《內(nèi)蒙古大學(xué)藝術(shù)學(xué)院學(xué)報(bào)》2011年第3期
中英文論文標(biāo)題、摘要及關(guān)鍵詞
“朵因溫都兒”小考
烏蘭杰 烏 蘭
（中央民族大學(xué)，北京 100081；
中國社會(huì)科學(xué)院民族學(xué)與人類學(xué)研究所，北京100081 ）
摘 要：史籍所載“朵因溫都兒”即今內(nèi)蒙古自治區(qū)興安盟扎賚特旗北境的博格達(dá)烏拉（俗稱神山）。近來有一種說法，將扎賚特旗博格達(dá)烏拉與月倫太后聯(lián)系起來，認(rèn)為其地曾經(jīng)是成吉思汗生母月倫太后的祭祀地。而通過相關(guān)史料梳理和科學(xué)分析，認(rèn)為此說偏頗，朵因溫都兒與月倫太后宮帳所在地?zé)o涉，因而與月倫太后祭祀不存在任何關(guān)系。
關(guān)鍵詞：朵因溫都兒；博格達(dá)烏拉；斡赤斤領(lǐng)地；月倫太后；失剌斡耳朵
A Preliminary Inspection of“duo yin wen du er”
WU Lan-jie Wu Lan
(CentralUniversity for Nationalities, Beijing 100081; Ethnology and Anthropology Institute, Chinese Academy of Social Sciences, Beijing 100081)
Abstract: The term " duo yin wen du er " in historical records of the present northern border of Inner Mongolia Autonomous Region Bogda Ula in Hing'an Zhalaite Banner (commonly known as the saint mountain). Recently there has been an argument to Zhalaiteqi Bogda Ula link with the Queen Mother Yarun, that the land of Genghis Khan's mother was the Queen Mother's place to worship. Combing through the relevant historical data and scientific analysis, said that "duo yin wen du er" is unrelated to the location, and therefore has nothing to do with the worship place of the Queen Mother.
Key words: "duo yin wen du er"; Bogda Ula; ojjin territory; yarun Queen Mother; shiraordo
那達(dá)慕：蒙古族古老而現(xiàn)代的節(jié)日
張曙光
（中國國家圖書館，北京 100081）
摘要：那達(dá)慕具有悠久的歷史，但目前在那達(dá)慕的學(xué)術(shù)認(rèn)識(shí)上，卻存在著明顯的多樣性和模糊性。那達(dá)慕或單獨(dú)舉辦，或集合在其他集會(huì)、節(jié)日或慶典活動(dòng)中，逐步發(fā)展成為蒙古族重要的節(jié)日文化符號(hào)。那達(dá)慕較為明顯的發(fā)展趨勢是，其節(jié)日形態(tài)得以不斷顯現(xiàn)和逐步完整，并已衍化為具有相對(duì)固定周期、相對(duì)穩(wěn)定內(nèi)容、相對(duì)明確功能和專有名稱的獨(dú)立的節(jié)日。
關(guān)鍵詞：蒙古族；節(jié)日；那達(dá)慕；文化符號(hào)
Naadam: The Ancient and Modern Mongolian Holiday
ZHANG Shu-guang
(National Library of China, Beijing 100081)
Abstract: Naadam has a long history, but in academic understanding, but there is a clear diversity and ambiguity for Naadam. Naadam is independently held, or with other meetings, festivals or celebrations, and gradually developed into an important festival of Mongolian cultural symbols. The more obvious trend of Naadam is that its holiday form has been gradually become complete and has been derived for a relatively fixed period, the content is relatively stable, relatively well-defined functions and proprietary names of independent festivals.
