《內(nèi)蒙古大學(xué)藝術(shù)學(xué)院學(xué)報(bào)》2010年第4期目錄
民族藝術(shù)與民間藝術(shù)中的非物質(zhì)文化遺產(chǎn)
……………………………（英）羅伯特·萊頓著，關(guān)祎譯，李修建校（5）
新世紀(jì)新理念：文化作為資源………………………………………………… 劉錫城（16）
流變中的非物質(zhì)文化遺產(chǎn)
——長(zhǎng)白山地域影響下滿族剪紙表現(xiàn)手法的傳承與發(fā)展………………………王 紀(jì)（19）
從古代北方草原游牧文明解讀蒙古刀的形成與發(fā)展……………………吳蘇榮貴(27)
藝術(shù)人類學(xué)視野下的湘西芭排與西蘭卡普……………………………………田 明(33)
花鼓燈舞鞋“襯子”制作的田野調(diào)查…………………………………………劉伽(39)
對(duì)少數(shù)民族工藝美術(shù)研究的幾點(diǎn)看法…………………………………………徐萬(wàn)邦(44)
關(guān)于裝飾藝術(shù)綜合材料實(shí)訓(xùn)課程建設(shè)的思考………………………………李兆斌(50)
西方視野下的泛音歌唱研究………………………………………………………徐欣(54)
論蒙古族烏日汀哆的可塑性與即興性………………………………………格日勒?qǐng)D(69)
演唱蒙古族長(zhǎng)調(diào)的心理空間需求與即興性…………………………………好必斯(72)
蒙古族短調(diào)民歌旋律中的“馬步節(jié)奏”內(nèi)涵…………………………………李世相(76)
蟒古思因·烏力格爾《寶迪嘎拉巴可汗》中的角色類型及其演述禁忌…佟占文(83)
倉(cāng)山大樂(lè)和土門社火鑼鼓的音聲形態(tài)與文化顯現(xiàn)………………田彬華，華明玲(88)
視唱練耳中多元音樂(lè)文化觀念的滲透…………………………………………趙楠(95)
福建沙縣肩膀戲音樂(lè)形態(tài)及其傳承…………………………………………吳碧玲(101)
禮教視野下的古典戲劇生存環(huán)境芻議…………………………………………張帆(109)
李漁戲曲藝術(shù)之舞臺(tái)表演論芻議……………………………………………葛麗英(113)
契丹舞蹈對(duì)中原舞蹈元素的借鑒與融合………………………………………文 華(117)
北方草原地域性特征對(duì)蒙古族舞蹈風(fēng)格的影響……………………………趙小丁(120)
從社會(huì)變革看我國(guó)新聞播音風(fēng)格的演變……………………………………劉鳳至(124)
中國(guó)北方民族文化研究論文索引（1991）…………………………………其其格(128)
本刊2010年總目錄………………………………………………………………………(133)
·補(bǔ)白·………………………………………………………(38)(75)(87)(108)(112)(123)
《內(nèi)蒙古大學(xué)藝術(shù)學(xué)院學(xué)報(bào)》2010年第4期英文目錄
Intangible and Material Heritage in Ethnic Art and Folk Art
(UK) Written by Robert ·Leiden Translated by GUAN Yi Proofread by LI Xiu-jian…………………………………………………………………………………………（5）
The New Century and New Concepts: Culture as Resource………LIU Xi-cheng（16）
Intangible Cultural Heritage in Changes
——The heritage and development of the Manchu paper-cutting performance under the influence of Changbai Mountain region…………………………………WANG Ji（19）
From the interpretation of the ancient Mongolian nomadic civilization northern grasslands of the formation and development tool……………………Usurunggui（27）
Xiangxi Bapai and Xilankapu from the Perspective of Art Anthropology
………………………………………………………………………………TIAN Ming（33）
The Fieldwork of Making of Huagudeng Shoes “Chenzi” …………LIU Jia（39）
Some Views on the Study of Minority Industrial Arts………………XU Wan-bang（44）
On the Construction of the Training Courses of the Composite materials of the Decorative Art………………………………………………………………LI Zhao-bin（50）
Research on Overtone Singing in Western Vision…………………………XU Xin（54）
On the Plasticity And Impromptu Nature of Mongolian Urdinduu……Gereltu（69）
The Psychological Needs and Improvisation of Mongolian Long-tune Singing
………………………………………………………………………………………Hobis（72）
The Connotation of the“Horse- paced”Tune Melody of the Short-tune Mongolian Folk Songs……………………………………………………………………LI Shi-xiang（76）
The Character Types and Performance Narration Taboo in Monster′s Story“Bodibalaga Khan” …………………………………………………TONG Zhan-wen（83）
The Sound Modality and the Cultural Manifestation of the Cangshan Dayue and Tumen Community Fire Gong and Drums…………TIAN Bin-hua HUA Ming-ling（88）
The Penetration of the Concept of Diverse Music Culture in the Solfeggio
…………………………………………………………………………………ZHAO Nan（95）
The Music Forms and Succession of the Shoulder Opera in Shaxian County, Fujian Province………………………………………………………………WU Bi-ling（101）
An Approach the Survival of Classical Drama from the Perspective of Propriety Environment……………………………………………………………………ZHANG Fan（109）
An Approach to Stage Performance of Li Yu′s Opera Art…………GE Liying（113）
The Borrowing and Integration of the Dance Elements of Khitan Dance and the Central Plains……………………………………………………………………WEN Hua(117)
The Influence of the Regional Features of the Northern Steppe on Mongolian Dance Style………………………………………………………………ZHAO Xiao-ding(120)
