VYTAUTAS MAGNUS UNIVERSITY

THE MUSIC ACADEMY

Piano department

XIA WEI

Interpretation of China Folk Songs: A Case Of Song Walking ToThe

West

Master thesis

Kinų liaudies dainų interpretavimas: dainos Keliaujant į

vakarus atvejis

Magistro darbas

Title of the study programme: Performing arts (6211PX027)

Field of studies: MUSIC (C001)

Advisor: dr. Gintare Vaitontyte______2020 06 09 Defended: Assoc. Prof. Dr. Saulius Gerulis ______2020 06 09

Kaunas, 2020 1 TABLE OF CONTENTS

SANTRAUKA...... 2 SUMMARY...... 3 1 Situation of folk songs in China...... 5 1.1Types of sorted folk songs...... 6 1.2Newly compilde folk songs...... 8 1.3 A Study on the Artistic Characteristics of Western Folk Songs with the Theme of Go West...... 11 1.3.1 The emergence of folk songs in Go West...... 11 1.3.2 The development process of Xikou folk songs...... 12 1.3.3 Classification of Zuoxikou Folk Songs...... 13 1.4 The interpretation of the beauty of the lyrics of the folk songs of "Zou Xikou"...... 18 1.4.1 The natural beauty of the lyrics...... 18 1.4.2 The naive beauty of the lyrics...... 20 1.4.3 The implicit beauty of the lyrics...... 20 2 Interpretation of folk song WALKING TO THE WEST...... 22 2裘 Methodology...... 22

Survey...... 23

o Reflection...... 27 3 Conslusions...... 28 REFERENCES...... 31

1 SANTRAUKA

Xia Wei. Interpretation of China Folk Songs: A Case of Song Walking to the West /Kinijos liaudies dainų interpretavimas: dainos Keliaujant į vakarus atvejis. Magistro darbas. Vadovė dr. Gintarė Vaitonytė, Vytauto Didžiojo Universiteto Muzikos akademija, 2020.

Raktažodžiai: Kinijos liaudies dainos, interpretacija, grynosios liaudies dainos. Kinų liaudies dainos yra kilusios iš didžiausių Kinijos kaimų, kalnuotų ir mažų rajonų, o auditorija yra nepaprastai plati. Liaudies dainas kuria dirbantys žmonės, vykdydami socialinę gamybą, ir tai perteikia dirbančių žmonių išmintį. Dainos yra skirtingų formų, turtingos įvairovės, plačiai paplitusios ir turi ilgą istoriją. Tyrimo problema: Kinijos liaudies dainos buvo sukurtos seniai, tačiau Kinijos žmonės jas vis dar dainuoja. Kadangi tai yra naujasis amžius, žmonės į savo liaudies dainas įtraukia naujus savo gyvenimo kontekstus ir tai reiškia, kad ta pati liaudies daina gali būti interpretuojama skirtingai. Objektas: Liaudies dainų interpretavimo skirtumai šiais laikais Kinijoje Tyrimo tikslas: Išanalizuoti, kokie yra grynosios ir naujai sudarytos liaudies dainos interpretacijos skirtumai šiais laikais Kinijoje. Tyrimo uždaviniai: 1) Apibūdinti liaudies dainos apibrėžimą Kinijoje. 2) išsiaiškinti, kaip naujai sudaryta liaudies daina. 3) Išanalizuoti, kokie yra skirtumai, kaip šiais laikais žmonės aiškina grynąją ir naujai sudarytą liaudies dainą. Metodai: Literatūros apžvalgos metodas, kiekybinis tyrimas, aprašymas. Darbą sudaro 6 dalys: įvadas, dvi dalys ir išvados.

Surinkę įvairius atsiųstus klausimynus ir atlikę nuodugnų tyrimą bei analizę, klausimyno duomenys apibendrinti taip: Keliaujant į vakarus liaudies daina geriau žinoma šiaurės vakarų Kinijoje, todėl šį kartą apklausos rezultatai gali būti pateikti objektyviau ir tiksliau parodyti šiaurės vakarų Kinijos žmonių muzikinį gyvenimą. Nors dabartinė karta geriau supranta ir saugo liaudies dainas, liaudies dainų supratimo lygis vis dar yra gana žemas, o profesinio supratimo nėra. Po kruopštaus tyrimo paaiškėjo, kad originalus (grynasis) tirtos dainos variantas, daugiausia buvo žinomas šiauriniame Šaansi mieste.

2 SUMMARY Xia Wei. Interpretation of China Folk Songs: A Case of Song Walking to the West / Kinijos liaudies dainų interpretavimas: dainos Keliaujant į vakarus atvejis. Master thesis. Supervisor dr. Gintare Vaitonyte, Vytautas Magnus University, Music Academy, 2020. Key words: China folk songs, interpretation, sorted folk songs.

Chinese folk songs originate from the vast rural, mountainous and minority areas of China, and the audience is extremely broad. Folk songs are created by the working people in the practice of social production and are the crystallization of the wisdom of the working people. They are diverse in form, rich in variety, widely distributed and have a long history. Problem of the research: Chinese folk songs were created long time ago, but people in China are still singing them. As it is new age, people put new contexts of their day life into folk songs and that means, the same folk song could be interpreted differently. Object: The differences of folk song’s interpretation in China nowadays The aim of the research: To analyse, what are the differences of sorted and newly compiled folk song’s interpretation in China nowadays. The tasks of the research: 1) To describe what is the definition of folk song in China. 2) To find out how folk song is newly compiled. 3) To analyse, what are the differences of how people interpret sorted and newly compiled folk song nowadays. Methods: Literature review method, quantative researche, description. Structure: master thesis has introduction, two parts and conclusions. After collecting the various questionnaires sent, and conducting in-depth research and analysis, the above questionnaire data are summarized as follows: First, the folk song of Xikou has a good mass base in northwestern China, making this time The results of the survey can more objectively and accurately show the music life of the people in Northwest China. Secondly, a survey and analysis of the current state of retention of folk songs in northwestern China has been made through the summary of personal information such as the age of different interviewees. Although the current masses have a better sense to appreciate and protect folk songs, The level of understanding of Xikou folk songs is still relatively shallow, and there is no professional understanding. After careful research, the original "Zouxikou", which was popular among people, was mainly in northern Shaanxi. Because of the continuous spread of the people, this folk song gradually became popular, and then it will be fixed with the change of region Change its tune in degree. But no matter how it changes, its tune is still very emotional, and it can bring people into it.

3 INTRODUCTION

Chinese folk songs have a long history. From the earliest labour force that the people gathered together to work, to the spread of modern new folk songs, there have been thousands of years of historical process. Chinese folk songs are songs with Chinese characteristics that express people's emotions, thoughts, resentments, praises and other thoughts and emotions, with local characteristics, and good and narrative songs with local folk charm. With the development of the times, the development of folk songs has gradually accelerated. At the end of the feudal society, folk songs have absorbed the characteristics of his sister art such as folk art and opera, which has made great progress in the form and genre of folk songs. It has become rich and has obvious features. Chinese folk songs originate from the vast rural, mountainous and minority areas of China, and the audience is extremely broad. Folk songs are created by the working people in the practice of social production and are the crystallization of the wisdom of the working people. They are diverse in form, rich in variety, widely distributed and have a long history. According to the genre classification, my national songs can be roughly divided into three categories: labor number, folk songs and minor notes. These kinds of folk songs, their musical ontology elements mainly include texture form, tone tonality, beat rhythm, music structure and song content. Our country's folk songs enrich the cultural life of the working people. We must inherit it well and protect it effectively. Problem of the research: Chinese folk songs were created long time ago, but people in China are still singing them. As it is new age, people put new contexts of their day life into folk songs and that means, the same folk song could be interpreted differently. Object: The differences of folk song’s interpretation in China nowadays. The aim of the research: To analyse, what are the differences of folk song’s interpretion in China nowadays.

