《內(nèi)蒙古大學(xué)藝術(shù)學(xué)院學(xué)報》
2012年第4期中英文論文摘要、關(guān)鍵詞
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
（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：中國境內(nèi)蒙古地區(qū)蒙古三弦藝術(shù)有科爾沁、錫林郭勒—察哈爾、鄂爾多斯三種地方性風(fēng)格。蒙古三弦的傳承形式主要有兩種：一是作為合奏樂器，是東蒙合奏、阿斯?fàn)枴⒍鯛柖嗨鼓巳盏葮贩N中的主要樂器；二是作為伴奏樂器，在東蒙、鄂爾多斯、察哈爾等地區(qū)，三弦廣泛用于民歌的伴奏，并與特定的地方性歌種、器樂形成了共生關(guān)系。而蒙古三弦藝術(shù)的研究一方面需要從“共性中找差異”，尤其與漢族三弦進(jìn)行比較研究；另一方面則需要從“整體中找個別”，將其放置在“蒙古族合奏樂”這一整體中進(jìn)行全方位觀照。
關(guān)鍵詞：中國；蒙古族三弦；地方風(fēng)格；傳承
The Local Tradition and the Inheritance and Form of Mongolian Three-stringed Instrument in China
Botolt SHI Tian-li
( Music Department of ArtCollege of Inner MongoliaUniversity, Hohhot 010010, Inner Mongolia)
Abstract: Mongolian three-stringed instrument in China have three local styles respectively of Horchin, Xilingao-Chahar, Ordos. Mongol three-stringed instrument basically has two kinds of heritage forms: one is as a tutti instrument, the main instrument used in East Inner Mongolia tutti, asar and Ordos Nair; The other is as accompaniment instrument, used in East Mongolia, Ordos, Chahar, etc. They are widely used in folk songs accompaniment, and formed a symbiotic relationship with specific local song, instrumental music. And for the research on Mongol three-stringed instrument art on the one hand, we need to find difference from similarity ", especially compare it to the Han nationality three-stringed instrument; On the other hand, we need to find individual from the whole, to place it in the whole background of "Mongolian tutti".
Key words:China; Mongolian three-stringed instrument; local style; inheritance
蒙古三弦史料札記
烏蘭杰
（中央民族大學(xué)，北京100081）
關(guān)鍵詞：蒙古三弦；“胡不兒”；蒙古文史料；漢文史料
The Reading Notes of historical material of Mongolian Thre-stringed Musical Instrument
Ulaanjee
(CentralUniversity for Nationalities, Beijing 100081)
Key words: Mongol three-stringed instrument; "Hubur"; Mongolian historical data; Chinese historical data
論三弦源流的多元性
閻定文1.聶新榮2.
（1.太原師范學(xué)院，2.山西省廣播電視臺，山西省 太原市 030012）
摘 要：2007年6月，在內(nèi)蒙古大學(xué)藝術(shù)學(xué)院舉辦的“首屆國際蒙古三弦藝術(shù)研討會”上，呼格吉勒圖在《三弦源流考》一文中，對三弦的源流又提出了源于蒙古人的生活器具——木勺子的觀點。最近的一個意外發(fā)現(xiàn)，似乎給我們展示了一個意想不到的收獲：通過幾個方面的思考，我們認(rèn)為，三弦的源流是多元性的，絕對不是單源的。
關(guān)鍵詞：三弦；源流；考據(jù)；多元性
On the Diversity of Origin and Development of Three-stringed Instrument
YAN Ding-wen1. NIE Xin-rong2.
(1.Taiyuan NormalCollege, 2. Shanxi Broadcast Television,Taiyuan, 030012 ShanxiProvince)
Abstract: "The First International Mongol Three-stringed Instrument Art Seminar" was held in June 2007 by Art College of Inner Mongolia university, and Hugjiltu pointed out in his article ''the origin and development of three-stringed instrument " that origin of three-stringed instrument was from Mongolian life appliance - wood spoon. A recent accidental discovery seems to giv us a unexpected harvest: through several aspects of thinking, we believe that they are the origin of diversity, absolutely not monophyletic.
