蒙古族的舞蹈

蒙古族的舞蹈

一是盅碗舞。盅碗舞一般为女性独舞，具有古典舞蹈的风格。舞者头顶瓷碗，手持双盅，在音乐伴奏下，按盅子碰击的节奏，两臂不断地舒展屈收，身体或前进或后退，意在表现蒙古族妇女端庄娴静、柔中有刚的性格气质。舞蹈利用富有蒙古舞风格特点的“软手”、“抖肩”、“碎步”等舞蹈语汇，表现盅碗舞典雅、含蓄的风格。兴安盟民间流传的盅碗舞，舞姿质朴简单，没有严格的规律动作。

二是筷子舞。筷子舞以肩的动作见长，一般由男性表演。舞者右手握筷，不时击打手、腿、肩、脚等部位，有时还击打地面（或台面）。随着腕部的翻转变化，有时肩部活泼地耸动，有时腿部灵活地跳跃，有时转身左前倾，有时转身右前倾。其肩部的动作既有律动感，又具有一种特殊的韵味，融欢快、优美和矫健为一体。动作虽简单，但却以技巧取悦观众，故有一定的表演性质。在兴安盟民间流传的筷子舞，既有男性独舞，也有男女群舞。在表演形式上由单手执筷子发展为双手执筷子，肩部、腰部、腿部的舞蹈语汇也更加丰富。因此舞蹈显得欢快、明朗、新颖，淋漓尽致地表现了蒙古族热情、开朗、剽悍、豪迈的民族个性。

三是安代舞。安代舞于明末清初发祥于科尔沁草原南端的库伦旗。最初是一种用来医病的萨满教舞蹈，含有祈求神灵庇护、祛魔消灾的意思，后来才慢慢演变成为表达欢乐情绪的民族民间舞蹈。传统的安代舞，有准备、发起、高潮、收场几个程序，都由“博”来主持。随着历史的发展和社会的进步，兴安地区带有迷信色彩的安代舞已不复存在，而是把它作为一种民间歌舞传承下来。在科尔沁地区，在逢年过节时、在庆祝丰收的日子里、在喜丧婚嫁和迎宾的宴会上，人们都要跳安代舞。姑娘媳妇挥舞头巾跳，小伙子脱去马靴光着脚丫跳，孩子们做着鬼脸跳……舞蹈动作有甩巾踏步、绕巾踏步、摆巾踏步、拍手叉腰、向前冲跑、翻转跳跃、凌空踢腿、腾空蜷身、左右旋转、甩绸蹲踩、双臂抡绸等等，这些优美潇洒的动作，融稳、准、敏、轻、柔、健、美、韵、情为一体，形成了盛大的狂欢场面，把美和对美的追求推向了极致。

四是查玛。查玛是藏传佛教为了弘扬佛法、传播教义、阻止邪恶诱惑、坚定佛门信念而举办的一种带有庆典性质的艺术活动。历史上，在“殿宇雄壮、比拟佛国”的科尔沁地区乃至内蒙古自治区全境，绝大多数寺院召庙都曾一年一度由喇嘛们表演这种舞蹈。至今，部分召寺依然传承表演这种舞蹈。查玛在蒙古族舞蹈文化中有着举足轻重的地位。

Mongolian dance is a dance Cup Bowl. Cup Bowl General female solo dance, with classical dance styles. Dancers head porcelain bowl, holding a double Cup, under the musical accompaniment, rhythm by Cup child impact the arms constantly flexor stretch your body or move forward or backward, is intended to show personality temperament of Mongolian woman dignified and quiet, with both fortitude. Dance uses rich Mongolia dance style and characteristic of "soft hands", "shaking the shoulders", "mincing" dance vocabulary, Cup bowls dancing style of elegant, implicit. Xingan folklore Cup Bowl dance, dance simple simple, there is no strict rule of action. Second, chopsticks dance. Chopsticks dance shoulder movements known, generally performed by men. Dancers right hand chopsticks, from time to time, beaten on the hands, legs, shoulders, feet and other parts, and sometimes hit the ground (or table). With