Key words: Mongolian; festival; Naadam; cultural symbols
戀愛的閾限與媒介
——長角苗戀愛習(xí)俗中服飾文化功能考察
安麗哲
（中國藝術(shù)研究院， 北京 100029）
摘 要：戀愛活動(dòng)中的服裝及配飾的禁忌反映了長角苗人在其長期的社會(huì)歷史與自然環(huán)境下形成的婚戀觀念。服飾作為一種符號(hào)，標(biāo)識(shí)一個(gè)長角苗人可以參加戀愛活動(dòng)的開始以及戀愛活動(dòng)的截止。長角苗人使用服裝配飾充當(dāng)與對(duì)方進(jìn)行溝通的媒介，含蓄的表達(dá)自己對(duì)對(duì)方的態(tài)度，顯示了戀愛的不同階段。在長角苗的文化中，服裝及配飾在其戀愛習(xí)俗中扮演著重要的角色。
關(guān)鍵詞：苗族服飾；文化功能 ；婚姻習(xí)俗；媒介；閾限
The Limen and Media in Love
-------Inspection of the cultural function of Changjiao Miao dress in love customs
AN Li-zhe
(Chinese Art Institute, Beijing 100029 )
Abstract: The taboo of clothing and adorn in the Changjiao Miao love activities reflect the marriage notion developed in the long-term social history and natural environment. As a symbol, dress marks the beginning and the end of Miao people who can attend love activity. The Changjiao Miao people use costume as a media to express themselves, implicative for each other's attitude and display different stages of love. Clothing and adorns of Miao people play an important role is in their love customs。
Key words: Miao dress, cultural function; marriage customs; media; limen
云南藏族樂舞文化及其與周邊民族文化的交流與關(guān)聯(lián)
石裕祖
（昆明藝術(shù)職業(yè)學(xué)院 云南 昆明 328866）
摘要：藏族是云南省26個(gè)世居少數(shù)民族之一，神秘奇妙的藏族樂舞文化體現(xiàn)了一元多流的特征，與其他云南的少數(shù)民族樂舞文化形成了博大精深且多姿多彩的若干種類，反映了其既自成體系又廣采博收的民族胸懷。解讀和研究云南藏族樂舞文化，以及藏族樂舞文化及其與周邊民族文化的交流與關(guān)聯(lián)，有助于我們理解藝術(shù)發(fā)生學(xué)及大眾藝術(shù)審美選擇的基本原理和規(guī)律。
關(guān)鍵詞：云南藏族；樂舞特征；周邊民族；交流融合；文化影響；關(guān)聯(lián)
The Communication and Correlation between Yunnan Tibetan Music Dance Culture and Its Surrounding National Culture
SHI Yu-zu
(Kunming Art Vocational College, Kunming 328866, YunnanProvince)
Abstract: Tibetan is one of the 26 native ethnic minorities living in Yunnan. The mysterious magical Tibetan music dance culture reflects the characteristics of a unity, and with other ethnic music dance culture of Yunnan form a profound and diverse number of species, reflecting the only self-contained and widely adopted national mind. Interpreting and studying music dance in Yunnan as well as Tibetan culture and Tibetan music dance culture and its communication with the surrounding culture and associated arts help us understand the genetic and the public choose of the basic aesthetic principles and laws.
Key words:Yunnan Tibetan; music dance features; surrounding minorities; communication and integration; cultural impacts; association
作為口頭藝術(shù)的鄂爾多斯祝贊詞及其特征
哈斯巴特爾
（內(nèi)蒙古師范大學(xué)音樂學(xué)院，內(nèi)蒙古 呼和浩特 010010）
摘要：祝贊詞是蒙古族最古老的口頭藝術(shù)形式之一，在蒙古族各地區(qū)廣泛流傳。祝贊詞，不僅是口頭藝術(shù)，也是言說和表演相結(jié)合的藝術(shù)形式，還具有表演藝術(shù)的特征。祝贊詞的表演者，在進(jìn)行表演時(shí)沒有伴奏樂器，手舉哈達(dá)，進(jìn)行演說，是現(xiàn)場即興發(fā)揮，沒有任何準(zhǔn)備，看實(shí)際情況即興編創(chuàng)適合所有儀式規(guī)則和情景的祝贊詞。祝贊詞的表演在其特定的表演語境中才能產(chǎn)生它的意義和作用。
關(guān)鍵詞：鄂爾多斯；祝贊詞；口頭藝術(shù)；特征
Ordos Eulogy as Verbal Art and Its Characteristics
Habaatar
(School of Music, Inner MongoliaNormalUniversity, Huhhot 010010, Inner Mongolia)
Abstract: Eulogy is one of the oldest Mongolian oral art forms widespread, in different patrs of Mongolian area. Eulogy is not only a verbal art, but also a combination of speech and performing art forms, with the characteristics of the performing arts. Eulogy performers, during performances without accompaniment musical instruments, hand-held Hada, the speech is impromptu play, without any preparation, seeing the innovations of the actual situation impromptu ceremony for all the rules and scenarios. Eulogy performance can only produce the performance of its meaning and effect in their specific context.