Key words: three-stringed instrument; origin; rectifies; diversity
畬族服飾的現(xiàn)實困境與傳承保護(hù)
——以福建霞浦畬族服飾保護(hù)為例
龔任界
（福建工程學(xué)院， 福建 福州350108）
摘 要：民族服飾是少數(shù)民族傳統(tǒng)文化的符號與載體，是民族索引的標(biāo)記。在社會的現(xiàn)代化和轉(zhuǎn)型過程中，福建霞浦畬族服飾受到前所未有的沖擊，瀕臨服飾失傳的危機(jī)。切實采取措施，做好畬族傳統(tǒng)服飾的發(fā)掘性保護(hù)工作，有利于畬族傳統(tǒng)文化的傳承，對保持我國民族文化的多樣性有積極意義。
關(guān)鍵詞：福建霞浦；畬族服飾；困境；保護(hù)
The Actual Dilemma and the Inheritance Protection of She Clothing
——A case study of Xiapu She nationality clothing protection
GONG Ren-jie
(FujianEngineeringCollege, Fuzhou350108, FujianProvince)
Abstract: National dress is the symbol and carrier of traditional minority national culture, is the national index mark. In the modernization society and transformation process, XiaPu minority clothing meets with an unprecedented impact, on the verge of dress lost crisis. To take measures to do the protection work for traditional dress will be beneficial to the inheritance of traditional culture, and has positive significance to the maintaining of our national cultural diversity.
Key words:Fujian Xiapu; She nationality cothing; dilemma; protection
德榜苗族銀飾鍛制技藝的現(xiàn)狀調(diào)查
陳劍1. 焦成根2. 唐慧3. 劉雯4.
(1. 2. 3. 4.湖南師范大學(xué)，湖南 長沙 410012)
摘 要：德榜村是湘西鳳凰知名度頗高的苗族銀飾集中加工地，也是國家級非物質(zhì)文化遺產(chǎn)“苗族銀飾鍛制技藝”的集中傳承地之一。在田野調(diào)查的基礎(chǔ)上，從當(dāng)?shù)亓鱾鞯南嚓P(guān)傳說出發(fā)，對德榜苗族銀飾品的種類、鍛制技藝的傳承譜系、鍛制工藝、生產(chǎn)及銷售等方面的情況作了整理和記錄。
關(guān)鍵詞：鳳凰德榜；苗族銀飾；鍛制技藝；傳承譜系
Investigation of the Present Situation of Debang Miao Silver Forging Skill
1.CHEN Jian 2. JIAO Cheng-gen 3. TANG Hui 4 LIU Wen.
(1.2. 3. 4. Hunan Normal University, Changsha 410012, Hunan Province)
Abstract: Debang Village is quite a popular of Xiangxi Fenghuang Miao silver centralized processing, and it is one of the places of national intangible cultural heritage "Miao silver forging skill" concentration of inheritance. The basis of investigating in the field is the local popular legend according to the the finishing and record lists of Miao silver ornament types, forging skills inheritance pedigree, forging process, production and sales, and so on.
