[Zhou Jingbao] Theoretical thinking on contemporary Uyghur Muqam research

The collection and collation of Uyghur Muqam began in the 1960s, and in 1960 the score of "Twelve Muqam"(i.e.

Kashgar Muqam) was published.

Thirty-three years later, in 1993, the "Twelve Uyghur Muqam" was re-recorded and published.

Later, after absorbing opinions from all sides, the "Twelve Muqam" was published for the third time.

In this way, there are three versions of the Twelve Muqam.

Although some scholars still have different opinions, one Muqam has been published three times.

It should be said that the collection and collation work has basically come to an end [1].

If we re-collect the scores of the twelve Muqam, spend another eight years, and publish them again in 2014 [2], is it necessary? The Muqam Research Association needs to seriously discuss it.

Other local forms of Muqam have also been published one after another, such as Hami Muqam published in 1994; Uyghur Dorang Muqam published in 1996; Turpan Muqam published in 1999 [3].

It can be said that in the 20th century, the collection and collation of Uyghur Muqam has been completed and fruitful results have been achieved.

However, the research work on Uyghur Muqam in the 20th century was relatively backward.

The reason is as Mr.

Tian Liantao, a professor at the Central Conservatory of Music and a famous ethnomusicologist, said: "Most of the research work on ethnic minority music in my country is still in the basic data sorting and In the initial stage of theoretical construction, in addition to some research papers that have entered a deeper theoretical level, most of the work results are still of the surface descriptive nature of musical forms...

The research work of national music must be developed in depth and conducted deeper discussions.

At present, many people engaged in the research of ethnic minority music have rich field work experience and master a large amount of ethnic music materials.

However, due to the limitations of their knowledge structure, they lack sufficient cultivation in music majors and humanities, which has affected them.

I have achieved more in-depth results in my work.

If you can not only continuously improve your personal music professional technical level in the process of work practice, but also attach importance to the improvement of theoretical quality, study works in disciplines such as ethnomusicology, ethnology, cultural anthropology, folklore, and ethnic history, understand the new developments in discipline construction at home and abroad, and use them in conjunction with practice, so that the research work can gradually develop to a wider and deeper level, and I am convinced that more excellent academic results will be achieved soon."[4].

Mr.

Tian Liandao's summary pointed out the crux of the lagging research work on Uyghur Muqam.

Looking back at the 20th century, among the research papers of Uyghur Muqam, there were three papers on the musical form of Kashgar Muqam [5] and one paper on the musical form of Daolang Muqam [6].

However, no one has studied the musical form of Hami Muqam and Turpan Muqam [7].

In terms of musical form alone, Muqam research papers are pitifully few and cannot help but attract our high attention.

In the 20th century, only the collection and collation of Uyghur Muqam was completed, but the research work did not really start.

There are many reasons.

First of all, most of the research work in Uyghur Muqam is in a situation of individual efforts.

The authors of the above four articles belong to the Federation of Literary and Art Circles, the Opera Troupe and the Song and Dance Troupe respectively, and there is no unified collective to deploy the research work.

In 1982, when I founded the Muqam Research Office, there were only eight people.

Except for Wang Binglian and myself, the other six were Uyghur singers and performers.

Soon Wang Binglian went to integrate folk songs.

At that time, there were still some special funds for the initial construction.

I went to southern Xinjiang for inspection the following year.

This was the only time I went to the grassroots level.

After that, the funds were included in the administrative budget (which was under the Department of Culture at that time), and I couldn't go down anymore.

The work of the Muqam Research Office was temporarily suspended.

This was followed by the top ten literary and artistic collections across the country.

However, the Autonomous Region's Department of Culture had no career establishment.

In 1985, the 20 establishments of the Muqam Research Office were used for the establishment of the Xinjiang Art Institute.

Professional workers were transferred from all over the country to engage in literary and artistic integration for more than ten years.

The Muqam Research Office has been affiliated to the Art Institute from an independent institution, and its funding is even more insecure.

In addition to the two National Music Annual Meetings of China and Canada in 1982 and 1984 at the Muqam Research Office, I no longer had the funds to attend academic conferences after I went to the Art Institute.

The Art Institute only engages in integration and does not dabble in Muqam.

The Muqam Art Troupe was established in 1990, and the Muqam Research Office was separated from the Art Institute and belonged to the Art Troupe.

However, the Muqam Art Troupe was designated as a deficit unit, and the performance group had no research funds.

A review of this period of history illustrates the fact that Muqam research is loosely organized and funds have not been implemented.

There are two reasons for this.

First, the leaders of the autonomous region pay attention to it, but the grassroots do not pay attention to it.

Second, because the autonomous region is very difficult to fund, the annual fiscal revenue is only 18 billion yuan, and the central government has to transfer 52 billion yuan every year.

That is to say, the autonomous region's finance requires 0.65 yuan from the central government for every yuan spent.

Under such circumstances, administrative institutions can only guarantee food, but Muqam research funding certainly cannot be guaranteed.

