Wang Min
Kemin
Ulantoga
Colorful children's choir
For a long time, hulunbuir ethnic songwriters and composers of all nationalities have adhered to the glorious traditions of their predecessors, united and cooperated, learned from each other's strong points, and not only brought into play the unique advantages of their respective national cultures, but also assumed the responsibility of jointly developing Hulunbuir national music culture.
Looking through the works of Hulunbuir songwriters over the past hundred years, although they are only faced with manuscripts, the familiar music scores are still constantly transformed into songs echoing on the Hulunbuir grassland...
The famous music theorist Wu Lanjie once said: "Judging from the songwriting in Inner Mongolia, whether it is in the past or today, the Hulunbuir Grassland is an important area that cannot be ignored. For more than sixty years, many composers and songwriters have emerged from this land, creating a large number of excellent works. It is no exaggeration to say that in the history of modern music in Inner Mongolia, almost every period has outstanding representatives from the Hulunbuir grassland, launching excellent songs representing that era. Among them, there are many famous songs and golden songs that are popular in the grasslands, but also sing the whole country and even fly to the world. This review is not only a full affirmation of the creative achievements of modern And modern Hulunbuir songwriters, but also a fair evaluation of their position in the field of music creation in Inner Mongolia. - Author
The four stages of the formation and development of prairie songwriting
Hulunbuir's centennial songwriting is roughly divided into four stages: the first stage of "budding period", the time span is from the first song "Baikal Zan" that appeared in 1923 to the founding of the People's Republic of China in 1949; the second stage of "growth period", the time span is 1949 to 1966; the third stage of "shrinkage period", the time span is 1966 to 1976; the fourth stage of "prosperity", the time span of 1976 to 2018.
The first stage: "budding". Since about the early 1920s, when music as a curriculum was introduced into the middle and primary school classrooms, this form of song known as "school music" has become the source of modern songs in China. The emergence and development of new songs not only made Hulunbuir's earliest music creation, but also created musicians who spread modern music culture. Ao Yongtu, the composer of Hulunbuir's first original song, is obviously one of the most representative. In 1923, Ao Yongtu composed the song "Baikal Zam" with the lyrics of Marse. In the late 1930s and early 1940s, when China's social turmoil and calls for national liberation rose and fell, Ao Yongtu, in this period, closely followed the pulse of the times and composed the song "Golden Light" (Wu Pingxun).
The second stage: "growth period". After the founding of New China, the motherland was full of vitality, and Hulunbuir songwriting entered a stage of vigorous development. Whether it is the subject matter, creative techniques, or artistic style, it presents a refreshing situation. The film interludes "Ao Bao Meet" and "Grassland Morning Song" created by Tongfu quickly spread throughout the north and south of the river, becoming the peak of inner Mongolia's early songwriting. Mingtai's "Ordos Dance" won the gold medal of the Fifth World Youth Festival. NaRisong's "Grassland Morning Dawn Round Dance" and Wang Min's "Olun Chun Girl" were broadcast as a weekly song of the Central People's Radio in that year, and quickly spread throughout the country. The song "Grassland and Beijing Are Closely Linked" was first published in the "Song" anthology of that year, and soon "People's Daily" recommended the song to the whole country along with more than 30 other songs, and the Central People's Radio taught it to the whole country. Songwriters represented by Tongfu, Mingtai, Narimatsu, Wang Min, etc., and their works announced the beginning of a new historical period. Although the songs at this stage are "growth periods", they have achieved remarkable achievements and are the first peak period of Hulunbuir song creation.