Key words: Ordos; eulogy; oral art; features
我國民間音樂文化的“活態(tài)載體”
——對(duì)民間音樂藝人社會(huì)文化價(jià)值的認(rèn)識(shí)
高巧艷布日古德
（內(nèi)蒙古民族大學(xué)音樂學(xué)院，內(nèi)蒙古通遼 028043）
摘要：作為民間音樂文化“活態(tài)載體”的民間音樂藝人，在傳承民族音樂文化方面具有重要作用。重新審視我國民間音樂藝術(shù)的傳承人，使人們能對(duì)民間音樂藝術(shù)“活態(tài)的傳承人”進(jìn)行關(guān)注，認(rèn)識(shí)其獨(dú)特的社會(huì)文化價(jià)值，他們才是我們民族文化的“承載者”，對(duì)進(jìn)一步傳承和保護(hù)我國優(yōu)秀的民族音樂藝術(shù)具有重大意義。
關(guān)鍵詞：民間音樂；活態(tài)載體；民間音樂藝人；社會(huì)文化價(jià)值
The “Living Carrier” of China's Folk Music Culture
----Cognition of the social and cultural of the value of folk music artists
GAO Qiao-yan Burgud
(School of Music of Inner MongoliaNationalUniversity, Tongliao 028043, Inner Mongolia)
Abstract: As the "living carrier" of folk music culture, folk music artists, have an important role in the inheritance of traditional folk music culture. Re-examining the inheritors of China’s folk music art, we can make people pay attention to the “living inheritor”of the folk music art, recognizing their unique cultural values. They are the ones of our national culture "bearers" of further transmission and they are of great significance for protecting our great national music art.
Key words: folk music; living carrier; folk music artists; social and cultural values
試論蒙古族長調(diào)功能性保護(hù)的意義及路徑
喬玉光
（內(nèi)蒙古文化廳，內(nèi)蒙古 呼和浩特 010010）
摘要：在蒙古族游牧社會(huì)中，長調(diào)不僅承擔(dān)著藝術(shù)表達(dá)和情感表達(dá)的作用，同時(shí)也承擔(dān)著重要的生產(chǎn)性和生活性的社會(huì)功能。在當(dāng)代，長調(diào)更為深層次的危機(jī)，表現(xiàn)在社會(huì)功能的弱化與喪失。對(duì)長調(diào)的保護(hù)，既要注重對(duì)音樂風(fēng)格、演唱特點(diǎn)等等內(nèi)容的保護(hù)傳承，更要著眼于長調(diào)在生產(chǎn)生活中功能作用的保護(hù)與傳承，把對(duì)長調(diào)社會(huì)功能的保護(hù)措施擺在更為突出的位置。
關(guān)鍵詞：蒙古族長調(diào)；社會(huì)功能；保護(hù)；傳承；路徑
On the Significance and Path of the Functional Protection of Mongolian Long-tune
QIAO Yu-guang
(Inner Mongolia Culture Department, Hohhot 010010, Inner Mongolia)
Abstract: In the Mongolian nomadic society, the long-tune not only bear the artistic expression and the role of emotional expression, but also plays an important part in the social function of production and life. In modern times, a long tune is in more deep-seated crisis, manifested in the weakening and loss of social function. As to the protection of the long tone, it is necessary to pay attention to the musical style, singing the protection of heritage features and much more, and to focus on the long tune in the production of functional roles in the protection of life and heritage, the social function of the long tune of protective measures put in more prominent position.
Key words: Mongolian long-tune; social function; protection; heritage; path
民俗文化視域下的蒙古族長調(diào)
劉新和
（內(nèi)蒙古自治區(qū)藝術(shù)研究所，內(nèi)蒙古呼和浩特 010010）
摘要：蒙古族長調(diào)的搶救與保護(hù)是一項(xiàng)規(guī)模宏大、內(nèi)容復(fù)雜的系統(tǒng)工程，而對(duì)文化環(huán)境與傳承環(huán)境的保護(hù)是基礎(chǔ)性工作。長調(diào)保護(hù)應(yīng)該建立在民俗地理、民俗文獻(xiàn)和民俗生活基礎(chǔ)之上。“學(xué)院式”的研究與保護(hù)非常重要，而支撐學(xué)院式研究的基礎(chǔ)是田野與傳統(tǒng)。
關(guān)鍵詞：蒙古族長調(diào)；遺產(chǎn)保護(hù)；民俗文化；視域
Mongolian long-tune under the Folk Culture Domain
LIU He-xin
(Art Institute of Inner Mongolia Autonomous Region, Hohhot 010010, Inner Mongolia)
Abstract: The rescue and protection of Mongolian long-tune is a large-scale, complexity system engineering, and environmental and cultural heritage protection of the environment is the foundation work. Protection should be based on long-tune folk geography, folk literature and folk life basis. "School" type of research and conservation is very important, and collegial support for research is based on the field and traditions.
