Cultural relationship between rural soundscape and space in Hmong villages in Guizhou

Abstract

The Hmong is one of the oldest ethnic groups in south-western China, and sound plays an important role in their culture. According to the general classification of landscape science, the rural soundscape of Hmong villages is divided into three types: a point soundscape dominated by a single sound source, a line soundscape with a typical Hmong rural village alley space as the sound field interface, and an area soundscape with the Bronze-drum Square, the only open public space of Hmong nationality, as the field. Combined with a sound collection and field test during field investigation, we obtained the characteristics of various rural soundscapes and evaluated the acoustic environment. The results showed that the “point” soundscape of medium- and low-frequency powder shotgun and wooden drum sounds in the unclosed Hmong villages exceed the transmission distance and sound durability. The “line” soundscape utilizes the turning point and envelope of different spaces to increase the acoustic reflection surface and create reverberation, increasing the propagation time and distance of the sound, and emphasizing the directivity of the sound through a long and narrow space. The “surface” soundscape includes the richest medium- and high-frequency-based human voice and music sounds and medium- and low-frequency musical instrument sounds, among others. The values of T30, EDT, and C80 in the sound field, all changed significantly because of the lack of acoustic reflection from the ceiling, through the top opening. Finally, the study reveals the cultural association between rural soundscape and space, which is reflected in the Hmong's “defensive” function and “group” culture. Thus, the Bronze-drum Square sound field does not meet the requirements of the current specification of cultural interpretation, and it is in the participatory Hmong performance mode, centered on drum club group structure.