追憶蒙古族長(zhǎng)調(diào)大師寶音德力格爾
莫爾吉胡
（內(nèi)蒙古廣播電視廳，內(nèi)蒙古呼和浩特010050）
關(guān)鍵詞：寶音德力格爾；生活；歌唱：教學(xué)
Recll Boyindelger, the Maestro of Mongolian Long Tune
Meregjih
（Inner Mongolia Department of Radio and Television， Hohhot, Inner Mongolia, 010050）
Key words: Boyindelger; Life; Singing; Education
金色圣山無(wú)字豐碑
——悼念蒙古族長(zhǎng)調(diào)大師寶音德力格爾
烏蘭杰
（中央民族大學(xué)，北京100081）
關(guān)鍵詞：蒙古族長(zhǎng)調(diào)；寶音德力格爾；藝術(shù)教育家
Golden Holy Mountain, Invaluable Monument
——Mourn Boyindelger, the Maestro of Mongolian Long Tune
Ulanje
(Minzu University of China, Beijing, 100081)
Key words: Mongolian Long Tune; Boyindelger; Art educationist
歷史豐碑功蓋千秋
——緬懷蒙古族長(zhǎng)調(diào)（烏日汀哆）藝術(shù)大師寶音德力格爾
柯沁夫
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古呼和浩特 010010）
關(guān)鍵詞：烏日汀哆；巴爾虎風(fēng)格；藝術(shù)教育家
Historical Monument, the Contributions of the Future Generations
——Recll Boyindelger, the Maestro of Mongolian Long Tune (Wurtindu)
KE Qin-fu
(Art College of Inner Mongolia University, Hohhot, Inner Mongolia, 010010)
Key words: Wurdindu; the Style of Barghu; Art educationist
寶音德力格爾對(duì)蒙古族長(zhǎng)調(diào)
（烏日汀哆）發(fā)展的貢獻(xiàn)
趙紅柔
（呼倫貝爾學(xué)院音樂(lè)系，內(nèi)蒙古 呼倫貝爾021008）
關(guān)鍵詞：蒙古族長(zhǎng)調(diào)；演唱風(fēng)格；曲目體系；傳承方式；人格魅力
Boyindelger's Contribution to the Development of
Mongolian Long Tune (Wurtindu)
ZHAO Hong-rou
(Hulunbuir University, the Music Department, Hulunbuir, Inner Mongolia, 021008)
Key words: Mongolian Long Tune; the Style of singing; the System of repertoire; the Mold of inheritance; Charisma
伶人階級(jí)的家族結(jié)構(gòu)論綱
厲震林
（上海戲劇學(xué)院，上海20040）
摘 要：由于伶人家族的特殊性，作為靜態(tài)的外部構(gòu)造的家族結(jié)構(gòu)也具有一定的特殊性，與傳統(tǒng)家族相對(duì)穩(wěn)定的家族結(jié)構(gòu)有所變異，一是“二大一小”的結(jié)構(gòu)形態(tài)，“二大”是指兩個(gè)大的家族和泛家族系統(tǒng)，“一小”即伶人進(jìn)入伶界以后自身所組成的家族結(jié)構(gòu)；二是家點(diǎn)族面的發(fā)展過(guò)程，伶人家族從點(diǎn)到面的發(fā)展，它是一種特殊生存環(huán)境下形成的同業(yè)家族，伶人家族在同業(yè)內(nèi)部發(fā)展家族成員關(guān)系的特殊狀況，也就具有一種封閉社會(huì)的家族結(jié)構(gòu)形態(tài)；三是地廣權(quán)稀的基本格局，伶業(yè)的流動(dòng)屬性使伶人家族結(jié)構(gòu)出現(xiàn)了“地廣權(quán)稀”的特征，族規(guī)和家法由于地理的空間因素而產(chǎn)生疏松現(xiàn)象。
關(guān)鍵詞： 伶人階級(jí)；家族結(jié)構(gòu)；二大一小；家點(diǎn)族面；地廣權(quán)稀
On the Family Structure of the Actor Class
LI Zhen-lin
(Shanghai Theatre Academy, Shanghai, 20040)
Abstract: Due to the special family structure of the actor class, the static external family structure is also of certain particularity, which varies from the relatively stable structure of traditional family. Firstly, the structure form is "two big and one small". "Two big" refers to the system of two big clans and extensive family. "One small" is the actor's own family structure after entering the opera. Secondly, the development process is "family unit and clan group". The development of the actor's clan from unit to group is the formation of the same-trade clan in the particular living environment. The special situation of the actor's clan is that the family members are developed in the same trade, which forms the family sturcture in the closed society. Thirdly, the basic pattern is "wide area and diluted power". The floating property of the actor's job characterizes the actor's family structure as "wide land and diluted power", in which the clan rules and the domestic disciplines are diluted because of the geographical space factor.