The Evolution of News Broadcast Style of China from the Perspective of Social Change………………………………………………………………………LIU Feng-zhi(124)
Index of Research papers on Northern China Culture（1991）…………Checheg（128）
Volume lndex for 2010……………………………………………………………………（133）
民族藝術(shù)與民間藝術(shù)中的非物質(zhì)和物質(zhì)遺產(chǎn)
（英國(guó)）羅伯特·萊頓 著 關(guān)祎 譯 李修建 校
（英國(guó)杜倫大學(xué)人類學(xué)系， 英國(guó) TS176BH）
摘 要：非物質(zhì)遺產(chǎn)想要被保存下來(lái)，其理念和價(jià)值觀就必須為觀眾所接受或最好能激發(fā)觀眾的興趣。對(duì)于物質(zhì)遺產(chǎn)來(lái)說(shuō)，藝術(shù)家必須能夠獲得創(chuàng)作所需的物質(zhì)材料。一旦材料的來(lái)源枯竭，藝術(shù)家就不得不停止創(chuàng)作或者另尋他途。遺產(chǎn)的物質(zhì)方面不自覺(jué)地成為了社會(huì)關(guān)系網(wǎng)絡(luò)中的一部分，它們?cè)谄渲斜恢谱鳌⑹褂煤徒粨Q，并且傳統(tǒng)或許需要改變才能被保存下來(lái)。筆者通過(guò)后歐洲殖民時(shí)期澳大利亞邊遠(yuǎn)地區(qū)的原住民藝術(shù)史和同山東工藝美術(shù)學(xué)院合作的關(guān)于20世紀(jì)山東省民間藝術(shù)兩個(gè)個(gè)案的研究來(lái)詳述上述思考。
關(guān)鍵詞：非物質(zhì)遺產(chǎn)；物質(zhì)遺產(chǎn)；保護(hù)；傳承；個(gè)案研究；澳大利亞；中國(guó)山東
Intangible and Material Heritage in Ethnic Art and Folk Art
Written by Robert·Leiden Translated by GUAN Yi Proofread by LI Xiu-jian
(Department of Anthropology, University of Durham, UK TS176BH)
Abstract: If intangible heritage wants to be preserved, its ideas and values must be accepted by the audience or, preferably, can stimulate the audience′s interest. For the material heritage, the artists must be able to obtain materials necessary for creation. Once the source of the material is dried up, the artists have to stop stop their creation or to find another way out. The material of the heritage unconsciously becomes part of the network of social relations, in which they are made, used and exchanged, and may need to change the traditional order to be saved. The author gives a detailed thinking through the two case studies of the 20th Century folk art through the aboriginal art history in the colonial period in Europe of the remote areas of Australia, and co-operation with the Shandong Institute of Arts.
Key words: intangible heritage; material heritage; protection; heritage; case studies; Australia; Shandong, China
新世紀(jì)新理念：文化作為資源
劉錫誠(chéng)
（中國(guó)文聯(lián)理論研究室， 北京 100029）
關(guān)鍵詞：書(shū)評(píng)；費(fèi)孝通；西部人文資源研究叢書(shū)；成果總匯
The New Century and New Concepts: Culture as Resource
LIU Xi-cheng
(CFLAC Theory Research, Beijing, China 100029)
Key words:book review; Fei Xiao-tong; Series of Research on Human Resources of the Western China; achievement confluence
流變中的非物質(zhì)文化遺產(chǎn)
——長(zhǎng)白山地域影響下滿族剪紙表現(xiàn)手法的傳承與發(fā)展
王 紀(jì)
(通化師范學(xué)院美術(shù)系， 吉林 通化市 134002)
摘 要：滿族剪紙傳統(tǒng)表現(xiàn)手法有剪、熏、襯、燒、撕，其中剪的技藝得到了傳承和發(fā)展，由原來(lái)的“插剪”發(fā)展出“掏剪” “連接線” “短線”等方法。這些技法的產(chǎn)生源自民間藝人對(duì)空間表達(dá)的需求，更重要的它是在長(zhǎng)白山地域、材料、滿族剪紙傳統(tǒng)的特定剪技的前提下形成的獨(dú)特表現(xiàn)手法，也成為今天滿族剪紙技藝的識(shí)別系統(tǒng)。
關(guān)鍵詞：滿族剪紙；長(zhǎng)白山地域；材料；剪技；表現(xiàn)手法；傳承；發(fā)展
Intangible Cultural Heritage in Changes
——The heritage and development of the Manchu paper-cutting performance under the influence of Changbai Mountain region
WANG Ji
(Fine Arts Department of TonghuaTeachers College, Tonghua City, Jilin Province 134002)
Abstract:The traditional Manchu paper-cut has the technology of smoked, lining, burning, tearing, among which cut has been inherited and developed, the original“plug cut”developed into“dig cut”, “cable”, “short line”. These techniques have developed from the spatial expression of folk artists, more importantly, the unique technique of expression are closely related to the Changbai Mountain area, materials, and Manchu traditional paper-cutting technology under the premise of a particular cut formation, and it has become today′s Manchu paper-cut art identification system .