The tasks of the research: 1) To describe what is the definition of folk song in China. 2) To find out how folk song is newly compiled? 3) To analyse, what are the differences of how people interpret sorted folk song and newly compiled nowadays? Methods: Literature review method, quantative research, description.

4 1 Situation of folk songs in China

The Chinese nation has a footprint of 5,000 years. It has left us with a large amount of outstanding cultural heritage. Folk songs are a wonderful flower in China's ancient art form. With the continuous progress of cultural globalization and the transformation of society, the creative level of the vast number of musicians and people's aesthetic level have also been greatly improved. Many excellent musical works that everyone likes to hear have been created, and the adaptation of folk songs is one of them. The adaptation of folk songs is the creative change that people make to musical works. Combining original ecological folk songs with modern aesthetic flavor and modern creative techniques to create a large-scale vocal music with rich life flavor, in line with the characteristics of the development of the times, and extremely artistic and ornamental works. However, different adapted folk songs also differ in their creation techniques （ Antoinet Schimmelpenninck,Frank Kouwenhoven，2016）. According to the difference in the use of the original folk song tunes, we divided the adapted folk songs into two categories: a sorted folk song and a newly compiled folk song. Sorting folk songs are produced in China after the 1930s and 1940s. Musicians organize and process the excellent music materials circulating in the folk to adapt to the development of the times and adapt to the aesthetic taste of modern people. Harmony and other appropriate changes, and the formation of a wider range of adapted folk songs. China is a multi-ethnic country with vast land and rich resources, and has a very rich language and culture, while each ethnic group has its own different language habits and music culture. Language habits are an important element in music culture. According to different research purposes, research standards and research angles, the majority of musicians have classified folk songs in different ways. According to the classification of languages, we divide the folk songs of the Han nationality into four levels: first, we divide the country into seven large dialect areas; each dialect area includes many dialect areas; each dialect area contains many small Area: Each small area of dialect is divided into several dialect points due to different locations (Yani Zhou, 2016). The division of the music dialect area and the music dialect area is basically the same as that of the local dialects, but the music dialect area and the music dialect point are distinguished from different aspects of music. According to the division of its genre, we divide it into horn, folk song and minor. There are many classifications among them.

5 Like other ancient peoples, early folk songs in China were created by collective labor such as labor, hunting, and herding, and passed down through oral tradition. In the process of circulation, it has also been continuously processed by artists, and has become a vocal art for singers to express emotions. With the development of the times and the improvement of the level of science and technology, the folk songs in the primitive stage have undergone great changes in the origin of creation and the method of circulation. The age of science and technology has arrived, and advanced mechanical equipment such as bulldozers and rice transplanters have liberated people from hard work. The trumpets do n’t need to sing while working, and people have no leisure time to sing folk songs. Traditional folk songs have rarely been What people hear. From the folk songs in The Book of Songs to the folk songs of the Han Yuefu to today's society, traditional folk songs occupy a very important position in traditional Chinese folk music. Traditional folk songs have rich content and unique character. The times are developing, and we cannot allow them to follow the trend and spontaneously perish, but we must let them continue to spread and develop, and show them to future generations in a more splendid manner, understand and respect them. On the issue of dealing with traditional national culture, our view is to "take its essence and remove its dross", as is the case with traditional Chinese folk songs. We cannot insist purely on national culture, and we cannot exclude the influence of foreign cultures in order to ensure the authenticity of national culture. From the perspective of the development of folk songs, the times are developing. We should also look forward and absorb good nutrients to enrich our traditional national culture. This is not only the requirement of the times but also the voice of the people. But as the heritage of national culture, we can't even give up. We should try our best to preserve it and let future generations understand and study it. The author believes that we must not only continue to inherit traditional folk songs, but also make innovations to adapt them to the development of the times and spread them widely.

1.1Types of sorted folk songs

Below we list three representative types of songs to gain a deep understanding of the characteristics of sorting folk songs (Zichun Gao, 2016). 1）Work song. According to the different types of traditional work and the difference in singing environment, we can roughly divide the horns into five categories: carrying horns, agricultural horns, fishing boat horns, workshop horns, and engineering horns. Most of the sing forms of the horn are "One Leading Harmony" and "Leading Alternation", and the tone is also bold and powerful. The singing horn is mainly to ensure the unity of the movements during work, to unite strength, improve work efficiency, It is conducive to the emotional exchange of laborers and directly serves the productive labor. The rhythm and tone

6 of traditional horns are very simple. The lead singer's singing is also very simple, most of which are used as calling words in labor, just like shouting passwords during labor, while the joint singer's singing is mostly function words and supporting words, which have a strong sense of power. The rhythm of the horn is very simple, and it is closely related to the rhythm of labor. But in most cases, we think that the greater the intensity of labor, the stronger the rhythm of the song and the worse the melody. On the contrary, the lower the intensity of labor, the weaker the rhythm of the song and the stronger the melody. 2) Folk song of moutain regionand. Folk song of moutain regionand is also a very important one of the basic genre of Chinese folk song. It is generally sung in mountainous areas, plateaus, hills and other areas, and the working people sing themselves for fun while walking, cutting wood, releasing livestock or singing meetings, which is characterized by beautiful melody and free rhythm. When singing folk song of moutain regionand, the requirements for the sound are very high. Due to the freedom of the rhythm and rhythm of the folk songs, it is necessary to ensure the uniform and flexible use of the breath during the singing, and to closely combine the words and the sound. Due to the high melody and lyricism of the folk songs, soft attack is generally used when vocalizing to achieve a better singing effect. Although the rhythm of the folk song of moutain regionand is very free, there should be regular patterns when singing, and we must pay attention to the changes in the songs. This requires the singer to have a certain singing skills and properly express the inner meaning of the song. 3) Minor song. Minor is also one of the basic genres of Chinese folk songs. It generally refers to the folk songs and dances that are used to express emotions and entertainment in daily life. They are also known as small songs, folk songs, and tunes. , Village Square Xiaoqu, etc. Its rhythm is not as strong as the trumpet, and there is no melodious melody on the melody. It presents to my door a uniform rhythm, a delicate and melodic melody, mostly a structure of "from the inheritance to the turn", a multi-paragraph word. Representative works we are familiar with include "Kite Flying" and "Four Seasons Song". This requires the singer to grasp the content of the song, the tone should be sweet, the breath should be used reasonably, and the language expression ability should be strong. minors (Chinese music): The minor is "the music of alleys", also known as "little orders". It is a folk song sung on the occasion of rest, entertainment, assembly, etc. in daily life. Various small folk songs other than daily singing can fall into this category. The minor is often sung by professional or semi-professional artists. It has a wide spread, even rhythm, rich melody, and long and short lyrics.Chinese folk songs are broken down into six categories:

o Labor Song: Refers to various songs sung during labor such as the labor horn. Some directly cooperate with labor movements, and the rhythm is very clear; others just regulate labor emotions, such as tea picking songs and grassland pastoral songs.

