names in the "Daolang Muqam" are in Uyghur, and several "Daolang Muqam" have both foreign and native names, indicating that the Uyghur Muqam may have experienced a process of transformation from native language names to foreign language names.
Each complete "Daolang Muqam" is composed of five parts: "Mukediman" and "Cheketoman","Senem","Selekai" and "Selilma".
The nine "Daolang Muqam" include a total of 45 pieces of music.
"Mukaidi Man" means "preface" and "introduction".
"Qieketuo" means "point" and "rhythm", which evolved from the word "Qieketuo".
The original meaning of "Sainam" is "idol, god statue, beauty, beauty", and it is also the name of a song and dance repertoire widely circulated among Uyghur people.
"Selek", also known as "Senakis", evolved from the word "Selek"(some scholars believe it means "interest" and "will ").
"Selima" has been interpreted by some scholars as "soft" and "lubricated".
"Outside, Allah!", "Outside, Allah!", "Outside, Allah! Outside, Allah!", The high-pitched introduction of "Daolang Muqam" runs straight into the clouds and night.
It is the cry from the soul of the "Daolang People".
It is the Daolang People's struggle against the harsh living environment! Amid the polyphony played by Daolang Aijike, Daolang Rewapu and Karon, the leader "Mukamqi" was expressing his hopes with an extraordinary high note.
Subsequently, several or even dozens of tambourines were sounded together, and the exciting drum beat shocked the heart of every participant.
The last four parts of each "Daolang Muqam" can be used as accompaniment to mass self-entertainment dances.
People dance in songs and dances with different beats and rhythms, driving away the melancholy clouds in their hearts and dispelling the fatigue in their bodies.
Compared with the "Twelve Muqam", the length of "Daolang Muqam" is much shorter.
The singing time of each part is about 7 - 9 minutes, and it takes about an hour and a half to sing 9 parts.
The drummer of Makit County, he is the "leader" of the Muqam band
The main accompaniment instruments of "Daolang Muqam" are: stringed instrument Daolang Aijike, plucked instrument Karon, and Daolang Rewapu, accompanied by multi-faceted dapu strikes.
In accompaniment, the above-mentioned string-string and plucked instruments often do not play a tune, but play various branch polyphonic or rhythmic patterns, thus forming a complex multi-part effect with vocal music.
Daolang Rewafu and Daolang Aijike performed
Turpan Muqam
"Turpan Muqam" is spread in Turpan City and Shanshan and Toksun counties in the Turpan Prefecture in eastern Xinjiang.
At present, 11 sets can be collected.
They are: "Lakmuqam","Chebiyat Muqam","Mushawulak Muqam","Charga Muqam","Panjiga Muqam","Ushak Muqam","Nawa Muqam","Saba Muqam","Ilak Muqam","Bayat Muqam" and "Dolang Muqam".
Each set consists of paragraphs such as "Mukaidiman","Chekete","Bashi Chekete","Yarang Chekete","Jula","Senem","Selek","Epilogue", etc.
The 11 sets include a total of 66 pieces, and all of them take about 10 hours to sing.
The part of "Mukaidi Man" in "Turpan Muqam" is also called "Ai Zaile"(meaning "two-line poem ").
The "Senem" part, also known as "Masirefu", is a "big pocket" composed of multiple songs and dances.
The performer (singer) can add tunes with the same rhythm at will according to the emotional needs of himself and the dancers.
In the "Sainim" part of "Panjiga Muqam", the famous "Nazirkong" music in Turpan Prefecture and famous for its humor finally appeared.
The highly skilled dancers then performed "mock dance" and "competitive dance" with the accompaniment of the music, pushing the atmosphere to a climax.
The "Sailkai" part is also called "Kexidong".
The music suddenly slows down and the rhythm widens.
This "scattered, slow, medium, fast, slow" structure is unique to "Turpan Muqam".
The "epilogue" is extremely short and consists of only one or two musical sentences.
"Nazirkong", known for his humor
In addition to singing with the accompaniment of musical instruments,"Turpan Muqam" also has a form of performance of drum music.
Therefore, the famous Muqam artists in Turpan Prefecture must not only be able to play and sing the Satar, but also be able to play Sunai well.
Su Naiyi plays Hami Muqam
"Hami Muqam" is circulated in Hami City and Yiwu County, located in the east gate of Xinjiang, with a total of 12 sets of 19 chapters.
