silk road kashgar music store

Jason is also musician who plays guitar and knows nore about western style music and blues music. Uygur music is quite diffrent from chinese and western music but it is the combination of the Western and Eastern music. There are places for you to Xinjiang china silk road music tours especially when you are musician who would llike to know more about UYGUR MUSIC. So to do this tour it is completely diffrent from any travel agnet you can see in Xinjiang . Jason can arrange foryou to Turpan Toxson Coumty where there is almost no any tourist there to enjoy local culture and music. Another famous place is to go to the Kashgar to see the music store and local arttist.

The Music of Xinjiang's National Minorities
The rich and varied music of !~he national minorities of Xinjiang is traceable far back into recorded history. By the time of the Western Hah Dynasty (206 B~C.-A.D. 24), Yutian music had already reached the Chinese capital, Chang'an, while by the Eastern Jin Dynasty (317-420) Qiuci music had spread to the interior of China. By the time of the Southern and Northern Dynasties (420-589), music from Qiuci, Shule, Gaochang, Yutian and Yueban (an ancient Hun nationality living north of the Tianshan Mountains) was popular throughout Central China. Of the few types of music recognized officially under the Tang Dynasty (618-907), three types--Qiuci, Shule and Gaochang--originated in Xinjiang. This music from western China also spread via the Central Plains to Japan and other neighboring countries where it exerted a certain influence on the development of music and dance.

Uygur folk music is held in highest repute in Xinjiang. Claiming inheritance from the traditions of ancient Qiuci, Gaochang, Yizhou, Shule and Yutian music, it preserves rich national characteristics. Because the various regions of Xinjiang were relatively isolated from one another, over a long period of history
Uygur folk music of each region developed its own indigenous traits, forming three markedly different styles of the southern Xinjiang area, eastern Xinjiang area and Daolang area (Dao!ang is the local name for an area that includes Bachu, Markit, Awat and the region between Markit and Shache County). Southern Xinjiang regional music also varies con- siderably from one locality to another: Hotan folksongs, bucolic in flavor, are short and have a primitive simplicity; Kashi folksongs are characterised by complex rhythms and rich modal variation, while Kuqa folksongs are passionate and lively with a distinct dance rhythm that reveals faint traces of the songs and dances of ancient Qiuci. Eastern
Xinjiang regional music includes that of Hami, Turpan and so on. In structure, mode and other aspects, it has many features similar to those of Han and Mongolian folktunes. The folksongs of the Daolang region are bold and unconstrained, preserving the mood of the folksongs beloved of the nomadic herdsmen of Daolang since ancient times. Besides this, there is music characteristic of the Ili region. In the last two hundred years, large numbers of Uygurs from south and east Xinjiang have settled in the area, absorbing the influence of the culture of the various nationalities inhabiting the area and forming a type of Uygur folk music unique to the Ili region. The songs are structurally well-integrated, the scope broad, the melodies drawn out and the mood profound. Many songs are characterised by their narrative
nature. Famous throughout China and abroad is the ancient Uygur "Twelve-Part Mukam," a development of Uygur folk music towards he cyclical form, and a treasure of artistry that perfectly integrates ygur music and dance. Mukam, popular throughout north and outh Xinjiang, includes over 340 ancient narrative songs, suites of narrative folksongs, dance tunes and imprompty

melodies.The distinctive characteristics of Uygur music can be seen in thegreat variety of their ethnic musical instruments. As far back as the

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
   


percussion Sui (58!-618) and Tang (618-907) dynasties, instruments such as he five-stringed pipa, the curved-necked pipa, the konghou (anancient lute with twenty-three strings), and bili (an ancient flute) ere used extensively throughout the Qiuci region and became opular in the Central Plains as the music of the Western Region pread there. Modern Uygur folk instruments developed from these ncient instruments and were also influenced by Chinese and foreign usical instruments. There are dozens of different types of stringed, ind and instruments, the most important being the Dtar, tanbor, yangqin, ejek, rewap (a six-stringed lute), shatar, suona, balaman, bamboo pipe and dap (a hand-drum)i At perform- Dances of Uygur music, one can always hear the soft, clear chords of the dutar and rewap and the lively throbbing of the dap.The Kazaks are also renowned music
lovers, and a common saying holds that "a good horse and a song are the wings of the Kazaks." The modes and musical forms of Kazak folksongs are not complex. Melodies are succinct and sprightly. Songs often have a calling tone, and sometimes they are gracefully melodious and narrative in nature with frequent changes of rhythm. They are usually accompanied by the dombira


(a two-stringed lute), the kobuz and the sibuzgi (a vertical flute with four finger-holes). The music of the Kazaks was born on the beautiful grasslands, and adds luster to pastoral life. Wherever the herds and yurts of the Kazaks are to be found, Kazak songs and lutes will be heard. Each year in late spring, when the work of moving the herds to new pastureland has been completed, the Kazaks hold the aken (folksingers') songfest. Singers and poets gather together from all
over the grasslands to show their talents, and a wealth of new folksongs are born. Kirgiz folksongs are similarly imbued with the flavor of the
grasslands. Tunes and lyrics are mostly created at the aken song fest, then refined before they are popularized across the land. Folksongs are generally either herding songs, narrative songs or songs of local customs. The Kirgiz like to accompany their singing with a three- stringed lute, the komuz,
unique to their nationality. Its rich harmonious chords blend with the sprightly tunes and free rhythms of Kirgiz songs to create a music with its own unique
charm. Songs of the Mongolian nationality of Xinjiang are mostly herding songs with a freely changing beat. Tunes in major keys predominate, supplemented by those in minor keys. Songs in major keys are resonant and melodious with free rhythms and frequently occurring intervals of as much as ten tones. Local characteristics dominate and these songs vary markedly from region to region with no interregional popularization. Songs in minor keys have a fixed metre,
are structurally compact and have smooth flowing melodies. There are no marked differences. Favorite instruments of the Mongolians of Xinjiang are the matouqin, the sihu, the sanxian or three-stringed lute and the topshur.

Since migrating to Xinjiang from northeastern China in the mid-eighteenth century, the Xibe and Daur peoples have preserved the ancient folk music of their own nationalities. The Xibe folksong Song of the Open Countryside (also known as Song of the 'Streets), for example, preserves the herding song calls characteristic of the northern national minorities. Daur folk music is similar to that of the Mongolian nationality, but the melodies and the structure of songs
are of a style unique to the Daur people.The folksongs of the Tajiks
gain their charm from the untram- meled enthusiasm that imbues the music of this mountain people. On'the Pamir plateau, Tajik herdsmen often sing their melodious tunes in chorus to the accompaniment of the nay (a short flute),
hand-drum, and the rewap.

Tatar folksongs are renowned for their relaxed
rhythm and rich lyricism. The widespread use of the accordion, mandolin and guitar as accompanying instruments further enriches the emotional flavor of this nationality's songs. The Tatar folksongs Balamiskin and The White Swan Shakes Its Wings with their skipping, swaying melodies have become popular with young people of all nationalities.Besides these, the Hui, Uzbek and Russian
minorities all have their own rich and beautiful national music that contribute their own' brilliance to the treasury of Chinese arts. Since liberation, traditional music of the national minorities has continued to develop. Folksongs are being arranged, published and widely popularized. New folk- songs reflecting the new era have appeared in large numbers, and many traditional and newly-created songs have become known andappreciated throughout the world. A new generation of composers and singers who have received special musical training have already come to maturity, and they bring new life to the ancient music of Xinjiang's national minorities.