o Ritual songs: Folk songs that are specially used in various folk rituals and folk etiquette. 7 Such as the folk songs used in the wedding ceremony, folk house building songs used in building houses.

o Politicale: Folk songs with current contents and political commentary. Its political significance is high and it has a certain literature value.

o Life Songs: Folk songs that express the content of the general family life and labor life. For example, the "Long-Term Song of December", which reflects the life of peasants, reveals the sharp contradiction between the long-term worker and the landlord.

o Love songs: folk songs about love. It is the most numerous and most touching folk song. For example, the Sichuan folk song "A Tree in the High Mountain" shows a girl who has been waiting for her lover for a long time. Love songs are an indispensable communication tool for young people in the process of love and mate selection in some ethnic minorities in China.

o Children's songs: Folk songs that children sing or recite. The nursery rhymes generated in a specific period in ancient China are not folk songs because they are folk songs of the nature of the political predictions. The content of children's songs is mainly children's songs for games, tongue twisters, and songs for adults to tease children.

1.2Newly compilde folk songs

Many excellent musical works are born from the absorption of folk music, these works show their most valuable national character. In terms of Western music, from the Middle Ages to the Romantic period, many musical works were produced from folk music. For example, Tchaikovsky's string quartet "Song of the Song" is a humming song from the plaster Adapted from folk songs (Yun Yang; Yang Wei, 2019); "Durandot" is a famous opera by Italian composer Puccini, in which the female chorus of the first act is composed of Chinese folk songs Adapted from "Jasmine". In China, many enthusiastic musicians are also collating and researching the original folk songs of our country, and adapted many excellent music works that are familiar to everyone, such as the Kazakh folk song "In that Remote Place", and the Northern Shaanxi folk song "Embroidery" "Purse" (adapted by Bai Bingquan), Shanxi folk song "Want to kiss and love in your heart" (Yufeng Yan, 2016). Since the reform and opening up, many excellent musicians have improved the song ’s genre structure, composition techniques, and style characteristics on the basis of an in-depth understanding of the original folk songs, creating a simple folk folk song into It is a large-scale vocal work with a beautiful melody, unique style, and touching multi-segment structure. It has been recognized by a large number of musicians and singers. In the book "Chinese Folk Music", there is such an interpretation of folk songs: Folk songs are non-professional music creations with variation characteristics, regional features and national

8 characteristics that are highly sung and continuously refined in folk music of various nationalities. Music type. Folk songs are of great significance to the development of vocal music, and they have always occupied an important position in the music industry. In contemporary China, the Chinese folk song music works have developed rapidly and achieved good results. The Chinese folk songs have moved from the original local folk songs to the so-called artistic folk songs today. As the composers carried out practical investigations and in-depth investigations, they adapted their melody styles and musical colors on the basis of the original traditional folk songs, and made second-degree creations, and adopted modern creation techniques to add more elements of the era and let Folk songs are more expressive, and this is our new folk song (Wei Cai, 2014). After the May Fourth New Culture Movement in 1919, folk songs entered a brand new stage. There have been several periods from the folk songs created by the previous lyrics and tune adaptations to the highly expressive artistic folk songs. After the founding of New China in 1949, the working people were truly liberated. At this time, many songs reflecting the new life of the people continued to emerge. Compared with traditional folk songs, the form is novel, the melody is lively, positive and full of optimism. Spirit. Such folk songs were widely sung at the time and won the love and support of the majority of the people. In the 1990s, folk songs reached a new period of development. The party and the country called for the promotion of Chinese national culture and the promotion of elegant art, which indicated the direction of the development of China's national music culture. The national vocal art in the new period is constantly changing in terms of creative style and expression. The traditional folk songs before can no longer meet the requirements of people ’s appreciation level, and slowly many excellent composers have appeared. The folk songs were adapted and created so that there are so many excellent vocal works now (Xinmiao Yu, 2014).

If Chinese folk songs want to progress, they must be innovative, otherwise they will be eliminated or even die out. Many music workers are also making their own contributions to the development of China's traditional folk songs. On the basis of properly retaining the characteristics of traditional folk songs, they choose folk minor songs, mythological stories or real historical stories that are well known as the original materials. Using the latest creative techniques and thinking ideas, the original small folk songs and minor tunes were adapted into a large-scale finished musical piece. The structure of these songs has changed on the basis of the original style of folk songs. The length of the songs has been increased, and some new ideas have been given. They are extremely folk, modern, entertaining, dramatic and emotional. The characteristics of the newly compiled folk songs have the following three points: (1) Respect for authenticity In the new song "Zou Xikou", the original song's style, melody, and lyrics structure have been

9 completely preserved. The composer only expanded the music on the basis of the original theme music elements. The content is expanded and depicted, and the erhu and other national musical instruments in line with the original local style are added to highlight the meaning of the song. Only in this way can the audience appreciate the folk art that is close to the people's life, without losing the locality of the original song. Most folk songs in our country are dominated by five-tone tunes. In the adaptation of Western composition techniques, the inherent thinking of the seven-tone scale cannot break the original musical style and respect the originality of the original work, which is the basis of our adaptation. Only in this way can the nationalization characteristics and style of the original work not be assimilated or changed under the use of Western composition techniques. The protection of folk songs is to protect the cultural nature of the folk songs, so respect for the authenticity is extremely important. (2) Applicable composition method Western composer technology has been well inherited and developed in the hands of our country’s composers. The outstanding works of art that are rich in ethnic style that we have continuously emerged are what our country’s composers are learning from Western composers’ techniques and combined with our national music The art of continuous fusion on the basis of. The western seven-sound scale is relatively inconsistent with China's pentatonic scale. There will be differences in the interpretation of music style and the expression of the content of the work. When we use the seven-tone composition technique to adapt the traditional five-tone folk song, we need to be special Pay attention to how to combine the two completely. Western musical instruments used extensively on the orchestration, when composing and integrating with national musical instruments, can not only express the theme of the song, but also enrich the content of the song, and bring the national uniqueness of the traditional folk song closer to the art song. Professional people come to introduce folk music into professional art classrooms and move onto the stage to expand the audience and spread influence. (3) Encourage innovation The rapid development of the times has brought about the advancement of human science and technology. The rapid development and important position of the Internet and mobile terminals in people's lives may be one of the ways in which our folk songs and other folk arts have been widely spread among the people. By setting up a public homepage on the WeChat, Weibo and other clients of the mobile phone, traditional folk songs adapted by artists like "Zou Xikou" are distributed to the public platform, and different versions of the original tracks and new arrangements are among the people. Start viewing and discussion, and use the power of new media to draw people's attention to traditional culture. Whether it is technical innovation in the composition adaptation itself, or innovation from the

10 periphery for the transmission of traditional culture, we are all based on the creativity of national music itself. Folk songs are under the impact of the times, and only continuous inheritance and innovation can withstand the test of practice and the scouring of history. "Can still maintain a strong vitality. Such Shanxi folk songs will continue to contribute to the development of modern music art. Provide creative material." We have seen more and more Shanxi folk songs be adapted into works of art, such as "Go West", "Peach Blossom Red, Apricot Blossom White", "Send Love" and so on, and also see more and more singers Engage in the singing and spread of folk songs. These beautiful and beautiful melodies have rich and diverse styles and distinctive local flavors. If they only stay in the mouth of the older generation, they will eventually be overwhelmed by history. Only with the spirit of reform that keeps pace with the times and strives to innovate can folk art be better developed in the future.

