Education Quarterly Reviews
ISSN 2621-5799
Published: 10 February 2023
Knowledge of the Historical and Contemporary Status of Dong Ethnic Group's "Da Ge" Folk Music in Liuzhou, China
Hengbin Wu, Peerapong Sensai, Akapong Phulaiyaw
Mahasarakham University, Thailand
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10.31014/aior.1993.06.01.708
Pages: 295-306
Keywords: Knowledge, Dong Ethnic Group, Da Ge Folk Music, Chinese Folk Music, Liuzhou, China
Abstract
This research uses the qualitative research method, with the objectives of investigating the historical and contemporary status of the Dong ethnic group's "Da Ge" folk music. Using the research conceptual frameworks of Chinese art and music theory and western art and music theory, and the methodology of participant observations, experiments, simulations, questionnaires, and interviews, the three most representative types of "Da Ge" folk music of the Dong ethnic group in Liuzhou, China, selects two key informants. The study's findings are as follows: Many studies on musical score examples have revealed: The mode and scale of Dong “Da Ge” folk music are usually the Chinese national mode, and most of them are "Yu" mode. The melody is usually sung in several parts, usually two. The melody is sung in the high part of a song, and the continuous bass is sung in the low part. In melody, Dong “Da Ge” folk music primarily employs arpeggios and vibrato. The use of eighth and sixteenth notes, as well as dot rhythms that frequently alternate between two and three beats. Most songs have a paragraph structure. Dong ethnicity "Da Ge" music is sung in the most natural way possible, with a light breath.
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