"Heap Harmony" first spread in the Yarlung Zangbo River Basin, the high terrain west of Shigaze to the whole area of Ali circle dance, and later gradually prevailed in Lhasa. It was the first dance accompanied by six stringed instruments.
On June 7, 2008, the "heap harmony" declared by Lazi County of Tibet Autonomous Region was listed in the second batch of national intangible cultural heritage list with the approval of the State Council. The serial number is 679 III-82.
Heap harmony, that is, singing and dancing in the upper part of Tibet or in the western part of Tibet. The literal translation of "heap" in Tibetan is "upper part" or "western part", and the translation of "harmony" is "song and dance". "Dui" has two meanings: on the one hand, "Dui" is a geographical division name from the early phase, that is, the Tibetan area was previously divided into "upper Ali three rings", "central Wei Zang four wings", "lower Duokang six gangs". And "Dui" is the abbreviation of "upper Ali three rings". It refers to the vast area from northwest of Rikaze region to Ali region in Tibet Autonomous Region. And the Ladakh region of Kashmir under Indian control. On the other hand, because most people live along the valley in the Tibetan plateau, they are accustomed to using the flow direction of the river to identify the orientation. They call the downstream areas "wheat" and the upstream areas "heap", and usually call the fixed date of the upper reaches of the Yarlung Zangbo River, the area around Lazi and the area to the West "heap". The people there are called "heap pa", and the songs and dances of the heap PA people are called "heap harmony". Luo Nianyi: On the Formation of Three Major Music and Dance in Tibet and Guoxie . Art Research Dynamics, No. 6, 1987, P. 5. As far as heap harmony is concerned, the "heap" of the "three rings of upper Ali" is only a general and customary term of geographical division, but does not entirely mean that the whole "three rings of upper Ali" are distributed in a heap of harmony. Some scholars even believe that "there is no such art form in the Ali region" (Note: a lot: On Tibetan heap harmony music art","Dynamics of art research", No. 4, 1987, P. 46). In fact, the "heap" in Dingri, Lazi and the west is the main birthplace of heap harmony.
Following its introduction to Lhasa from Dingri and Lazi, Jigaze enjoyed great popularity from all walks of life, especially from the upper classes and urban residents, and thus flourished constantly. Moreover, "the style of its music and dance has gradually changed, the simple local flavor has decreased, and it has become more beautiful and meticulous" (Note: Editor-in-chief of Tian Liantao: Traditional Music of Chinese Minority Nationalities) 》 , Beijing: Central University for Nationalities Press, 2001, P. 633. Accompaniment instruments also consist of Zanian, Chilin-flute, Beijing Hu, special Qin, dulcimer, Yaka-string bell and other instruments. At the same time, the meaning of the name "heap harmony" has gradually changed, so that people from other places initially referred to folk songs and dances spread from "heap" area as "heap harmony", and later specifically referred to the evolution and development of the original heap harmony in Lhasa and other towns as "heap harmony" or "Lhasa heap harmony", while folk songs and dances in the original birthplace were called "heap harmony", that is, "heap harmony".“ The songs and dances of Duiba people. Although "the relationship between heap harmony and heap harmony is flow and source" (Note: Tian Liantao: Collection of Tibetan Traditional Music , Lhasa: Tibetan People's Publishing House, 1997). However, the spread of Duihun through Lhasa and Shigaze has greatly changed its style and structure, while Duihun still maintains its rough and plain original appearance, full of local flavor.
Form of performance
The composing harmony is mainly the art of singing and dancing, but it can also be a form of singing and dancing only, or even instrumental music with both singing and dancing abandoned. Because of the flexible combination structure principle of stack harmony and the relatively independent pleasure of the two sections of slow board and fast board, the whole structure of stack harmony will also be decomposed and tightened, and the most common one is to omit the slow board part. "Generally speaking, whether or not the Allegro is omitted depends entirely on the atmosphere of the whole performance site. The atmosphere on the scene is warm and emotional. When artists are agitated, they tend to respond at random, omitting the Allegro and playing the lively Allegro music directly from the interval" (Note: Gengdui Peijie: History of Tibetan Music, Lhasa: Tibetan People's Publishing House, 2003). Years, P. 163. In addition, sometimes different stack harmonics can even be combined to perform a stack of harmonic slow boards followed by another stack of harmonic fast boards, which shows that the structure of stack harmonic not only has obvious combination and synthesis (Note: Ibid., P. 161). And with collage features. As the choreography part is the most expressive part of the choreography, and the most enthusiastic and popular part of the majority of the audience, nearly half of the choreography has only the Allegro and there is no fixed prelude and the slow choreography part. In this case, the original interlude is usually used as the current play to enter the active Allegro directly, while the fixed afterplay is regarded as another landmark paragraph with genre significance and almost no omission.
The first is: Prelude (Fixed) - Song and Dance (Change) - Interlude (Fixed) - Song and Dance (Change) - Post (Fixed)
The second is: Interlude (Fixed, at this time act as a prelude to the Allegro paragraph) - Singing and Dancing (Change) - Post-play (Fixed)
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