1.3 A Study on the Artistic Characteristics of Western Folk Songs with the Theme of Go West

1.3.1 The emergence of folk songs in Go West

The folk song "Go West" was first formed in the Qing Dynasty and the Republic of China. (Li Xiaozhen, 2001) "Go West" is the largest migration in China's immigration history; it has filled the history with a strong stroke. The so-called "going west" means that the hard-working people in the northwest are forced to make a living, leaving their hometowns, crossing the Yellow River, crossing the Great Wall, passing the Yizhao League, and heading to Baotou, Daqingshan, Hetao and Wuyuan to make a living. Xikou refers to the route leading to western Inner Mongolia and is an important distribution center for economic, political, and cultural exchanges. He is an important checkpoint in the Central Plains and border areas. It is a necessary place for trade and trade between Mongolia and Han, and it is also an important link for cultural transmission. This place had an important influence on the politics, economy and culture of the Qing government. Therefore, the Qing government has always controlled the local taxes and personnel links here, and has set up a place to go to and from the frontier for the formalities, and has become an official permit to "Go West." " Go West " is like a real, vivid and moving music figure. Its rich, profound and complex social connotations constitute a peculiar human historical landscape phenomenon. From the middle of the seventeenth century to the middle of the twentieth century, in the nearly 30-year history, the impoverished working people in North China, Northwest China, and North Shaanxi in the old era were not able to get a harvest due to natural disasters and oppression by the Qing government Being exploited by the government, they had to leave their hometowns to work outside the Great Wall in western Inner Mongolia to make a living. The most representative one is from the west corner of Hequ and Baode people. In the process of going west, the classic folk song "Go West" was left. The 11 folk song "Walk West" reflects the adverse effects of natural conditions such as bad weather, barren land, and years of famine in the areas around Hequ and Baode, plus the rulers here oppress the working people, bully the people, political exploitation and taxation The serious phenomenon of accumulating wealth has severely regulated the economy of the people in this area, and they are not free. For this kind of hard days without hope, the people are struggling for heaven and earth, so that every day should not be called, and the earth is not effective. Therefore, in order to maintain their livelihood, young men with the ability to work have to work outside the mouth to make a living, leaving their wives, children, and children at home. They are doing hard physical work outside the mouth, or they have developed medicines for reselling. And other business activities. The women had to stay at home to take care of the elderly and children, and to take care of the big things inside and outside the house. Some unmarried men had to hurriedly find a woman to marry and have children before leaving. This was for someone in the family to take care of. The elderly parents hold up a home and leave incense in case they encounter something unexpected in the process of walking to the west exit. The men and women at that time were very bitter. The men worked outside with longing and hope. The women stayed at home, and it was their greatest pain to miss their husbands. Because they do not know in what year the husband will come back, whether they will come back alive, there is no contact method, they can only imagine with their thoughts, and they are a little bit excited and a little melancholy. From the moment the husband left, the wife performed a vivid, real and moving picture from the farewell. The wife's sad and somber mood, Qian Dingwan Wan asked, word by word, tears in the end, looking affectionately at her husband's back, looking forward to her husband's return home and family reunion soon (Ding Lei, 2011). The complex and vivid and moving storyline of "Go West" has moved people from generation to generation. So far, we will not forget the sad story of "Go West" more than 300 years ago. The TV series "Zou Xikou" is based on this history as a whole and describes the sad story of the second generation of Zou Xikou. The play is always interspersed with the popular Go West.

1.3.2 The development process of Xikou folk songs

The immigration wave of "Go West" has a history of more than 300 years. Numerous touching stories are continued in this land, leaving many folk songs with the theme of "Go West", occupying an important position in the folk songs of Northwest China. The most common one is the popular tune of the folk song titled "Zou Xikou", but there is also a part that implies "Zou Xikou" in the content of the song. The title of the song is not named "Zou Xikou", and their content all implies The storyline of Xikou. In the same folk song "Zou Xikou" in different regions, there are differences in lyrics and tunes. In these songs, the content and sentiment they express are the same, all expressing the joys and sorrows of the people on the yellow soil, love and hate. People from

12 different regions, different customs and dialects sang "Go West" to express the same emotion, and folk songs with different tunes and different lyrics were circulated. In the process of communication, locals carried out the mode of singing by outsiders. After learning and adapting, a new "Go West" was formed, so "Go West" became an authentic folk song. As the husband walks west, the wife sends away the sad scene, and the sad story of affection and love is staged. Because walking the Xikou is already a common phenomenon, people use the content of lyrics with the same meaning to express the story of walking the Xikou (Zhang Yanhua, 2011). Due to the wide area involved and the high population mobility, the folk song has been adapted in tunes from place to place. In the process of circulation, people vary from place to place, and there is a big difference. According to the tone of the local dialect, the yin and yang are frustrated, and the tune is adapted to the most comfortable state to sing. The adapted tune has local characteristics and distinct tunes, but the mood is all They are unified and all are sad and lingering, so that such adapted tunes can be suitable for people's tastes, and they will be spread more and more widely.

1.3.3 Classification of Zuoxikou Folk Songs

"Go West" can be divided into the traditional folk song "Go West" and the adapted "Go West". In the traditional "Zou Xikou", because the art form of "Zou Xikou" is not single, it is a character with a plot and a certain dramatic characteristic. Later, it was absorbed by the Quyi and folk small opera duo in northern Shaanxi, Shanxi, Inner Mongolia and other places, making "Go West" active on the stage in a form of drama, so "Go West" has become a frequently performed program. Although "Zou Xikou" reflects the scenes of life in the old era, people now listen to it, they all appreciate it, they are very infected, and it resonates with everyone (Li Yu, 2000). (1) Original ecological folk song Those popular in different regions, sung by folk artists, and toured by folk art groups in different regions have the same tunes, and the popular tunes of folk songs with the title of "Going West" have been widely circulated in this form and have been sung for generations. Traditional folk songs of "Go West" are mainly spread in the area of Hequ in northwestern Shanxi and Fugu in northern Shaanxi, and spread in Shanxi, Shaanxi, Gansu, Hebei and Inner Mongolia. The most influential and widespread folk song "Zou Xikou" (as in the Legend：1.1), was an unaccompanied choral adaptation by two comrades Wang Fangliang and Zhang Shunan in the early period of liberation in northern Shaanxi. The Central Song and Dance Troupe's Northern Shaanxi Folk Chorus sings and is popular all over the country. It focuses on narrative events, with refined materials, few pens, simple and fresh, yet subtle and soulful, intriguing and intriguing.