This is a very important reason for the lag of Mukam research.

Therefore, in formulating future Muqam work, the focus should not be on re-recording and publication, but should carefully sort out the music materials that have been obtained and conduct in-depth research on the musical form of the published Muqam and the multidisciplinary comprehensive research and comparison.

Among the Muqam currently published, except for Kashgar Muqam (i.e."Twelve Muqam "), which is paid by the autonomous region's finance, the other three Muqam, namely" Hami Muqam "," Dolang Muqam "," Turpan Muqam ", are all spent by local finance.

We should cherish this hard-won support, respect and support local comrades to the greatest extent to actively participate in Muqam's research work, especially those Uyghur music workers.

They have made significant contributions to the collection and collation of Muqam.

They may have inexperience, but they should be the main force for Muqam research in the future.

Judging from the list of experts and scholars on Muqam research listed in the "Application Form", most of them have retired or are about to retire, and there are very few young scholars, which is far from meeting the needs of Muqam research.

Therefore, uniting all forces, mobilizing all factors, and actively cultivating talents, especially Uyghur talents, are the primary issues in Muqam research.

It is impossible to rely solely on the strength of the Xinjiang Art Research Institute, and it is not enough to rely solely on the strength of the Xinjiang Muqam Research Association.

We should recruit people from all over the country and even overseas, establish a cooperation mechanism with foreign scholars, and conduct joint research to truly reveal the true meaning of the Muqam cultural phenomenon prevalent in Uyghur Muqam and even the Islamic world.

Mr.

Tian Liantao's views are inconsistent with mine.

We had never talked, but our views were very similar.

When I established the Muqam Research Office in 1982, I advocated studying works on ethnology, cultural anthropology, folklore, linguistics, ethnic history and other disciplines on the basis of musicology, and conducting a comprehensive comparative study of Muqam and the Islamic world.

The relationship between Muqam culture.

After years of research, the development history of Uyghur Muqam has been initially sorted out, and the relationship between East-West music exchanges on the Silk Road and Uyghur Muqam has been initially revealed.

In order to clarify the cultural and historical aspects of Muqam, I edited the China Silk Road Research Series; in order to clarify the relationship between Xinjiang historical relics and Muqam, I edited the China Xinjiang Ancient Art Series; in order to clarify the relationship between Xinjiang folk culture and Muqam, I went to shoot large-scale documentaries, etc.

Although I tried my best, I still dare not say that I had completed the study.

Among the seventeen books I have published, only three have touched on Muqam, namely "Silk Road Music and Culture","Silk Road Art Research", and "Silk Road Religious Culture"[8].

However, I am very clear that it is obviously impossible to fully elaborate on the cultural relationship between China Uyghur Muqam and the Muqam prevalent in the Islamic world based on personal capabilities alone.

During twenty years of research work, I have been working alone and deeply exhausted.

I often worry about the fate of Mukam Research Laboratory, I often worry about the work of the Mukam Research Association, and I often feel sad that no one really pays attention to Mukam's "loud wind but little rain".

Every time I think of Muqam researcher Abdul Xukur? Mohammed? Yi Ming, Aimaitijiang, Wang Binglian, Shao Guangchen, Liu Zhixiao, Wutikur, Nurmaitii and others left one after another.

They died young and felt that Muqam research was like a mountain of heavy responsibility, and they felt powerless, but I never stopped studying Muqam.

Mukam's success in applying further aroused my thoughts.

There are many research work to be done in Mukam in the 21st century, and the preliminary ideas are as follows:

Ethnic studies on the Silk Road

Language research on the Silk Road

A comparative study of the cultures of the Eastern and Western Chagtai Khanates

Muqam Research in Iraq

Muqam Research in Azerbaijan

Uzbek Muqam Study

Iranian Dastegah Research

Indian Lago Studies

Turkish Muqam Research

10.

Nuba Studies in North Africa

11.

Collection of Uyghur Muqam lyrics

Kashgar Muqam lyrics

Daolang Mukam lyrics

Hami Muqam lyrics

Turpan Muqam lyrics

12.

Research on Uyghur Classical Literature

Farabi and his books

Ibensina and his books

Nawai and his books

D "Five-Volume Book" and Its Research

13.

Language interpretation of Uyghur Muqam

Source of Muqam name

Interpretation of Muqam in the Islamic World

The linguistic influence of "McKay"

Persia-the eastward introduction of Arabic language

14.

Research on musical instruments in Isis's miniatures

The origin of miniature painting

The style of miniature painting

The relationship between the musical instruments in miniature paintings and Muqam

15.

The relationship between religious music and Muqam

16.

A study of the music structure of Uyghur Muqam

The musical structure of Kashgar Muqam.

The musical structure of Daolang Muqam.

The musical structure of Hami Muqam.

Musical structure of Muqam in Turpan.

17.

A comparative study of classical music between Uyghur Muqam and the Islamic world.

18.

