原創：來自原野上的聲音的《哭嫁歌》【精彩音乐】

一個人的影子
無法鋪滿大地，但有些聲音
可以傳得很遠很遠
綿延不絕，生生不息

——原野上的聲音

“原野上的聲音”彜族民間音樂采集計劃於2019年1月發起，一年間團隊兩次深入四川涼山州美姑縣、昭覺縣、布拖縣、甘洛縣的偏遠山村采集彜族民間音樂，兩次共采集民間音樂素材三百余段。

采風結束後，他們將采集到的素材經過後期創作，與現代音樂結合，耗時一年製作出了一張彜族實驗音樂的專輯（融合了電子音樂、雷鬼音樂、民謠、迷幻搖滾等各種風格），並在成都、西昌、北京等地多次演出，收到業內外樂迷一致好評。

這是一個新的時代，民族民間音樂正在消逝，我們應該保留傳統再創新，推動民族民間音樂發展的根本就是要創新，這片原野上的聲音應該用不一樣的方式，讓大家聽見

《哭嫁歌》
曲：民間歌曲改編
詞：赤沙/劉俊麟

歌詞：

山間的布谷鳥在叫了 讓人難過
坡上的馬薇花開了 讓人想家
17歲的姑娘阿支要嫁人
黃昏時 孩子阿支能回來嗎
母親想念阿支時 不能見
阿支在異鄉過得 還好嗎

炊煙慢飛秋風過 花葉落
同望明月升銀河 曾想我
但願永生亮燈火 心肝喲
歲歲年輪帶走我 莫難過

哭嫁歌”是涼山彜族民間歌曲的一種，是涼山彜族婚俗活動中的一個重要環節。他通過纏綿淒楚的歌詞、情濃至深的演唱情緒，賦予抒情韻味的旋律等方面均折射出嫁姑娘出嫁時內心的無奈和苦楚，從中也反映了出嫁姑娘對母親的無比眷戀，從而解析出姑娘在家時母親對自己付出的無私的愛。表露出母愛既是女兒一生相伴的盈盈笑語和漂泊天涯的縷縷思念,更是兒女病榻前的關切焦灼和兒女成長的殷殷期盼。“哭嫁歌”的形成與當時的社會背景有著密不可分的關系。

涼山彜族的“哭嫁歌”是在舊社會的封建製度下應運而生的，其反映了舊社會奴隸製度的不公，在舊社會奴隸主許配製、父母包辦製、固定家族間的聯姻製都是形成哭嫁歌的主要因素，婚姻的不自由使舊社會的女性苦不堪言，哭嫁歌是唱對原生家庭的不舍，也同樣是唱對封建製度的怨恨。

本曲在原曲調的基礎上進行了二度創作，歌詞就彜族舊時婚嫁情況而作，特分了彜語、漢語兩段，節奏節拍做了調整。我們希望能以音樂作為窗口，讓更多的人看到音樂背後的人文、風俗、歷史、文化，我們想不僅是做音樂，更多的是要基於文化去做音樂，不僅是彜族，未來還會是許多許多的民族文化與音樂來跟大家共享，這也是原野上的聲音團隊的理想。

The shadow of a man
It can't spread all over the earth, but some sounds
Can travel far and wide
It will never end, it will never stop

--Voices in the Wilderness

The "Voices in the Wilderness" folk music collection project was launched in January 2019. During the year, the team went twice to remote mountain villages in Meigu, Zhaoge, Butuo and Ganluo counties in Liangshan Prefecture, Sichuan to collect folk music.

After the collection, they combined the collected materials with modern music through post-production and took a year to produce an album of experimental music of the state (combining electronic music, reggae, folk, psychedelic rock and other styles), which was performed many times in Chengdu, Xichang and Beijing and received unanimous praise from music fans outside the industry.

This is a new era, ethnic folk music is dying, we should preserve the tradition and then innovate, the fundamental to promote the development of ethnic folk music is to innovate, the sound of this wilderness should be used in a different way, let everyone hear!

Weeping Marriage Song
Song: Adaptation of folk song
Lyrics: Chisha / Liu Junlin

Lyrics

The cuckoo in the mountains is calling, making people sad
The horse-vegetable flowers on the slope make people homesick
A 17-year-old girl, A Zhi, is getting married
At dusk, will my son A-ji come back?
When my mother misses him, I can't see him.
Is A-ji doing well in a foreign land?

The smoke flies slowly, the autumn wind passes by, and the leaves fall.
The moon rises over the Milky Way, and I am missed.
I wish I could live forever, my heart and soul.
The wheel of the year takes me away, don't be sad

The "Weeping Bride Song" is one of the folk songs of the state of Liangshan, and is an important part of the wedding activities of the state of Liangshan. The song reflects the helplessness and suffering of the married girl's heart when she gets married through the lingering and painful lyrics, the deep emotions of the song, and the lyrical melody, and it also reflects the great fondness of the married girl for her mother, and thus the selfless love of her mother for her at home. It shows that the mother's love is not only the laughter of her daughter's lifelong companionship and her wandering thoughts, but also the anxiety of her daughter's sickbed and her earnest expectation for her growth. The formation of the "Weeping Marriage Song" is inseparably related to the social background of the time.

The "Weeping Marriage Song" of the state of Liangshan was born under the feudal system of the old society, reflecting the injustice of the slave system of the old society. The song is a rejection of the family of origin and also a resentment of the feudal system.

The lyrics of the song are based on the old marriage situation of the state of the state, and are divided into two sections, one in the state of the state of the state and one in the Chinese language, and the rhythm has been adjusted. We hope to use the music as a window to let more people see the humanities, customs, history and culture behind the music, we want not only to make music but also to make music based on culture.