They are:"Qiongdur Muqam",(Also known as "I Travel Around the World", contains two chapters),"Uruk Dur Muqam"(Also known as "Haihaiyoran ")," Mustehzat Muqam "(Also known as "Yalwuzituoyun", which contains two chapters),"Charga Muqam"(which contains two chapters),"Hufuti Muqam"(which contains two chapters),"Qibiyat Muqam"(Also known as "Ganizam", which contains two chapters),"Mushaweilek Muqam"(also known as "The Good Medicine to Cure Your Heart Disease", which contains two chapters),"Uzihar Muqam"(also known as "Deir Diriva", which contains two chapters),"Duga Muqam"(also known as (Little) You Make Me So Hard),"Dolang Muqam","Iraq Muqam"(also known as (Big) You Make Me So Hard) and "Lakmuqam"(also known as "Sing! My Nightingale "), the 12 sets of "Hami Muqam" contain a total of 258 pieces, all of which take nearly 10 hours to sing.
He belongs to the same category as the "plate-type variant system"(In each set of repertoire, you can see the penetration of the main music and the theme melody, and the changes in rhythm and rhythm are the main variation means to form the repertoire.) Different from the "Twelve Muqam","Daolang Muqam", and "Turpan Muqam", each set of "Hami Muqam" basically no penetration of the main music and the theme melody can be seen.
It belongs to the short "Muqam"(the preface of the scattered board).
It is followed by a "only song and dance ensemble" composed of 10 to 21 local folk songs and dances or songs.
"Hami Muqam" is mainly accompanied by the stringed instrument Hami Aijeke (also known as Hami Huqin) and the plucked instrument Hami Rewapu to accompany the multi-faceted and large-shaped Dapu strike.
Hami Aijike plays
A wonderful thing in the desert and oasis
On November 25, 2005, UNESCO announced to the world that "China Xinjiang Uyghur Muqam Art" was officially included in the "Representative of Human Oral and Intangible Heritage." Through extensive reports by various media,"Xinjiang Muqam" quickly spread across the land of China.
Xinjiang Muqam carries the excellent tradition of desert oasis culture with its aesthetic artistic expression, scattering endless charm and brilliance.
Its artistic expression of the integration of poetry, music and dance, as well as the particularity of the multicultural blend composed of East and West, Chinese and foreign, multi-ethnic and multiple religious factors, make this wonderful artistic work of the ancient Western Region civilization present to future generations.
An unparalleled quality and a somewhat magical atmosphere are not only a rare artistic treasure of the Uyghur people, but also a great artistic heritage of all mankind.
Ancient Xinjiang and the Tarim Basin had highly developed music culture, and Muqam was a clear spring where desert oases and music culture blended.
They constituted the forever beating song of life in desert oases.
Xinjiang was called the Western Regions in ancient times.
Since ancient times, it has been a place where multiple ethnic groups lived together and spread.
The Eastern and Western cultures collide and blend, and it has a rich national cultural heritage.
Xinjiang Uyghur Muqam has a long history of formation and development, mainly spreading in the Xinjiang Uygur Autonomous Region and its surrounding areas.
an oasis in the desert
Xinjiang's natural conditions are very harsh: mountains form the framework of this area, and mountains extend or encircle and trap plateaus and basins.
Due to thousands of years of sandstorms, transport of strong winds and deposition of sand and dust, large tracts of deserts and deserts have occupied a large part of them.
The barren ridges and barren land are endless, and green and life can only be seen on the alluvial plains on both sides of the river and the narrow plains along the coast where melted water from snowy peaks and mountain springs gather.
The climate here belongs to a temperate inland climate or a tropical desert climate, mainly characterized by drought and little rain, widespread sandstorms, strong sunshine, and large temperature difference between morning and night.Oases of varying sizes, known as "islands of life", have become the cradle for the people living in this area to thrive for generations, and Muqam is a popular lullaby in this hot land of Xinjiang since ancient times.
There is a Uyghur proverb that goes well: "You can only reach the oasis through the Gobi." As soon as people in the oasis leave the embrace of green, they will suffer from the scorching sun, the wind and sand, and hunger and thirst.
In the long Gobi Desert and the vast sand sea, almost no one can be seen in a few days 'journey.
The harsh natural environment allows oasis people to survive together only by caring for each other, which creates their warm and hospitable customs.
"Fellow travelers" are the beautiful yearning of lonely travelers.
When there is really no companion to find, music becomes the best companion for the oasis people traveling in the desert.
It expresses complex feelings such as loneliness, sadness, and desolation, and dispels sorrow.
The best way.
The pain of loneliness makes oasis people more need to express their feelings and communicate, thus having a special hobby for music, the most important carrier of human expression.