Comparative study of musical instruments between Uyghur and Islamic countries.

19.

Dance art in Uyghur Muqam.

20.

Exchange of East and West dance art on the Silk Road.

21.

Costume culture in Uyghur Muqam.

22.

Uyghur Muqam and folk culture.

23.

The relationship between Muqam and Qiuci Music.

24.

A comparative study of Qiuci Music and Tianzhu Music.

25.

A comparative study of Qiuci music and Dashi music

26.

The relationship between the musical instruments in Xinjiang grotto paintings and Muqam musical instruments.

27.

History of music, dance and cultural exchanges along the Silk Road

28.

Religious art on the Silk Road.

The research projects listed above require the joint completion of many subject experts.

Only in this way can we have a clear understanding of the formation and development of Muqam, and can we reveal the mystery of Muqam culture in the Islamic world.

The reason why the above scientific research content is proposed is that Uyghur Muqam is a major academic topic involving cultural exchanges along the Silk Road.

Currently, there is no in-depth research on these issues in China.

Where did the foreign term "Muqam" originate? It is unknown.

Why is only the classical music of Turkey, Iraq, Azerbaijan, Uzbek, and Uyghur called "Muqam"? Why do Arab musicians say that Muqam is a common cultural phenomenon in the Islamic world? How did the peoples of the Silk Road migrate, and when did the Persians and Arabs come to Central Asia? How did Persian-Arabic be introduced into Central Asia, and how did it replace other written languages? What is the relationship between Qiuci music and Tianzhu music in its prime? What does it have to do with big food music? What is the connection between Qiuci Music, as a Buddhist culture, and today's Uyghur Muqam? What exactly does the term in Uyghur Muqam mean? What is the origin relationship between the instruments used in Uyghur Muqam and the Persian-Arab instruments? What is the relationship between Islam and the formation of Muqam? What is the direct relationship between the Kara Khanate, the Eastern and Western Chagtai Khanates, and the Timur Dynasty and the formation and development of Uyghur Muqam? What role did the Pre-Qin Serbs play in the musical exchanges between the East and the West? Can the relationship between the westward migration of the Yue family and the culture of the Kushan Dynasty in India explain the relationship between Qiuci Music and Tianzhu Music? What role did the westward migration of Turks play in the development of Islamic music? Was there any exchange between China music in the Pre-Qin Dynasty and West Asian music? Is the formation of three-quarters of the law a contribution of Arabic music? Why do Daolang Muqam and Kashgar Muqam concerts have different styles? Why are the "Aijike" in Dorang Muqam and the "Rabab" in Arabic music both the same main string? Does the Uyghur "Rewapu" have any relationship with India's "Vena"? What is the relationship between Uyghur "Dutar" and "Satar" and Iran's "Tar" musical instruments? What is the relationship between "Iraq Muqam" in Kashgar Muqam and Iraq? The rhythm type in Uyghur Muqam has some similarities with Arabic music.

What are the reasons?...

There are many mysteries that are confusing.

It is not too difficult to simply study the pure musical characteristics of Uyghur Muqam's mode rotation, rhythm, and rhythm.

The problem is that the complexity of Uyghur Muqam is that it is an international topic involving multiple disciplines, a common concern to the Islamic world, and a "living fossil" of musical exchanges between China and foreign countries.

If we don't understand classical music in Islamic countries, how can we compare and study it? If we find that Muqam music in different countries has the same mode, rhythm and rhythm, how can we analyze and compare it without multidisciplinary knowledge? Recently, a South Korean scholar wrote saying that Uyghur Muqam has a certain relationship with ancient Sanhan music, which is more worthy of our consideration.

In short, the study of Uyghur Muqam should be combined with the study of Silk Road culture.

It requires both micro research on musical characteristics and macro cultural comparisons.

This is a quite difficult and arduous topic.

It is hoped that the Muqam Research Association will seriously discuss future research work, come up with feasible research projects and report them to the Propaganda Department of the Party Committee of the Autonomous Region for review, and the People's Government of the Autonomous Region will issue an announcement to domestic and foreign countries to recruit scientific researchers for joint research.Its results are included in major autonomous region-level scientific research projects by the Autonomous Region Social Sciences Federation, and included in publication and implementation by the Xinjiang People's Publishing House.

In the 20th century, the collection and collation of Uyghur Muqam took fifty years on and off, attracting the attention of Chinese people and being listed as the "Representative of the Oral and Intangible Heritage of Humanity" by UNESCO.

In the 21st century, the research work of Uyghur Muqam has entered an important agenda.

The International Muqam Academic Symposium was held in Urumqi, which greatly promoted the theoretical research of Uyghur Muqam.

The central task of contemporary Muqam is to further protect, inherit and promote it.

At the same time, we must conduct in-depth research on the basis of excavation and collation to improve our theoretical research level as soon as possible and align it with international standards.

In order to promote the cultural traditions of the Chinese nation and revitalize Uyghur Muqam art, we will make due contributions to our generation.

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