Interpretation and analysis of《Rainy Day》, 《Ta-Pu tunes》, 《First Month Song》, 《Half-Mountain Folk Song》,《If You Ask Me I Will Song》 and dissertation on the image of traditional Hakka women as seen through Hakka Folk songs

Autor: 彭月媛
Rok vydání: 2007
Druh dokumentu: 學位論文 ; thesis
Popis: 95
The term, folk songs, are commonly believed by the scholars are from the Essay of Bamboo-stem in Tang Dynasty as the origin of folk songs. An example is being alone on a boat without a choice in the sunset, hearing the bamboo-stem in mountains by Lee Yi. Because of such an origin, the main form of the folk songs is seven characters in four sentences with characteristics of seven characters in a sentence and four sentences luo ban with clear distinction between level and oblique tones. Singers sing randomly with dialects and common sayings in plain local flavor. Hakka folk songs minors have their unique specialty in traditional performance art and social culture. Traditional Hakka people lived close to mountains after immigrating to Taiwan. They have been engaged in agriculture and lived by the mountains when cultivating the mountains or the lands. Folk songs are from countryside and mountains. They are the music created by early Hakka people in cultivation or during the free time. We can see their description of life and praise of love with happiness, anger, sadness and delight in the folk songs. Loud, sonorous and resonant voices are important in singing folk songs to express the primitive and unrestrained feelings. Singers also focus on the charm of acoustic cavity to match the quality of the language. Folk songs of Hakka people used to merely monotonous cheer or sigh. Later on, they entertained themselves with the songs in tealeaves picking, load carrying and cultivation. Sometimes they encouraged one another when they had physical labor in mountains in greeting melodies. To call their friends or attract the other genders, they sang love songs. Or they would talk to their friends in mountains loudly. The simple rhythmic melodies turned to be complete songs and then gradually the folk songs we have now. Vocal solo and antiphonal singing are the most common in folk songs. The former expresses the moods while the latter is originated from outdoor life. In the wide open fields in mountains, cultivation, transplanting rice seedlings, weeding, and rice cutting, when they saw people working in the fields, Hakka people greeted them in loud songs. They responded in songs, too. From asking names, they chatted or persuaded, scolded or flirted. They sang as having dialogues. There have been nine tones and eighteen accents. The tones refer to a certain vocal music system developed from a particular language with the purpose to perform in dramas. The musical tones origin can be divided into folk songs tones and tealeaves picking tones. Ballads spread everywhere were also used in drama music. Moreover, when singing, performers use a lot of function words as for tone and rhyme transfer in addition to the lyrics on the script. There is no particular norm on this and performers can exert their characteristics. In Hakka community, status of women had been affected by men and the traditional environment. Women have been regarded as subordinates to families and children. Thanks to the diversification of the society and higher education, women are freed from the traditional stereotype. However, besides taking care of the household chores, they need to adapt themselves to the role of career women. As a Hakka woman, I have always experienced the feelings, life, enthusiasm and hope of Hakka women through folk songs. This is very touching. Therefore, the researcher would like to have further analysis on representative Hakka songs, Sky of Falling Water, Dapu Tone, Full Moon Pai, Terrace Song, I Sing upon Your Request, etc to explore the image of traditional Hakka women in the Hakka folk songs. Keyword：The term folk songs、Hakka folk songs、nine tones and eighteen accents.
Databáze: Networked Digital Library of Theses & Dissertations
Externí odkaz: