A Comparative Study On Dastan In Uyghur Twelve Muqam Between Arias Uyghur Opera Elip And Senem

Uyghur Twelve Muqam originated in folklore culture and developed among city-states and official mansions, which is a kind of grand integrated arts including traditional music, literature and drama as well as dancing. Diversity, integration, integrity, extemporaneousness and popularity characterized this kind of art. Being the main body of Uyghur music, Uyghur Twelve Muqam with different styles, rich rhythms and melodies is the key to explore Uyghur culture. Furthermore, it is the carrier and sample of integration of western and eastern cultures. Besides, Uyghur Twelve Muqam acquired some renown as pearl of Estern Music.Twelve Muqam is composed of twelve sets and each set consists of Qiongnaieman,Dastan and Mexlip three sections. Qiongnaieman, where the description of Uygurs'philosophy is presented. Its melody and rhythm are pretty rich. Folk actors who could perform Qiongnaieman are called"MuqamQi"."Dastan", a kind of narrative poem, is a grand classical divertimento with songs, which is different from epic in literature in terms of nature. As a kind of ballard-singing, it is the integration of Uyghur unwritten literature and folk music. Based on different contents in Dastan, it could be classfied into five kinds such as Love Dastan, Hero Dastan, History Dastan, Myth Dastan and Religon Dastan. Most of the pieces of music in this section are segments of popular legends and narrative poems among Uyghurs. Mexlip consists of three or five pieces of music and dances. Folk actors may perform Mexlip at various parties. Thus, the audience might dance with the rhythm of it.The object of the present study is Dstan. As is known to all, Uyghur Opera Elip and Senem is adapted by famous Love Dstan Elip and Senem. Twenty arias in the opera are the melody of eight sets of Muqam in Twelve Uyghur Muqam. Since Uyghur Opera Elip and Senem is the first opera after rearranging of Twelve Uyghur Muqam and is the most influential one, the present study will investigate it as a case study. By adopting methodology employed in relevant disciplinary such as ethnical musicology, folklore, musicology, anthropology and etc, the author will investigate Elip and Senem deeply in terms of melody, musical scale, rhythm, the way of melody development as well as transmission pattern, the situation and form of performance, and accompanying musical instruments from a contrastive perspective. Based on the investigation, the present study will find out that how Uyghur Opera Elip and Senem is adapted successfully in order to reveal the regular patterns and characteristics of adaptation. Furthermore, the results of the current research may build theory foundation for Uygur traditional art, especially the inheritance of Twelve Muqam in various forms.