Research Of Uyghur Muqam In Hotan Prefecture

Hotan Prefecture of Xinjiang Uygur Autonomous Region occupies an important hub position in cultural exchange between Central China and the Western world. In ancient times, it was known as the key town at the southern section of the ancient oasis of Silk Road. Under the influence of various cultures from all directions, Hotan gradually formed its unique local culture, an important component part being folk music which consists of several local Muqams.Due to factors like remote location and language, the Uyghur folk music of Hotan hasn’t gained enough attention from academic circle. Some folk Muqam forms are even taken as local editions of Twelve Mukams of the Uyghur nationality. After field works and preliminary analysis, the author finds out that things are much more complex than stated by some people. This article carries out researches against the background of historical evolution of Hotan, its geographic and ecological environment, religious belief of the Uighur people in this area, their mode of production, folk customes and activities, folk music resources, etc. Explorations and comparisons are made concerning lively music phenomena "Kilyang Mashrep Muqam" and "Karkash Muqam Naghma" so as to unveil their unique and local features and to seek connection with related cultural elements.This article is composed of four parts, namely introduction, five body chapters, conclusion and appendix. The first chapter makes preliminary exploration of the formation and development of the Uyghur Muqam in Hotan based on related background information; the second chapter touches similarities and variances of Muqam music in different areas and probes into the concept "Hotan Uyghur Muqam" via studying form, structure, and patterns of time and rhythm of "’Kilyang Mashrep Muqam’’and "Karkash Muqam Naghma"; the third chapter conducts analysis of metrical features and content of libretto as well as relationship between lyrics and tunes regarding the above two Hotan folk Muqams; the fourth chapter approaches Hotan Uyghur Muqam from the perspective of music morphology, namely the four aspects of structure, tonal mode scale, time and rhythm, and melodic development techniques; the fifth chapter conducts comparative study among Hotan Muqam, Twelve Muqams of the Uyghur nationality and Dolan Muqam on the basis of related researches, aiming at clear demonstration of their relationship as well as the local and unique features of "Kilyang Mashrep Muqam" and "Karkash Muqam Naghma". The conclusion part makes summary, based on the five body chapters and case studies, of this subject research and arrives at raletaive conclusion.In short, a comprehensive survey on Uyghur folk Muqam existing in Hotan Prefecture from the perspective of ethnomusicology will further promote the healthy development of Muqam study and the protection and inherit of local music culture. Hopefully, research results of this subject could provide convenience and lay the foundation for more in-depth researches by later generations. Due to subjective and objective conditions, errors might exist in this article. Comments from experts are welcomed.