13 Legend：1.1 Shanxi, Gansu and other northwest regions

It can be seen that they do not have too many gorgeous decorations and function words, and the rhythm is simple, the singing is simple, and the true feelings naturally appear. The real feelings and feelings are true to each other, reaching the superb artistic realm of "the rhyme is in the depth of the emotion, the beauty is in the aftertaste".

Legend: 1.2 (popular in Zhangjiakou City, Hebei Province) For Legend：1.2 are the traditional tunes of the folk songs of "Go West", which are spread in different regions. After that, a series of popular tunes of the same folk songs from various regions continued to prosper and develop, occupying an important position in the local people's cultural life. Men, women and children can sing, enriching people's daily lives and giving them new hopes in spirit. (2) The formation of new folk songs With the development of traditional "Go West" folk songs that have been circulated in different regions and tunes reproduced in different forms, many of these folk songs with "Go West" as the subject have undergone continuous processing and transformation of future generations and the 14 refinement of the times in the past two hundred years. Injecting fresh vitality, the Northwest culture can be spread more widely. This is not only the memory of history, but also the memory of culture and nation. In 1987, the folk song "Go West" sung by Hu Yue, the leading figure in the country's "Northwest Wind", won the gold medal of the first National Talent Cup Singing CompetitionAfter that, she also sang the famous songs with the style of "Northwest Culture", such as "Loess Gaopo", "Hometown of Love", "Up and Down", which caused a sensation in the country.

Legend: 1.3is the art song after Hu Yue ’s adaptation. Legend: 1.3is the popular tune of the traditional Shanxi folk song "Go West" In the process of disseminating traditional folk songs, it has undergone choices and mutations, absorbing and drawing on the artistic style characteristics of traditional "going west" folk songs, showing that individualized elements in various regions can be retained or emerged. They are similar in that they all revolve around the theme of "traveling to the west" which is a historical immigration. The emotional key is accurately grasped, and they are all fine-tuned in the five-tone style, and the melody curve always hovered between the main and the subordinate sounds. The lyrics basically maintain their original appearance, and there is no flashy and gorgeous lyrics to modify, so simple and natural, portraying the constant love between sister and brother. In the process of re-creation for the second time, the art song "Go West" added partial N-level and VII-level sounds. These sounds played an auxiliary role, avoiding the monotony of the melody color and long and long. Subsequently, there were many different newly created artistic songs and chorus with the 15 theme of "Go West" folk songs, tunes different from the traditional "Go West". They keep up with the rhythm of the times. Creators dare to innovate and explore the new art forms and performance styles of the folk songs of "Zou Xikou", which makes the folk songs of "Zi Xikou" look completely new and further promotes the new development of traditional folk songs and art songs in China. As of today, these " Go West " folk songs endowed with new era and fresh vitality have gradually matured, and the singers have interpreted it with new singing methods, so that it can be spread more widely, prompting our country The development of national vocal art; let us go through the tunnel of time and space, and truly feel the hard times of listening to people's experiences, and experience the emotions of the past that we have never experienced. At the same time, after going through hundreds of years of experience and development, the folk song "Zou Xikou" has gradually formed its unique artistic style characteristics, which contain intriguing aesthetic connotations. This song has strong regional colors and is suitable for singing with strong style. Of course, if the natural voice is not of this type, it can be achieved by adjusting the tone. This requires the singer’s singing skills to be solid enough to control. There are many ways to adjust the timbre of works of different styles, which vary from person to person: first of all, the correct and appropriate adaptation of the sound of the folk song is also based on the tune of the original folk song, usually one of the content and the original The music is completely consistent. In the following passages or chapters, new composition and listening are required. When singing the adapted folk song, you must follow the style characteristics of the traditional folk song itself, and the tone selection must match the tone of the local style, otherwise The sounds and feelings that come out will be,'Four Dissimilarities'. Secondly, the language bite must standardize the local dialect and Putonghua. There is a certain difference between the local dialect and mandarin. Spoken words must be clear, and must not affect the clarity of bite pronunciation because of the pursuit of fluency and unity of sound. The content and form must be unified, the work and tone should be unified, the work and emotion should be unified, and the work and language expression should be unified. When you sing a song, you must sing what it looks like, and it must not be the same. It must fully reflect the characteristics of the song. Each song has its own unique style characteristics, which is determined by the work itself. The singer must be loyal to the work The content to interpret music must be organic, and there are chapters to reflect the strong characteristics of the times and nationalities according to the "New Compilation of Animals". Although it is a modern adaptation of the song, it has a source of style and background. In the era of chasing animals, these are all set in stone Singing is a discipline that combines multiple aspects and is also a practical art. The theory in the book can only be truly understood if you feel it for yourself, otherwise it can only be talked about on paper, and only the combination of theory and practice can maximize the use of It benefits from the fact that the folk songs of each place that have been promoted have their own style

16 characteristics, and each song also has the characteristics of each song. It is necessary to grasp your own characteristics, promote strengths and avoid weaknesses, and handle your works with your own unique artistic insights. While drawing on the strengths of others, you must also have your own understanding and novel and unique features. Never imitate. Known as the “Ocean of Folk Songs”, Shanxi is the top of the country in the number of unearthed and undiscovered folk songs. Among the many Shanxi folk songs, more and more excellent works have been adapted into art songs and included in the teaching materials of major music schools, and more people have begun to understand and understand Shanxi folk songs. This method of enhancing the artistry of folk songs with the help of composition technology is of great significance under the rapid development of today's society. In the analysis of the works of the original and adapted versions of "Zou Xikou", we can already begin to see that traditional folk songs need to be better developed and advanced. With the help of Western composition techniques and the artistic characteristics of the works, they can be artistic The adaptation of the book attracts some people to sing, but it is a feasible way.

17 1.4 The interpretation of the beauty of the lyrics of the folk songs of "Zou Xikou"

Songs are different from the art form of pure instrumental music. We can call it the ideal combination of poetry and music. Singing as a "song", in essence, expresses poetry that can be sung. An excellent song should undoubtedly have rich connotation of lyrics, and good lyrics should undoubtedly be a good poem, it should have a poetic mood, and should have a higher taste in art. Lyrics have their own beauty and artistic value, which is by no means an accessory to music, it can give people the enjoyment of beauty. The lyrics of the "Go West Mouth" folk song are mainly derived from the daily life of the Northwest people. They come from the spoken culture, but they have the characteristics of bright rhythm, touching tone, good taste, and rhyme, so the connotation is extremely rich. 1.4.1 The natural beauty of the lyrics

The "Zouxikou" folk songs listed in the second part of the article are mainly songs with the title "Zouxikou". The lyrics of these songs are actually their unique folk song language. The husband goes out of mouth to make a living, the wife Many parties instructed and Ding Ye that one party's language had a long center of gravity, and one party's voice responded to each other. This kind of honest voice and simple love are the expression and expression of pure beauty of nature. However, more of the folk songs that do not directly title "Zou Xikou", but reflect the life and mood of "Zou Xikou", are implicitly and artistically set up a communication art with the imagery of the lyrics through their unique way. The bridge between works and natural aesthetics. Marx once said, "In the theoretical field, plants, animals, stones, air, fire, etc., on the one hand, are the objects of natural science, and on the other hand, the objects of art, are all part of human consciousness, and they are inorganic The world is the spiritual food that people must process in advance to enjoy and digest; similarly, in the field of practice, these aspects are also part of human life and human activities. The premise of natural beauty is to follow the "natural humanization" This does not mean that human beings must realize the beauty of nature by changing natural forms, but that humans must perceive the natural world to be imprinted with human emotions and consciousness to make nature compatible with humans. A passage from Marx illustrates the relationship between man and nature. The specific analysis of the lyrics of the folk song "Zou Xikou" is reflected in its good use of "comparison and prosperity" to mobilize the human image thinking, and the use of the image of natural sceneries to make analogy or tory, expression and reflection. It not only shows the beauty of nature, but also deeply reflects the essential characteristics of natural beauty, so that the affinity between nature and people can be reflected in harmony. Zhu Xi once said in the "Book of Poetry" that "because the other is better than the other", "Xingzhe, first of all other things to arouse the words of singing", it can be seen that both "being" and "xing" Imaginative and associative thinking. In layman's terms, the vivid imagery of the "Go West" folk song is inseparable from its usual metaphors and exaggerated rhetorical techniques.

