Kouxian, a Regional Musical Instrument of Qiang Ethnic Minority in China, from the Perspective of Oral History
Meijia LI1, Qiang ZHANG2* 1 Chengdu University 2 China-asean Art College, Chengdu University
Abstract: Qiang,one of the oldest nationalities in China, live among the mountains in Northwest Sichuan. Qiang people hold the unique folk costoms, even some of them still retain primitive religious beliefs. Kouxian, as a representative instrument of the original Qiang music, is popular among people there. Kouxian originated from ancient Chinese reed, with different kinds, shapes and expression characteristics. Kouxian, which is spread in the Qiang people’s settlement in Sichuan, is not only a symbol of Qiang music culture, but also a form of entertainment in which people are emotional. In the form of oral records, the writer went to Aba Tibetan and Qiang Autonomous Prefecture in Sichuan and had an interview with the local Kouxian art inheritor on July 19, 2019. This article explores the artistic and cultural value of Kouxian music as well as its social and gender value. Keywords: Kouxian; Qiang music; Oral history
DOI: 10.47297/wspciWSP2516-252715.20200408
iang is one of the oldest ethnic groups in China, and its local national music is Qthe concentrated embodiment of the national spiritual culture, local customs and aesthetic taste. The Qiang people call themselves “[əɻm̩a]” and “[əɻm̩aɪ]”, which are mainly distributed in the high mountain canyon area of northwest Sichuan, namely Beichuan, Songpan, Heishui, Lixian County and Mao County in
About the author: Meijia LI (1999), Han Nationality, major in music performance at the School of Music and Dance, Chengdu University. Corresponding author and Tutor: Qiang ZHANG (1985-03), Han Nationality, Profes- sional title: Associate professor, School of Music and Dance, China-asean Art College, Chengdu University. Research direction: Ethnic Instrumental music, ethnic music. Funded project: Qiang Science Research Center, sichuan Key Research base of Philoso- phy and Social Science “Research on The Characteristic Music of Villages in Qiang Dis- trict since the “5.12” Wenchuan Earthquake”(2020PTJS08004). Chengdu University “Kechuang Cup” College Students Extracurricular Academic Science and Technology Works Project.
134 Kouxian, a Regional Musical Instrument of Qiang Ethnic Minority in China, from the Perspective of Oral History
Sichuan. Qiang people mostly live in mountainous areas, so they are affectionately called “cloud people”. It has a long history, dating back to the pre-Qin period. Qiang people have their own language, that is, the Qiang branch of the Han-Tibetan language family, but they do not have their own script and have long used Chinese. From the perspective of today’s ethnic ties, the southwestern ethnic minority and the Qiang people inextricably have inextricable ties, and occupy an important position among the Qiang ethnic minorities in China.[1] Intangible cultural heritage is the memory of human life, the spiritual source of human creativity, and an important symbol of a nation. It carries the code of cultural life of a nation and collective. Kouxian is an ancient folk instrument and one of the smallest national musical instruments in China. It has been popular in some ethnic minority areas in China, more than 20 ethnic groups have Kouxian, and different ethnic groups have their own unique names. The harmonica is popular in Songpan County, Aba Tibetan and Qiang Autonomous Prefecture, Sichuan Province. With its small appearance, unique tone and rich emotional expression, it is widely popular in the area. It carries the long history and music creativity of the Qiang people, truly reproduces the production, lifestyle and folk customs of the Qiang people, and is a wonderful work of Qiang folk music culture. The Qiang people can sing and dance well. In addition to communicating in language in their production and life, music is also an important tool for emotional and information exchange.Many Qiang artists in Songpan can imitate language by combining speech with play through this instrumental tune. Kouxian are an ideal tool for expressing feelings between Qiang men and women. Its tone is like whispers, playing music with emotion. Through it, it can determine the place and date of the meeting, so that men and women can understand the meaning, and it is difficult for others to understand. In addition to playing the melody that expresses love, Kouxian can also play content that reflects productive life, including various minor tunes and folk songs, and some improvisational poems can also be played through Kouxian. About the ancestral deeds of the Qiang people, village history and some ancient legends are the themes and contents of Kouxian.[2] In many Qiang local dances, Kouxian are used as accompaniment instruments, and in some dance performances, Kouxian are also played with other instruments, showing a special musical flavor. Kouxian have their unique scales, and the harmonica of different ethnic minorities in China has certain differences in their specific forms. Although there are still some single-chip Kouxian, the world is more concerned about multiple opening Kouxian. At present, the current research generally pays attention to the relationship between the scale and rhythm of multiple Kouxian, and there is less research on single-chip orificial strings, especially ignoring the important role of its high-order harmonics in scales. Kouxian have very weak overtones and strong bass volume, and the higher the waves become, the weaker it is that it is difficult for people to hear them without oral resonance, even if some