Music has penetrated into every corner of Oasis people's social life; music is the most effective and commonly used means for Oasis people to express their feelings.
People who have been to various Uyghur inhabited areas in Xinjiang can see that the dividing line between oasis and desert and desert is so clear: on one side is yellow sand and on the other is green waves; on the other side is sadness and on the other is joy; on the other side is life, on the other side is death! The harsh natural ecological environment has formed the character of oasis people who are not happy to live or sad to die, and it also makes them have a high degree of optimism.
Being cheerful, witty and humorous, loving to sing and dance, loving to talk and laugh, and being able to sing and dance have become fine traditions of oasis people.
Crying is also a song, laughing is also a song, life is also a song, and death is also a song.
The lives of Oasis people are indissoluble with music.
This tradition has been passed down from generation to generation, giving Oasis people special feelings and special talents for music.
The drummer who sings in love
Oasis people live a cluster life in villages.
Gathering and settling have created conditions for various music-related mass gatherings that are frequently held.
At some gatherings, individual and short folk songs, folk rap songs, and folk songs and dances were no longer enough to satisfy people's interests.
Folk songs, folk rap songs, and folk songs and dances, which were only composed of songs or themed development, came into being.
This trend towards interplay can be seen in the traditional festival music of various oasis ethnic groups.
It provides an abundant natural and cultural environment for the final formation of "Muqam", an artistic masterpiece.
It is precisely because "Muqam" is deeply rooted in the fertile soil of oasis culture that it can bloom so brightly.
The unique ecological environment of the oasis people gives them special emotions and outstanding talents for music; the lifestyle of the oasis people makes their music develop in the direction of interplay; the favorable geographical location of the oasis people's living area gives them the necessary economic and material foundation for the development of music culture and the possibility of drawing nutrition and blending from Eastern and Western music; the spread of religion and the development of music culture form an "interaction"; The monarchs of various oasis city-states and the rulers of the Islamic Empire in the middle and late periods became the "benefactors" of the development of music.
Their advocacy of music gave the opportunity to organize, improve, standardize and sublimate the oasis music culture.
It is precisely for these reasons that oasis music culture has flourished several times in the history of human civilization, and it has also accumulated a fertile ground for the exotic growth of "Muqam", a desert oasis.
Singing and dancing is the main way for Uyghurs to express their emotions
Cheerful Masirefu
Among Uyghur people, various Muqam performances are the first to be performed on various occasions.
It is the social "living carrier" for the growth and spread of Muqam.
It is like a celebration parade float displaying all kinds of Muqam.
The word "Masirefu" originated from Arabia and originally meant "gathering, place".
Now Uyghur people specifically use it to refer to mass entertainment gatherings.
The "Maixirefu" held frequently by contemporary Uyghur folk people are diverse and can be roughly divided into the following categories: ① "Maixirefu" related to festive festivals.
For example, the "Bayilammasirefu" is held to celebrate the traditional Uyghur festivals "Eid al-Adha"(Eid al-Fitr),"Nuruz Festival"(welcoming the Spring Festival), and the "National Day" and "Labor Day" and other festivals in today's social life.(Also known as "Aiytmasirefu", which means "Festival Masirefu") and the "Toimasirefu"(meaning "Celebrating Masirefu") held on festive days such as marriage of men and women, birth of women to their first child, naming children, circumcision of boys, and adulthood of girls, is large in scale, grand and enthusiastic in atmosphere.
② Masirefu related to agricultural and animal husbandry production.
For example, when the first snow falls in winter, the "Kallekmasirefu" is held to express the "auspicious snow year"(meaning "Welcome to the Snow Masirefu"),"Mayisha Masirefu" held from the first snow until when the wheat seedlings return to green in spring means "young crop Masirefu"),"Morhusur Masirefu"(meaning "Harvest Masirefu") held after the agricultural harvest,"Bahe Masirefu"(meaning "Orchard Masirefu") held in the orchard when the melons and fruits are ripe,"Kavapo Masirefu"(meaning "Barbecue Masirefu") held when the cattle and sheep are fat, etc.
Its main purpose is to express the desire for a bumper harvest in agriculture and animal husbandry and the joy after achieving a bumper harvest.
It varies in scale and size, and has a pleasant and joyful atmosphere.
Masirefu on the wheat field
③ Masihefu related to social activities.