18 "Xing" refers specifically to the rise of life, nature, and circumstances. In the lyrics of "Zouxikou" folk songs, two words of confrontation are often used to express thoughts, such as: "Mountain is in water, stone is in, people are not in you". With the rise of mountains, water, and stones in nature, the heart is both Some complain, but also contain helpless emotions; "The magpie calls for Annunciation, and says I will wait for you next day." Taking the Magpie Branch Annunciation as a specific matter, expressing the inner ecstasy of the heart to the lover's coming back. The first half of these lyrics adopts the method of "comparing and enjoying" to describe natural scenes in natural language. The main purpose of the lyrics is to express the meaning of the second half of the lyrics. The spiritual distance between the audience and the vocalist causes a deeper emotional resonance. The lyric structure of Errentai's "Zouxikou" is more complicated than the general "Zouxikou" folk songs, and there are many paragraphs, but the lyrics are also more inclined to be spoken. This is to reflect the typical personality of the song characters through the simplicity and nature of the language: Brother, you go to the west exit, Little sister is really hard to stay, Embrace the hair box, Comb your brother's hair. When my brother chose to leave home to make a living, my sister must have a deep feeling of reluctance. It is inevitable to ask and explain before leaving. At the same time, there will be specific behaviors that show this attachment to parting, "comb the hair" once It is even more difficult for people to understand, but it truly reproduces the era of Xikou. Because the two-person platform "Zouxikou" was born in the Qing Dynasty, all men in the Qing Dynasty had braids, so the lyrics of "Zouxikou" will start from the action of the wife combing her husband's hair, until the clothing, food, housing, and behavior are not detailed. Asked and explained, and the lyrics of this specific period have been circulating to this day. When it came to the last moment, the wife still sang the most uneasy things in her heart, such as: Brother Xikou lay an eye on, don't be greedy for "bonus", I am afraid you have changed, Forget the sister's kindness. Rich are friends, Looking at the moneyless, It ’s not as good as my little sister, Long days and long. She exhorted her husband not to get in touch with flowers and make friends with carelessness. These are the simplest language, but through the bit by bit, the image of this simple and tender, gentle and delicate rural woman is cleverly sketched. This is extremely delicate. Portrayal of the heart. When Taichun "walked out two and a half miles and turned around to look at it", "looking at Little Sister Yulian, she was still standing on the room." The sincere and plain thick lines outlined the characters as if they were right in front of them, but they were also presented to the audience. Leave unlimited imagination.

19 1.4.2 The naive beauty of the lyrics

Normally, we think that the beauty of naive innocence only exists in children's literature, children's paintings and other works of art with special age marks. However, after deeply understanding the folk song "Go West", I can deeply feel the naivety and innocence. Naive and naive beauty refers to naive, simple, fresh, elegant, unengraved, unpretentious, it shows a simple, primitive, contrary to common sense, but extremely thorough, unusually clear, unusually unique . The use of double-tone rhyming words was originally a characteristic of children's language, but it is also often seen in the lyrics of "Zou Xikou" folk songs, "When I mention (brother) that my elder brother (dagger) goes west (ah), I can't stop the little sister from crying Egg flow, take (that) to the brother's hand and say that you will go next day (yeah) ", literally it seems that you can't see anything too special, but return these lyrics to the local Perceiving in the language environment is not only rhyming, but also full of fun. In addition, a suffix "Ge" is added in front of these double- tone rhyming words, followed by a suffix "er", which expresses a strong "er" color, such as: "Brother", should actually be read as "Brother" "Child", more vivid, interesting and intimate. Expressing a simple, naive emotion in the folk song "Zouxikou" actually leads us to wander in the artistic realm of returning to the original, to make the expression of emotion more sincere and sincere, and at the same time also to the most simple and simple character of the local people The characteristics are undoubtedly reflected. As in the second sentence, the word "Tear Egg" is very special. Words such as tears, tears, and tears can also express the same meaning, but in contrast, "Tear Egg" is more simple, Natural and childlike, this is to evoke the eternal, pure and noble feelings of human beings in an art form with primitive simplicity and emotional meaning. 1.4.3 The implicit beauty of the lyrics

Ancient Chinese literary critics have incisively expressed the specific characteristics of "implicit beauty", that is, "the illusion sees righteousness, the emotion is beyond words, and the purpose is in a sentence". These all refer to simple, vivid and highly suggestive sketches, which are full of meaning and meaning, and make people sing and imagine. The first essential point of implicit beauty is to be good at grasping the most significant characteristics of objective things and to describe its image as true, accurate and vivid. Dana once said in his book "Philosophy of Art" that the more the characteristics of the work are more common and dominate, the more beautiful the work. This has been mentioned in the previous discussion, "Go West" folk song The lyrics are vivid and infectious. The second characteristic of subtle beauty lies in the "knock-out" of artistic conception. The lyrics of the folk song "Zouxikou" cleverly use the upper and lower sentences to conceive, borrowing the technique of "bi and Xing" to achieve a more subtle lyrical effect. Such as: "It was blowing (where) Dongfeng (who kissed) the water flow (ah) west, saw (where) others (who kissed) remembered (where) you", the bixing in the last verse is actually in the image and In the space of association, a mood of song expression is constructed. If you look at the sentence alone, you ca n’t directly let the audience understand the specific meaning to be expressed. This is "to think about him". Put it together, and then present it in the next sentence, expressing it more vividly and 20 profoundly. The third is to consciously and voluntarily use implied, allegorical, symbolic, reflexive and other expressive means in art creation to enrich the interest of the works. "I heard my brother sing up and warmed up on the cold window sill". Instead of using words like "think", "want to remember", or "worry" to express my thoughts directly in the lyrics, I switched to "hot" and "cold" There is a strong contrast and a profound meaning. Too deep in my thoughts caused such an illusion, vividly depicting the mood change from full joy to loss of sadness.