Key words: Mongolian long-tune; heritage protection; folk culture; sight
科爾沁長調(diào)民歌調(diào)式特征分析
吳黎晗
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院音樂系，內(nèi)蒙古 呼和浩特 010010）
摘要：對(duì)烏蘭杰先生收集整理成冊(cè)的《科爾沁長調(diào)民歌集》中90首科爾沁長調(diào)民歌調(diào)式的分析，發(fā)現(xiàn)科爾沁長調(diào)民歌調(diào)式不僅有五聲性調(diào)式，還有六聲性甚至七聲性的調(diào)式，并且轉(zhuǎn)調(diào)的類型與手法也是包羅萬象。
關(guān)鍵詞：科爾沁;長調(diào)民歌;調(diào)式特征;單一調(diào)性；調(diào)性變化
Analysis of the Characteristics of Horqin Long-tune Folk Songs
WU Li-han
(Department of Music, ArtCollege of Inner MongoliaUniversity, Hohhot 010010, Inner Mongolia)
Abstract: Mr. Wu Lanjie collected into a book of " Horqin long-tune folk songs set"with the analysis of the tune types of 90 Horqin long-tune folks songs, and found that Horqin long-tune folk songs tuning not only have the Pentatonic tuning, there are six or seven sound of the tuning and various swapping and tactics types.
Key words: Horqin; long-tune folk songs; tuning features; single tone; tone changes
新疆巴音郭勒蒙古族短調(diào)民歌旋律形態(tài)探析
玉 梅
( 內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古呼和浩特 010010 )
摘 要：巴音郭勒短調(diào)民歌,保持了傳統(tǒng)蒙古族民歌的調(diào)式特點(diǎn)，音樂多以五聲音階為主而構(gòu)成。其旋律音程幅度大，體現(xiàn)了在一定程度上受其他少數(shù)民族音樂影響而形成的獨(dú)特風(fēng)格。新疆巴音郭勒短調(diào)民歌節(jié)奏也形成了自身的特征，其短調(diào)民歌的曲體結(jié)構(gòu)保持了蒙古族風(fēng)格的獨(dú)特魅力。
關(guān)鍵詞：新疆；巴音郭勒；蒙古族短調(diào)民歌；調(diào)式調(diào)性；旋律；節(jié)奏；結(jié)構(gòu)
Analysis of Tune Forms of Xinjiang Bayangol Mongolian short-tune folk songs
YU Mei
(Art College of Inner MongoliaUniversity, Hohhot 010010, Inner Mongolia)
Abstract: Bayangol short- tune folk songs have maintained the tuning features of traditional Mongolian folk songs, and the music have more oriented to the pentatonic scale and composition. The large range of melodic intervals, reflecting to some extent by the effects of other ethnic minorities formed a unique musical style. Xinjiang Bayangol short-tune folk songs also formed its own rhythm characteristics, the short- tune folk songs structure maintains a unique Mongolian-style charm.
Key words: Xinjiang; Bayangol; short- tune Mongolian folk songs; modal transfer;melody; rhythm; structure
1990年代以來國外西藏藝術(shù)理論研究述評(píng)
羅易扉
（中國藝術(shù)研究院研究生院，北京 10029）
摘 要：西藏具有豐富的藝術(shù)資源。選取1990年代以來國外西藏藝術(shù)理論研究作一綜述。主要依據(jù)方法論為分類依據(jù)，根據(jù)圖像學(xué)、社會(huì)學(xué)、考古學(xué)及宗教學(xué)等不同的方法論歸類述評(píng)。反映20年代來西藏藝術(shù)理論研究的進(jìn)展和成果，展現(xiàn)西藏藝術(shù)研究中重要理論與方法論。
關(guān)鍵詞：綜述；西藏；藝術(shù)理論；研究論著；方法論
Sum Up of the Theoretical Study of Tibetan Art Abroad since the 1990s
LUO Yi-fei
(Graduate School of Chinese Academy of Arts, Beijing 10029)
Abstract: Tibet has a rich artistic resources. This article selects and sum up the theoretical study of Tibetan art abroad since the 1990s. Methodology is the base of the classification according to image science, sociology, archeology, and religion of different classification methodology review, reflecting the progress and achievement of the study of Tibetan art theory and shows the important theory and research methodology used in the research on Tibetan art.