The third stage: "shrinkage period", some people call it "setback period". Due to the unity of the theme of the songs in this period, the creative world of the song was limited to a certain extent, especially the similarity of the lyrics. In contrast, music creation is different from each other. There appeared Fang Chengshui's "I Love the Hulunbuir Grassland", NariSong's "This is the Place That Feeds Me to Grow" (lyrics by Tao Tao and Liu Qian). The song "I Love Hulunbuir Grassland" is a Zhiqing song set in Tianjin Zhiqing Daniel Zhang, which burns the collective memory of a generation of enthusiastic young people. The difference is that this song is not permeated with sad and poignant homesickness like ordinary Zhiqing songs, but skillfully integrates homesickness with the love for the second hometown Hulunbuir Grassland, the melody is smooth and pure, the emotion is sincere, the style is rich, just like a warm sunshine illuminating the bitter soul of Zhiqing at that time, which was loved by Zhiqing for a while.
The fourth stage: "boom period". After the reform and opening up, various undertakings have flourished, new thinking, new concepts, so that creators in the inheritance of tradition at the same time to get rid of the shackles of history, reflecting contemporary life, rich in the atmosphere of the times works emerge in an endless stream.
In the early 1990s, Narisong, Wang Min, Erdunbagen and Zhang Jie held solo concerts in Beijing and Hohhot. This undoubtedly pushed Hulunbuir songwriting to the second peak.
In the mid-to-late 1990s, Hulunbuir's songwriting showed unprecedented openness, and younger songwriters made strides. The expansion of themes, the adherence to the great unity of the Chinese nation, the publicity of personal subject consciousness, and the diversification of styles have become the main characteristics of songwriting in this period. The songs composed by composer Ulantoga, "Father's Prairie Mother's River", "The Sky", "This Prairie", and "Where is the Prairie" spread all over the country for a time. In December 2006, he successfully held the "Father's Prairie Mother's River - Ulantoga Music Works Concert" at the Great Hall of the People in Beijing, pushing Hulunbuir songwriting to the third peak.
Among composers at this stage, Burenbayar entered the field of vision with the role of songwriter. He first won the popularity of fans with a song "Auspicious Three Treasures", and then in his main stage play "Aoluguya", he expressed his feelings with songs such as "Spring Is Coming", "Aoluguya", "Ayama" and so on. In 2016, the 37-member "Colorful Children's Choir" composed of Mongolian, Daur, Evenk and Orunchun children quickly rolled up a wave of attention to the original ecological folk song culture. The original ecological folk songs and artistic originals of Hulunbuir's multi-ethnic groups have produced waves of social influence and heated discussion in the short period after that. The creation of songs in this period has bred more diversified creative achievements, which is known as a cultural phenomenon of inner Mongolia and even the whole country.
Looking at the different stages of songwriting in Hulunbuir, Hulunbuir's lyric writers are indispensable. For example, from the early 1920s to the early days of the founding of the People's Republic of China, the lyricists Erdentai, Enhe Batu, Wu Pingxun, La Dugar, Kabila and so on appeared.
In the late 1950s and early 1960s, Hulunbuir's lyric creation was somewhat weak, but a group of playwrights, novelists, and poets supported the lyrics of Hulunbuir at that time with their fiery emotions and various perspectives on Hulunbuir. Guo Chun was a songwriter of this period, and once used the name Tao Tao. He has created more than 20 large, medium, and small dramas and operas, as well as many poems, novels, and literary and art theories, and more than 100 lyrics. Lyrics are representative works such as "Prairie Morning Dawn Round Dance" and "Golden Phoenix in My Heart". If it is said that erdentai, Wu Pingxun and other songwriters who appeared before the founding of the People's Republic of China were representatives of the first generation of lyricists in Hulunbuir, Guo Chun obviously became the leading figure of the second generation of lyricists in Hulunbuir with his excellent lyric works.