21 2 Interpretation of folk song WALKING TO THE WEST

2.1. Methodology

(1) Interview method and questionnaire survey method, design questionnaires according to the needs of Chinese folk songs research, conduct interviews with target groups, and further dig deeper into the music resources of folk songs such as "Go West" and the true form of folk singing

Figure 1 Overall research process Choice of research methods. In order to correctly analyze the singing style and artistic characteristics of Zuoxikou folk songs.The main content of the survey is the difference in singing style between the two-person platform GO West and the newly edited historical Beijing opera "Walking to the west". The interviewees were asked to be 18-30 years old, 10 men and 10 women, never heard of GO WEST or Walking to the west, non-music professionals, residents from Northwest China. Data collection. The survey was conducted in 2020. (The theoretical part is prepared from October to January, and interviews are conducted in two months). Each interviewee was interviewed and kept confidential. Before the interview, the study was briefly and clearly explained, and the purpose and intent of the study were explained. Interview participants are guaranteed to attend the interview anonymously. The duration of each interview is different, with an average duration of approximately 30Minutes. Data analysis. Process the research data obtained through content analysis methods (using quotation marks to describe and explain the respondents' thoughts). To reveal various teaching psychological support methods (using empirical research, which is a semi-structured interview method). As described by Telešienė (2012), structured interviews are based on a plan to identify specific issues and their consistent representation. In structured interviews, the questions asked to the study participants did not have any prior or expected answers, giving them the freedom to formulate their own answers. Research instruments. Interview questions are formulated in a consistent and targeted manner to answer research questions. During the interview, ten questions were asked to the interviewees (see Table 1), The interviewee here mainly tells about his theme, main thoughts, and his knowledge and views on Chinese folk songs 22 (2) Document data method, the author has collected and studied a lot of documents related to "Zou Xikou", and has a clearer understanding of the historical origin and style types of Zou Xikou, and formed the basic framework of the paper on this basis And context. Table 1Questions listed in the questionnaire 1. Your age 2.How do you understand, what is folk song? 3.What folk songs does mean to you? 4.Have you ever heard this song before? If yes, when? On what occasion? If yes, what is your opinion about this song? 5. What does it mean to you? 6.How do you understand the theme? What is it about? 7.May you explain the main idea? 8.What memories does it shows you? Maybe your personal or your countries? 9.What feelings do you feel? 10. On what occasion nowadays it could be sing? The ancient northwest China ’s westward walk culture has influenced people throughout the ages and has had a profound impact on the spiritual comfort of the local entertainment life. This article has conducted a questionnaire survey on the understanding and emotional understanding of the people in the northwestern region about the westward walk. Special investigation and analysis, and from the perspective of being as close as possible to real life and people's feelings, multi- dimensional interpretation and processing of Xixikou folk songs, the questionnaire takes the perspective of folk customs as the research entry point, as far as possible the art of folk songs in different times Expression conducts in-depth research from multiple angles to distinguish the difference and connection between two folk songs of different eras, its artistic expression, its cultural bearing capacity, and its artistic tension with the characteristics of the times. This article starts with the research background of the national song "Zou Xikou", then analyzes the evolution of different versions of "Zou Xikou", and finally analyzes the artistic characteristics and singing treatment of "Zou Xikou".

㔠㔠 Survey In order to better study Chinese folk songs, this article conducted this comparative survey. The main content of the survey is the difference in singing style between the duo "GO West" and the newly edited historical Peking Opera "Walking Western". The respondents were required to be between 18-30 years old, 10 men and 10 women, they had never heard of GO WEST or walked west, non-music professionals, residents from northwest. 1. Your age

23 Figure2.1- The age distribution of the surveyed in GO WEST The people surveyed in GO WEST are between 18-30 years old, 80% of the respondents are 18-22 years old, and 20% of the respondents are 27-30 years old.

Figure2.2- The age distribution of the surveyed in Walking to the West Folk Songs About Walking to the West Folk Songs This survey is between 18-30 years old, 60% of respondents are 18-22 years old, 30% of respondents are 23-26 years old, 10% of respondents Is 27- 30 years old. 2.How do you understand, what is folk song? In GO WEST, 30% of people think that song people in mountain sing; 40% think of Historical old Quintessence; 30% think of Traditional and minority. It can be seen from this that folk songs give others the impression that they have a long history and culture, which generally occurs between mountains and villages. In Walking to the West, 20% of people think song people in mountain sing; 60% think of Historical old Quintessence. Walking to the West is more able to show

24 the sense of history. 3.What folk songs does mean to you? 30% of people in GO WEST believe that folk songs are a childhood memory for him; 50% think that folk songs are classics that cannot be copied; 20% think that folk songs are a historical culture with national characteristics. It can be drawn from the above that folk songs have the characteristics of recording cultural history, and have the characteristics of nationality and non- copyability. 4.Have you ever heard this song before? If yes, when? On what occasion? If yes, what is your opinion about this song? 50% of people in GO WEST have not heard of GO WEST before, mainly from relatives and friends around them, which shows that the domestic people's understanding of the folk song GO WEST is only on the surface consciousness, and there is no in-depth Contact and understanding. 30% of the people in Walking to the West have heard this folk song and their popularity is low. 5. What does it mean to you? 30% of people in GO WEST think it feels the same as other folk songs, 70% think Er Ren Tai playlet-GO WEST has unique artistic charm and should be cherished and inherited. 30% of Walking to the West said it was easier to resonate with emotions, 50% said it was an innovation of folk art, and 20% thought it was more acceptable. 6.How do you understand the theme? What is it about? 20% of people felt the tragic days when they had to go out because of forced livelihoods in the times described by the folk songs of Xikou. 30% felt the pain of separation between husband and wife and couples, and 50% felt this was A record of people of an era, recording the historical characteristics and national emotions of that era 7.May you explain the main idea? Here is a unified analysis: 40% of people in GO WEST think that the theme of this folk song is about leaving their lovers; 20% think that this folk song tells about running away for survival And work hard to portray the Quartet; 40% of people think that this folk song depicts the glorious historical portrayal of the people of Shanxi in a specific historical period. According to the above answers, it can be seen that in the impression of locals, the degree of understanding of this folk song is relatively deep. Walking to the West mainly highlights that local people have to leave their wives to go out to work in order to survive, showing their home country feelings, which is more contagious. 8.What memories does it shows you? Maybe your personal or your countries? In GO WEST, 40% of people think of the scene when they and their lovers parted; Walking to the West50% of people think of the tragic experience in China's special era, and 50% of people

25 think of the love and farewell between lovers. Walking to the West is relatively more historical in color. 9.What feelings do you feel? 60% of people in GO WEST feel very sad; 30% feel sad but full of hope; 10% feel more exposed to traditional folk songs. In Walking to the West, 60% felt strong patriotic emotions, 30% felt sad but full of hope, and 10% felt the melody was very moving. 10. On what occasion nowadays it could be sing? 30% of GO WEST mentioned that they would hear such folk songs at the Spring Festival Gala, 60% thought they could hear such folk songs in drama TV shows; 10% said they heard such folk songs in theaters folk song. Walking to the West appears more frequently in large-scale concerts and Peking Opera theaters, with a strong sense of modernity. In general, Walking to the West has a stronger emotional color than GO WEST in the form of expression. It often appears in modern concerts. Large-scale opera and dance dramas incorporate the color of Walking to the West and are more modern. The GO WEST mainly spreads among the folks in the northwest region, and through people's oral communication, it has a more sense of the times and has a deep history. Folk songs are the inheritance culture that every country has. And in China, wherever you go is the catchy folk song "Zou Xikou", which can be said to be a representative. Going to Xikou, although there are only three words, it has turned into a cultural symbol, spawning a historical legend of nearly three hundred years, and creating a famous immigration history. In Chinese traditional culture, there are too many things that need to be inherited, but on the large land in the northwest, "Zou Xikou" is its important cultural inheritance. Among people's ideas, the source of this folk song has also been controversial. Some people think that at first it was mainly a small song that was circulated in the central region, and it was well-known that it sang more people. But this is also the view of a few people. As for where the West Exit comes from, no one knows. So, over time, from before to now, the word Zuoxikou slowly blended into our lives. There is a proverb in the folks "The endless west mouth, the endless cherry". For more than 100 years, the artistic treasures of the two-person troupe "Zouxikou" have been active on the stage of the drama. Deeply loved by the majority of listeners in and around Inner Mongolia.