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overtones resonate through their mouths. It’s hard to hear if the audience and the performer are far away. Therefore, the young men and women of SongpanQiang can express their feelings through Kouxian and feelings only in a tryst between two and two. Although Kouxian have only unheard overtones, these overtones play a very important role in performance. If the listener doesn’t pay attention to it, when he first hears the Kouxian playing, there is an illusion that the main theme will be regarded as the basic sound of each string, thus ignoring the melodious and slender melody composed of overtones. [3]At the same time, the volume of the Kouxian is relatively small, and it needs to be closer when listening. In Songpan, Kouxian are a representative of beauty. Locals think that Kouxian can speak, and most of the beautiful things in daily life are closely related to it. Mouth strings can convey language information, so people who hear them for the first time often feel mysterious, but some people think it is exaggerated. Mouths made of bamboo can tell stories one by one, which can make people cry. Countless couples were married because of their singing whispers. Why on earth is this? The answer may be similar to that of the African drum, and many foreign scholars regard Kouxian as a signaling tool. African drums, as a signal delivery tool, are mainly combined into different language signals through changes in the strength and rhythm of drums. Essentially, it is a pre-agreed password. In the same gathering place, drums from different families and villages have a variety of signal semantics. Through the analysis of ethnic minority chords such as the Qiang people, it can be found that the main reason why Kouxian have become a very unique speech function is that the pronunciation of Kouxian is very unique. Not only do there are many stable pitch overtones, but also, when playing general sounds of different pitches, they can also produce more protrusion in the transition process. The sliding effect. Second, there are many phonetic tones in the Southwest language, and it is by simulating these tones that Kouxian can easily form a certain speech function. Because the bass is similar to the human voice, this small instrument has the dual functions of music and semantics. It not only allows people to amuse themselves, express their emotions, relieve sadness, but also convey emotions between people. So in daily life, in addition to communicating and conveying information in words, the second most important way is to use music to spread emotions and express ideas.[4] Kouxian are deeply loved by local women. Most women in the village have Kouxian, and they also blow Kouxian. It can be said that Kouxian are an important way for local women to entertain themselves. Mouth strings are also widely welcomed by men, women and children. Oralists are sometimes invited to perform during weddings and funerals, grand festivals and harvests in local villages. Kouxian performances include solo and ensembles, young men’s and women’s love songs, heroic hymns, etc. It’s simple in shape, but the tone is simple and soft, among which the bass is similar to human voice. Kouxian do not have high notes, but skilled players can also express more scales through staggered rhythms
136 Kouxian, a Regional Musical Instrument of Qiang Ethnic Minority in China, from the Perspective of Oral History and play charming melody. Therefore, the Kouxian occupies a unique position in Songpan’s folk music. As a way of borrowing sounds, Kouxian are like another language of the Qiang people. As long as you think about it, you can express it through Kouxian. Kouxian have the characteristic of singing between words and lines, which can well express the implicit feelings in people’s hearts. Qiang young men and women often use it to exchange ideas and express their feelings when they are in love, and they can understand each other’s feelings without saying a word.
An Interview of Kouxian
[Introduction to Orator] Rosta: Mrs. Nangamu, the inheritor of the intangible cultural heritage of the Qiang Multi-Sound Department. Pick and write: Zhang Qiang Text arrangement: Li Meijia Time: July 19, 2019 Venue: Nangamu’s home. Xiaoxiang, Aba Tibetan and Qiang Autonomous Prefecture
Zhang Qiang (hereinafter referred to as Zhang): Hello, Mrs. Luo, I came to your house yesterday to interview Mr. Nangamu. You happen to be absent. Hear him that you can play the kouxian, and you are the teacher who can play the most songs in the stockade now. So I want to give you an interview today. First of all, I want to ask when did you start playing this kouxian? Rosta (hereinafter referred to as Luo): When I was a child, I listened to my mother pulling this kouxian when I was a little doll. I thought it was nice. Every time I looked next to her and listened, I thought, how to make a different sound, I thought it would change. Ask my mother later, how did this string pull? How does