Key words: Manchu paper cutting; Changbai Mountain area; materials; cutting technology; performance practices; inheritance; development
從古代北方草原游牧文明解讀蒙古刀的形成與發(fā)展
吳蘇榮貴
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院， 內(nèi)蒙古 呼和浩特 010010）
摘 要：從中國(guó)北方游牧民族歷史文化的角度來(lái)詮釋蒙古刀的形成、發(fā)展及其工藝特色，認(rèn)為蒙古刀這一精美絕倫的工藝品，延續(xù)并記載著北方游牧民族的勇敢、智慧和輝煌的歷史，同時(shí)也繼承發(fā)展并豐富了草原游牧文明。
關(guān)鍵詞：草原文明；蒙古刀；形成；發(fā)展
From the interpretation of the ancient Mongolian nomadic civilization northern grasslands of the formation and development tool
Usurunggui
(Art Institute of Inner MongoliaUniversity, Hohhot 010010)
Abstract:The history and culture from the Chinese northern nomadic Mongolian knife point to explain the formation, development and technology features that the Mongolian arts and crafts knives of this exquisite, and recorded in northern nomads continued courage, wisdom and glorious history, Inheritance also developed and enriched grassland nomadic civilization.
Key words:grassland culture; Mongolian knife; formation; Development
藝術(shù)人類學(xué)視野下的湘西芭排與西蘭卡普
田 明
（吉首市文化局， 湖南 吉首 416000）
摘 要：苗族織錦芭排是歷史上仡佬人直接繼承了僚的織造文化，同時(shí)與三苗及土家人在長(zhǎng)期的文化交融中形成的。土家織錦西蘭卡普是由賨布結(jié)合僚布技術(shù)發(fā)展的結(jié)果，是融合了僚的織造文化而形成的土家族典型織物代表，兩者有相近的文化淵源，是同根姊妹。但又分別屬兩個(gè)不同民族的文化結(jié)晶，各自有不同的特點(diǎn)，不是同一種織錦。
關(guān)鍵詞：湘西；苗族織錦；土家族織錦；芭排；西蘭卡普；織造文化
Xiangxi Bapai and Xilankapu from the Perspective of Art Anthropology
TIAN Ming
(Jishou City Department of Cultural Affairs, Jishou, HunanProvince 416000)
Abstract:The Miao brocade Bapai is the direct successor to the history of the Liao Gelao people weaving culture, while three Miao and Tujia people culture formed mixing in the long term. Tujia brocade Xilankapu was developed from Cong and Liao cloth fabric technology with the result of weaving is the integration of the bureaucratic culture of the fabric formed a typical representative of the Tujia, both have similar cultural origins and they are sisters from the same root. But each is a crystallization of two different cultures, each with different features, not the same tapestry.
Key words:Xiangxi; Miao tapestry; Tujia brocade; Bapai; Xilankapu; weaving culture
花鼓燈舞鞋“襯子”制作的田野調(diào)查
劉 伽
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院， 內(nèi)蒙古 呼和浩特 010010）
摘 要：花鼓燈是包括舞蹈、鑼鼓音樂(lè)、燈歌以及具有一定情節(jié)的后場(chǎng)小戲等多種表演形式的傳統(tǒng)民間舞蹈藝術(shù)，“襯子”是花鼓燈改革前女角“蘭花”表演時(shí)的重要道具，為了有效傳承和保護(hù)民間藝術(shù)，筆者于2010年8月期間，前往安徽省蚌埠市禹會(huì)區(qū)馮嘴子村，進(jìn)行關(guān)于花鼓燈舞鞋“襯子”制作的田野調(diào)查，考察包括“襯子”制作的材料、工具及工藝流程。
關(guān)鍵詞：田野調(diào)查；民間藝術(shù)；花鼓燈；舞鞋；襯子；手工制作
The Fieldwork of Making of Huagudeng Shoes “Chenzi”
LIU Jia
(Art College of Inner MongoliaUniversity, Huhhot, Inner Mongolia 010010)
Abstract:The performance of Huagudeng is a traditional folk dance performing art with dance, percussion music, light songs and some plays with the plot and other art forms .“Chenzi”is the important prop of performance in pre-reform Huagudeng female character“Orchid”. For the effective protection of heritage and folk art, in August 2010, the author went to Fengzuizi Village of Bengbu, Anhui Province to conduct field research on Huagudeng shoes“chenzi, ”produced by study including the“chenzi”production of materials, tools and processes.