26 2.3. Reflection

After collecting the various questionnaires sent, and conducting in-depth research and analysis, the above questionnaire data are summarized as follows: First, the folk song of Xikou has a good mass base in northwestern China, making this time The results of the survey can more objectively and accurately show the music life of the people in Northwest China. Secondly, a survey and analysis of the current state of retention of folk songs in northwestern China has been made through the summary of personal information such as the age of different interviewees. Although the current masses have a better sense to appreciate and protect folk songs, The level of understanding of Xikou folk songs is still relatively shallow, and there is no professional understanding. After careful research, the original "Zouxikou", which was popular among people, was mainly in northern Shaanxi. Because of the continuous spread of the people, this folk song gradually became popular, and then it will be fixed with the change of region Change its tune in degree. But no matter how it changes, its tune is still very emotional, and it can bring people into it. There are some problems in the process of this survey. The first is that the selected respondents should have a certain representativeness. The main target of the survey is a specific area and a specific age group. Then, because this questionnaire is mainly subjective, it is mainly to interview the respondents about their subjective feelings about the duo's walk to Xikou and the Peking Opera to Xikou folk songs. The respondent needs a certain amount of effort to complete the questionnaire. The survey is relatively difficult, and it is difficult to compare the two people's walk to the west entrance and the precise and fine walk to the west entrance .

27 3 Conslusions （1）The definition of folk song in China Folk song is one of the earliest language arts in human history. In our country, folk songs are like our country's national treasures, showing our unique cultural spirit and unique in the world of singing. Folk song is an important genre of vocal music. It is produced in the lives and labor practices of people in various countries and nationalities. In the process of spread, folk songs have become the perfect and highly viable music art after the refinement and development of countless generations. works. Folk songs are characterized by vivid images and simple feelings, which can profoundly reflect the people's thoughts and wishes. Folk songs are influenced by life, language and style in different places. Therefore, folk songs of various countries and ethnic groups have different national characteristics. They convey the thoughts that the singer wants to convey with simple and simple language. Some folk songs can’t even find their songwriters. They only know where a certain group of people originally composed and sang a certain folk song. The songwriters are generally not famous composers, but ordinary people. And it is precisely because of this that the folk songs are closer to life and reflect life. It can’t help but remind people of the music and dance of the primitive people at the beginning of the chaos. Those melodies that are easy for people to remember are matched with real life. The language of the country has formed a folk song. （2）how folk song is newly compiled In general, the newly-edited folk song is a new era in which the majority of musicians have made major changes in terms of tune structure, tonality, and space expansion based on the tunes of traditional folk songs known to the public. Spiritual adaptation of folk songs. This type of adapted song generally has certain characters and storylines, and has a strong integrity. Most of the newly- edited folk songs use many creative techniques in the art of drama, and the dramatization is more prominent. In view of the relationship between China's newly-edited folk songs and China's opera, we will do a comprehensive analysis of the characteristics of China's newly-edited folk songs from the following two aspects: the use of art in opera sound and the use of opera panel structure. 1) The use of art in opera sound. China's traditional opera art has a long history and profound accumulation. Xiqu is a traditional national art unique to the Han people in China. There are many types of drama, and there are also various performance methods. It has a history of more than 200 years since its formation, so it looks very mature in all aspects and is loved by most of the elderly and even the younger generation. The vocal art of Chinese opera has strong national characteristics and implication. Many singing techniques and methods of tune are used for reference by the singing of Chinese national vocal music. 2) The use of opera panel structure. Traditional Chinese opera performances are mainly expressed in the form of singing, and the aria is an important part of opera music, so the vocal structure has become the basic structure in drama music, which plays a vital role in the development of drama. Plate style is a rhythm and beat form in the art of opera. The rhythm

28 form also refers to the lower plate form, which is often seen in Kunqu Opera. In a work with a large-scale drama music structure, there are often many different tune board styles. In this interview, we can analyze and sort out the targeted survey questions according to the research needs, and formulate a questionnaire that can reflect the research questions. Secondly, it then conducts multiple exercises on the investigation procedures to standardize the investigation procedures to ensure foolproof. Once again, it is to find respondents who are suitable for this questionnaire survey, persuade them to accept this questionnaire survey, and highlight the difference between Peking Opera ’s West Exit and Errentai ’s West Exit. This is the focus of this survey. In addition to this, it is necessary to improve the process. For those who cannot express their wishes in words, the respondent enters the information objectively on behalf of them to ensure the integrity of the questionnaire. Finally, the questionnaires with missing values and some problems are eliminated accordingly. After the investigation, carefully analyze the data results and make a reasonable summary to restore the subjective feelings of the respondents to the folk songs of Xixikou to the greatest extent, and contact the research questions in this article to make corresponding arguments. China's folk music culture has a long history. After changes in various eras, Chinese folk music has also developed. The Chinese folk song is in a very important position in traditional folk music. With the development of the times, the vocal art form with unique qualities and connotations, such as adapted folk songs, has gradually entered the historical stage. We will use a comparative method to conduct a comprehensive analysis of Chinese folk songs in two categories: sorted folk songs and newly-edited folk songs. Sorting folk songs are mostly used in vocal education and teaching, focusing on the use of health, making the listener sound less harsh, more natural, relatively speaking, with more local characteristics and tune characteristics, making the vocal structure more plump, through the form of saying words Strengthening the effect of expressing emotions, the new compilation Lei Mingge is a music worker. The melody structure of traditional folk songs familiar to the world, the length of folk songs and other aspects are integrated into the characteristics of the times. The new folk songs generally have strong stories and integrity. In the creation, many techniques in the opera are merged, and they are inextricably related to Chinese opera. The singing of Chinese adapted folk songs occupies a very important position in my country's national vocal art. It has a very obvious national character and era character. Chinese adapted folk songs and traditional folk songs are closely related in many ways. The adapted folk songs will more or less see the shadow of the original folk songs, and the local style of the songs is also more prominent, with strong characteristics of the times. In terms of singing, it also borrows from Western singing methods, and has made great progress in vocalization and resonance. At the same time, it also uses some singing methods in the art of opera vocal art, such as biting, spitting, luck,

29 luck, etc., all of which are It has played an important role in the development of China's national vocal music. I believe that with the development of the times, music workers will create more and better vocal works. As singers, we should also improve ourselves in all aspects and make the musical works more vivid and vivid. As teachers, we should constantly Study and pass on the most scientific things to students so that they can develop better.

30 REFERENCES

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