Prayers And Songs-Tibet Millin Niang Dragon Village "Song" (?) Ritual Music Research

China is an ancient civilization with thousands of years of history.This land has bred 56 ethnic groups.Their customs and customs are different,and their human charm is unique.Together,they carry the excellent traditional culture of the Chinese nation.The Tibetan ethnic group has a long history and unique cultural color.As the main settlement of the Tibetan ethnic group,Tibet has derived various excellent traditional cultures on this land.In Milin County,located within the territory of Linzhi City,Tibet Autonomous Region,a folk ceremony with great regional cultural charm called "Loyaquba" is held every spring.Luoyaquba "(?)is a folk ritual held by the Tibetan people to pray for a bountiful harvest of crops.It is held on an auspicious day of the tenth or fifteenth day of the third month of the Tibetan calendar each year.Locals call it" Luoqu "ceremony(hereinafter referred to as" Luoqu ",and in Tibetan it is"(?)").The ritual performers recite scriptures to the gods and pray for their protection to plant crops that can avoid disasters and obtain abundant harvests.This act of praying for disasters and blessings embodies the most sincere emotions in the hearts of the people and carries their sincere wishes.Based on the author’s two field investigations in Nianglong Village,Qiangna Township,Milin County in 2021 and 2022,as well as the literature collection,data collation and expert interviews before and after the investigation,this paper makes a more detailed description and analysis of the "Luoqu" ritual music in Nianglong Village,which is generally divided into four chapters:The first chapter "Cultural Space of the ’Luoqu’ Ceremony" uses research methods such as literature collection and interviews.Based on the collected literature records,expert interviews,and oral statements of ceremony related personnel,this chapter elaborates on the cultural background of the ’Luoqu’ ritual music in Nianglong Village from three aspects: geographical space,historical origins,and folk beliefs.Chapter 2 "Record of the ’Luoqu’ Ceremony in Nianglong Village" applies the theory and methods of ethnomusicology,based on first-hand materials such as visual observation,video recording,and interviews with the ceremony host and relevant experts throughout the entire process of the ’Luoqu’ ceremony in Nianglong Village in May 2022.Firstly,an overview is given of the connotation of the ceremony’s title,transmission area,personnel involved in the ceremony,utensils,clothing,and sacrificial items.Furthermore,from the three aspects of the ceremony,The entire process of the "Malang" ceremony,the "Quguo" ceremony,and the "Zhaxi" ceremony was recorded and recorded.Chapter 3 "Analysis of ’Luoqu’ Ritual Music" applies the theories and research methods of musicology,ritual musicology,and other disciplines to analyze the musical forms of music events in the "Luoqu" ceremony in Nianglong Village in May 2022,based on field investigation data.Examples include "Dun" and "Cuolu" in the "Malang" ceremony,"Four degrees of Wendun" in the "Quguo" ceremony,and "Bai","Jiajiang" and "Chebabo" in the "Zhaxi" ceremony,And the sound in the ceremony was interpreted.The fourth chapter,"Cultural connotation of ritual music of ’Luoqu’",analyzes and summarizes the cultural connotation of ritual music of’Luoqu’ from the aspects of symbols,metaphors,functions and cultural identity in ritual music,as well as the contemporary significance and value displayed by the ceremony,based on its own cognition of ritual music of ’Luoqu’.