Key words: Fenghuang Debang; Miao silver; forging skill; inheritance pedigree
試析科爾沁蒙古族服飾刺繡工藝中過渡色的搭配習(xí)俗
明 蘭
（內(nèi)蒙古師范大學(xué)民族藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特 010010）
摘 要：科爾沁蒙古族服飾刺繡習(xí)俗既有傳統(tǒng)蒙古族刺繡的共性，又有自己鮮明的地方特色。以科爾沁蒙古族服飾刺繡習(xí)俗中的過渡色調(diào)搭為主要研究對象，從歷史、文化、美學(xué)及民俗學(xué)的角度，探析科爾沁蒙古族服飾刺繡工藝中顏色的選擇與搭配習(xí)俗的形成和演變。
關(guān)鍵詞：科爾沁；蒙古族服飾；刺繡工藝；顏色；習(xí)俗
An Approach to Collocation Custom of the Transition Color in Horchin Mongolian Clothing Embroidery Technology
MING Lan
( NationalArtCollege of Inner MongoliaNormalUniversity, Hohhot 010010, Inner Mongolia)
Abstract: Horchin Mongolian clothing embroidery custom not only has the generality of traditional Mongolian embroidered, but also has its own distinctive local characteristics. This article takes the Horchin Mongolian clothing embroidery custom of the transition color as the main research object, from the point of view of historical, cultural, aesthetic to analyze the formation and evolution of Horchin Mongolian clothing embroidery process color selection and collocation custom.
Key words: Horchin; the Mongolian clothes; embroidery craft; color; custom
當(dāng)代漢服復(fù)興運動的文化反思
韓 星
(中國人民大學(xué)國學(xué)院，北京 100872)
摘 要：漢服運動是當(dāng)代中國一個復(fù)雜的文化現(xiàn)象，涉及服裝、民族、歷史、信仰、禮儀等許多方面。對待漢服運動社會應(yīng)該給予寬容和理解，我們現(xiàn)在的文化發(fā)展呈現(xiàn)多元的狀況，各種文化現(xiàn)象紛然雜出，在繁榮中顯得有些混亂，在追求中表現(xiàn)些許迷茫，這都是缺乏文化整合的結(jié)果。我們應(yīng)在反思基礎(chǔ)上促使?jié)h服運動的發(fā)展方向與中國文化發(fā)展的方向合拍，使?jié)h服運動參與到中國文化的當(dāng)代整合當(dāng)中，為中國文化及中華民族的偉大復(fù)興做出應(yīng)有的貢獻(xiàn)。
關(guān)鍵詞：當(dāng)代；中國；文化復(fù)興；漢服；文化整合
The Culture Introspection of the Contemporary Han Clothing Renaissance
HAN Xing
(School of Chinese Classics , Ren Min University of China, Beijing 100872)
Abstract: The Han Clothing movement is a complicated cultural phenomenon in contemporary China, engaged in garment, nation, history, religion, etiquette and many other aspects. The society should treat Han Clothing movement with tolerance and understanding since our present cultural development present a situation with all kinds of multiple cultural phenomenon, appearing in prosperity in some confusion and the pursuit of performance in some confusion, this is the result of lack of cultural integration. We should make our effort to make the movement be in harmony with direction of of the Chinese culture development, make it involved in the Chinese culture of contemporary integration for Chinese culture and the great revival of the Chinese nation to make due contributions.
Key words: contemporary; China; cultural renaissance; Han clothing; cultural integration
西藏藝術(shù)及其文化精神
——由一次人類學(xué)考察想到的
劉明亮
(齊魯師范學(xué)院美術(shù)教育研究所，山東 濟(jì)南 250013)
摘 要： 宗教性作為西藏藝術(shù)所特有的文化精神，深刻影響著西藏藝術(shù)的內(nèi)容和形式。借助藝術(shù)人類學(xué)的考察，探討西藏藝術(shù)中特有的文化精神，認(rèn)為對西藏藝術(shù)的考察以及創(chuàng)作都不應(yīng)僅僅關(guān)注形而下的本體知識，而應(yīng)深刻理解西藏藝術(shù)中的深層文化精神。
關(guān)鍵詞：人類學(xué)考察；西藏藝術(shù)；文化精神； 宗教性
Tibetan Art and Its Cultural Spirit - Inspired by anthropology investigation
LIU Ming_liang
(Art Education Research Institute of QiluNormalCollege, Jinan 250013, ShandongProvince)
Abstract: As the peculiar Tibetan art culture spirit, religion has deeply influenced the content and form of Tibetan art. With the aid of art anthropology investigation, this paper discusses the Tibetan art peculiar cultural spirit and holds that Tibetan art study and creation should not only focus on the physical body of knowledge, but also deeply understand the art of Tibet cultural spirit.
