Psychology Of Use And Aesthetic Tibetan Bass

Religion plays an indispensable part in Tibetan’s-daily life, almost all of the Tibetan believe in Buddhism. As an integral part of Buddhism, the religious music is also very important for its unique characteristic and enchantment. Different from the folk music in Tibet which generally uses high-pitched as well as loud-sounded vocal area, the Tibetan Buddhist music is distinguished by its abundant use of deep bass area, which has been taken as a performance of elegance in the musical express. Bass, thus becomes the most important taste in Buddhist music in Tibet nowadays, and "Zuo Gai" is absolutely one good example of this kind of music with its distinctive characteristic."Zuo Gai" is not only a tone of chanting but also a special voice used in chanting. When producing this sound, the throat must be pressed down and the vocal cord must be relaxed so as to make resonance in the chest, thus the sound would become deeper and more profound. The vocal range could reach the low rank of "C"."Zuo Gai"is so low, deep and penetrating that it almost touches the bass limits of human. As one of the international school of learning "Tibetology research encompasses many aspects of Tibetan history, politics, economy, society, literature, art. Tibetan traditional music is an important part of Tibetology.Tibetans from the ancient living on the Qinghai-Tibet Plateau, isolated piece of special environmental areas, to create their own unique culture, these cultures rarely influenced by the outside culture, with its unique nature, forward to this particularthe natural and human environment, Tibetan unique musical aesthetic psychology.This paper tries to figure out Tibetan people’s taste and their aesthetic psychology for the bass through the analysis of "ZUO Gai"Article Introduction to explain the purpose of the study article,"Zuo Gai" the definition of the concept and research status, because "Zuo Gai" less domestic concept and definition of "Zuo Gai" there is no consensus, it must be onrelated concepts and scoping, in order to expand further discussed.The first chapter, mainly through literature review and desk, made a brief presentation of folk music aesthetic psychology, the use of historical explanations of Tibetan bass, the vertical and horizontal overview of Tibetan Buddhist music at the same time, the study of objects and content with overall understanding.The second chapter, on the basis of the work in the field. The definition and origin of the name "Zuo Gai", as well as background music ministry phase performers is introduced.The third chapter, the departure from the main body of music do is outlined in the "Junior cover audible, and the rhythm of the music and melody. The fourth chapter, included on the "Zuo Gai" Tibetan bass aesthetic psychology, a progressive approach to the interpretation, eventually explored a "Zuo Gai" reflect the core content of the Tibetan Buddhist teachings.