Key words: sum up; Tibet; art theory; research works; methodology
淺析現(xiàn)當(dāng)代中國繪畫風(fēng)格之變
陳鐵梅
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院美術(shù)系，內(nèi)蒙古 呼和浩特 010010）
摘要： 20世紀(jì)上半葉中國繪畫的格局是明清大寫意與元代小寫意、唐宋嚴(yán)謹(jǐn)畫三足鼎立，然后是文人畫大寫意，直到吳昌碩、齊白石、黃賓虹、潘天壽這四家，中西合璧與傳統(tǒng)派二者并存。文人畫在社會(huì)結(jié)構(gòu)已發(fā)生巨大變化的時(shí)代逐漸失去發(fā)展空間，中國畫融通西方現(xiàn)代藝術(shù)廣為人接受，林風(fēng)眠、吳冠中等一輩藝術(shù)家身體力行，探索中西融通，探索中國繪畫在時(shí)代中的歷史轉(zhuǎn)變之路。
關(guān)鍵詞：中國繪畫；風(fēng)格；變革；中西融通
An Approach to the Changes of Modern and Contemporary Chinese Painting Styles
CHEN Tie-mei
(Fine Arts Department, ArtCollege of Inner MongoliaUniversity, Hohhot 010010, Inner Mongolia)
Abstract: In the first half of the 20th century, there were three patterns of the Chinese paintings: large freehand brushwork in Ming and Qing, small freehand brushwork in Yuan Dynasty, meticulous paintings in the Tang and Song dynasties, and then there was the scholar painting large freehand brushwork, until Wu Chang-shuo, Qi Bai-shi, Huang Bin-hong, Pan Tian-shou, and Western-eastern combination of both co-exist with the old school. Scholar painting in the social structure has undergone tremendous changes in the era of losing space for development of modern Western art of Chinese painting facility widely accepted, Lin Feng-mian, Wu Guan-zhong, etc. explore Western intermediation to explore Chinese painting in the era of historic change oin the way.
Key words: Chinese painting; style; change; Western-eastern intermediation
蒙古風(fēng)格的莫臥爾王朝印度細(xì)密畫
（英國）狄波拉•絲瓦羅 著 毛 銘 譯
(英國倫敦大學(xué)東方學(xué)院,英國 倫敦）
摘 要：在相當(dāng)于明清時(shí)期的印度莫臥爾王朝鼎盛時(shí)代，宮廷繪畫主要學(xué)習(xí)的是波斯細(xì)密畫。波斯細(xì)密畫的源頭，可以追溯到蒙古忽必烈汗時(shí)代宮廷繪畫藝術(shù)，特別是人物肖像方面。莫臥爾王朝細(xì)密畫有其風(fēng)格變化，其中的杰作之一《賈汗吉爾朝見蘇菲派長老和其他國王》是當(dāng)時(shí)東西方文化碰撞的典型例子。
關(guān)鍵詞：波斯細(xì)密畫；蒙古宮廷繪畫；印度莫臥爾王朝；蘇菲派長老
Mughal Dynasty in India Fine Art Painting of Mongolian Style
(UK) Deborah • Swallow, Translated by of Mao Ming
(Oriental Institute, University of London, London, UK)
Abstract: In the equivalent period of the Ming and Qing dynasties flourishing Indian Mughal era, the palace painting is mainly the learning of Persian fine painting art. Persian miniatures can be traced back to the times of Mongolian palace art of painting in the court of Kublai Khan, especially in portraits. Mughal dynasty fine art has its own style changes, among which one of the masterpieces is "Meeting Jahangir Sufi elders and other kings," and was a typical example of East-West cultural collision.
Key words: Persian miniatures; Mongolian court painting; India's Mughal dynasty; Sufi elders
高等美術(shù)教育的理想與課程的人文價(jià)值訴求
吳寶德 張曉澗
（內(nèi)蒙古包頭師范學(xué)院，內(nèi)蒙古 包頭 014030）
摘 要：高等美術(shù)教育在追求理想的同時(shí)，積極探尋美術(shù)教育專業(yè)課程的價(jià)值訴求，是目前高等美術(shù)教育需要研究的根本問題之一。堅(jiān)守學(xué)校自身文化傳統(tǒng)，追求學(xué)校自身個(gè)性鮮明的教育理想，是高等美術(shù)院校面臨的重要選擇;體現(xiàn)教育者的理想追求，緊密聯(lián)系教育者對(duì)具體課程教育價(jià)值的訴求，是學(xué)科建設(shè)的價(jià)值取向；師生間實(shí)際交流達(dá)成知識(shí)的教學(xué)活動(dòng)，才能體現(xiàn)美術(shù)課程教育價(jià)值的訴求。
關(guān)鍵詞：中國；高等美術(shù)教育；專業(yè)課程；學(xué)科建設(shè)；教學(xué)活動(dòng)；價(jià)值訴求
Appeal to Human Value of Ideals and Courses of Higher Art Education
WU Bao-de, ZHANG Xiao-jian
( Inner MongoliaBaotouNormalUniversity, Baotou 014030, Inner Mongolia)
Abstract: Higher Art Education in the pursuit of ideals, we will actively explore the value of art education demanding of professional courses, is one of the fundamental issues of higher art education need to be studied. Adhere to the school's own cultural traditions, the pursuit of the school's own distinctive ideal of education, institutions of higher art face an important choice; the education of those ideals, closely linked to specific courses of education are the demands of the educational value, the value orientation of disciplines; practical communication between teachers and students to achieve knowledge of teaching activities, in order to reflect the demands of the educational value of art courses.