For example,"Mimandaqilek Masirefu" is a guest of friends and relatives who have come from afar (meaning "welcoming guests Masirefu"),"Ayilai Masirefu" who introduces adult children to relatives and friends,"Keqilish Masirefu" who asks for forgiveness after doing something wrong,"Krishturhi Masirefu" held to settle grudges and adjust relations,"Selem Masirefu" held in spring means "spring outing Masirefu") and "Qatar Masirefu" held during the slack season, which means "taking turns to be the East Masirefu"), etc.
In addition to entertaining and gathering together, this kind of Masirefu also has the function of negotiating matters and helping each other.
Participants are often relatives and friends within a certain range, and the scale is moderate.
Skills performance on Masirefu-Top Bowl Dance
④ A small Masirefu related to folk activities.
This type of Masirefu is also called "Chayi".
For example, the "Mes-lai Aitichay" is held to agree on something, the "Hoshilishichay" is held to send friends off, the "Kalish Yelichay" is held to welcome friends back, both seeing off and welcoming back can also be collectively called "Saiperchay", and the "Tamchai" is held to celebrate the joy of building a new house or housewarming ("Tam" means "wall"),"Gayichai"("Gayi" means "place") and "Uyichai"("Uyi" means "home"), etc.
The place to hold Masirefu can be held in the family yard, under the grape stand or on the orchard lawn.
The number of people participating in Masirefu ranged from a dozen to hundreds or even thousands.
No matter how big or small, everyone regards participating in Meshefu as a big deal.
Meshefu's organizer was called "Igetobeshi"(meaning "the leader of the young men"), and he often served as the host of the entire event.
Under his command, there are several assistants: "Mirwazi"(also known as "Mirsharp"), who is responsible for introducing programs and artists, reading rhyming poems of encouragement and praise to increase the atmosphere, and collecting and distributing money and goods;"Hazibok", who is responsible for inspecting discipline and making rulings on violators according to the wishes of the host and the masses;"Yamen Servants"(Chinese transliteration), who are responsible for enforcing rulings and imposing penalties, etc.
This complete set of strict organization plays a role in ensuring the normal order of Meshefu and the smooth progress of various activities.
The time of holding Masirefu can be during the day or at night, and will be determined by collective consultation between the host and the participants.
At that time, people gradually came to the venue in groups of three to five, first greeted each other, shook hands and had fun, and then sat down in a circle in order of age.
Everyone was immersed in a peaceful and cheerful mood.
Mass self-entertainment dance is the most important content of Messerf.
At that time, Nai 'er Manqi (meaning "musician") and Dabandi (meaning "drummer") sitting in a corner sang local traditional songs and dances including Muqam music.
The initial "Sanban Preorder" seemed to tell people that the joyful song and dance was about to begin.
Please prepare yourselves! Its function is similar to the Han opera in the "opening gong drum." When the music enters the rhythm, people will spontaneously get up and dance in circles, and they can also invite each other to dance.
In Kashgar, Shacha, Hotan and other areas in southern Xinjiang where the "Twelve Muqam" are circulated, music from the "Jula" and "Sainam" in the "Qiongnai Eman" section is mainly sung (played) on Maixirefu for the masses to dance.
In the Ili region of northern Xinjiang, the music from the "Maixirefu" part of each Muqam is used for the masses to dance.
In the Daolang region, Turpan Prefecture and Hami City,"Daolang Muqam","Turpan Muqam" and "Hami Muqam" are the first choice and most important music on various Maisirefu.
In the Kashgar Prefecture and Ili regions, you can still see a kind of Maisirefu who mainly focuses on listening to "Dastan".
During this period, the main character who sings for everyone is "Dastan".
They either sing the folk folk "Dastan" or sing excerpts from the "Dastan" part of the "Twelve Muqam".
The majority of participants in this kind of Masirefu are often middle-aged and elderly people.
At the Maisirefu event in Hami City, women have to wear the local style costumes that are usually placed on the bottom of the box.
Dancers holding flowers can be seen.
After dancing for a round, they often hand over the flowers in their hands to the dancers they had invited to be shortlisted, and the flowers were passed one by one in the hands of the people.
I wonder if this performance form has anything in common with the "Flower Blossom Order" game circulated in the Tang Dynasty.
There are no fixed rules for mass self-entertainment dances in Masirefu, but exceptions can be seen in Masirefu in Daolang areas, especially Masirefu in Maigaiti and Bachu counties: After the dancers enter the circle, as the music unfolds in the order of "Chektoman","Senem","Selakai", and "Selilma", the rhythm becomes tighter and tighter, the speed becomes faster and faster, and the dance moves from beautiful and dignified to cheerful and enthusiastic.