Key words: anthropology investigation; Tibetan art; cultural spirit; religious
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
（日本關(guān)西學(xué)院大學(xué)社會學(xué)部，日本國，兵庫縣西宮市 622-8501）
摘 要：我們制造自己的風(fēng)俗文化遺產(chǎn)，只是為了滿足被神圣化的欲望。一切皆可變成非物質(zhì)文化遺產(chǎn)。如此一來，非物質(zhì)文化遺產(chǎn)這一概念就變得毫無意義。我們目前需要反思這一概念。我試圖訴諸身體和時間兩個概念對其重新加以理解。
關(guān)鍵詞：反思；非物質(zhì)文化遺產(chǎn)；保護(hù)體系；時間；身體
Introspection of Intangible Cultural Heritage: the Body and Time Dimension
Written by Masahiro Ogino Translated by LI Xiu-jian
(Faculty of Society of the JapanKwanseiGakuinUniversity, Hyogo, Nishinomiya, Japan 622-8501)
Abstract: we build our own custom culture heritage, just to satisfy the desire for sanctification. Everything can be turned into intangible cultural heritage. Thus, the concept of intangible cultural heritage will become meaningless. We now need to reconsider this concept. I have tried to re-understand it appealing to the body and time concepts.
Key words: introspection; intangible cultural heritage; protection system; time; body
居其宏音樂批評特征探微
王 可
（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：居其宏是當(dāng)代中國著名的音樂學(xué)家，同時也是為數(shù)不多的專門從事音樂批評和音樂理論實踐的學(xué)者，他在長期的音樂批評理論和實踐研究中形成了個性化的批評風(fēng)格。
關(guān)鍵詞：居其宏；音樂批評；批評語匯；多樣性；學(xué)術(shù)堅守；批評意識
An Approach to Features of JU Qi-hong's Music Criticism
WANG Ke
(Music Department, ArtCollege of Inner MongoliaUniversity, Hohhot 010010, Inner Mongolia)
Abstract: Ju Qi-ong is a contemporary Chinese famous music expert, and is also one of the few specialized scholars in music criticism and music practice theory. In his long-term music criticism theory and practice research, he has formed a personalized criticism style.
Key words: Ju Qi-ong; music criticism; criticism vocabulary; diversity; academic hold; criticism consciousness
民族音樂文化在當(dāng)代的多元書寫
——《書寫民族音樂文化》評介
李紅梅
(包頭師范學(xué)院音樂學(xué)院，內(nèi)蒙古 包頭 014030)
摘 要：由陳銘道教授主編的《書寫民族音樂文化》融十位學(xué)界專家、結(jié)合各自獨特的認(rèn)知與書寫方式，深入闡釋了民族音樂文化的基本學(xué)理，以多元書寫的形式，熔鑄成一部具有“效率很高的知識生產(chǎn)機(jī)制” 式的民族音樂學(xué)經(jīng)典文本。對學(xué)人而言，具有“寫文化”的學(xué)術(shù)前沿性和范式作用。
關(guān)鍵詞：陳銘道；《書寫民族音樂文化》；書評；民族音樂文化；音樂民族志；范式
The Contemporary Multiple Writing of the National Music Culture
——A review of the book Writing National Music Culture
LI Hong-mei
(Music College of Baotou Normal College, Baotou 014030 Inner Mongolia)
Abstract: Writing National Music Culture written by Professor Chen Ming-dtao, melting the unique cognitive and writing ways of ten academic experts, deeply interprets the basic theory of the national music, with diverse writing form, fused into national musicology classical text of "knowledge production mechanism with high efficiency." As for scholars, it has academic leading role and paradigm function of "writing culture . "
Key words: Chen Ming-dtao；Writing National Music Culture; book review; national music culture; music ethnography; paradigm
淺論蒙古高音四胡演奏技巧的“潤腔”手法
