Likewise, the eighteen tunes are the Pingban, Shangezi, Laoshange (also the South Wind tune), Siniange, Bingzige, Shibamo, Jianjianhua (also the Ancients in December tune), Chuyizhao, Taohuakai, Shangshancaica, Guanziren, Naowujin, Songjinchai, Dahaitang, Kuliniang, Xishoujin, Tiaomaijiu, Taohuaguodu (also the Chengchuange tune) and Xiuxiangbao tune. ![]() The so-called nine airs are the Hailu, Sixian, Raoping, Fenglu, Meixian, Songkou, Guangdong, Guangnan and Guangxi air. Due to this phenomenon, this type of singing can also be referred as the Jiu Qiang Shi Ba Diao ( Chinese: 九腔十八調 pinyin: Jiǔ qiāng shíbā diào lit. For example, the Mei County, a well-known Hakka area in Guangdong Province once had several unique tunes in this region, never to mention about the different tunes in other areas of Guangdong such as Xingning, Wuhua, Dabu, Fengshun, Jieyang, Zijin, Heyuan, Huiyang and others in the north and west of Guangdong. The melody of Hakka hill songs vary from area to area since the Hakka are widely spread in different regions of China and their dialect they speak differs in many respects. However, despite the ban, mountain songs were often sung in secret, carrying a rebellious spirit between the lines, even though outwardly most of the songs were seemingly only about everyday topics such as love and labouring in the fields. The singing was at one point suppressed by an official ban from the government of the Qing Dynasty. It was further influenced by the daily work of the Hakka on the mountainside: mountain singing was a way to socialise with one another and to alleviate the pain of hard work. The long Hakka migration finally ended during the Ming and Qing dynasties, and the Hakka settled in the mountainous area of South Central China between Jiangxi, Guangdong and Fujian provinces. Many different cultures during their migration have influenced these songs, such as the cultures of Wu State and Chu State, as well as the culture of the She peoples and the Yao peoples. Other than its original influence, Hakka hill songs had continually developed during the migration of the Hakka. The tradition, however, most likely originated from Classic of Poetry (The Book of Songs), which influenced Chinese literature for thousands of years. The original composers of Hakka hill songs can be difficult to find out as the songs, being a kind of oral literature, have been widespread and orally passed from generation to generation. The Moiyen ( Meixian) county, home to many Hakkas in Guangdong, hold Hakka hill songs competitions inviting Hakka competitors from all over China to participate. They are popular in Meizhou Prefecture in the northeastern part of Guangdong Province, the western part of Fujian Province, the southern part of Jiangxin Province and the northern part of Taiwan, places where the Hakka live. The challenger will answer the riddle in the form of song of similar melody. The lyrics can also be made to contain riddles, as a game or a more competitive nature. They can be made up impromptu as a means to communicate with others or to express oneself. The melody of Hakka hill songs tend to have higher pitch so the sound can travel farther. ![]() Since Hakka people mostly live in hilly areas, song is used as a better means of communication than spoken words. The songs are also used as a form of communication at a distance. In the past, they are said to have been used as a method of courting between young men and women. ![]() Hakka hill songs vary in theme from love to personal conduct. They are probably one of the better known elements that reflect Hakka culture, regarded by many as the 'pearl of Hakka Literature'. Hakka hill songs ( Chinese: 客家山歌 pinyin: Kèjiā shāngē Hakka: ) are rural songs sung in the Hakka language by the Hakka people.
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