Key words: China; higher art education; professional courses; discipline construction; teaching activities; value proposition
中國古代音樂史撰述相關(guān)問題探析
柏互玖
（中國藝術(shù)研究院 北京 100027）
摘 要：自20世紀(jì)初葉伯和《中國音樂史》問世以來，中國音樂史作為一門學(xué)科，即已開始了它的科學(xué)化發(fā)展進(jìn)程。這一百年來，中國音樂史的研究取得了驕人的成就，有多本中國古代音樂史著述問世。其著述體例各異，所關(guān)注問題的側(cè)重點(diǎn)亦有不同。撰寫新的中國古代音樂史從制度作為學(xué)術(shù)切入點(diǎn)，突出中國傳統(tǒng)音樂文化的重要?jiǎng)?chuàng)造者和承載者樂人的主體地位，再結(jié)合音樂功能來研究和敘述中國古代音樂史，則能使中國傳統(tǒng)音樂研究在許多環(huán)節(jié)上可以接通。
關(guān)鍵詞：中國古代；音樂史；歷史分期；制度；功能
An Approach to the Related Problems of the Composing of Chinese Ancient Music History
BAI Hu-jiu
(ChinaAcademy of Art, Beijing 100027)
Abstract: Since the book "the History of Chinese Music"wasa published in the early 1900s, Chinese music history, as a discipline, had already begun its process of scientific development. During one hundred years, the research on the history of Chinese music has made remarkable achievements and many writings about the history of ancient Chinese music have come out. The writing style varies, and the concerns have different emphases. To write a new history of music in ancient China as an academic from the system entry point, highlighting the importance of traditional Chinese music culture creators and bearers of the dominant position of music, combined with music and narration function to study the history of ancient Chinese music, then the traditional Chinese music research in many areas can be connected.
Key words: ancient China; music history; history stages; system; functions
三種七聲音階的正名與“燕樂音階”的爭鳴
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：中國傳統(tǒng)音樂三種七聲音階名稱不統(tǒng)一的問題由來已久，給傳統(tǒng)音樂教學(xué)和理論研究帶來諸多不便。為中國傳統(tǒng)音樂中三種七聲音階正名，早日結(jié)束“是否存在燕樂音階”的學(xué)術(shù)爭鳴，是發(fā)展、完善中國傳統(tǒng)音樂宮調(diào)理論體系的重要工作。
關(guān)鍵詞：七聲音階；燕樂音階；清商音階；正名
Contend the Ratification of the Three Kinds of Seven Scales and "YanYue Music Scale,"
MIAO Jin-hai
(Art College of Inner MongoliaUniversity, Hohhot 010010, Inner Mongolia)
Abstract: It has been long that the three kinds of seven scales of Chinese traditional music do not have their fixed names and it has brought much inconvenience to the traditional music teaching and theoretical research. It is an important work to ratify the three kinds of seven scales of Chinese traditional music, to end the argument of the names so as to develop and improve the theory of traditional ChinesePalace music system.
Key words: seven scales; Yan Yue music scale; clear commercial scale; ratification
為低音旋律創(chuàng)作和聲的新思路
吳 彪
（三明學(xué)院藝術(shù)學(xué)院，福建 三明 365004）
摘要：在音樂創(chuàng)作中，低音部是一個(gè)需要予以充分重視的聲部。文章對(duì)低音旋律創(chuàng)作和聲要注意旋律線條、處理好兩個(gè)外聲部的協(xié)調(diào)關(guān)系、避免聲部之間的不良進(jìn)行、避免對(duì)斜關(guān)系、出現(xiàn)變音的處理方法、完成和聲創(chuàng)作技巧等方面作了思考與探討。
關(guān)鍵詞：音樂創(chuàng)作；低音旋律；創(chuàng)作和聲；新思路
A New Idea of Creation of Bass Tune
WU Biao
（Art School of Sanming College of, Sanming 365004, Fujian Province）
Abstract: In the music creation, bass tune is a part need to be highly valued. This article gives discussions and approaches to melody lines handling, dealing with the coordination of the two outer parts of the relationship between the department to avoid the bad sound, to avoid the relationship of the ramp, there diacritical approach, complete creative skills and sound are analyzed, summarizes the bass tune from creation role, completion of harmony creation techniques.
