《內(nèi)蒙古大學(xué)藝術(shù)學(xué)院學(xué)報》2011年第1期目錄
無形與有形：現(xiàn)實化邏輯………………（日本）荻野昌弘著，蔡玉琴譯，李修建校（5）
文化翻譯與民俗真相
——彝族花鼓舞起源再探………………………………………………黃龍光，楊暉（11）
民俗學(xué)視野下的成吉思汗陵祭祀文化…………………………………………雙 金（17）
關(guān)于蒙古包規(guī)格的計量方法………………………………………………烏恩寶力格（24）
蘇尼特馬烙印圖案的文化意蘊…………………………………………………王利利(28)
“通古斯”鄂溫克服飾種類與制作技藝………………………………呼格吉樂瑪(34)
從北方巖畫看游牧民族的科學(xué)觀………………………………………………馮軍勝(39)
生活方式轉(zhuǎn)變與民間美術(shù)的發(fā)展……………………………………………李東風(fēng)(47)
人類學(xué)視野下大足石刻藝術(shù)世俗化審美蹤跡………………………………邱正倫(53)
西伯利亞—貝加爾湖畔的晚唐突厥系—九姓回鶻部落考古遺存……………………（哈薩克斯坦）阿布利特·卡瑪洛夫著，屈指，任偉譯，毛民校(59)
蒙古族長調(diào)區(qū)域分布及生存現(xiàn)狀……………………………………………博特樂圖(62)
科爾沁蒙古族音樂劇之理論構(gòu)建……………………………………布日古德高巧艷(76)
二人臺《走西口》產(chǎn)生的時間及劇情解讀……………………………………劉忠和(80)
敘事的賦格
——淺析林華《G大調(diào)前奏曲、圣詠與賦格》中賦格的情感布局與技法運用……………………………………………………………………………………劉燕婷（85）
中國傳統(tǒng)曲藝與戲曲元素影響下的民族聲樂………………………………王志昕(96)
淺析打擊樂藝術(shù)的審美體驗………………………………………………韓曉晨(100)
談音樂學(xué)科中聲樂鋼琴藝術(shù)指導(dǎo)的價值體現(xiàn)………………………………成莉(103)
男中音聲樂教學(xué)“三段法” ………………………………………………楊寶利(107)
版畫藝術(shù)的空間感及表現(xiàn)……………………………………………………王茹(110)
試論版畫技術(shù)語言與情感……………………………………………………劉英(115)
讓表演為動畫角色注入靈魂………………………………………………王芳雷(118)
風(fēng) 氣之 重——大學(xué)精神建樹芻議………………………………………宋生貴（124）
關(guān)注生存狀態(tài)的精神之域——讀宋生貴散文隨筆作品集《詩意夢尋》…………………………………………………………………………………郭鵬（129）
中國北方民族文化研究論文索引（1991）…………………………………其其格(132)
·補白· (23)(79)(84)(106)(128)
Intangible and tangible: the logic reality
……………………………………………………………………………（Japan）Written by Masahiro Ogino，translated by CAI Yu-qin，Proofread by LI Xiu-jian （5）
Cultural Translation and Folk Truth
——Re-exploration of the origin of the Yi Hua Gu dance…HUANG Long-guang，YANG Hui（11）
Ritual Culture of Mausoleum of Genghis Khan from the Perspective of Folklore…………………………………………………………………………Shuangjin（17）
The Methods of Computing and Measuring of Mongolian Yurt Norm
…………………………………………………………………………………Ononbulag（24）
Cultural Implications of the Patterns of Sunit Horse Bu…………………………………………………………………………………… Li-li（28）
The Types and Production Techniques of“Tunguska”Clothing……………………………………………………………………Hugjilma（34）
On the Scientific View of Nomads from the Northern Cliff Painting………………………………………………………………FENG Jun-sheng（39）
Lifestyle Changes and the Development of Folk Art…………………………………LI Dong_feng（47）
The Aesthetic Traces of the Art Secularization of Dazu Rock Carvings from the Perspective of Anthropology
……………………………………………………………………………QIU Zheng_lun（53）
The Archaeological Remains of the Late Tang Dynasty Turks - Jiuxing Uighur Tribe in Siberia - LakeBaikal,
…………………………………(Kazakhstan) Written by Albred ·Kamarov, Translated by QU Zhi, REN Wei, Proofread by MAO Min （59）
The Survival Status and the Regional Distribution of Mongolian Long-tune
……………………………………………………………………Botolt（62）
The Theory Construction of Horchin Mongolian Music Drama
……………………………………………………………………BurgudGAO Qiao-yan（76）
The Time of the Production of Er Ren Tai“Moving Westward”and the Interpretation of the Story
……………………………………………………………………………LIU Zhong-he（80）
Narrative Fugue
——On the emotion layout and the use of techniques of fugue in Lin Hua′s“G Major Prelude, Psalm and Fugue” …………………………………… LIu Yan-ting（85）
National Vocal Music under the Influence of Elements of Traditional Chinese Opera and Drama…………………………………WANG Zhi-xin（96）
An Approach to the Aesthetic Experience of Percussion Art
……………………………………………………………………HAN Xiao-chen（100）
