The Development of Xinyang Folk Songs in Henan Province, China

Abstract

This study explores the current status of the development and dissemination of Xinyang folk songs, Henan province, China. Discuss the birth history, musical characteristics, embellish cavity skills, development status and conservation methods of Xinyang folk songs. Using the methods of literature research and field work to study and analyze the musical characteristics and development status of Xinyang folk songs, at the same time, analyze the music scores of Xinyang folk songs, analyze the singing style and embellishing cavity skills of Xinyang folk songs, and give some suggestions for future dissemination and development.

Based on the literature and fieldwork data of this study, the current situation of Xinyang folk songs is summarized, and the final conclusion are:

1. The musical style of Xinyang folk songs is closely related to the terrain. So generally speaking, folk songs in the southern the Ta-pieh Mountain’s areas of Xinyang mostly use large pitch intervals and have a wider range; the Huai River Basin in the north and the folk songs in the central hilly areas mostly use progressive melodies, with a stable rhythm and a slow pace. In addition, the musical structure of Xinyang folk songs belongs to One-part form in basically, which includes two or more phrases. The red revolution song in the folk song category is an important category that distinguishes it from other Han folk songs.

2. In Xinyang folk songs, pitch retouching is the most common form of retouching in Xinyang folk songs. The most commonly used include appoggiatura, glissando, wave tone, mordent. In addition, there are a lot of words inserted or phrases inserted are used in folk song singing to increase the tone of the lyrics and make the monotonous melody add profound expressiveness.

3. From the perspective of cultural dissemination, although current state of economic and cultural development, there are more favorable conditions for the dissemination and conservation of music, however, the conservation of music and art is the conservation of people. If we want to protect the precious music culture, we must first properly protect and cultivate folk artists who sing or perform ethnic music. Finally, advice for future researchers and successor of Xinyang folk songs: summarize the comparison and connection between the International Phonetic Alphabet and Xinyang dialect, and develop a more suitable method for promoting Xinyang folk songs.

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