Key words:fieldwork; folk art; huagudeng; dance shoes; liner; handwork
對(duì)少數(shù)民族工藝美術(shù)研究的幾點(diǎn)看法
徐萬(wàn)邦
（中央民族大學(xué)民族學(xué)與社會(huì)學(xué)學(xué)院， 北京 100081）
摘 要： 針對(duì)少數(shù)民族工藝美術(shù)的特點(diǎn)，提出自己對(duì)研究的現(xiàn)實(shí)意義、研究中的概念問(wèn)題和當(dāng)前研究動(dòng)態(tài)的看法。認(rèn)為，“工藝”“手工藝”是指技術(shù)層面的東西，即民間所說(shuō)的手藝；而“工藝美術(shù)”和“工藝品”指的是物質(zhì)層面的東西，即指技藝手段創(chuàng)造出來(lái)的作品。
關(guān)鍵詞： 少數(shù)民族；工藝美術(shù)；特點(diǎn)；現(xiàn)實(shí)意義；概念界定；研究動(dòng)態(tài)
Some Views on the Study of Minority Industrial Arts
XU Wan-bang
(College of Ethnology and Sociology of Central University for nationalities, Beijing 100081)
Abstract:This article aims at the characteristics of ethnic arts and crafts to make its own practical significance of research, makes study of the conceptual issues and the current dynamic view. It holds that the“arts and craft”refers to the technical aspects of things; and “industrial arts”refers to the material aspects of things i.e. the works of art created with technology.
Key words:minority; industrial arts; characteristics; practical significance; concepts defined; research trends
關(guān)于裝飾藝術(shù)綜合材料實(shí)訓(xùn)課程建設(shè)的思考
李兆斌
（無(wú)錫工藝職業(yè)技術(shù)學(xué)院環(huán)境藝術(shù)系， 江蘇 宜興 214206）
摘 要：結(jié)合“裝飾藝術(shù)綜合材料實(shí)訓(xùn)”課程教學(xué)實(shí)踐中的一些認(rèn)識(shí)，在分析研究其他同類院校該課程開(kāi)設(shè)狀況的基礎(chǔ)上，對(duì)課程建設(shè)定位、課程教學(xué)模式、主要教學(xué)內(nèi)容等問(wèn)題進(jìn)行了探討。強(qiáng)調(diào)了高校裝飾藝術(shù)設(shè)計(jì)人才的培養(yǎng)要緊密聯(lián)系社會(huì)實(shí)際，重視理論學(xué)習(xí)與創(chuàng)作實(shí)踐之間的相輔相成關(guān)系。
關(guān)鍵詞：藝術(shù)教育；裝飾藝術(shù)；課程建設(shè)；綜合材料藝術(shù)；工作室模式；
教學(xué)基地
On the Construction of the Training Courses of the
Composite materials of the Decorative Art
LI Zhao-bin
(Department of Environmental Art, Wuxi Institute of Vocational Technology, Yixing, Jiangsu 214206)
Abstract:This article combines some understanding of the course of “Art Deco comprehensive materials training,”with the practice of teaching other similar institutions in the analysis of the situation set up the course, based on the orientation of the course construction, course patterns, the main teaching content and other issues discussion, emphasizing that the decorative art and design university training of personnel should be closely linked social reality, pays attention to theoretical study between the complementary relationship and the creative practice.
Key words:art education; decorative art; course construction; integrated material arts; studio mode; teaching base
西方視野下的泛音歌唱研究
徐 欣
（上海音樂(lè)學(xué)院， 上海 201400）
摘 要：1970年代以來(lái)，源于亞洲腹地的呼麥逐漸被西方世界所熟知。此后，在不斷地傳播與發(fā)展過(guò)程中，整個(gè)西方（以歐美為主）不僅在學(xué)術(shù)領(lǐng)域?qū)酐溸M(jìn)行了全面且深入的研究，還有眾多音樂(lè)家、作曲家以及篤信聲音治療功效的新世紀(jì)運(yùn)動(dòng)者們，在泛音歌唱的表演、創(chuàng)作、教學(xué)、精神靈性運(yùn)用方面進(jìn)行了大量實(shí)踐，發(fā)展出有別于東方傳統(tǒng)的“泛音歌唱”知識(shí)與應(yīng)用體系。從近四十年來(lái)西方的相關(guān)研究文論入手，探究泛音歌唱在西方語(yǔ)境中所具有的多重面向與意義。
關(guān)鍵詞：綜述；泛音歌唱；呼麥；新世紀(jì)運(yùn)動(dòng)；聲音治療
Research on Overtone Singing in Western Vision
XU Xin
(ShanghaiMusicCollege, Shanghai 201400)
Abstract:Since 1970s, Khoomei from the hinterland of Asia has been gradually known to the Western world. Since then, in the process of its continued spread and development, the Western world (mainly Europe and America) not only makes in-depth and comprehensive study of Khoomei in the academic areas, many musicians, composers, and believers in the efficacy of voice therapy in the new century activists have had much practice in the performances, writing, teaching, and spiritual aspects of overtone singing to develop the knowledge and application system different from the East traditional“overtone singing”. This article starts from the research on the corresponding papers of forty years in Western world to explore the multiple sides and significance of overtone singing in the Western context.
