The Inheritance And Evolution About North Of Anhui Rural Suona Band

As one of the outstanding representatives of the village art, souna art isindispensable for folk activities, such as holiday celebration, opening ceremony andweddings and funerals etc. As an ancient folk musical instrument playable combination,rural suona band played a non-negligible role in folk art and folk custom, which hasimportant significance on the folk artistic heritage and protection. Rural suona band isalso a great carrier to the folk art and custom. Zhang Liansheng suona band branch, therepresentative of the suona band in Dangshan County, after integrating the merit pointsof Wanbei, Subei, Luxinan and Yudong, has become an excellent faction in the localarea. On the background of the construction of Modem Culture and New Rural Culture,this paper aims to provide certain theoretical and practical basis for the traditional folkart and culture and contribute my humble effort to the cultural construction of myhometown, by doing the field investigation and theoretical analysis on the inheritanceand evolution of Zhang Liansheng suona band branch.This paper is divided into four parts:In the first part (Introduction) I introduced the reason I selected the topic;ascertained the research object, research significance and research methods. In this part,I summarized the research status on Suona art of the academia.In the second part (the first chapter) I summarized the origin, spreading area andthe internal structure of the Suona art and Suona band. Furthermore, I tried to revealtheir internal connection behind the background of the local culture.The third part (chapter two&three) is the main part of the paper. First I introducedthe general situation of the main Suona bands in Dangshan area. Then I analyzed theinherit mode so as to grasp the rule and method of the inheritance and evolution fromthe global perspective. On the basis of comprehensive analysis about the Suona bandinheritance carrier, I revealed the symbiotic relationship between the folk rituals and thetraditional folk art. In the fourth part (chapter four) I analyzed the living conditions and the inheritancesituation of the Suona musicians and tried to find the way to maintain the traditionalinheritance mode and their characteristics. In this part I used the method of combiningthe view of intangible cultural heritage and folk art theory, and I took the Suona band asa case. Furthermore, I explored the quandary of the Suona band under the condition ofnew countryside construction and put forward some protective measures andsuggestions.