Key words: The actor class; Family structure; Two big and one small; Family unit and clan group; Wide land and diluted power
清代太原府劇場(chǎng)功能初探
牛白琳
（山西廣播電視大學(xué)，山西太原030027）
摘 要：由明入清及有清一代，在太原府特別是康乾時(shí)期的新建高峰與道光年間的改建高潮中，人們對(duì)戲臺(tái)布局不斷調(diào)整。以神廟劇場(chǎng)為主的清代太原府劇場(chǎng)，其“觀”的場(chǎng)所有三種，主體是戲臺(tái)前的空?qǐng)觯俨糠謩?chǎng)設(shè)置了看樓或看廳，許多劇場(chǎng)也把山門(mén)、直對(duì)戲臺(tái)的殿堂前廊、月臺(tái)等兼做觀劇場(chǎng)所。清代太原府劇場(chǎng)功能的完善，人們有一個(gè)逐漸認(rèn)識(shí)并付諸實(shí)踐的過(guò)程，需要演員、社首及糾首為代表的村民以及工匠之間的互動(dòng)，以及不同區(qū)域間的相互交流與影響。
關(guān)鍵詞： 清代；太原府劇場(chǎng)；功能
The Function of Taiyuanfu Theatre in Qing Dynasty
NIU Bai-lin
(Shanxi Radio & TV University, Taiyuan, Shanxi, 030027)
Abstract: In Ming-qing times and Qing dynasty, especially at the peak of new constructions in the Kang and Qian periods and redevelopment in the Daoguang period, the layout of stage was adjusted constantly. There were three kinds of "view" sites in Taiyuanfu theatre which gave priority to the temple theatre in Qing dynasty. The main body was the front open stage. There were a few theatres with balcony or hall for the audience. In many theatres, the entrance hall, the front porch directly opposite the stage, platform, etc. were set as the viewing places. It's a process to gradually understand the functional perfection of Taiyuanfu theatre in Qing Dynasty and put it into practice, which needs the interaction between craftsmen and villagers represented by the actor, the chief of She and headman-in-charge, as well as the communication and influence among different areas.
Key words: Qing Dynasty; Taiyuanfu theatre; Function
論國(guó)家意識(shí)形態(tài)在戲改中的滲透
劉睿文
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院影視戲劇系，內(nèi)蒙古呼和浩特010010）
摘 要：中國(guó)傳統(tǒng)戲曲從誕生至今已有千年的歷史，歷代統(tǒng)治者都很重視戲曲的宣傳和教育功能，將戲曲作為傳播其政治思想的有效途徑之一。對(duì)于傳統(tǒng)戲曲在傳播思想意識(shí)形態(tài)方面的作用中國(guó)共產(chǎn)黨也有著深刻的認(rèn)識(shí)，因此，新中國(guó)成立后政府投入了大量的人力物力開(kāi)展戲曲改革運(yùn)動(dòng)。這場(chǎng)戲曲改革運(yùn)動(dòng)不僅在當(dāng)時(shí)掀起了全國(guó)范圍的戲曲改革熱潮，并且對(duì)后來(lái)戲曲的發(fā)展也產(chǎn)生了深厚的影響，成為了當(dāng)今戲曲現(xiàn)代戲研究中的重要一環(huán)。
關(guān)鍵詞：戲曲改革；意識(shí)形態(tài)；政治化
Discuss State Ideology Permeate the Drama Reform
LIU Rui-wen
（Television Drama Department, the Art College of Inner Mongolia University, Hohhot, Inner Mongolia, 010010）
Abstract: Chinese traditional drama has thousands of years of history from birth until now. Past dynasties all used the drama as one of the effective ways to spread their political thoughts and attached great importance to the drama functions on propaganda and education. The Communist Party of China also fully understands the role of the traditional drama in the dissemination of ideology, so the government puts lots of manpower and material resources to carry out the drama reform movement after the founding of the People's Republic of China. The movement at that time not only started nationally drama reform upsurge, but also profoundly impactsed on the subsequent developments of the drama. As a result, it is an important part of the current research field in modern drama.
Key words: Drama reform; Ideology; Politicization
論“心象說(shuō)”
敖登
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院影視戲劇系，內(nèi)蒙古呼和浩特010010）
摘 要：由焦菊隱先生所創(chuàng)立的“心象說(shuō)”是對(duì)中國(guó)話(huà)劇乃至世界演劇理論寶庫(kù)的一大貢獻(xiàn)。本文將分為三個(gè)部分進(jìn)行論述。第一部分主要談到焦菊隱先生分四個(gè)階段在藝術(shù)創(chuàng)作實(shí)踐中提出并完善了“心象說(shuō)”；第二部分主要從“心象說(shuō)”與“視象說(shuō)”、“模范說(shuō)”和“理想的范本”的異同談起，論述出“心象說(shuō)”的內(nèi)涵；第三部分著重論述了如何將“心象說(shuō)”運(yùn)用到藝術(shù)實(shí)踐創(chuàng)作中。總之，“心象說(shuō)”的提出，科學(xué)地解決了演員與角色矛盾的重大難題，在實(shí)踐中發(fā)揮了演員大膽創(chuàng)作鮮明的有個(gè)性特色的舞臺(tái)形象的能力。
關(guān)鍵詞：焦菊隱；心象說(shuō)；民族化；模仿；內(nèi)心視象
Discuss the Theory of "Inner Image"
AO Deng
(Television Drama Department, the Art College of Inner Mongolia University, Hohhot, Inner Mongolia, 010010)
Abstract: The theory of "inner image" which is originated by Jiao Yu-yin makes a valuable contribution towards the Chinese modern drama and even the world of drama. The elaboration of this paper consists of three parts. The first part mainly shows that Jiao Ju-yin put forth and perfected the theory of "inner image" during four stages of the practice of artistic creation. The second part mainly discusses the connotation of the theory of "inner image" based on the similarities and differences among "inner image", "visual image", "model" and "ideal model". The third part focuses on how to apply the theory of "inner image" to the practice of artistic creation. In brief, the major problem of contradiction between the performer and role has been solved scientifically by using the theory of "inner image" and then the capabilities of performers of making the bold creation on the distinctive and characteristic stage image have been improved in the performing practice.