the flip of the wrist, shoulder sometimes lively and provocative, sometimes the legs flexible jump, sometimes turned and left leaning, sometimes turning right leaning. Law of action both of their shoulders city, but also has a special charm and into the bright, beautiful and vigorous as one. Action is simple, but to skills to please the audience, there is a certain level of performance. In xinganmeng chopsticks of folklore dances, both male solo, also have a group of men and women. Show form developed into his hands practice by single hand chopsticks chopsticks, shoulders, waist, legs dance vocabulary is richer. Dance looks bright, bright, innovative, full performance of the Mongolian warm, open, swift and fierce, proud national identity. Third-generation dance. Dance in the late Ming and early Qing dynasties faxiang in horqin steppe South tip of Kulunqi. Shamanism dance was initially a medical disease, disaster and the meaning of refuge pray deities, dispel magic, then slowly evolve into folk dance of joy emotion expression. Traditional dances are preparing for, initiating, climax, ended several programs, as the "Bo" to preside over. With the development of history and the progress of society, xingan area dance with superstitions color has ceased to exist, but as a folk song and dance passed down. In the horqin region, in festivals, when they celebrate the harvest days, OGU marriage and welcome dinner, generation dancing people you want to. Girl wife waving scarves jumping lad off riding boot bare feet jumping, kids do the faces at the jump ... ... Dance action has dumped towel step, and around towel step, and pendulum towel step, and clap your hands hips, and forward rushed ran, and flip jumping, and volley kicked legs, and vacated Ninagawa body, and around rotating, and dumped silk squat stepped on, and arms LUN silk and so on, these beautiful chic of action, thaw stability, and associate, and sensitivity, and light, and soft, and health, and beauty, and rhyme, and love for one, formed has Grand of Carnival scenes, to beauty and on beauty of pursuit pushed has extreme. Four are Cha Ma. Cha Ma is to propagate Buddhism, the dissemination of the teachings of Tibetan Buddhism, to prevent evil temptations, a celebration held at the firm beliefs of Buddhism nature and arts activities. Historically, in "the Hall is magnificent, compare to the Buddha States" throughout the horqin region and Inner Mongolia autonomous region, the vast majority of zhaomiao have been annually by the lamas in temples performing this dance. To date, passing on performing this dance part called temple remains. Cha Ma has a pivotal position in the Mongolian dance culture.

歌

目录

1特点2分类3长调4短调5呼麦6潮尔

特点

蒙古族民歌以声音宏大雄厉，曲调高亢悠扬而闻名。其内容非常丰富，有描写爱情和娶亲嫁女的，有赞颂马、草原、山川、河流的，也有歌颂草原英雄人物的等等，这些民歌生动地反映蒙古社会的风土人情。

分类

按照音乐形式分为长调,短调,呼麦,潮尔,民歌,说唱形式的乌力格尔、叙事歌、好来宝等等。

按照音乐内容分为猎歌、牧歌、赞歌、思乡曲、礼俗歌等等。

流传于蒙古族的乐器有马头琴、四胡、胡毕斯、火不思及其他的打击乐器等。长调

主要分布在内蒙古和蒙古国境内，除联合“申遗”外，中蒙两国已经承诺将尽快作出蒙古族长调民歌十年行动计划采取保护措施。

用蒙古语歌唱，字少腔长、高亢悠远、舒缓自由，宜于叙事，又长于抒情，表达了草原儿女独有的深情。长调民歌由马头琴伴奏更具草原文化的韵味。长调一般为上、下各两句歌词，演唱者根据生活积累和对自然的感悟来发挥，演唱的节律各不相同。长调歌词绝大多数内容是描写草原、骏马、骆驼、牛羊、蓝天、白云、江河、湖泊等。

长调因地区不同而风格各异。锡林郭勒草原的长调民歌，声音嘹亮悠长，流行有《小黄马》、《走马》等。呼伦贝尔草原的长调民歌则热情奔放，有《辽阔草原》、《盗马姑娘》等。阿拉善地区的民歌节奏缓慢，流行有《富饶辽阔的阿拉善》、《辞行》等。科尔沁草原的民歌以抒情为主，流行的有《思乡曲》、《威风矫健的马》等。昭乌达草原民歌流行的有《翠玲》、《孟阳》等。