In the early and mid-1980s, a group of younger songwriters came into view. They mainly include Keming, Lin Yan, Xuequan, Bai Chunsheng, Tao Zhiwei, Bao Buren, Yan Yuhai, Ma Lianjun, Meng Hesu Rong, Yao Yun, Chen Lujie, Li Zehu, Meng Xianman, Hongguang, Yan Guangqing, Dai Yali, Wang Zhongfan, Gao Gao, Ge Baoying, Miao Rui, Er Ritai, Cao Lizhu, and so on. Most of these lyric writers are amateur writers, who are busy with their work and cooperate with composers to write works that are worthy of the times and praise the new life. With its distinct atmosphere of the times and national characteristics, their works are embedded in the historical monument of contemporary Hulunbuir lyric creation.
As a member of the writers' group, on March 25, 2017, I successfully held the "Nostalgia by the Navin River - Nomin Lyrics Vocal Works Concert" in Hohhot. Famous singers Dedema, Guan Mucun, Wu Bixia, Nie Jianhua, Alatai, Guo Lingguang, Guo Liru, Ao Lifang, etc. competed for their skills, and the Inner Mongolia National Art Theater Symphony Orchestra and Choir helped. He sang 19 songs that had a wide impact in the 1980s and 1990s, such as "Shepherd", "Horseback Rider", "Daur People Release from the Mountains", and "Thoughts on the Navin River".
Keming's lyrics started early, but matured almost in tandem with the new era. The main works of this period are "Hulunbuir Grassland", "Where is the Grassland", "This Grassland", "The Past Time", "Evenk in the Mountains" and so on. His collaboration with the composer Ulantoga continued to have a huge impact for a period. Therefore, he is considered to be a representative figure of the third generation writer of Hulunbuir.
After entering the mid-1990s, the Hulunbuir lyrics team gradually showed a momentum of expanding lineups. Amateur lyricists have sprung up, and a group of lyricists engaged in other professions have entered the world of words. They are Meng Songlin, Bai Aijun, Ni Bayar, Zhao Zhanguo, Da Chaolumen, Meng Gen, Xinsu Youle, Guo Zhi, Guo Chain, Wang Yi, Tan Bosheng, Qi Jianli, Hong Lei, Telley, Yu Zhichao and so on.
The integration of national cultures promotes the prosperity of grassland songwriting
Hulunbuir region grassland culture, forest culture, farming culture and other cultures shine together, colorful. It is known for its strong national characteristics, long cultural history and diverse traditional culture. Therefore, the culture and art that grow in this land is the art form with the richest variety and national character in traditional culture. It is regarded as a common spiritual wealth by songwriters of all nationalities and is cherished by everyone.
Hulunbuir's century-old songwriting is the result of the joint cultivation of songwriters of all nationalities. Since the early 1920s, The Hulunbuir songwriting team has been multi-ethnic. For example, the lyricists Feng Guoren, Wang Zhongfan, Li Zehu, Ma Lianjun, and Meng Xianman, the composers Na Risong, Wang Min, Tie Ying, Guo Zijie, Zhang Jingbin, and Jiang Nan are Han Chinese; the songwriters Dugar, Keming, and Lin Yan; the composers Erdun Bagen, Saiyin Chaoketu, Ulantoga, and Xinjiletu are Mongolian; the songwriters Marse, Erle Dengtai, and Wu Pingxun; the composers Ao Yongtu, Tongfu, Bayir, ChulunBuhe, Unenqi, Enhe Bai Yire, and Qinartu are of the Daur ethnic group; the lyricists Kabila, Oritai, and the composer Mingtai are of the Daur ethnic group; the lyricists Kabila, Oritai, and the composer Mingtai. MingXiang, Liming, and Du Haiting are of the Evenk ethnic group; the lyricists Sai Ge and Meng Songlin are of the OrunChun ethnic group. For a long time, songwriters of all nationalities have taken root in their own land, inherited traditions, and opened their eyes, and their works have entered the mainstream from the edge and become beautiful scenery in the hundred gardens of literature and art in the motherland.