包愛玲
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特 010010）
摘 要：以聲樂藝術(shù)中的潤腔手法和對潤腔的分類法來研究蒙古高音四胡的演奏技巧，將蒙古高音四胡的演奏技巧分為裝飾型潤腔、音色型潤腔、聲音造型型潤腔三大類，力求從潤腔的角度對蒙古高音四胡演奏藝術(shù)有所探究。
關(guān)鍵詞：蒙古族傳統(tǒng)器樂；蒙古四胡；演奏技巧；潤腔；裝飾型潤腔；音色型潤腔；聲音造型型潤腔
An Approach to the "Embellish cavity" Technique of Mongolia High-pitched Sihu Playing Skills
BAO Ai-ling
(Art College of Inner Mongolia University, Hohhot 010010, Inner Mongolia)
Abstract: This article tries to make research on the embellish cavity technique and classification of embellish cavity of Mongolian high-pitched Sihu playing skills, classifying it into three categories as decorative type embellish cavity, tone type embellish cavity, sound modeling type embellish cavity, and strive to make a study of the cavity to Mongolian high-pitched Sihu playing skills.
Key words: Mongolian; traditional instrumental music; Mongolian Sihu; playing skills; embellish cavity; decorative type embellish cavity; tone type embellish cavity; Sound modeling
長調(diào)民歌音樂中的裝飾性節(jié)奏形態(tài)分析
石亞晶
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特 010010）
摘 要：長調(diào)民歌旋律中的裝飾性是多種多樣的，但并非無規(guī)律可循。將其節(jié)奏分層分析后再相互結(jié)合，正是分析和創(chuàng)作長調(diào)歌曲的必經(jīng)之路。節(jié)奏的特性基本上都取決于長調(diào)音樂中的帶有裝飾性節(jié)奏的旋律音型。
關(guān)鍵詞：長調(diào)民歌；節(jié)奏形態(tài)；骨架音節(jié)奏；裝飾性節(jié)奏
Analysis of the Decorative Rhythm Form of the Long-tune Folk Song Music
SHI Ya-jing
(Art College of Inner Mongolia University, Hohhot 010010, Inner Mongolia)
Abstract: The decoration of folk melody tone is varied, but it does not mean there is no regularity to follow. It is the only way to analyze and create long-tune songs after the combination The characteristics of the rhythm basically depends on the tone music with decorative rhythm in long-tune music.
Key words: long-tune folk song; beat rhythm; skeleton tone rhythm; decorative rhythm
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
（內(nèi)蒙古科技大學(xué)包頭師范學(xué)院，內(nèi)蒙古 包頭市 014030）
摘 要：一段體結(jié)構(gòu)在蒙古族民歌中較為常見，其旋律的創(chuàng)作手法，在現(xiàn)實的音樂實踐中卻較少引起人們的注意。其中，兩樂句結(jié)構(gòu)的蒙古族民歌最為典型，其中結(jié)構(gòu)精練，蘊含著豐富的音樂創(chuàng)作思維理念。研究和學(xué)習(xí)這種創(chuàng)作手法對于提高創(chuàng)作能力具有重要意義。
關(guān)鍵詞：蒙古族民歌；旋律結(jié)構(gòu)；音樂發(fā)展
An Approach to the Mongolian Folk Song Melody Development
——A case study of the two -music -sentence structure paragraph
YANG Yu-rong
(BaotouNormalCollege of Inner Mongolia Science and TechnologyUniversity, Baotou 014030, Inner Mongolia)
Abstract: One-paragraph structure is very common in Mongolian folk songs, its rhythm creation technique, however has attracted less attention in the real music practice. In this structure, the two -music -sentence structure is the most typical structure of Mongolian folk songs, containing rich music creative thinking philosophy. Research and study of the creation technique has important significance to improve the creative ability.