On the Value Realization of Piano Art Direction in Vocal Music
……………………………………………………………………CHENG Li （103）
The“Three-stage method”in Baritone Vocal Teaching
……………………………………………………………………YANG Bao-li（107）
Sense of Space and Performance of Engraving Arts
……………………………………………………………………WANG Ru(110)
On the Technical Language and Emotion of Engraving
……………………………………………………………………LIU Ying(115)
Let the Performance Give A Soul to the Cartoon Characters
……………………………………………………………………WANG Fang-lei (118)
Importance of the Atmosphere
——Discussion of University Spirit Contibution
……………………………………………………………………SONG Sheng-gui（124）
Concerned about the Mental State of the ExistenceState
——Read Song Sheng-gui′s prose works“Poems in Dreams”
…………………………………………………………………… GUO Peng（129）
Index of Research papers on Northern China Culture 1991
……………………………………………………………………Checheg（132）
無形與有形：現(xiàn)實化邏輯
（日本）荻野昌弘 著
（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：相比法國，日本的博物館文化不如歐洲發(fā)達(dá)。不過，藉著“無形文化財”和“人間國寶”的觀念，另一類型的保護文化遺產(chǎn)體系得以確立。無形文化財?shù)捏w系是由“現(xiàn)實化的邏輯”支撐的。盡管日本國內(nèi)存在一種過分尋找“無形之物”之意義的傾向，但這并不意味著我們?nèi)鄙僬嬲軌蚍Q之為文化財產(chǎn)的項目。文化遺產(chǎn)是公共財產(chǎn)的觀念，在日本還很是缺乏。要想總結(jié)日本文化遺產(chǎn)傳播的所有特征，一定要在“保密原則”之下進(jìn)行。
關(guān)鍵詞：日本；無形文化財；人間國寶；遺產(chǎn)
分類號：G112 文獻(xiàn)標(biāo)識碼：A 文章編號：1672-9838（2011）01-0005-06
Intangible and tangible: the logic reality
(Japan) Masahiro Ogino
(Faculty of Society of the JapanKwanseiGakuinUniversity, Hyogo, Nishinomiya, Japan 622-8501)
Abstract: Compared to France, the museum culture of Japan is not as advanced as Europe. However, by means of concept of “intangible cultural asset”and“National treasure”, another type of protection of cultural heritage system has been established. Intangible cultural asset of the system is supported by the“logic reality”. Although in Japan there is a much looking for“invisible things”meaning the tendency, but this does not mean we can really call it a lack of cultural property in the project. Japan is still lacking of concept of cultural heritage is the public property. To sum up all the features of the spread of Japanese cultural heritage must be carried under the“confidentiality”.
Key words: Japan; intangible cultural property; human treasures; heritage
文化翻譯與民俗真相
——彝族花鼓舞起源再探
黃龍光，楊暉
（玉溪師范學(xué)院文學(xué)院， 云南 玉溪 653100）
摘 要：彝族花鼓舞溯源，須從彝母語出發(fā)，謹(jǐn)慎考察其彝族歷史語境和分析其歷史記憶，才能透過漢語客位翻譯假象，還原彝族民間花鼓舞的民俗真相和文化意義。彝族花鼓舞是彝族先民在魯祖業(yè)山巔舉行祭祖大典，踏平尖刀草集體歌舞的歷史記憶，是彝族六組分支四方遷徙的藝術(shù)化歷史敘事和儀式模擬。
關(guān)鍵詞：彝族；民間花鼓舞；文化翻譯；民俗真相
分類號：K892.24 文獻(xiàn)標(biāo)識碼：A 文章編號：1672-9838（2011）01-0011-06
Cultural Translation and Folk Truth
——Re-exploration of the origin of the Yi Hua Gu dance
HUANG Long-guang，YANG Hui
(College of Liberal Arts of Yuxi Teacher′s College, Yuxi, Yunnan Province 653100)
Abstract: To trace the origin of the Yi Hua Gu dance, we must proceed from the Yi language, and carefully study and analyze Yi historical context and memory of its history to get the reduction of the Yi people folk truth and cultural significance of Yi Hua Gu dance through the illusion of Chinese translation. Yi Hua Gu dance is the historical memory of the ancestors worship held on the Luzuye mountain top and the collective dance of on the dagger grass. It is the artistic historical narration and the ceremony imitation of the moving and migrating around of the six branches of the Yi people.