Key words: review; overtone singing; Khoomei; New Age Movement; voice therapy
論蒙古族烏日汀哆的可塑性與即興性
格日勒?qǐng)D
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院音樂(lè)系， 內(nèi)蒙古 呼和浩特 010010）
摘 要：蒙古族烏日汀哆堪稱是具有“非律動(dòng)性”自由節(jié)奏節(jié)拍的、有豐富的裝飾技巧的拖腔體音樂(lè)。然而對(duì)烏日汀哆來(lái)講，“自由”二字不僅僅局限于節(jié)奏節(jié)拍，還與其他很多因素有關(guān)。這些自由性，創(chuàng)造了烏日汀哆的可塑性，而可塑性又創(chuàng)造了即興性。這些都體現(xiàn)在每一位歌者演唱風(fēng)格特點(diǎn)的差別及他們每次或每一段演唱的不同程度的區(qū)別中。
關(guān)鍵詞：蒙古族；烏日汀哆；演唱；可塑性；即興性
On the Plasticity And Impromptu Nature of
Mongolian Urdinduu
Gereltu
(Music Department of ArtCollege of Inner MongoliaUniversity, Huhhot, Inner Mogolia 010010)
Abstract:Mongolian Urdinduu is the music with“non-rhythm of”free tempo beat and rich pro-longed tune. However, for and has a wealth of decorative techniques drag chamber music. However, for Urdinduu, the word“free”is is not limited to the beat rhythm, but also many other factors. The freedom creates the plasticity and Impromptu plasticity and Impromptu also creates plasticity. These are reflected in the difference of the singing styles of each singer and their differences in the characteristics of each concert, or different levels of each section.
Key words:Mongolian; Urdinduu; singing plasticity;iImpromptu〖HT
演唱蒙古族長(zhǎng)調(diào)的心理空間需求與即興性
好必斯
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院， 內(nèi)蒙古 呼和浩特 010010）
摘 要：蒙古族長(zhǎng)調(diào)民歌是草原游牧文化的特殊產(chǎn)物，特定的自然環(huán)境和人文環(huán)境孕育并生成了特殊的音樂(lè)文化形態(tài)，而在詮釋（表演）這一音樂(lè)形式時(shí)，需求相對(duì)的環(huán)境空間或心理空間，特殊的音樂(lè)文化形態(tài)及演唱環(huán)境，直接影響著演唱者的心理狀態(tài)。
關(guān)鍵詞：蒙古族；長(zhǎng)調(diào)演唱；心理空間；即興性；記譜法
The Psychological Needs and Improvisation of
Mongolian Long-tune Singing
Hobis
(Art College of Inner MongoliaUniversity, Huhhot, Inner Mongolia 010010)
Abstract:The Mongolian long-tune folk songs are the product of grassland nomadic culture, the particular and specific natural and human environment have bred and generated a special form of musical culture. And the interpretation of the (performing of ) the music form demand relative space or mental environment space. The special form of music culture and the concert environment has a direct impact on the singer′s mental state.
Key words:Mongolian; long tune singing; mental space; improvisation; tablature
蒙古族短調(diào)民歌旋律中的“馬步節(jié)奏”內(nèi)涵
李世相
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院音樂(lè)系， 內(nèi)蒙古 呼和浩特 010010）
摘 要：與蒙古族長(zhǎng)調(diào)民歌相比,短調(diào)民歌的旋律節(jié)奏組合清晰明了，具有鮮明的均分律動(dòng)特點(diǎn)和節(jié)奏強(qiáng)弱關(guān)系與節(jié)拍強(qiáng)弱關(guān)系相一致等特點(diǎn)。短調(diào)民歌在旋律節(jié)奏構(gòu)成方面與游牧民族的“馬背文化”內(nèi)涵有著緊密聯(lián)系。這一點(diǎn)甚至直接反映于民歌之中，“馬步節(jié)奏”就是其中的重要因素之一。
關(guān)鍵詞：蒙古族；短調(diào)民歌；旋律；馬步節(jié)奏；節(jié)奏韻律；馬背文化
The Connotation of the“Horse- paced” Tune Melody of
the Short-tune Mongolian Folk Songs
LI Shi-xiang
(Department of Music, ArtCollege of Inner MongoliaUniversity, Huhhot, Inner Mongolia 010010)
Abstract:Comparing to the Mongolian long-tune folk songs, melody tempo of the short-tune folk songs have the distinct characteristics of break even rhythm, with and rhythm sharing rhythm and beat strength of the relationship between the strength of consistent characteristics. The composition of short-tune folk songs is closely linked to the rhythm of the nomadic“horse culture”. One of the important factors is that it is directly reflected in the folk songs and even among the“horse- paced rhythm”.