长调民歌在一些长音的演唱上，可以根据演唱者的情绪自由延长，从旋律风格及唱腔上具有辽阔、豪爽、粗犷的草原民歌特色。长调民歌的衬词均以“嗒咿”、“咿哟”、“咿哟”等。高音的衬词一般为开口音或半开口音；中音的衬词较灵活，结尾处的衬词一般是半开口音或闭口音。

短调

短调是最早发展起来的一种民歌体裁。在沃野千里的河套平原。土默川平原及自治区其他农业和半农半牧区的民歌，都是短调民歌。短调民歌也叫爬山调，山曲儿，多用汉语演唱。所以，不仅内蒙古西部地区的蒙古人喜欢唱，汉族和其他民族的人也喜欢唱这种山曲儿。和长调民歌明显不同的是，短调一般是两行，有韵的两句式或四句式，节拍比较固定。歌词简单，但不呆板，其特点在音韵上广泛运用叠字。往往是即兴歌唱，灵活性很强。爱情歌曲在短调民歌中占有极大的比重。如《森吉德玛》、《达古拉》、《小情人》等，深刻地反映了蒙古族男女青年追求自由、幸福的美好愿望。其次，反映蒙古族人民反抗侵略，揭露封建统治阶级的罪恶行径，以及在革命斗争中产生的革命民歌，如《独贵龙》、《引狼入室的李鸿章》、《反日歌》等，都是这类短歌的代表作。

呼麦

“呼麦”是图瓦文xoomei的中文音译，又名“浩林·潮尔”，原义指“喉咙”，即为“喉音”，一种藉由喉咙紧缩而唱出“双声”的泛音咏唱技法。“双声”（biphonic）指一个人在演唱时能同时发出两个高低不同的声音。另外，呼麦又称“蒙古喉音”。呼麦作为一种歌咏方法，目前主要流传于中国内蒙古，南西伯利亚的图瓦、蒙古、阿尔泰和卡开斯（Khakass）等地区。西藏密宗格鲁派

的噶陀（Gyuto）、噶美（Gyume）两寺，也有使用低沉的喉音来唱诵经咒的传承。“呼麦”，又名“浩林·潮尔”，是蒙古族复音唱法潮尔（chor）的高超演唱形式，是一种“喉音”艺术。呼麦是一种古老的歌唱方式，声音从喉底里发出来，悠悠远远地往一个很深很深的隧道里面钻，那个隧道是时间的记忆。据说，呼麦已经有千年历史，而今已是蒙古国宝级的艺术，在全世界独一无二。国家非常重视非物质文化遗产的保护，2006年5月20日，蒙古族呼麦经国务院批准列入第一批国家级非物质文化遗产名录。

潮尔

潮尔是蒙古族多声部音乐概念的总称，泛指两个或两个以上的复音音乐形式。

潮尔音乐中有：弹拔潮尔（突布秀尔）；弓弦潮尔（在科尔沁直接称其为潮尔）；喉音潮尔（又称为呼麦）；潮尔哆（由多人用喉音伴奏，一人演唱的长调歌曲）等形式。

潮尔哆是蒙古民歌的一种，由两部分组成，即几个人演唱低音，一个人唱高音长调歌曲。

内蒙古潮尔协会——

内蒙古潮尔协会由内蒙古文化厅于2008年11月批准组建，内蒙古民政厅备案的为发扬、传承、挖掘、整理内蒙古自治区

潮尔音乐艺术为主要目的的社会团体。

内蒙古潮尔协会会长：布林巴雅尔

副会长：纳呼和

布和那生

格日乐图

秘书长：张劲盛

内蒙古潮尔协会名誉会长：美丽其格

明锐

引布林布林巴雅尔

乌力格尔

乌力格尔，蒙古语意为“说书”，是蒙古族的一种曲艺形式，主要流传于内蒙古自治区及我国东北各省蒙古族聚居区。和草原上的蒙古族群众生活习性一致，这种艺术具有浪漫开阔的气息。它最初的形式和西方中世纪的吟游诗人相似，艺人们身背四弦琴或者潮尔(蒙古马头琴)，在大草原上随风漂泊，四处流浪，追逐蒙古包和王爷贵族们的府邸，一人一琴，自拉自唱，精彩的说唱、长篇的传奇成为草原上最受人们欢迎的艺术形式之一。约形成于明末清初，广泛流传在内蒙古自治区各地及相邻的黑龙江、吉林和辽宁等省蒙古族聚居地区。

