The Polyphonic Forms Of "Chor Music" In The Northern Grassland And Its Contemporary Evolution

Chor music is a unique polyphonic music of the Mongolian ethnic group.In the long process of historical development,it presents its unique polyphonic forms permeated with the Mongolian philosophy and aesthetic view.The harmonic phenomenon of dual structure sound,composed of continuous bass and high pitch melody,is a unique "Chor phenomenon" of Mongolian music.This music phenomenon runs through various forms of Chor music,and becomes a universal tidal phenomenon of music,which is the most essential characteristic of Mongolian ethnic art.Based on its artistic expression,Chor music can be divided into four forms: singing,blowing,plucked and bow-string.Singing Chor includes one singer’s singing "Hogolain Chor"(Khoomei),combining both bass and high tones,and “Chaarlingaal”from bass throat singing and long-song in high pitch.Blowing Chor covers a single-handed singing and blowing "Modon Chor" with low-pitched throat singing Khoome and high-pitched Wooden pipe.The plucked stringed instruments,including Tovshuur.Bow and string instruments includes "Tsuur" and Morinhuur.These different forms of Chor music,based on a continuous bass,plus its upward overtone melody,form a double or multiple structure.By choosing the title of “The Polyphonic Forms of ‘Chor Music’ in the Northern Grassland and Its Contemporary Evolution”,this thesis studies the Chor system as a special topic,exploring both traditional Chor music and multi-channel musical works based on various types of Chor music.Starting from the four types of tidal music,namely "Hogolain Chor" and“Chaarlingaal ” of singing,"Modon Chor" of blowing,“Tovshuur”of the plucked,and “Tsuur” of bow string,this thesis sorts through its development history,distribution,circulating ways,and basic characteristics in pattern.On the basis of the study of traditional tidal music,it explores its musical aesthetic experience,aesthetic concept,aesthetic scale,cultural value,etc.,with a purpose for contemporary tidal music creation,protection and inheritance.The research of this thesis involves music history,ethnomusicology,traditional musicology,music aesthetics,composition theory and other disciplines,and its research methods include literature,historical research,comparative research,field investigation,case study,theoretical induction and music form analysis.The thesis has two lines: one is a study of the polyphonic music characteristics by tracing its origin,the other one focuses on music creation on the basis of morphological analysis and aesthetics.When tracing back the forms of Chor music,there are also two clues constructing a vertical development and a horizontal communication or integration among the central plains and northern nomads in the process of their cultural development.The thesis body consists of five chapters: Chapter One,entitled "The Historical Origin and Basic Form Characteristics of Chor Music",introduces the historical origin and basic form characteristics of Chor;Chapter Two,"Historical Origin and Form Characteristics of ’Hogolain Chor ’(Khoomei)and ’Chaarlingaal’,mainly analyzes the historical origin of " Holaiin Chor " and" polygraphy ";Chapter Three is " Historical development and evolution of ‘Modon Chor’ "(Blowing Chor),which explains the historical development and musical form of its instruments,as well as the application of its multi-voiced musical form in contemporary creation;Chapter Four is " Polyphonic Form and Influence of Tovshuur "(The plucked Chor),focusing on the form and creative practice of Tovshuur,Mongolian Sanxian and Yatga(Mongolian zheng);Chapter Five" The History and Development of ‘Tsuur’(Bow-string Chor)and Morinhuur,mainly discusses the Chapter Six is "Discussion on the Creating Idea of Modern techniques ’Chor Music’and the Aesthetic Concept of ’Chor Music’ ",which mainly analyzes the creating idea of modern techniques "Chor music" and the aesthetic concept of "Chor music".