Key words: Mongolian folk song; melody structure; music development
畬族民歌詞曲特點及其關(guān)系探析
洪 艷
（麗水學(xué)院藝術(shù)學(xué)院，浙江 麗水 323000）
摘 要： 畬族民歌是在畬語的基礎(chǔ)上形成詞和曲調(diào)并發(fā)展起來的，其具有鮮明的歌詞特點和曲調(diào)的旋律特征。探析其詞曲之間的關(guān)系，從詞、曲及其關(guān)系三方面分析畬族民歌的特點，以闡釋這部古老的民族文化史書。
關(guān)鍵詞：畬族民歌；特點；詞;曲;詞曲關(guān)系
The Characteristics of the Folk Song Lyrics and Music of She People and the Analysis of their Relationship
HONG Yan
(Art Institute of LishuiCollege, Lishui 323000, ZhejiangProvince)
Abstract: She people's folk song has been developed on the base of words and melody She language. It has distinct characteristics of the lyrics and melody. This article makes an analysis of the relationship between the lyrics and melody, as well as the relationship between the two to explain the ancient national culture history book.
Key words: She folk song; characteristics; lyrics; music; relationship between the lyrics and the melody
鋼琴組曲《深藏在心底的歌---長調(diào)》創(chuàng)作風(fēng)格技法探析
包樂爾
（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：鋼琴組曲《深藏在心底的歌——長調(diào)》是作曲家李世相創(chuàng)作的《蒙古族風(fēng)格鋼琴組曲集》中的一組，具有鮮明的蒙古族音樂風(fēng)格和富有現(xiàn)代作曲意識，是蒙古族風(fēng)格鋼琴曲創(chuàng)作中的典范之一。從旋律創(chuàng)作風(fēng)格、結(jié)構(gòu)特征、和聲特色及織體寫作方面對組曲中四首鋼琴小曲進(jìn)行研究、分析，以達(dá)到對這部作品的深刻理解和把握。
關(guān)鍵詞：鋼琴組曲；《深藏在心底的歌——長調(diào)》；旋律創(chuàng)作；結(jié)構(gòu)特征；和聲特色；織體寫作
On the Creation Style Techniques of Piano Cento "Hidden in my heart —— Long-tune"
Bolor
(Music Department, Art College of Inner Mongolia University, Hohhot 010010, Inner Mongolia)
Abstract: Piano Cento "Hidden in the bottom of my heart ——Long-tune" is a group of the Collection of the Mongolian Style Piano Cento created by composer Li Shixiang, with its distinctive Mongolian music style and rich modern composing consciousness of creation, it is one of the models of Mongolian style piano music creation of the. This article researches and analyzes the creation of melody style, structure, and features and texture writing in the suite of four piano opusculum research, analysis, in order to achieve the deep understanding and grasp of this work.
Key words: piano suite; "Hidden in my heart——Long-tune"; the melody creation; structure characteristics; harmonic characteristics; texture writing
《炎黃風(fēng)情》音樂形態(tài)探析
張 鑫
（內(nèi)蒙古大學(xué)鄂爾多斯學(xué)院藝術(shù)系，內(nèi)蒙古 鄂爾多斯 017000）
摘 要：通過對《炎黃風(fēng)情》音樂形態(tài)的分析，研究鮑元愷先生是如何巧妙地使西方近現(xiàn)代創(chuàng)作技法與中國五聲性風(fēng)格旋律相協(xié)調(diào)，并促進(jìn)民族風(fēng)格和聲的創(chuàng)新與發(fā)展。
關(guān)鍵詞：鮑元愷；《炎黃風(fēng)情》；旋律；調(diào)式；和聲；融合
Analysis of the music form of "Yan huang feng qing"
ZHANG Xin
(Art Department of Ordos College, Inner Mongolia university, Ordos 017000, Inner Mongolia)
Abstract: Through the analysis of the music form of"Yan huang feng qing" , this article makes research on how Mr. Bao Yuankai skillfully make western modern creation techniques coordinated with Chinese style elements of melody, and promote the innovation and development of national style harmony.
