《內(nèi)蒙古大學藝術(shù)學院學報》2012年第4期中英文目錄
中國蒙古三弦的地方傳統(tǒng)及其傳承形態(tài)…………………博特樂圖 石田立(5)
蒙古三弦史料札記……………………………………………………烏蘭杰(13)
論三弦源流的多元性…………………………………………閻定文 聶新榮(16)
畬族服飾的現(xiàn)實困境與傳承保護
——以霞浦畬族服飾保護為例………………………………… 龔任界(19)
德榜苗族銀飾鍛制技藝的現(xiàn)狀調(diào)查………………陳劍 焦成根 唐慧 劉雯(23)
試析科爾沁蒙古族服飾刺繡工藝中過渡色的搭配習俗………………明 蘭(35)
當代漢服復興運動的文化反思…………………………………………韓 星(38)
西藏藝術(shù)及其文化精神
——由一次人類學考察想到的………………………………… 劉明亮(46)
反思非物質(zhì)文化遺產(chǎn)：身體和時間的維度……… 荻野昌弘 著 李修建 譯(51)
居其宏音樂批評特征探微………………………………………… 王 可(54)
民族音樂文化在當代的多元書寫
——《書寫民族音樂文化》評介……………………………… 李紅梅(59)
淺論蒙古高音四胡演奏技巧的“潤腔”手法……………………… 包愛玲(65)
長調(diào)民歌音樂中的裝飾性節(jié)奏形態(tài)分析……………………………石亞晶(72)
蒙古族民歌旋律發(fā)展探微
——以一段體中的兩樂句結(jié)構(gòu)為例………………………………楊玉蓉(79)
畬族民歌詞曲特點及其關(guān)系探析………………………………………洪 艷(84)
鋼琴組曲《深藏在心底的歌——長調(diào)》創(chuàng)作風格技法探析………………………包樂爾(94)
《炎黃風情》音樂形態(tài)探析…………………………………………張 鑫(103)
淺析阿拉騰奧勒小提琴獨奏曲《草原晨曲》的和聲風格特征……高婀娜(110)
蒙古族敘事民歌《韓秀英》故事角色……………………………薩仁圖雅(118)
從認知心理學視角解讀歌唱聽覺特征………………………………孫一迪(123)
內(nèi)蒙古演藝市場的發(fā)展對策研究……………………………………劉筠梅(127)
新疆烏魯木齊市藝術(shù)培訓市場存在的問題及其對策研究………………李 婷(134)
The Local Tradition and the Inheritance and Form of Mongolian Three-stringed Instrument in China……………………………………………Botolt SHI Tian-li(5)
The Reading Notes of historical material of Mongolian Thre-stringed Musical Instrument…………………………………Ulaanjee(13)
On the Diversity of Origin and Development of Three-stringed Instrument………………………YAN Ding-wen NIE Xin-rong(16)
The Actual Dilemma and the Inheritance Protection of She Clothing
——A case study of Xiapu She nationality clothing protection………………GONG Ren-jie(19)
Investigation of the Present Situation of Debang Miao Silver ForgingSkil……………………………………………CHEN Jian JIAO Cheng-gen TANG Hui LIU Wen(23)
An Approach to Collocation Custom of the Transition Color in Horchin Mongolian Clothing Embroidery Technology……………………………………………MING Lan(35)
The Culture Introspection of the Contemporary Han Clothing Renaissance…HAN Xing(38)
Tibetan Art and Its Cultural Spirit-Inspired by anthropologyinvestigation………………………………LIUMing_liang(46)
Introspection of Intangible Cultural Heritage: the Body and Time Dimension…………………………………………Written by Masahiro Ogino Translated by LI Xiu-jian(51)
An Approach to Features of JU Qi-hong's Music Criticism……………………WANG Ke(54)
The Contemporary Multiple Writing of the National Music Culture
——A review of the book Writing National Music Culture………………………LI Hong-mei(59)
An Approach to the "Embellish cavity" Technique of Mongolia High-pitched Sihu Playing Skills………………………………………………………………………………BAO Ai-ling(65)
Analysis of the Decorative Rhythm Form of the Long-tune Folk Song Muisc………………………………………………………………………………………SHI Ya-jing(72)
An Approach to the Mongolian Folk Song Melody Development
——A case study of the two -music -sentence structure paragraph……………YANG Yu-rong(79)
The Characteristics of the Folk Song Lyrics and Music of She People and the Analysis of their Relationship…………………………………………………………………HONG Yan (84)
On the Creation Style Techniques of Piano Cento "Hidden in my heart——Long-tune"…………………………Bolor(94)
Analysis of the music form of "Yan huang feng qing"………………………ZHANG Xin(103)
On the Harmony Style Characteristics of Alatan-agula's Violin Solo, the Prairie Alba……………………………GAO E-nuo(110)
The Roles in Mongolian Narrative Folk Song "Han Xiuying"…………………Sarantuya(118)
Interpretation of the Singing Auditory Feature from Cognitive Psychology Perspective
………………………SUN Yi_di(123)
Research on the Countermeasure of Inner Mongolia Entertainment Market Development
……………………………LIU Jun- mei(127)
Xinjiang Urumqi Art Training Market Problems and the countermeasures………………………………LI Ting (134)
Volume lndex for 2012 ………………（139）