The roots of art are local, and songwriting obviously cannot be separated from the spiritual matrix. No matter which ethnic group of songwriters, first of all, the culture of his own nation, or the regional culture of his growth, nurtured and grown. For example, steppe culture has made Saiyin Chaoketu and his "Under the Moonlight"; Ulantoga and his "Father's Prairie Mother's River" and "Hulunbuir Steppe"; Chaolu, Dundebu and their "Yellow Sheep Running Gobi"; SasuRong and his "Little White Horse with Curly Mane". Grassland culture, forest culture, and farming culture have made Tongfu and his "Yingshan Red Flowers Full of Hillsides"; Mingtai and his "Out of the Forest" and "Evenkbei"; Saige and his "Hunting Four Seasons Song"; Dawn and his "Evenk Serenade"; Unenqi and his "Letting Go"; Chulun Buhe and his "Song of the Four Seasons of the Nenjiang River"; Du Haiting and his "Bonfire of the Forest". In their works, these cultures form a strange and colorful style, showing the charm of different national cultures.
Hulunbuir's century-old songs are deeply welcomed and loved by the masses of all ethnic groups. They have not only been sung for generations, but some singers have also carried these songs, frequently appeared in various domestic evening media, and even went abroad to appear in some worldwide political and cultural activities. For example, "After the Long Tune Song" Baoyin Deliger and composer Ming Tai participated in the Fifth World Youth Festival, and both of them won gold medals; the famous composer Qu Xixian's four chorus "Pastoral Songs" adapted from the Balhu folk song "Wuheer Tuhuiteng" is a must-sing song in the Chinese choral competitions in Hong Kong, Macao, Taiwan and the world, and is also a reserved repertoire of the Chinese Symphony Orchestra, which has participated in important international performance activities for many times and has become one of the most sung songs in China's foreign cultural exchanges The Inner Mongolia art delegation sang classic songs such as "Ao Bao Rendezvous", "Grassland Morning Song", "Galaxy", "Inner Mongolia Good" and other classic songs in many foreign performances, which were welcomed by audiences around the world; Hulunbuir National Song and Dance Theater (formerly Humeng Song and Dance Troupe), in the performances of more than 20 countries and regions such as Japan, Korea, Mongolia, Russia, Thailand, Finland, Sweden, Sri Lanka, Hong Kong, and Macao, sang "Grassland Morning Dawn Round Dance", "Arslen's Eyes", "Father's Prairie Mother's River", "Father's Prairie Mother's River", "Father's Prairie Mother", "Father's Prairie Mother", "Daddy's Prairie Mother", "Daddy's Prairie Mother", "Daddy's Prairie Mother", "Daddy's Songs such as "The Song of the Mozygrad River" and "Daur People's House" have played a special role in foreign cultural exchanges. Especially in 2017, the "Colorful Hulunbuir Choir" accompanied General Secretary Xi Jinping to the opening ceremony of the "Russian China Tourism Year" and sang "Eji in the Dream" and "Ehulan, Dehuran" with deep feelings, which was highly praised by General Secretary Xi Jinping and Russian President Putin. This move not only won honor for Inner Mongolia and even the country, but also set an example and example for Hulunbuir national culture to "go out".
On the land of Hulunbuir, all ethnic groups hug each other like pomegranate seeds, and the equality and unity of nations and common prosperity are more deeply and more thickly reflected. It is precisely because of this sincere, harmonious and harmonious ethnic relations that generations of artists such as Tongfu, Ulantoga, Keming and other generations of artists have created and launched a number of grassland classic songs such as "Father's Prairie Mother's River", "Heaven's Edge", "Ao Bao Meets", "Grassland Morning Song", "Where is the Grassland" and so on. These works carry forward the spirit of Hulunbuir from different angles, condense the strength of Hulunbuir, tell the story of Hulunbuir well, enhance cultural self-confidence, enhance cultural soft power and literary and artistic influence, enhance the cultural identity of the Chinese nation, cast a solid sense of the Chinese national community, and show the world a united and enterprising Hulunbuir. in Nomin