The Cultural Background And Performance Analysis Of The Trumpet Solo "Layligul"

China is a multi-ethnical country with extremely rich musical feature.Music in Xinjiang is undoubtfully the most unique style,with significant meaning in historical and cultural context.From20~thh century onwards,Chinese composers re-arranged and re-composed large quantity of music pieces,with combining feature traditional Xinjiang ethnic music and Western music,which reflects the perfect combination from the tune of Chinese ethnical minority and the Western compositional technique,and also shows the brave exploration of Chinese composers to avant-garde music with considerations of keeping the ethnic identity.The studies of Xinjiang music in China is generally abundant,but most of them are focused on the typical and influential Xinjiang music,but rarely come through the folk pieces,such as‘L?yligül',with almost no existing research outcome.This dissertation mainly explores the musical structure,performing technique and musical style of the Chinese trumpet composition‘L?yligül',as well as a comprehensive analysis and summarisation of its history,transmission,musical text etc.,combining a personal view of performance and expression to interpret the connotation of Uyghur music.Originally re-arranged from the folk tune in Kashgar,‘L?yligül'has its special value and meaning,and the in-depth exploration will lead the audience to understand the far-reaching influence of the twelve-maqam system on Uyghur musical culture,as well as showing the attractiveness of trumpet composition.In addition,this composition further leads the audience understand the blazing characteristic of Kashgar Uyghurs,deepened our understanding of Chinese ethnic music,inspire our further musical composition,but also significantly enlighten the mastery of performative and theoretical understanding.The formation and fusion of Xinjiang music is based on various cultural exchange between ethnicities and regions,it includes stylistic similarities to music in Central Asia and Eastern Europe,but also contains elements from East Asian music.For a better development and improvement of Chinese music,the promotion of national identity in music is necessary,but the additional consideration of the cultural meaning among various ethnicities in the whole world.During the compilation of the history of Uyghur music,we should refer to its formation and development,learn from and promote its multicultural feature,which must be beneficial for us to built up the ardently love of ethnic music,and strength our cultural confidence.In addition,this research not only leads us to understand the feature of Uyghur folk music deeply,but also provides some relatively comprehensive reference to its performance.In one hand,this deepens our understanding of the strength of Chinese ethnic music,in order to reach the aim of the‘ethnication of music',and to be regarded properly among all world music genres;on the other hand,it helps us to understand the significant meaning of the communication of Eastern and Western music,which could deeply enlighten us to extend the connotation of our culture.This work includes four sections:the first section briefly introduce the musical piece‘L?yligül',and further explore its cultural and religious context and meaning,then followed by the second section with analytical approach on its musical mode,structure and rhythm;the third section enumerates the main features of Uyghur music,in order to quantitatively analyse its relevant musical style;the last section provides a brief overview of the whole framework of‘Lailiguli',in order to analyse the performing techniques and emotion correspondingly.