Key words:Mongolian; short- tune folk songs; melody; horse- paced rhythm; rhythm; horse culture
蟒古思因·烏力格爾《寶迪嘎拉巴可汗》
中的角色類型及其演述禁忌
佟占文
(內(nèi)蒙古師范大學(xué)音樂(lè)學(xué)院， 內(nèi)蒙古 呼和浩特 010010)
摘 要：對(duì)布仁初古拉演述的蟒古思因·烏力格爾《寶迪嘎拉巴可汗》中的角色進(jìn)行類型學(xué)分析，討論了蟒古思因·烏力格爾的故事及角色屬性。認(rèn)為，蟒古思因·烏力格爾是一種高度模式化的故事類型，其表演是在既定的結(jié)構(gòu)程式和民俗語(yǔ)境中進(jìn)行的，且有明確的禁忌。
關(guān)鍵詞：蒙古族；英雄史詩(shī)；蟒古思因·烏力格爾；《寶迪嘎拉巴可汗》；角色類型；演述禁忌
The Character Types and Performance Narration Taboo in Monster′s Story“Bodibalaga Khan”
TONG Zhan-wen
(MusicCollege of Inner MongoliaNormalUniversity, Huhhot, Inner Mongolia 010010)
Abstract:This article makes an typological analysis of the characters in the oral performance narratiing of“Bodibalaga Khan”by Burenchugul and discusses the story of Monster′s stories and the nature of the characters. It holds that the types of Monster′s stories have very hipping types with their performance carried on in certain construction forms and folk context with very clear taboos.
Key words:Mongolian; heroic epic; monster′s stories; “Bodibalaga Khan” role types;
倉(cāng)山大樂(lè)和土門社火鑼鼓的音聲形態(tài)與文化顯現(xiàn)
田彬華 華明玲
（西南科技大學(xué)文藝學(xué)院， 四川 綿陽(yáng) 621010）
摘 要：對(duì)比考察四川倉(cāng)山大樂(lè)和甘肅土門社火鑼鼓這兩種南北民間鑼鼓的外在音聲形態(tài)，探討喧鬧的音樂(lè)后隱藏的深層文化意義、人文精神和歷史內(nèi)涵。認(rèn)為，這種群體性的集體儀式行為具有一定的狂歡性質(zhì)，他們除了娛人、共樂(lè)的慶典儀式共同特性外，還顯露出現(xiàn)實(shí)社會(huì)中權(quán)利結(jié)構(gòu)形態(tài)和男性的強(qiáng)力特征。
關(guān)鍵詞：民俗文化；倉(cāng)山大樂(lè)；土門社火；鑼鼓音聲；儀式；狂歡
The Sound Modality and the Cultural Manifestation of theCangshan Dayue and Tumen Community Fire Gong and Drums
TIAN Bin-hua HUA Ming-ling
(Literature and Art Institute of SouthwestUniversity of Science and Technology, Mianyang, Sichuan Province 621010)
Abstract:This article makes a comparative study between Sichuan and Gansu Cangshan Tumen Dayue the external sound modality of the music community of north and south fire gongs and drums to discuss the deep cultural significance hidden the loud music. It holds that this kind of groupment collective ceremony or behavior has a carnival nature. In addition to entertaining people, ceremonies have the common characteristics of entertainment, but also reveal the power structure in the form of social reality and strength characteristics of men.
Key words:folk culture; Cangshan Dayue; Tumen community fire; fongs and drums; ceremony; carnival
視唱練耳中多元音樂(lè)文化觀念的滲透
趙 楠
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院音樂(lè)系， 內(nèi)蒙古 呼和浩特 010010）
摘 要：隨著時(shí)代的發(fā)展，多元音樂(lè)文化觀念已滲透到各種藝術(shù)生活以及音樂(lè)教育中。視唱練耳作為音樂(lè)專業(yè)的基礎(chǔ)已不再局限于聽(tīng)音、記譜等方面，向著教學(xué)審美性、文化內(nèi)涵性、實(shí)際運(yùn)用性拓展。
關(guān)鍵詞：視唱練耳；音樂(lè)文化；審美性；多元化思維
The Penetration of the Concept of Diverse Music Culture in the Solfeggio
ZHAO Nan
(Music Department of ArtCollege of Inner MongoliaUniversity, Huhhot 010010)
Abstract:With the development of the time, the concept of diverse musical culture has penetrated into a variety of artistic life and music education. As music professional basis Solfeggio is no longer confined to listening, notation, etc. but developed toward the teaching aesthetic, cultural connotation and actual expansion use.