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the mouth move? My mother is going to teach me. Zhang: Can you ask Mrs. Luo to tell us how to play the kouxian? Luo: In fact, this can’t be said clearly. That is, you have to practice more and try more. A lot of sounds are tried, that is, your mouth needs to change and use your throat to top. When you pull this hand, you have to use skillful force to try. It’s hard to pull it at the beginning. You can’t pull with brute force. Do you know what this rope is made of? I used our local hemp rope, which was very strong. I remember that I couldn’t play it hard at the beginning. Later, even the hemp rope was torn off by me. My mother also scolded me that I could pull a good hemp rope. Later, she told me how to use force, how to put the finger, how to put the finger around the rope, how to hook it. For example, this middle finger is very important. We must put it in the position of this joint, otherwise it won’t work hard. Later, I took a look at this and tried it slowly. After that, I ripped it. After that, I began to find the sound, find the sound of those songs played by my mother, one by one, and then slowly to pull a complete song. Zhang: So which songs do we mainly have? What’s the name of the song in total? What’s the name of that song on the stage yesterday? Luo: That song is “[iɥɛlɤpopən]”, which talks about the autumn harvest. We celebrate the harvest. “[iɥɛlɤpo]” is to pile up those long poles. Zhang: Ah, that is, when they harvest in autumn, they can pile up the straw. “[iɥɛlɤkan]” is the wheat stalk. Does it mean? Luo: “[iɥɛlɤkan]”is not, “[iɥɛlɤkan]” is a boat pole. That’s what the boat means. that’s all. (fining at the wood and straw next to the door). “[iɥɛlɤ]” is the pole, “[iɥɛlɤpo]”, “[po]” is all together. “[iɥɛlɤ]” is this wood, “[po]” is piled together. We can play this when we have a good harvest. Zhang: Oh! Can you sing this tune with your mouth when you play this song, Can you sing this tune? Luo:“[kʊŋa][kʊŋa][kʊŋa][kʊŋa][kʊŋ]”,“[kʊŋa][kana][kʊŋ]”,“[kʊŋa][kʊŋa] [kʊŋa][kʊŋakʊŋ]”,“[kʊŋa][kʊŋ]”,“[kʊŋa]”,“[kʊŋ][kana]”,“[kana][kʊŋa][kʊŋa]”. Zhang: Did your mother teach you singing first when you were studying? Then slowly sing and adjust according to this, right? Use the tongue root. Luo: Yes! This is the root of the tongue. This is the middle of the tongue. Sometimes the mouth shape is slightly open and closed a little like this, forming such a wonderful sound. It’s the wisdom of the Chinese people. Zhang: Yes. My body is a resonance, which is conveyed through musical instruments. Our national music is amazing. Luo: Yeah, you use the tune you think or the voice you think, I control it
138 Kouxian, a Regional Musical Instrument of Qiang Ethnic Minority in China, from the Perspective of Oral History myself, and you command it yourself. It’s just like that. it can think about it by yourself. (In the demonstration) Zhang: The shape of the mouth and mouth still needs to change. There is a change in the shape of the mouth, a change in the tongue and the root of the tongue. Our first song is to celebrate the harvest. What’s the name of the second song, please? How to say it in the local language? Luo: The second one is the conversation between the daughter-in-law and mother-in-law. You can understand this casually. Good words can be understood. Bad words can also be understood. The two are to the same tune, and there is no high or low. There is no change in pitch or tune, which is exactly the same, but the meaning of good or bad can be expressed, which is a dialogue between mother- in-law. Some people are very harmonious and quarrelsome, but whoever quarrels is still talking to you about this string, hehe, has been quarreling in the mouth for a long time, but it’s not necessarily that many times the relationship between two people will be expressed by pulling strings. This song is named “[aɪit͡ɕjoʊt͡su]” in Tibetan, or “[t͡ʂuat͡ʂua]”. “[aɪit͡ɕ]” is a word, “[tʰoʊkwo]” is a conversation between two people. “[aɪit͡ɕjoʊt͡su]” is daughter-in-law and mother-in-law, “[aɪi]” is mother- in-law, “[t͡ɕjoʊt͡su]” is daughter-in-law, and “[tʰoʊkwo]” is dialogue. “[t͡ʂuat͡ʂua]” and “[kwot͡ʂua]” are “[aɪit͡ɕjoʊt͡su]”, which all express the same meaning anyway. There are both good or bad relationships, both of which may be quarrels or good relationships. Anyway, it’s used for an exchange between mother-in-law and daughter-in-law. Zhang: Yeah! Good! Please play this song. (In the demonstration) Luo: Ah, use the tongue root, and raise the tongue root a little bit. This is louder. Use the root of the tongue, that is, to put the tongue up when talking, and the tongue root is pointed up at the same time. The bass is to press down a little. In short, it is necessary to use the tongue root. The tongue root is the commander- in-chief. His role is very large, but it is also the most difficult to control. This has a lot to do with our childhood speech. We are used to talking like this, so we need to control and grasp it better, but for you. It’s difficult to find that position. You can try again. Zhang: It sounds good. this seems to have two voices, doesn’t it? One sounds like “dink” and the other sounds like “dang”. Oh! How did it blow out? One mouth can make two sounds. the loud part is made of the tongue. It’s awesome. it’s all blowing out two voices. Luo: That’s your own command. I’ll play it again. take a closer look. The whisper is usually blown in it, look carefully. The loud noise you say is that the