In the "Cheketeman" and "Senem" sections, dancers often dance in pairs.
When the music enters the "Sailkai" section, whether they are young and middle-aged people in high spirits or young boys and girls in their prime; whether they are old men with white beards and hair, or women wearing flower scarves, people will actively form a large circle formation while dancing.
In the "Selima" part, the dancers continued to move forward in a circular formation and began to rotate themselves, just as the earth had to "revolve" and "rotate".
The speed of the music became faster and faster, and some people who were exhausted or unable to spin had to withdraw from the field.
The highly skilled winners added more energy to the cheers of the crowd.
The number of dancers in the venue was gradually decreasing, and the last two or three people were still continuing to compete in the rotating competition.
The cheers, shouts and applause of the audience came one after another.
The mood inside and outside the venue was warm, and the atmosphere reached a climax until the competition was concluded.
Between each round of mass self-entertainment dances, games or program performances are often interspersed.
Uyghurs call the game "Uyunn".
Common "Uyunn" on Masirefu include guessing riddles, matching poems, passing tea, passing drums in circles, and grabbing "Delai".
Some of them are intended to test and train people's minds, and some are intended to test and train people's agility and flexibility.
They are of great benefit to people's physical and mental health.
They also contain the significance of communicating emotions and transmitting information.
"Grab Delai" game on Masirefu
To sum up, it can be seen that Maisirefu is the collection of various Uyghur folk art.
It has the function of entertainment, emotional exchange, social education, consultation on official affairs, strengthening unity, and nurturing, promoting and inheriting Muqam and other native ethnic traditional art.
Many Uyghurs learned Muqam through their wisdom and wisdom on Maisirefu.
"Dabandi" and "Nae-Manqi", who initially mastered the art of Muqam under the training of their fathers or masters, must also be trained through countless singing (playing) on Masirefu to create them into real "Usida"(meaning "craftsman") and "Usidaz"(meaning "master").
They enjoy a high reputation and are highly respected.
At the same time, all participants in Masihefu, including those punished, also serve as both "performers" and "audiences".
Their singing and dance performances are both entertaining and entertaining, and everyone devotes their whole body and soul into it.
A sincere lyric
The late famous Uyghur poet and former vice chairman of the China Writers Association, Tieyi Fujiang, once wrote a poem called "Listening to Twelve Muqam":
Twelve Muqam is like a y,
Uyghurs were born with this music;
A wedding without Muqam would not be lively,
After leaving Mukam, Masirefu was dead.
The old man and the old woman listened to Muqam music,
The aging body will suddenly glow with spring;
It is said that the dying people listened to Muqam music,
The soul will rest in peace and become a god after death.
I am glad that I have been immersed in Muqam all my life,
May my life and Mukam never be separated;
Friends, please don't cry once I die,
I just ask you to end me with Muqam music.
Mr.
Tieyifujiang's poems are not exaggerated or soft works, but the heartfelt heart song of the Uyghurs.
Because Muqam's tunes originate from life, and the heartfelt lyrics express the voice of the people.
Muqam shares life and death with the Uyghurs.
Muqam is the soul of the Uyghurs and has become a precious treasure in the memory and spirit of the Xinjiang people.
Its music will always flow in the blood of Uyghurs!
Due to the differences in the regions and personal experiences of people of various ethnic groups in Xinjiang, various Muqam in Xinjiang fill in different librettes according to their different emotions of life, which have been passed down through the ages, expressing the sincere emotions of the people of all ethnic groups in Xinjiang.
Sing the different voices of different generations and different groups of people, but these Muqam lyrics all have a sincere and touching beauty.
Most of the songs in "Daolang Muqam" and "Hami Muqam" are songs widely circulated among Uyghur people.
Some songs in "Turpan Muqam" are filled with folk songs, and some songs are filled with poems of literati of past dynasties.
The situation in the "Twelve Muqam" is quite complicated: most of the lyrics of the reciting songs in the "Qiongnai Erman" part of each Muqam are written by literati of past dynasties, and most of the lyrics of the song and dance songs are folk songs; most of the lyrics of each narrative song in the "Dastan" part are selected from the long narrative poem "Dastan", which is popular among the people of the country; Most of the lyrics of the first and second pieces of music in the "Maixirefu" section are written by literati of past dynasties, and most of the lyrics of the third and fourth pieces of music are folk songs.
The twelve commonly used musical instruments of Muqam "Karon"
The lyrics of the "Twelve Muqam" and various local Muqam can be roughly divided into the following categories:
① Love.Such libretto account for the largest proportion in Uyghur Muqam.