Key words: music creation; bass tune; creative harmony; new ideas
音樂材料結(jié)構(gòu)屬性的明確對(duì)于音樂本質(zhì)問題的重要意義
——從現(xiàn)代音樂的創(chuàng)作看其存在的音樂本質(zhì)
馮 曉
（遵義師范學(xué)院音樂系，貴州 遵義 563002）
摘 要：音樂材料基本屬性——語義性、非物質(zhì)性、二度創(chuàng)作性，以及音樂結(jié)構(gòu)的三要素——音響、表現(xiàn)、意義，它們是音樂藝術(shù)區(qū)別于其他藝術(shù)的本質(zhì)所在，更是音樂結(jié)構(gòu)的“基石”和不能違背的音樂創(chuàng)作的基本邊界。
關(guān)鍵詞：音樂材料；音樂結(jié)構(gòu)；音樂本質(zhì)；現(xiàn)代音樂
The Significance Expliciting of the Structural Properties of Music Materials to the Problem of Music Nature
—— Viewing the music nature from the creation of modern music,
FENG Xiao
(Music Department, ZunyiNormalCollege, Zunyi 563002, GuizhouProvince)
Abstract: The basic properties of musical materials - semantic, non-material, ongoing creation, as well as musical structure of the three elements - sound, performance, significance, they are different from essence of other art, the music structure is "cornerstone" and not contrary to the basic boundaries of music.
Key words: music materials; musical structure; music nature; modern music
柴科夫斯基鋼琴組曲《四季》中的大自然形象
王艷芳
(內(nèi)蒙古大學(xué)藝術(shù)學(xué)院附中，內(nèi)蒙古 呼和浩特 010010）
摘要：鋼琴組曲《四季》是柴科夫斯基為數(shù)不多的極具特色和風(fēng)格鮮明的鋼琴作品之一。它由十二首樂曲組成，每一首樂曲都代表著一年四季中的一個(gè)月份，并為每一個(gè)月份都賦予了標(biāo)題。描繪出俄羅斯的季節(jié)特色，并為聽眾呈現(xiàn)了十二幅美麗的風(fēng)景畫。
關(guān)鍵詞：柴科夫斯基；鋼琴組曲；《四季》；音樂形象
The Image of Nature in Tchaikovsky Piano Suite "Four Seasons"
WANG Yan-fang
(Attached High School of ArtCollege of Inner Mongolia University, Hohhot 010010, Inner Mongolia)
Abstract: Suite for Piano, "Four Seasons" is one of the few Tchaikovsky's very unique and distinctive style of piano works. It is composed of twelve songs, and each song represents in a month of a year, and each month is given a title. The work depicts the characteristics of the Russian season, and showed the twelve beautiful landscapes for the audience.
Key words: Tchaikovsky; Suite for Piano; "Four Seasons"; music image
歌唱情感表現(xiàn)的美學(xué)特征
郭 婧
（內(nèi)蒙古師范大學(xué)音樂學(xué)院 內(nèi)蒙古 呼和浩特 010010）
摘 要：歌唱藝術(shù)的情感表現(xiàn)具有美學(xué)特征。從歌唱藝術(shù)的情感特征、歌唱藝術(shù)情感表現(xiàn)的美學(xué)特征及其情感表現(xiàn)的實(shí)際運(yùn)用三方面進(jìn)行闡述，從美學(xué)的角度對(duì)當(dāng)代中國民族聲樂藝術(shù)進(jìn)行分析、探究，旨在既要符合聲樂藝術(shù)的學(xué)科屬性,又要符合現(xiàn)代美學(xué)所遵循的原則，并希望以此探究聲樂美學(xué)理論在實(shí)踐中的運(yùn)用。
關(guān)鍵詞：音樂美學(xué)；歌唱藝術(shù)；情感特征；情感表現(xiàn)；美學(xué)特征
The Aesthetic Characteristics of Singing Emotional Expression
GUO Jing
(MusicSchool of Inner MongoliaNormalUniversity, Hohhot 010010, Inner Mongolia)
Abstract: The emotional expression of singing has the aesthetic characteristics. This article Emotional characteristics from the Art of Singing, Singing the aesthetic describes the emotional expression features of singing art, emotional expression and feeling expression, from an aesthetic point of view of contemporary art of China's national vocal analysis, to explore not only meet the vocal arts disciplines properties, but also in line with the principles of modern aesthetics, and hope to explore the vocal aesthetic theory in practice use.