Key words: Bao Yuankai ; "Yan huang feng qing" ; melody; mode; harmony; fusion
淺析阿拉騰奧勒小提琴獨奏曲《草原晨曲》的和聲風(fēng)格特征
高婀娜
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特 010010）
摘 要： 小提琴獨奏曲《草原晨曲》是阿拉騰奧勒的代表作品之一，作品在傳統(tǒng)的曲式結(jié)構(gòu)與調(diào)式調(diào)性的寫作手法上，以其新穎獨特的和聲創(chuàng)作烘托了作品的氣氛。試對小提琴獨奏曲《草原晨曲》傳統(tǒng)的曲式結(jié)構(gòu)與調(diào)式調(diào)性、獨特的和聲風(fēng)格及織體寫作的技巧與作品發(fā)展的手法等方面，作一梳理分析，以展現(xiàn)作曲家的創(chuàng)作手法及創(chuàng)作風(fēng)格。
關(guān)鍵詞：阿拉騰奧勒；《草原晨曲》；和聲風(fēng)格
On the Harmony Style Characteristics of Alatan-agula's Violin Solo, the Prairie Alba
GAO E-nuo
(Art College of Inner MongoliaUniversity, Hohhot 010010, Inner Mongolia)
Abstract: Alatan-agula's Violin Solo, the Prairie Alba is one of his representative works, which gives an atmosphere with its novel and unique and creative foil in traditional form structure and mode tonality writing technique. This paper tries analyze the traditional form structure and mode tonality, unique style and harmony texture writing skills of the work to show the composer's creation and the creation style.
Key words: Alatan-agula; the Prairie Alba; harmony style
蒙古族敘事民歌《韓秀英》故事角色
薩仁圖雅
（內(nèi)蒙古師范大學(xué)音樂學(xué)院， 內(nèi)蒙古 呼和浩特 010022）
摘 要：對于蒙古族音樂來說，敘事民歌的出現(xiàn)較為晚近，是一種新興體裁，清朝中末葉產(chǎn)生于內(nèi)蒙古東部科爾沁、東土默特一帶廣大的半農(nóng)半牧區(qū)蒙古族民眾當(dāng)中。科爾沁敘事民歌在蒙古族敘事民歌中具有鮮明的特點，往往是一段曲調(diào)的反復(fù)疊唱，帶有鮮明的說唱性，故事性，深受民眾喜愛，而富有生命力。本文以敘事民歌《韓秀英》為例，分析蒙古族敘事民歌中的故事角色，力圖闡釋敘事民歌的敘事程式及其價值。
關(guān)鍵詞：蒙古族民歌；《韓秀英》；角色；程式
The Roles in Mongolian Narrative Folk Song "Han Xiuying"
Sarantuya
(MusicCollege of Inner MongoliaNormalUniversity, Hohhot 010022, Inner Mongolia)
Abstract: For Mongolian music, narrative folk songs appeared relatively recently, it is a kind of emerging genre. It emerged at the end of the Qing Dynasty in Horchin in eastern Inner Mongolia, east Tumud area of half agriculture and half pastoral areas of the Mongolian people. Horchin narrative folk songs have very distinct characteristics in Mongolian narrative folksongs, and it is often a tune to be sung repeatedly, with distinct rap and story, loved by the people and are full of vitality. This article takes the narrative folk song "Han XiuYing" as an example, analyzes the story of Mongolian narrative folk song roles, tries to explain narrative folk song patterns and their value.