Key words: Jiao Ju-yin; the Theory of "inner image"; Nationalization; Imitation, Inner image
淺談新世紀(jì)初期懸疑電影中的兩性沖突
王蘋(píng)
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院影視戲劇系， 內(nèi)蒙古呼和浩特010010）
摘 要：新世紀(jì)初期是一個(gè)捉摸不定的年代，改革開(kāi)放大局早已經(jīng)穩(wěn)固，改革不斷地深入，物質(zhì)文明也高速發(fā)展，藝術(shù)改革更是全面展開(kāi)，中國(guó)的電影變化，也在五色斑斕的改革時(shí)世左右下，讓人眼花繚亂。而其中比較特殊的電影類(lèi)型——懸疑電影，則成為這種繚亂狀態(tài)中，讓人耳目一新的一種創(chuàng)作。此種類(lèi)型拓展豐富了對(duì)兩性情愛(ài)糾葛的表達(dá)，雖然最終并沒(méi)有給出一個(gè)合理的解決方式，兩性依然在重重矛盾中對(duì)立存在，但是在挖掘兩性深層的心理動(dòng)機(jī)，及其探析兩性的欲望上，這種類(lèi)型卻有著積極且不可忽視的作用。
關(guān)鍵詞： 新世紀(jì)初期；懸疑電影；兩性心理；兩性沖突
Discuss The Sexual Conflict in Suspense Movies of
the Early New Century
WANG Ping
（Television Drama Department, the Art College of Inner Mongolia University, Hohhot, Inner Mongolia, 010010）
Abstract:The beginning of the new century is an uncertain age. The situation of the reform and opening-up has been stable and the reforms have been deepening gradually. The Chinese material civilization is in a rapid development. And the reforms in the art field are also carried out in an all-around way. The many changes of Chinese movies, which are influenced by all kinds of reforms, make people dazzled. Among these many changes of Chinese movies, the suspense movie as a specific movie type makes people feel fresh. This movie type enriches the presentation on the sexual love entanglement. Although men and women are still in the dilemma of conflict as result that there is no a reasonable solution for the sexual conflict in the suspense movies, this kind of movie has positive significance in exploring the deep psychological motivation of men and women and analyzing the sexual desire.
Key words:Early new century; Suspense movie; Sexual psychology; Sexual conflict
電視傳播與“非遺”劇種發(fā)展
——二人臺(tái)藝術(shù)的熒屏化發(fā)展思考
烏瓊芳1.楊超2.
（1.2.內(nèi)蒙古師范大學(xué)文學(xué)院新聞系，內(nèi)蒙古呼和浩特010022）
摘 要：在精神文化產(chǎn)品日益豐富、日益新鮮且更具吸引力的今天，地方性很強(qiáng)的“非遺”劇種的“成長(zhǎng)”空間受到了挑戰(zhàn)。在對(duì)非物質(zhì)文化遺產(chǎn)保護(hù)力度不斷加大的背景下，如何利用電視傳播促進(jìn)“非遺”劇的發(fā)展，是必須面對(duì)的問(wèn)題。本文以二人臺(tái)為例，就“非遺”劇種“熒屏化”的必要性、艱巨性、存在問(wèn)題及具體的運(yùn)作建議進(jìn)行了闡述分析。
關(guān)鍵詞：電視傳播；“非遺”劇種；二人臺(tái)；“熒屏化”
Television Communication and the Development of
the Intangible Heritage Operas
——Thinking of the Development of Er-ren-tai Performing on Screen
WU Qiong-fang1YANG Chao2
(1.2. College of Liberal Arts of Inner Mongolia Normal University, The Department of Journalism,
Hohhot, Inner Mongolia, 010022)
Abstract: Nowadays the cultural products are increasingly rich, novel and attractive, but the further development of the intangible heritage operas that is distinctive local characteristics, is restricted. Under the background of the increasing improvement in intangible heritage protection, it is necessary to deal with the problem how to promote the development of the intangible heritage operas by using the television media. Taking the performing of the Er-ren-tai as the case, this paper sets forth the necessity and arduousness and analyzes the problems and suggestions of the performing of the intangible heritage operas on screen.