Key words:Solfeggio; music culture; aesthetic; diversity of thinking
福建沙縣肩膀戲音樂(lè)形態(tài)及其傳承
吳碧玲
（三明學(xué)院藝術(shù)系， 福建 三明 365004）
摘 要：肩膀戲是福建沙縣民間藝術(shù)的奇葩，它既是福建地方的文化財(cái)富，也是中華民族燦爛文化的組成部分，對(duì)沙縣肩膀戲音樂(lè)文化的研究,了解這一獨(dú)特藝術(shù)形式的音樂(lè)形態(tài)和特征；闡釋音樂(lè)與民俗文化的關(guān)系，尋求肩膀戲在當(dāng)代社會(huì)文化背景下的傳承狀況和存在方式。
關(guān)鍵詞：民間藝術(shù)；肩膀戲；淵源；音樂(lè)形態(tài)；傳承
The Music Forms and Succession of the Shoulder Opera in Shaxian County, Fujian Province
WU Bi-ling
(Art Department of SanmingCollege, Sanming, FujianProvince 365004)
Abstract:The shoulder opera is wonderful work of folk art in FujianShaxianCounty. It is both the cultural wealth of FujianProvince and a part of the splendid culture of Chinese Nation. The article researches on the music culture of the opera to understand this unique form of art forms and music features; explain the relationship between music and folk culture, seeks for the the status and existence of the shoulder opera in contemporary social and cultural heritage context.
Key words:folk art; shoulder opera; origin; music form; heritage
禮教視野下的古典戲劇生存環(huán)境芻議
張 帆
（中央戲劇學(xué)院學(xué)報(bào)編輯部， 北京 100710）
摘 要：中國(guó)千年禮教規(guī)范著人們的思想、言行，“越禮”的言行，一方面破壞了既定的社會(huì)規(guī)范，帶來(lái)不安定因素；另一方面則是社會(huì)進(jìn)步、思想多元化的體現(xiàn)?？v覽中國(guó)戲曲的演進(jìn)歷程，多有與“越禮”的主題、情節(jié)、行動(dòng)糾織在一處的情況。本文就中國(guó)歷代的戲曲與禮教之間的關(guān)系作一概括性的梳理。
關(guān)鍵詞：古典戲??；演進(jìn)歷程；禮教；越禮情節(jié)
An Approach the Survival of Classical Drama from the Perspective of Propriety Environment
ZHANG Fan
(Newsroom of the Journal of CentralDramaCollege, Beijing 100710)
Abstract:China′s millennium ethics have regulated people′s thoughts, words and deeds. On the one hand, they undermine the established social norms, bringing unrest; on the other hand, they are the embodiment of ideological pluralism and social progress. Overview the evolution of Chinese opera, they have been related to“more ritual”theme, plot, action to correct the situation in one place organized. This article sorts out the general relationship between the Chinese opera and ethics.
Key words:classical; drama; evolution; ethics; not act on etiquette
李漁戲曲藝術(shù)之舞臺(tái)表演論芻議
葛麗英
(內(nèi)蒙古大學(xué)藝術(shù)學(xué)院， 內(nèi)蒙古 呼和浩特 010010）
摘 要：李漁的戲曲理論依照戲曲藝術(shù)由劇本創(chuàng)作到舞臺(tái)表演的邏輯順序分為詞曲部與演習(xí)部?jī)纱蟛糠?。李漁用“填詞之設(shè)，專為登場(chǎng)”巧妙又有機(jī)地把二者結(jié)合在一起——論劇本創(chuàng)作，始終圍繞著登場(chǎng)搬演這一核心；論戲曲表演，又以劇本的創(chuàng)作質(zhì)量為前提，鮮明地標(biāo)識(shí)著其戲曲理論始終以戲曲藝術(shù)舞臺(tái)表演性為觀照標(biāo)準(zhǔn)的獨(dú)特之處。
關(guān)鍵詞：李漁；戲曲理論；戲曲藝術(shù)；舞臺(tái)表演
An Approach to Stage Performance of Li Yu′s Opera Art
GE Liying
(Art College of Inner Mongolia University, Huhhot 010010)
Abstract:The theory of Li Yu′s opera theory is divided into two parts according to the logical order from the play writing to the stage performances: lyric music part and rehearsal part. Li Yu skillfully and organically combines the two. When commenting the play writing, it always parades around the core of the performance; and when saying opera performances, he premises the script creation of quality with the uniqueness of his distinctive Identify of the art of opera theory as the reflection standard of stage performances of opera.