乌力格尔作为叙事歌的一种，其曲调简短，结构方整，带有浓厚的说唱性。其演唱形式均为自拉自唱，用四胡或马头琴等乐器伴奏。演唱者也可以根据情节、刻划人物的需要，随时插入评述性的对白。产生和发展于内蒙古东部农业地区。反映的题材主要有歌颂人民起义斗争和英雄人物的，如《嘎达梅林》、《英雄陶克图之歌》等。表现爱情悲剧故事的，如《诺丽格尔玛》、《达那巴拉》等。反对宗教束缚，向往世俗生活的，如《东克尔大喇嘛》、《宝音贺西格大喇嘛》等。好来宝

又称“好力宝”。蒙古族传统的说唱艺术，从口头文学发展而成。流行于内蒙古自治区，相传已有700多年的历史。多在节日、婚礼和喜庆场合演唱。“好力宝”是蒙古语音译，是“联结”的意思。有固定的曲调，演唱形式有单人、双人和多人，但以单人演唱为多。内容一般有思乡、赞马、民间传说、改编的古典章回小说外，还有即景生情，随兴口编的。既可叙事、又可抒情，有赞颂，也有讽刺。曲目长篇短篇均有。唱词为四句为一节，押头韵。或四句一押韵，或两句一押韵，也有几十句唱词一韵到底的情形。伴奏乐器多为马头琴、四胡。曲调豪放、淳朴，有较多的朗诵成分，具有浓厚的草原风味。著名演唱曲目有《燕丹公主》、《富饶的查干湖》、《还是当艺人好》等等之外，还有汉族的历史故事如《王昭君的故事》、《水浒传》和《三国演义》。

猎歌

来源于原始狩猎歌舞，内容大多直接模拟古代猎人们的劳动生活或模仿各种飞禽走兽的动作神态，有时是寓言性的动物叙事歌。代表作有呼伦贝尔盟的民歌《小白兔》、《三百六十只黄羊》等。

牧歌

牧歌以歌唱草原、赞美骏马、赞美生活，充满对自由幸福的向往和追求为其主要内容。牧歌的歌词既善于抒情，又注重写景，情景交融，表现人和大自然的河蟹关系。草原牧歌这一独特民歌体裁及其风格的形成，对蒙古族民歌的各个领域颂歌、宴歌、思乡曲、婚礼歌、情歌乃至器乐曲，均产生了巨大影响。所谓蒙古族音乐的草原风格就是指牧歌风格。牧歌的曲调高亢、嘹亮、宽阔、舒展。节奏悠长、多采用密—疏—更密—疏的节奏。一般情况下，牧歌的上行乐句节奏是悠长徐缓的，而下行乐句则往往采用活跃跳荡的三连音节奏，形成绚丽的华彩乐句。

赞歌

其内容主要是歌颂蒙古族历史上著名的英雄人物，赞美家乡的山川湖泊等。多在那达慕大会或其它集会、庆典等特定场合演唱。如《成吉思汗颂歌》、《辽阔清秀的故乡》、《西辽河颂》等。赞歌的曲调简洁有力，节奏规整鲜明，较少华彩性装饰音。旋律的起伏不如草原牧歌大。演唱形式有独唱、齐唱、重唱和合唱。有些古老的赞歌，还有简单的和声。这样的民间合唱蒙古人称之为“潮尔”，由两名男歌手演唱，男低音唱出粗犷的固定低音，男高音则演唱悠长的曲调。思乡曲

在蒙古族民歌中极为普遍的一种形式，在蒙古人的生活中占有重要地位。在蒙古族享有盛誉的《母子歌》、《阿莱钦伯之歌》等，便是宽阔台汗时期的思乡曲。思乡曲的内容有两类，一类是武士思乡曲，即指从军出征，在外作战的蒙古武士们所唱的怀念故乡的歌曲。如锡林郭勒盟民歌《旷野中的莲松树》。另一种是妇女思乡曲，即远嫁他乡的青年女子所唱的思念故乡亲人之歌。如科尔沁民歌《诺恩吉亚》等。思乡曲的艺术性较高，曲调优美流畅，节奏舒展，结构严谨，调式运用丰富而大胆，转调离调手法很多。