Key words: music aesthetics; singing art; emotional characteristics; emotional expression; aesthetic features
從鄂爾多斯城市建筑談當(dāng)下建筑造型設(shè)計(jì)“視覺化”的審美趨向
趙升紅
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特 010010）
摘要：當(dāng)下建筑造型設(shè)計(jì)的審美越來越趨向于“視覺化”，鄂爾多斯大劇院、鄂爾多斯圖書館等城市標(biāo)志性建筑造型設(shè)計(jì)特點(diǎn)也從一個(gè)側(cè)面反映出這一審美趨向。探討這一問題，以引發(fā)我們對(duì)當(dāng)下建筑造型設(shè)計(jì)相關(guān)問題的思考。
關(guān)鍵詞：建筑造型；審美趨向；視覺化；審美信息；鄂爾多斯；城市建筑
On the "Visual" Aesthetic Trends of the Present Architectural Design from the Perspective of Ordos City Building
ZHAO Sheng-hong
(Art College of Inner MongoliaUniversity, Hohhot 010010, Inner Mongolia)
Abstract: The current architectural design aesthetic tends to be more "visual" and the design features of the city building landmarks such as Grand Theatre of Ordos, Ordos Library have reflected from one side of the aesthetic trends. Exploring this issue, we present to lead to issues related to architectural design thinking.
Key words: architectural style; aesthetic trends; visualization; aesthetic information; Ordos; city building
高校文化產(chǎn)業(yè)學(xué)科建設(shè)的現(xiàn)狀與思考
劉筠梅
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特 010010）
摘要：高校的文化產(chǎn)業(yè)學(xué)科建設(shè)，是在我國文化產(chǎn)業(yè)蓬勃發(fā)展、國家對(duì)文化產(chǎn)業(yè)高度重視的背景下開始的。到目前，初步厘清了文化產(chǎn)業(yè)學(xué)科與其他學(xué)科的關(guān)系，基本建立了一支結(jié)構(gòu)較合理、水平較高的師資隊(duì)伍，逐步形成了較科學(xué)、合理的人才培養(yǎng)模式和課程體系，進(jìn)行了大量結(jié)合社會(huì)實(shí)際、服務(wù)社會(huì)的科學(xué)研究。今后還要讓文化產(chǎn)業(yè)學(xué)科走上更加正常、更加成熟的建設(shè)之路，更加理性地在高校中設(shè)置文化產(chǎn)業(yè)專業(yè)。
關(guān)鍵詞：中國高校；學(xué)科建設(shè)；文化產(chǎn)業(yè)；現(xiàn)狀；思考
Present Status and Thinking of Discipline Construction of Universities Cultural Industry
LIU Yun-mei
(Art College of Inner MongoliaUniversity, Hohhot 010010, Inner Mongolia)
Abstract: The construction of university cultural industry disciplines began under the background that cultural industries are booming in China, the state attaches great importance to the cultural industries in the context. Up to now, preliminarily clarify the cultural industries the relationship between disciplines and other disciplines, the basic establishment of a more reasonable structure, high level of faculty, and gradually form a more scientific and rational training model and curriculum, with a lot of social reality, to serve the community of scientific research. In the future, the cultural industry disciplines should be on a more normal, more sophisticated construction of the road, more rational set of cultural industries in the colleges.
Key words: Chinese universities; discipline construction; cultural industries; the status quo; thinking
“東方視域中的西方美學(xué)”高層論壇綜述
宋生貴 楊維娜
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院,內(nèi)蒙古 呼和浩特 010010）
摘 要：“東方視域中的西方美學(xué)”高層論壇，于2011年8月3日至5日在呼和浩特舉行。來自中國和日本美學(xué)界的30多位專家學(xué)者，圍繞東方美學(xué)與西方美學(xué)的關(guān)系及其歷史、東方美學(xué)的可能性、東方視域中的民族藝術(shù)與美學(xué)、中日不同的西方美學(xué)觀等問題進(jìn)行了深入探討。
關(guān)鍵詞：會(huì)議綜述；東方美學(xué)；西方美學(xué)；關(guān)系
Forum Summary of “Aesthetics from East and West Perspective”
SONG Sheng-gui YANG Wei-na
(Art College of Inner MongoliaUniversity, Hohhot 010010, Inner Mongolia)
Abstract: Forum of "Aesthetics from East and West Perspective " was held from August 3, 2011 to 5 in Hohhot. More than 30 experts and scholars from China and Japan in aesthetic circles have made deep discussion on the issues and topics such as the relationship and the history between the Eastern aesthetics and Western aesthetics, the possibility of oriental art, national art and aesthetics in the oriental view, the different western aesthetics opinion in Japan and China.
Key words: conference overview; oriental aesthetics; Western aesthetics; relationship