Key words: Television communication; Intangible heritage operas; Er-ren-tai; Performing on Screen
形神與藝術(shù)
納日碧力戈
（復(fù)旦大學(xué)社會(huì)科學(xué)高等研究院，上海200433）
摘 要：形為物象，神為心智，氣為傳通。形、氣、神三通是人類(lèi)社會(huì)本然。“藝”是對(duì)于形物的美學(xué)駕馭，“藝”重“韻”， 讓“形韻”、“氣韻”、“神韻”自由流淌，交響共鳴。
關(guān)鍵詞：形神；藝術(shù)；微觀社會(huì)學(xué)
Shape & Spirit And Art
Naranbilig
(National Institute of Advanced Study in Social Sciences, Fudan University, Shanghai, 200433)
Abstract: Shape is the object image; spirit is from the mind; qi is the pathway. The three clear parts, shape, spirit and qi, are natural to the human society. "Art" reins the aesthetics of object and lays stress on "rhyme". Let the rhyme of "shape, spirit and qi" arouse the free resonance.
Key words: Shape & spirit; Art; Micro-sociology
文化生態(tài)學(xué)視角下的景德鎮(zhèn)
非物質(zhì)文化遺產(chǎn)的保護(hù)和傳承
李松杰1.李興華2.
（1.2.景德鎮(zhèn)陶瓷學(xué)院陶瓷美學(xué)研究所，江西景德鎮(zhèn)333404）
摘要： 景德鎮(zhèn)是千年瓷都，她作為中國(guó)古代手工業(yè)發(fā)展的典型城市，保存和紀(jì)錄了與陶瓷生產(chǎn)相關(guān)的人地因素、自然因素、歷史因素，是中國(guó)陶瓷生產(chǎn)非物質(zhì)文化的典型。但在城市化的進(jìn)程中許多陶瓷文化消失，在機(jī)械化的過(guò)程中傳統(tǒng)生產(chǎn)技藝面臨失傳，許多方言、習(xí)俗和神話(huà)面臨消亡。基于文化生態(tài)學(xué)的視角對(duì)景德鎮(zhèn)非物質(zhì)文化遺產(chǎn)的保護(hù)和傳承提出新的視角，以期為城市發(fā)展和文化保護(hù)提供可能的借鑒。
關(guān)鍵詞： 文化生態(tài)學(xué)；非物質(zhì)文化遺產(chǎn)；保護(hù)；傳承
Intangible Cultural Heritage of Jingdezhen Protection and
Heritage Based on Cultural Ecology
Li Songjie1.Li Xinghua2.
(1.2.Jingdezhen Ceramic Institute, Jiangxi Province Jingdezhen ,333403)
Abstract: Jingdezhen is the city of the Millennium Porcelain, and also as a typical city of Chinese ancient handicraft industry development. Jingdezhen saves and records the various factors, such as natural factors, historical factors and human factors related to ceramic production. Jingdezhen is a typical city of Chinese ceramic production of intangible cultural heritage. But during the process of development of modernization of Jingdezhen, much ceramic culture disappeared. The traditional production technology is being faced with the disappearance of the mechanization process, many dialects, customs and myths face extinction. The protection of Jingdezhen's intangible cultural heritage and inheritance based on the perspective of cultural ecology comes up with a new perspective in order to provide the significance for the protection of city development and culture.
Key words: cultural ecology, intangible cultural heritage, protection, heritage
呼和浩特蒙古大營(yíng)藝術(shù)團(tuán)
音樂(lè)活動(dòng)調(diào)查報(bào)告
姚小雪
（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：隨著呼和浩特社會(huì)經(jīng)濟(jì)的飛速發(fā)展，人們的民族認(rèn)同、地方認(rèn)同與文化認(rèn)同意識(shí)日益增強(qiáng)。于是，在規(guī)模不等的特色蒙餐店里，出現(xiàn)了各式各樣的蒙古族音樂(lè)表演活動(dòng)。這種表演活動(dòng)以商品的形式，為這些蒙餐店的經(jīng)營(yíng)者們帶來(lái)了一定的經(jīng)濟(jì)收益，通過(guò)別出心裁的商業(yè)運(yùn)作方式與營(yíng)銷(xiāo)手段，建構(gòu)出一道獨(dú)具特色的當(dāng)代草原城市民族音樂(lè)文化生活景觀。本文力圖通過(guò)對(duì)蒙古大營(yíng)藝術(shù)團(tuán)音樂(lè)活動(dòng)的實(shí)地調(diào)查與分析，對(duì)呼和浩特的蒙餐店之于蒙古族音樂(lè)的商業(yè)利用方式的問(wèn)題進(jìn)行探討。
關(guān)鍵詞：呼和浩特；蒙古大營(yíng)藝術(shù)團(tuán)；蒙古族音樂(lè)文化產(chǎn)品；田野調(diào)查
An Investigation on the Musical Activities in Hohhot Mongolian Camp
Yao Xiaoxue
(The Music Department of the Art College of Inner Mongolia University, Hohhot, Inner Mongolia，010010)
Abstract: With the rapid development of the social economy of Hohhot, the people's ethnic identity, local identity, and cultural identity are strengthening gradually. So, ranging in scale of the characteristics of each Mongolian restaurant, there appeared a variety of Mongolian music performances. The Mongolian performances have provided the operators of these establishments some economic benefits, through ingenious ways of business and marketing tools. A unique contemporary prairie city folk music and cultural life landscape have been created. Through a field investigation and analysis of the Mongolian Camp Art Troupe music activities, this paper will present the Mongolian restaurants of Hohhot, the Mongolian music business and the problems involved.