Key words: Inner Mongolia folk song; Han Xiuying "; role; pattern
從認(rèn)知心理學(xué)視角解讀歌唱聽覺特征
孫一迪
（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： 歌唱聽覺，應(yīng)屬于人類高級思維意識活動的范疇，如同感覺、知覺、意識與想象、聯(lián)想等，都屬于心理因素的活動一樣，對于聲樂表演藝術(shù)的學(xué)習(xí)實踐，及至歌唱者舞臺藝術(shù)表現(xiàn)的活動而言，其自始至終都在發(fā)揮著分辨學(xué)習(xí)者和歌唱者正在進(jìn)行時的、藝術(shù)歌唱技術(shù)動作所產(chǎn)生的聲音效果是否符合藝術(shù)歌唱審美的特定功能。
關(guān)鍵詞： 聲樂表演藝術(shù)；歌唱聽覺；心理聽覺；認(rèn)知心理學(xué)
Interpretation of the Singing Auditory Feature from Cognitive Psychology Perspective
SUN Yi-di
(Music Department of ArtCollege of Inner MongoliaUniversity, Hohhot 010010, Inner Mongolia)
Abstract: singing auditory belongs to senior thinking consciousness activities of human being, just as feeling, consciousness, consciousness and imagination, association, etc., all belong to the activities of the psychological factors, for vocal music performance art learning practice, and stage art activity is concerned, from beginning to end, all have played their specific functions in distinguishing if the sound effects are in compliance with the learners and singer, artistic singing technical movement produced in progress.
Key words: vocal music performing arts; singing auditory; psychological auditory; cognitive psychology
內(nèi)蒙古演藝市場的發(fā)展對策研究
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：內(nèi)蒙古的演藝市場要想走上健康繁榮的發(fā)展之路，需要演出經(jīng)營的主體——藝術(shù)團(tuán)體、演出商、劇院等的共同努力，也離不開政府的大力支持和協(xié)調(diào)。在此基礎(chǔ)上，還需要找到一條切實可行的、充滿生機(jī)與活力的演藝業(yè)發(fā)展之路。
關(guān)鍵詞：內(nèi)蒙古；演藝市場；發(fā)展對策；文化基礎(chǔ)設(shè)施；觀眾培育；旅游業(yè)
Research on the Countermeasure of Inner Mongolia Entertainment Market Development
LIU Jun- mei
(Art College of Inner MongoliaUniversity, Hohhot 010010, Inner Mongolia)
Abstract: The healthy and prosperous development road of the Inner Mongolia acting market needs the joint efforts of the performance management main body - art groups, performance businessmen , theatres, etc, it also relys on the government's vigorous support and the coordination. Based on this, it is also necessary to find a feasible entertainment industry development road full of vigor and vitality.
Key words: Inner Mongolia; performing arts market; development countermeasures; cultural infrastructure; to cultivate the audience; tourism
新疆烏魯木齊市藝術(shù)培訓(xùn)市場存在的問題及其對策研究
李 婷
（中國音樂學(xué)院，北京 100101）
摘 要：烏魯木齊市作為新疆的首府，近年來藝術(shù)培訓(xùn)市場蓬勃發(fā)展的同時也存在著許多令人堪憂的問題。而健全藝術(shù)培訓(xùn)市場法律法規(guī)建設(shè)，建立藝術(shù)培訓(xùn)教師資格制度，規(guī)范行業(yè)發(fā)展，加大對新疆本土民族藝術(shù)培訓(xùn)的重視等措施是我們可以采取的對策，以期能對新疆藝術(shù)培訓(xùn)市場的發(fā)展提供一些參考與借鑒。
關(guān)鍵詞：烏魯木齊市；藝術(shù)培訓(xùn)市場；問題；對策
Xinjiang Urumqi Art Training Market Problems and the countermeasures
LI Ting
(ChinaMusicCollege, Beijing 100101)
Abstract: As the capital of Xinjiang, Urumqi art training market in recent years has had rapid development and at the same time there are many worrying problems. It is necessary to complete the art training market laws and regulations construction, establish art training teachers' qualification system, regulate the industry development. Strengthen the Xinjiang native art training measures is what we can do to deal with art training market so as to give some reference to the market.
Key words: Urumqi; art training market; problem; countermeasures