礼俗歌

在特定场合演唱，带有生活风俗性、实用性的民歌，如宴歌、婚礼歌、安魂曲等。宴歌主要演唱于节日集会、招待宾客的饮宴场合。婚礼歌在婚庆上演唱，曲调热烈、欢快。这类歌曲数量大，难度高，风格多样，主人们愿意聘请那些有

名望的歌手在结婚仪式上演唱。安魂曲是在举行葬礼时演唱。曲调悲切哀婉，庄重肃穆。多为齐唱或合唱。摔跤歌是在那达慕大会上举行摔跤比赛时演唱。每当双方摔跤手跳跃出场时，由男高音歌手领唱，其余人以固定低音式的和声予以伴唱。

Song catalog classification 3 long and 4 short 1 features 2 adjustable 5 6 wheat surges, tidal characteristics of Mongolian folk songs to sound ambitious male one, is famous for its tunes and sonorous music. Its content is very rich, describing the love and get married married women, celebrated horses, grassland, mountains, rivers, also celebrating heroes of grasslands, and so on, these folk songs vividly reflect Mongolia social customs. Classification in accordance with the form of music is divided into long, minor, khoomei, wave, folk songs, form wuligeer rap, good narrative songs, treasure, and so on. According to the music content is divided into hunting songs, pastoral, praise, Nostalgia, etiquette and custom songs and so on.

Spread in the Mongolian musical instrument of matouqin, SI Hu, Hu Bisi, fire does not think and other percussion instruments, and so on. Long are mainly located in the territory of Inner Mongolia and Mongolia, with the exception of joint "reasonable exploitati on", the China and Mongolia had undertakes to Mongolian long tune folk songs Decade Plan of action as soon as possible to take protective measures. Mongolia sings the words, words less freedom of cavity length, sonorous, distant, relieve, desirability of the narrative, and longer than the lyrical, expression unique to the sons and daughters of grassland with deep feeling. Long tune folk songs from matouqin accompaniment grassland culture in flavor. Long for the upper and lower two lyrics, singer under the accumulation of life and the natural feeling to play, singing different rhythms. Long lyrics are the vast majority of content is a description of grasslands, horses, camels, cattle and sheep, blue sky, white clouds, rivers, lakes, etc. Long styles according to the region. Xilin GOL grassland long tune folk songs, the sound loud and long, pop the little yellow horses, of the zouma, etc. Hulunbeir grasslands long tune folk songs are passionate, the vast grasslands, the stolen horse, such as the girl. Folk song in ALXA region slow, pop the rich expanse of alashan, such as the Ma Yuzhen,. Horqin steppe dominated by lyrical folk songs, pop the Nostalgia, and the power and prestige of a grueling horse. Zhaowuda grassland folk songs popular in the Chui-ling, of the rocketboy and so on. Long tune folk songs on the prolonged sound of singing, can be extended according to the singer's emotional freedom, from the melodic style and singing has a vast, expansive, rough grassland on characteristics of folk songs. Long tune folk songs are syllables in "da 构词成分。", "构词成分。", "构词成分。" and so on.

High-pitched accent with syllables usually open or semi-open accent; tenor lining words in a more flexible, at the end of syllables are generally semi-open accents or closing tone. Minor minor was the first developed a genre of folk

songs. On the boundary in hetao plain. Half other agricultural and

para-agricultural and pastoral area of tumochuan plain and autonomous region of folk songs, folk songs are minor. Short regulating folk song, also known as mountain climbing and mountain songs, sing in Chinese. So, not only in Western Inner Mongolia Mongolia who likes to sing, Han and other nationalities also likes to sing this song. With long tune folk songs are significantly different, minor is generally two lines, rhyme or two sentences of four sentences, beats hold. Simple lyrics, but not stiff, characterized by widespread application of reiterative locution in phonology. Often extemporaneous singing, flexibility is very strong. Love songs in the folk songs of the minor in the accounts for a significant share. Such as the senjidema and ...