Key words: Hohhot; Mongolian Camp Art Troupe; Mongolian music culture products; fieldwork
民族音樂(lè)文化遺產(chǎn)傳承的新模式
——以?xún)?nèi)蒙古大學(xué)藝術(shù)學(xué)院民族音樂(lè)傳承驛站為例
苗金海
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古呼和浩特010010）
摘要：內(nèi)蒙古自治區(qū)作為邊疆少數(shù)民族聚居地區(qū)，分布著豐富的民族音樂(lè)文化資源，其中蒙古族長(zhǎng)調(diào)民歌、潮爾、馬頭琴、呼麥等優(yōu)秀的傳統(tǒng)藝術(shù)以及鄂倫春、鄂溫克、達(dá)斡爾等“三少”民族的民間藝術(shù)，都是當(dāng)?shù)刈顬閷氋F的民族音樂(lè)文化遺產(chǎn)，也是中華民族以至全人類(lèi)引以為驕傲的共同精神財(cái)富。對(duì)這些文化遺產(chǎn)的研究、保護(hù)與傳承是一項(xiàng)長(zhǎng)期而艱巨的系統(tǒng)工程。內(nèi)蒙古大學(xué)藝術(shù)學(xué)院歷經(jīng)56年的實(shí)踐探索，創(chuàng)立了民族音樂(lè)傳承驛站這一傳承音樂(lè)文化遺產(chǎn)的新模式，建立了院校傳承與民間傳承相結(jié)合的民族音樂(lè)文化遺產(chǎn)活態(tài)傳承機(jī)制，學(xué)院也因此形成了民族特色、地區(qū)特色鮮明的辦學(xué)特色，促進(jìn)了學(xué)院學(xué)科建設(shè)水平和教學(xué)質(zhì)量的顯著提高。
關(guān)鍵詞：民族音樂(lè)文化遺產(chǎn)；民族音樂(lè)傳承驛站；藝術(shù)院校；活態(tài)傳承
The Station of the National Music Inheritance
——Art College's New Pattern of Creating A Music Cultural Heritage
Miao Jinhai
（Art College of Inner Mongolia University，Hohhot, Inner Mongolia, 010010 ）
Abstract: The resources of a rich folk music-culture are distributed over China's frontier minority regions. The traditional arts include: the Mongol pastoral songs, chaoer, matouqin, khoomei. These are not only the most precious local, national cultural heritage of music, but also the common spiritual wealth of the Chinese nation and human pride. The protection, research and inheritance of this cultural heritage is a long-term and arduous project. After 53 years of practice and exploration, the Art College of the Inner Mongolia University has chosen the new inheriting music culture pattern-the station of national music inheritance. Thus, a relatively complete inheritance mechanism of national traditional music has been established, and the professional art college inheritance has become the important channel of the live inheritance of Mongol national music culture heritage. The college has therefore formed national-distinctive characteristics for successful operating a school. All of these have promoted the marked improvement of standards for college disciplines and the teaching quality.
Key words: national music cultural heritage, the station of national music inheritance, art college, live inheritance
基于樂(lè)器聲學(xué)視角的葫蘆絲研究
歐陽(yáng)平方1.張應(yīng)華2.
（1.2.貴州大學(xué)藝術(shù)學(xué)院，貴州貴陽(yáng)550003 ）
摘 要：葫蘆絲是云南省最具有民族特色的樂(lè)器之一，獨(dú)特的制作工藝及人們特定的審美心理需求，造就其濃郁的地域民族音色。本文從樂(lè)器聲學(xué)的角度，對(duì)葫蘆絲的樂(lè)器構(gòu)造、發(fā)音原理及音質(zhì)特征進(jìn)行分析，對(duì)進(jìn)一步推動(dòng)葫蘆絲的改良及發(fā)展具有重要的現(xiàn)實(shí)意義。
關(guān)鍵詞：葫蘆絲;樂(lè)器聲學(xué);發(fā)音原理；樂(lè)器改良
A Study on the Cucurbit Flute Regarding the
Acoustics of Musical Instruments
Ouyang Pingfang1Zhang Yinghua 2
(1.2.Arts College，Guizhou University，Guiyang，Guizhou, 550003)
Abstract: The cucurbit flute is one of the musical instruments in Yunnan Province with the most national features. Unique craftsmanship and the people's specific aesthetic psychological needs create its full-bodied regional and national timbre. This thesis, from the perspective of acoustics of musical instruments, carries out an analysis on the instrumental structure, pronunciation principle and tone quality features of the cucurbit flute, which is of an important practical significance for further promoting the improvement and development of the cucurbit flute.