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middle of the tongue is playing, and the whisper is blowing behind the root of the tongue. Listen carefully (in demonstration performance), this is what the tongue roots are together here. Here, here, look, this position makes sense. you can feel it with your hand here. To relax here and get angry from below is to feel like you’re talking. Will it move here? That’s the feeling. Then it makes sense for you to touch this position, and the loudest voice is also on top of here. This is to plug a little on it with your tongue. That’s loud. This can’t be clearly said at once. Look how long I’ve learned, ha ha. Zhang: With your tongue or the tip of your tongue? Luo: Ah, use the tongue root, and raise the tongue root a little bit. This is louder. Use the root of the tongue, that is, to put the tongue up when talking, and the tongue root is pointed up at the same time. The bass is to press down a little. In short, it is necessary to use the tongue root. The tongue root is the commander- in-chief. His role is very large, but it is also the most difficult to control. This has a lot to do with our childhood speech. We are used to talking like this, so we need to control and grasp it better, but for you. It’s difficult to find that position. You can try again. Zhang: But the bass is blown at the same time. How can the tongue root be controlled at the same time? How can your daughter-in-law’s song come out just now? it’s awesome. Can you explain it to us in more detail? Luo: Anyway, you’re a little bass. Then it’s all right. It’s not against it. You follow my just pronunciation (in the interviewer’s imitation). You look at you first. Don’t try. You touch my position and follow me. If you keep trying. If it’s too loud, the sound won’t come out. Raise a little to the tenor. oh, the sound you just came out is so interesting. The tongue root is bass here, and then the position where the tongue root is higher is high. Zhang: Is it the two parts that emit both bass and trebles at the same time, and then adjust through the mouth? Or do we also need to adjust the mouth shape? Is there any secret to the cooperation between the two? This is so difficult. Isn’t this a bit like Mongolian humley? So your tongue, the tip of your tongue doesn’t curl up? Luo: Well, this, I can’t tell you for a while. Anyway, you have to keep trying. If you find this sound, remember how to find this location? How did this sound come out? The next time you play this song or the sound again, you can find it immediately, won’t you? Slowly, you play much, you can play a lot of notes, and the music will also be. But if you say these two voices come out together, I guess few people can play in this stockade. The tongue is not curly. if it is rolled, it can’t be rolled out. Can’t roll, can’t roll. Zhang: But it’s still necessary to lift the root of the tongue behind a little to form a double mouth form. This part is a bass, and this part is a high note, doesn’t
140 Kouxian, a Regional Musical Instrument of Qiang Ethnic Minority in China, from the Perspective of Oral History this mean? You see (imitation), right? Luo: You learned this in a minute. it’s not easy. Zhang: Few people as powerful as you can play such a bass. It’s hard to blow. I just recognized its bass and treble with my ears. I’ve been unable to touch the change in pitch. I feel that I don’t play those sounds in the middle if I can play it again. Ask Mrs. Luo to play the mother-in-law conversation again. Luo: (In the demonstration) This is two voice parts. I’ll play it to you again, hehe. Zhang: Thank you today, Mrs. Luo. Share so many playing methods and beautiful songs with us.
Works Cited [1] Huang Mingzheng: Research on Multi-Voice Folk Songs of Sichuan Qiang, Nation- al Music, No. 1, 2019. [2] Zhu Ting: The Current Situation of the Protection and Development of Traditional Qiang Folk Songs, Volkswagen Literature and Art, No. 12, 2013. [3] Song Xianbiao and Sun Hongbin: Try to analyze the protection and inheritance mode of Qiang music, Music Exploration, No. 4, 2012. [4] Luo Jiaqi: A Study on the Musical Characteristics and Values of Beichuan Qiang Folk Instruments, Sichuan Drama, No. 5, 2018. [5] Huang Mingzheng: Research on Multi-Voice Folk Songs of Sichuan Qiang, Nation- al Music, No. 1, 2019. [6] Zhu Ting: The Current Situation of the Protection and Development of Traditional Qiang Folk Songs, Volkswagen Literature and Art, No. 12, 2013. [7] Song Xianbiao and Sun Hongbin: Try to analyze the protection and inheritance mode of Qiang music, Music Exploration, No. 4, 2012. [8] Luo Jiaqi: A Study on the Musical Characteristics and Values of Beichuan Qiang Folk Instruments, Sichuan Drama, No. 5, 2018.
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