Among them is a tribute to the lover.
Such as:
Your appearance is like a flower blooming among the green leaves in Qunfang Garden,
Your figure is like a juniper on an oasis.
(Masihuly)
- -"Chebibayat Mukam Mustezat"
② Motto category.
Singing maxims in songs is a feature of the traditional music of various ethnic groups in Xinjiang.
Among the lyrics of Uyghur Muqam, there is a considerable proportion of those belonging to the category of aphorisms.
These lyrics are a summary of life experience and play multiple roles in persuading, comforting, admonishing, and educating people.
Such as:
Without climbing the majestic mountains, it is difficult to see the bright future;
It is difficult to cross the vast wilderness without riding a black walking horse.
- -"Mushawulok Mukam Jula" Sabayi
③ Sigh fate class.
Uyghurs living in oases surrounded by mountains and Gobi beaches have a personal experience of human tragedy.
They often lament the sorrow of their destiny and the injustice of the world through singing songs, and express their grief.
The Sufi sect in Islam believes that human beings in this life are illusory and suffer for granted.
Only the afterlife is full of hope.
Some of the authors of the lyrics selected in the "Twelve Muqam" are Sufi believers themselves, and some are deeply influenced by Sufi teachings.
Many passages lamenting fate can be seen in their poems.
Such as:
It's hard to find a homeless man like me in the world,
No one else looks haggard and frail like me.
My body was trampled and turned to dust by the sad army,
Floods that inundated the world sent them into mudslides.
(Mai Hezun)
- -Lakmukam Mustezat
④ Missing relatives.
In "Daolang Muqam","Turpan Muqam" and "Hami Muqam", you can also see some libariums that express deep and sincere feelings towards parents, brothers and sisters.
emotion.
Such as:
My mother's death made me panic,
It's like I broke my wings.
I left my mother crying into tears,
Suffering makes me sad.
Those children who grew up in the mountains,
I can only find it in the wilderness.
Parents who have passed away,
I don't know where to look.
- -Awati County's "Shamukbayawanmukam" Nagra
③ Narrative historical categories.
These lyrics are mainly found in "Hami Muqam".
For example, the third song,"Yazuzitoyun" in "Mustehzat Muqam" tells the tragic story of Umaier, a national hero who fought bravely against the invaders of the Junggar Khanate in the 17th century.
The twelfth song of the second chapter of "Mustehzat Muqam","Breaking up with Hatred", is part of the historical folk song "The Song of Timur".
The eleventh song of "Mushaweilk Muqam","Yacherk", is part of the long historical narrative poem "Yacherk".
The protagonist in the poem, Yacherk, was a national hero who led the Hami people to fight against the Junggar invaders in the 17th century AD.
The fourth song of "Duga Muqam","Islamic Burke", is selected from the long narrative poem "Islamic Burke", which praises the hero who once fought against officers and soldiers of the Qing Dynasty, and narrates his struggle and sacrifice.
The third song of the second chapter of "Mustehzat Muqam","Song of Naomao Lake", and the eleventh song of "Duga Muqam","Xingxing Gorge", accuse the king of governing Hami City by telling history, expressing the resentment and sadness in the hearts of the working people:
Naomao Lake is a desolate place.
There are countless red willows and poplar trees growing.
The weather is hot and the work is heavy,
People have lost the power to survive.
Let's not talk about the Naomao Lake,
Naomao Lake is a prison of suffering.
The potholed road is covered with thorns,
The common people are all the king's servants.
―― "Song of Naomao Lake"
The Uyghur Muqam's lyrics express the Uyghur unique spiritual characteristics of "pleasure in suffering"; see the Uyghur's yearning for a happy life and their pursuit of sweet love; see the Uyghur's hard work, courage, simplicity, enthusiasm, integrity, kindness and self-sacrifice spirit; I also saw the vivid "non-direct" literary expression techniques such as direct proportion, inverse proportion, and parallel analogy commonly used in Uyghur classical poems and folk songs, such as scenes, objects, emotions, and other "non-direct" literary expression techniques; I saw the passages that quoted classics and had profound meanings.
These philosophers 'proverbs and rural slang derived from the life of the nation are the crystallization of the minds of generations of Uyghurs.
They all reveal to us the unique aesthetic psychology of Uyghurs, thus becoming an "encyclopedia" that expresses Uyghurs' social life.
Rewafu
Dutaer (Contributed by Zhou Ji)