Key words: Cucurbit Flute; Acoustics of Musical Instruments; Pronunciation Principle; Instrument Improvement
陜北信天游中的蒙古族民歌音調(diào)探微
雅茹
（內(nèi)蒙古師范大學(xué)音樂(lè)學(xué)院，內(nèi)蒙古呼和浩特010022）
摘 要：在跨民族文化交流融合的過(guò)程中，蒙古族民歌以其相對(duì)穩(wěn)定的特征發(fā)揮強(qiáng)大的輻射作用，影響了周邊漢族地區(qū)的民間音樂(lè)，如陜北信天游中就蘊(yùn)含著大量蒙古族民歌的元素。本文通過(guò)幾首典型的陜北信天游的詞曲對(duì)照及其相關(guān)推理,揭示了蒙古族民歌對(duì)周邊地區(qū)音樂(lè)文化的影響。
關(guān)鍵詞：陜北信天游；蒙古族民歌；影響；文化融合
A Research on Mongolian Folk Tunes among
the Xin Tian You in Northern Shanxi
Yaru
（Conservatory of Music, Inner Mongolia Normal University, Hohhot, Inner Mongolia ,010022）
Abstract: The Mongolian folk song has played a strong role with its relatively stable characteristics during the transnational process and transcultural interaction. It has affected the folk music of the surrounding Han nationality area. For instance, Xin Tian You(a kind of Shanxi local melody) contains a large number of elements of the Mongolian folk songs. This article reveals the effects of Mongolian folk songs on the musical culture of surrounding areas through the lyrical and melodic contrast and its related reasoning of a few typical Xin Tian You songs.
Key words: Xin Tian You in Northern Shanxi; Mongolian folk song; effect; cultural fusion
論阿沃·帕特鐘鳴音樂(lè)創(chuàng)作
的整體風(fēng)格特征與成因
許琛
（福建師范大學(xué)音樂(lè)學(xué)院，福建，福州350108）
摘 要：標(biāo)榜著阿沃·帕特（P·rt Arvo ，1935-）獨(dú)特音樂(lè)精神的鐘鳴音樂(lè)，以其鮮明的風(fēng)格與技法特征著稱(chēng)于20世紀(jì)西方音樂(lè)。對(duì)鐘鳴音樂(lè)風(fēng)格特征的探究自其誕生之日起也就不曾間斷過(guò)。這種新音樂(lè)的風(fēng)格是開(kāi)放的、發(fā)展的，體現(xiàn)出“多樣統(tǒng)一”的特征。本文嘗試以圍繞獨(dú)具特色鐘鳴作曲法為中心的技法風(fēng)格為出發(fā)點(diǎn)，結(jié)合與之滲透的其它風(fēng)格特征，將鐘鳴音樂(lè)風(fēng)格看成是一個(gè)主觀和客觀“對(duì)立統(tǒng)一”的合成型整體進(jìn)行風(fēng)格論述。
關(guān)鍵詞：阿沃·帕特；鐘鳴音樂(lè)；擬聲風(fēng)格；阿維農(nóng)；新古典主義；序列主義；神圣簡(jiǎn)約主義
The Overall Style Characteristics and Origin of P·rt Arvo’s Tintinnabuli
Xu Chen
(Music Department, Fujian Normal University, Fuzhou, Fujian, 350108)
Abstract: Because of the distinctive style and technique characteristic, tintinnabuli have well-known of western music in the 20th century which flaunting the unique musical spiritual of P·rt Arvo. The exploring of tintinnabuli’s style has not stopped from the date of its birth it. The style of this music is open， development that which reflecting the Law of Unity of Opposites. The paper combined with other style characteristics as an objective which infiltration to the tintinnabulation technique style as a subjective starting point, than discussing them overall style characteristics and origin of P·rt Arvo’s tintinnabuli as Unity of Opposites.
Key words: P·rt Arvo; tintinnabuli; Onomatopoeic style; The Avignon style; Neoclassicism; Serialism; Holy Minimalism
“大母神”崇拜在東方及其神話(huà)顯影
李祥林
（四川大學(xué)中國(guó)俗文化研究所，四川成都610064）
關(guān)鍵詞：“大母神”；生殖崇拜；神話(huà)；宗教史
The Worship of "The Great Mother" In the East
And Its Myth Manifestation
LI Xiang-lin
(China Folk Culture Institute, Sichuan University, Chengdu, Sichuan, 610064)
Key words: The Great Mother, Reproductive worship, Myth, History of religion
淺析《神路圖》中的藏傳佛教因素
朱永強(qiáng)
（玉溪師范學(xué)院，云南玉溪653100）
摘 要：納西族與藏族有著極深的淵源，在納西族創(chuàng)世史詩(shī)《從般邵》中，納西族、白族、藏族是同母所生的三兄弟。《神路圖》是納西族東巴教用于喪葬時(shí)超度死者亡魂儀式中的一幅長(zhǎng)卷繪畫(huà)，一般用于超度地位較高的東巴祭司，普通民眾喪葬儀式并不使用。透過(guò)《神路圖》可以看出，納西先民們很好的借鑒、吸收和發(fā)揚(yáng)了藏傳佛教中的積極因素，以補(bǔ)充完善自己民族的文化。
關(guān)鍵詞：《神路圖》;納西族;藏族;東巴教;藏傳佛教
The Tibetan Buddhism Factors in The Road to Heaven
Zhu Yongqiang
（Yuxi Normal University ,Yuxi City,653100）
Abstract: Naxi and Tibetan have a deep origin. In the Naxi genesis CONGBANSHAO, Naxi, Bai and Tibetan are brothers."The Road to Heaven" is a scroll painting which the Naxi Dongba priest used in funeral ceremonies. It is generally used in a high-ranking dongba priests'funeral, but is not used in an ordinary funeral ceremony. Through "The Road to Heaven" , one can see that Naxi ancestors absorb and carry forward the positive factors of Tibetan Buddhism, to complement their ethnic culture.