Key words:Li Yu; opera theory; opera art; stage performances
契丹族舞蹈對(duì)中原舞蹈元素的借鑒與融合
文 華
（齊齊哈爾大學(xué)音樂(lè)與舞蹈學(xué)院， 黑龍江 齊齊哈爾 161006）
摘 要：契丹族的舞蹈植根于傳統(tǒng)的民族文化土壤，具有鮮明的民族特色和生活氣息。契丹族吸收中原文化，重視、繼承中原樂(lè)舞并在與當(dāng)?shù)馗髯迕耖g舞蹈相互融合的基礎(chǔ)上不斷演變發(fā)展成為具有特色的舞蹈文化，對(duì)今天北方民族的舞蹈藝術(shù)產(chǎn)生了一定影響。
關(guān)鍵詞：契丹族；舞蹈；中原；舞蹈元素；借鑒
The Borrowing and Integration of the Dance Elements of Khitan Dance and the Central Plains
WEN Hua
(Music and DanceCollege of QiqiharUniversity , Qiqihar, HeilongjiangProvince 161006)
Abstract:Khitan dance is rooted in the traditional folk culture soil with its distinctive national characteristics and life breath. khitan people absorb the Central Plains culture, pay attention to the inheriting of the Central Plains music and dance and folk dance with the local ethnic groups on the basis of mutual integration of the evolving development of a distinctive dance of the north of the nation today, and their dance has an impact on the art of dance of northern ethnic groups.
Key words:Khitan people; dance; the Central Plains; dance elements; reference
北方草原地域性特征對(duì)蒙古族舞蹈風(fēng)格的影響
趙小丁
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院舞蹈系， 內(nèi)蒙古 呼和浩特 010010）
摘 要：北方草原地域性特征不僅賦予了蒙古族舞蹈藝術(shù)創(chuàng)作的空間和靈感，也對(duì)蒙古族舞蹈藝術(shù)的樣式、體裁、風(fēng)格、音樂(lè)、表現(xiàn)形式等方面的形成和發(fā)展產(chǎn)生了重要的影響，創(chuàng)造和培育了與之相適應(yīng)的蒙古族舞蹈文化，展示了蒙古族舞蹈的審美追求和深厚的文化積淀。
關(guān)鍵詞：北方地區(qū)；蒙古族舞蹈；風(fēng)格化；形態(tài)特征
The Influence of the Regional Features of the
Northern Steppe on Mongolian Dance Style
ZHAO Xiao-ding
(Dance Department of ArtCollege of Inner MongoliaUniversity, Huhhot 010010)
Abstract:Regional features of the northern steppe not only the gives the space and inspiration for artistic creation of Mongolian dance, but also has great influence on the formation and development of the style, genre, style, music, form and other aspects of the of Mongolian dance, and creates and fosters a corresponding to Mongolian dance culture, shows the aesthetic pursuit and rich cultural heritage of Mongolian dance.
Key words:North China; Mongolian dance; stylized; morphological characteristics
從社會(huì)變革看我國(guó)新聞播音風(fēng)格的演變
劉鳳至
（內(nèi)蒙古電視臺(tái)， 內(nèi)蒙古 呼和浩特 010020）
摘 要：我國(guó)的新聞播音語(yǔ)體風(fēng)格特征，從延安新華廣播電臺(tái)的建立到20世紀(jì)80年代初，大體經(jīng)歷了磅礴大氣（延安時(shí)期）→熱情昂揚(yáng)（建國(guó)時(shí)期）→呆板灌輸（文革時(shí)期）→積極浸潤(rùn)（改革開(kāi)放）等幾個(gè)歷史發(fā)展時(shí)期，而不同的歷史時(shí)期，不同的社會(huì)背景，影響著新聞播音語(yǔ)體特征。
關(guān)鍵詞：中國(guó)；社會(huì)變革；新聞播音；風(fēng)格特征；演變
The Evolution of News Broadcast Style of China
from the Perspective of Social Change
LIU Feng-zhi
(Inner Mongolia TV Station, Huhhot, Inner Mongolia 010020)
Abstract:The news broadcast style of China has gone through several historical periods of development from the establishment of Yan′an Xinhua Radio to the early 80s of the 20th century language: the majestic atmosphere (Yan′an) → warm and spirited (the founding period) → rigid indoctrination (the Cultural Revolution) → active infiltration (reform). The different historical periods, different social backgrounds have influenced the styles of the news broadcasting.
Key words:China; social changes; news broadcast; style characteristics; evolution
中國(guó)北方民族文化研究論文索引（1991）
其其格
（中央民族大學(xué)圖書(shū)館， 北京 100081）
關(guān)鍵詞： 論文索引；中國(guó)北方民族；文化研究；民族學(xué)研究
Index of Research papers on Northern China Culture 1991
Checheg
(Library of Central University for Nationalities, Beijing 100081)
Key words:paper Index; northern China nationalities; culture studies; ethnic studies