Key words: The Road to Heaven, Naxi, Tibetan, Dongba relilgions,Tibetan Buddhism
寶雞南坡村“太陽(yáng)節(jié)”廟會(huì)的文化考察
李東風(fēng)
（西華師范大學(xué)美術(shù)學(xué)院，四川南充637009）
摘 要：廟會(huì)是一種古老的宗教文化現(xiàn)象，本文在陜西省寶雞市金臺(tái)區(qū)南坡村“太陽(yáng)節(jié)”的田野考察基礎(chǔ)上，得出南坡村“太陽(yáng)節(jié)”與炎帝神農(nóng)譽(yù)為“太陽(yáng)神”的傳說(shuō)有關(guān)，是炎帝神農(nóng)傳說(shuō)的民間記憶方式，是祭祀“太陽(yáng)神”的遺存。“太陽(yáng)節(jié)”廟會(huì)是南坡村每年必須舉行的活動(dòng)，廟會(huì)活動(dòng)的組織方式及活動(dòng)所需的器具及制品具有規(guī)范、調(diào)節(jié)、傳承和凝聚鄉(xiāng)間文化生活等社會(huì)功能。
關(guān)鍵詞：寶雞南坡村；太陽(yáng)節(jié)；廟會(huì)；炎帝神農(nóng)；太陽(yáng)神
Study on "Sun Festival" Temple Fair Culture in Nanpo Village in Baoji
LI Dong-feng
(Fine Arts School, Chian West Normal University, Nanchong, Sichuan, 637009)
Abstract: Temple fair is an ancient religious culture phenomenon. Based on the field investigation of "Sun Festival" in Nanpo village, Jintai district, Baoji city, Shaanxi province, this paper concluds that "Sun Festival" in Nanpo village is relevant to "Sun-god" honored by Emperor Yandi Shennong, which is the folk memory of Emperor Yandi Shennong legend and the remain of the sacrifice to "Sun-god". "Sun Festival" temple fair must be held in Nanpo village every year. The activities organization and the equipments and products of the temple fair can play the social function in specifying, regulating, inheriting and condensing the countryside culture life.
Key words: Nanpo village in Baoji; Sun Festival; Temple fair; Emperor Yandi Shennong; Sun-god
淺析蒙古族傳統(tǒng)文化元素在當(dāng)下建筑中的運(yùn)用
——以呼和浩特城市建筑為例
趙升紅
（內(nèi)蒙古廣播電視大學(xué)，內(nèi)蒙古呼和浩特010010）
摘 要：本文是針對(duì)蒙古族傳統(tǒng)文化元素在呼和浩特城市建筑中的運(yùn)用現(xiàn)狀進(jìn)行的田野調(diào)查，并將調(diào)查中發(fā)現(xiàn)的問(wèn)題進(jìn)行分析、歸納。期望在地方建筑美學(xué)的理論研究中起到拋磚引玉的作用。
關(guān)鍵詞：蒙古族傳統(tǒng)文化元素；城市建筑；呼和浩特；運(yùn)用
Analysis on The Application of The Mongolian Traditional Culture
Elements in The Present Construction
——Cited Hohhot Urban Architecture As an Example
ZHAO Sheng-hong
(Inner Mongolia Radio & TV University, Hohhot, Inner Mongolia, 010010)
Abstract: Through a field investigation on the application of Mongolian traditional culture elements in Hohhot city buildings, the paper analyzes and sums up the problems found in the survey. And it is desirable that this paper could bring much better ideas into the theoretical research of local architectural aesthetics.
Key words: Mongolian traditional culture elements, Urban architecture, Hohhot, Application
探索融合蒙古族民間美術(shù)形象的
動(dòng)畫(huà)角色設(shè)計(jì)的當(dāng)代意義
周金月1.周珂2.
（1.2.內(nèi)蒙古呼倫貝爾學(xué)院美術(shù)系，內(nèi)蒙古呼倫貝爾021008）
摘 要：20世紀(jì)五六十年代，我國(guó)的水墨動(dòng)畫(huà)在當(dāng)時(shí)的動(dòng)畫(huà)產(chǎn)業(yè)盛極一時(shí)之后，便逐步的走向了追尋技術(shù)突破，而忽略了本土民族藝術(shù)個(gè)性體現(xiàn)之路。因此，把民族美術(shù)形象運(yùn)用在動(dòng)畫(huà)角色的設(shè)計(jì)上，看上去是一種“守舊”的退步，但是從動(dòng)畫(huà)的感染力和震撼力以及民族認(rèn)同感上，這一元素的運(yùn)用遠(yuǎn)遠(yuǎn)可以彌補(bǔ)我國(guó)動(dòng)畫(huà)產(chǎn)業(yè)在技術(shù)上的薄弱，從而達(dá)到事半功倍的效果。
關(guān)鍵詞：民間文化；民間美術(shù)；動(dòng)畫(huà)角色；民族動(dòng)畫(huà)新形象
On the Contemporary Significance of Animation Characters
Design of Mongolian Folk Art Image
ZHOU Jin-yue1ZHOU Ke2
(The Art Department, Hulunbuir College, Hulunbuir, Inner Mongolia, 021008)
Abstract: In 1950s and 1960s, Chinese water-color animation was extremely popular at the time of the animation industry. Afterwards, it gradually moved towards the pursuit of technical breakthrough, while it ignored the reflection of native artistic character. As a result, the use of the national art image in the design of animination characters seemed to be a "conservative" retrograde step, but a compensation for the technical weakness in our national anination industry from the infectivity and shock of animation as well as the sense of national identity, so as to achieve twice the result with half the effort.
Key words: Folk culture; Folk art; Animation characters; New image of national animation
“文化大革命”時(shí)期牛漢詩(shī)作中
的自然書(shū)寫(xiě)解讀
郭秀琴
（內(nèi)蒙古師范大學(xué)，內(nèi)蒙古呼和浩特010022）
摘 要：“文化大革命”時(shí)期，主流革命意識(shí)形態(tài)覆蓋下的文壇鮮有對(duì)大自然鮮活生命的書(shū)寫(xiě)，綠色詩(shī)意的缺失是這一階段詩(shī)歌的基本特征和缺陷。七月派詩(shī)人牛漢卻在生命遭受?chē)?yán)重摧殘與打擊的逆境中，敏銳地發(fā)現(xiàn)了人與自然的關(guān)系，從身邊的動(dòng)物、植物書(shū)寫(xiě)中開(kāi)始了生命的反思，表現(xiàn)出至為珍貴的生命意識(shí)，并在與自然心靈溝通中獲得寧?kù)o的心靈撫慰與強(qiáng)有力的精神支持。
關(guān)鍵詞：“文化大革命”時(shí)期；牛漢；動(dòng)物；植物
The interpretation of Niu Han 's poems about nature writing during
the period of "The Cultural Revolution of China "
Guo Xiu Qin
(Inner Mongolia Normal University, Inner Mongolia, Hohhot 010010)
Abstract: During "The Cultural Revolution of China " period, literature writing was rarelyabout the nature life under the coverage of dominant revolutionary ideology. The lack of green poetry is a basic characteristic and defects in this period. Although he was in adversity and suffered serious destruction, Niu Han from the July poets was keen to discover the relationship between man and nature and showed the precious life consciousness through the description of the animals and plants. With natural mind communication, he received peaceful comfort for his mind and powerful spiritual support.
Key words: "The Cultural Revolution" Period， Niu Han，animals， plants
本真性的多元化視角：普洱茶
在云南和其他地方的消費(fèi)研究（下）
張靜紅1.著桂慕梅2.黃雋瑾3.譯
（1.云南大學(xué)人文學(xué)院，云南昆明650091；2.北京師范大學(xué)文學(xué)院，北京100875
3.內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古呼和浩特010010）
摘 要：在當(dāng)今中國(guó)，普洱茶是最流行的茶葉之一。本文要探究不同群體在不同地點(diǎn)和不同時(shí)期對(duì)普洱茶本真性的不同理解。通過(guò)展現(xiàn)這些多元化的視角，本文認(rèn)為，普洱茶品味上的差別是不同的自我言說(shuō)之間相互互動(dòng)的結(jié)果；而且，任何一種自我言說(shuō)都不是絕對(duì)獨(dú)立自足的，而是納入了借來(lái)的、調(diào)適的以及被“再本真化”的多個(gè)因素。
關(guān)鍵詞： 普洱茶；云南；本真性；多元化；相互作用；自我言說(shuō)
Foundation of Diverse Perspective: A Study of
the Pu 'er Tea Consumption in Yunnan and Other Places (Two)
Written by ZHANG Jing-hong1, Translated by GUI2 Mu-mei HUANG Jun-jin3
(1.College of humanities, Yunnan University, Kunming 650091,
2.Yunnan Province, College of Liberal Arts of Beijing Normal University, Beijing 100875 ,
3.Art College of Inner Mongolia University, Hohhot, Inner Mongolia, 010010)
Abstract:In today's China, Pu 'er tea is one of the most popular teas. This paper will explore the different understanding of different groups and different locations at different times of the true Pu 'er tea. By showing the multiple angle of views, this paper holds that different tastes of Pu 'er tea is the results of the interaction between different self-voice; moreover, any kind of self-voice are not absolutely independent and self-sufficient, but included in borrowed, adjustment and was "re- reality."
Key words:Pu 'er tea; Yunnan; authenticity; diversification; interaction; self-voice
匈奴的藝術(shù)與考古學(xué)在俄羅斯的新發(fā)現(xiàn)
（俄）瑟格瑞·米涅瓦著瑞雪譯戈思齊校
（俄羅斯科學(xué)院物質(zhì)文化與歷史研究所，俄羅斯聯(lián)邦圣彼得堡199155）
關(guān)鍵詞：匈奴藝術(shù)；考古學(xué)；新發(fā)現(xiàn)
Art and Archaeology of The Xiongnu：New Discoveries in Russia
By Dr. Miniaev（Russia）, Translated by Ruixue, Proofread by Ge Siqi
(Institute of the History of Material Culture ,the Russian Academy of Sciences of St.Petersburg Russian Federation,199155)
Key words: Xiongnu art, archaeology, new discoveries