Key words: Yi people; folk Hua Gu dance; cultural translation; folk truth
民俗學(xué)視野下的成吉思汗陵祭祀文化
雙 金
（內(nèi)蒙古師范大學(xué)， 內(nèi)蒙古 呼和浩特 010022）
摘 要：成吉思汗陵祭祀文化是蒙古族傳統(tǒng)文化的代表性遺產(chǎn)，是民族優(yōu)秀文化的重要組成部分。守望成吉思汗陵的達(dá)爾扈特人，世世代代默默奉獻(xiàn)，完整地保留下了傳統(tǒng)的祭祀文化。運用文獻(xiàn)資料與田野調(diào)查，考察祭祀歷史與文化、陵寢構(gòu)建以及守靈的達(dá)爾扈特人三個方面，力圖呈現(xiàn)成吉思汗陵祭祀文化的傳承脈絡(luò)。
關(guān)鍵詞：蒙古民族；民俗學(xué)；成吉思汗陵；祭祀文化；陵寢；達(dá)爾扈特人
分類號：K892.3“212” 文獻(xiàn)標(biāo)識碼：A 文章編號：1672-9838（2011）01-0017-07
Ritual Culture of Mausoleum of Genghis Khan from the Perspective of Folklore
Shuangjin
(Inner MongoliaNormalUniversity, Hohhot, Inner Mongolia 010022)
Abstract: The culture of Mausoleum of Genghis Khan is a ritual representation of traditional Mongolian culture heritage, is an important part of the national culture. The Darhad people who have been watching Genghis Khan Mausoleum have given quiet dedication from generation to generation with the remaining of integrity of the traditional ritual culture. This article uses documents and field survey to make research on the history and culture of worship, cemetery building and special Darhad people watching the mausoleum, trying to show cultural heritage of worship of Genghis Khan Mausoleum.
Key words: Mongolian; folklore; Mausoleum of Genghis Khan; sacrifice culture; mausoleum; Darhad people
關(guān)于蒙古包規(guī)格的計量方法
烏恩寶力格
（內(nèi)蒙古師范大學(xué)科學(xué)技術(shù)史研究院, 內(nèi)蒙古 呼和浩特 010020）
摘 要：關(guān)于蒙古包規(guī)格計量的問題較少受到關(guān)注，而從技術(shù)史的視角，對蒙古包規(guī)格計量這一問題進(jìn)行詳細(xì)討論，在說明蒙古包規(guī)格的傳統(tǒng)計量和表述方法的基礎(chǔ)上，介紹蒙古國學(xué)者提出的蒙古包規(guī)格的其他計量方法，比較其優(yōu)劣得失與適用范圍，并試圖探討其內(nèi)在原理和實際應(yīng)用問題。
關(guān)鍵詞：蒙古包；規(guī)格；計量方法
分類號：K892.25 文獻(xiàn)標(biāo)識碼：A 文章編號：1672-9838（2011）01-0024-04
The Methods of Computing and Measuring of Mongolian Yurt Norm
Ononbulag
(Research Institute of History of Science and Technology of Inner MongoliaNormalUniversity, Hohhot, Inner Mongolia 010020)
Abstract: The issues of the computing and measuring of Mongolian yurt norm have seldom been paid attention to. This article makes detailed discussion of this issue from the perspective of the history of technology. Based on the explanation of the traditional computing and measuring of the norm of Mongolian yurt, it introduces some other computing and measuring methods of Mongolia yurt put forward by some scholars from Mongolia, compares their advantages and disadvantages and the scope of application, and tries to explore the inner rules and practical application issues.
Key words: Mongolian yurt; norms; computing and measuring methods
蘇尼特馬烙印圖案的文化意蘊
王利利
(內(nèi)蒙古農(nóng)業(yè)大學(xué)材料科學(xué)與藝術(shù)設(shè)計學(xué)院， 內(nèi)蒙古 呼和浩特 010018)
摘 要：蘇尼特蒙古族的馬烙印文化，是古代北方游牧民族馬烙印文化的代表。馬烙印圖案分為動物、植物、天體、生活、幾何、文字、宗教等七大類別，蘊涵了草原民族豐富的民俗思想和美學(xué)觀念。馬烙印與游牧社會的馬業(yè)管理、牧業(yè)生產(chǎn)、游牧生活、文化藝術(shù)、宗教信仰等方面具有密切的關(guān)聯(lián)，在古代草原畜牧業(yè)發(fā)展中起到了積極的作用。
關(guān)鍵詞：蘇尼特蒙古族 ； 馬烙??；圖案 ； 民俗文化
分類號： K892.29文獻(xiàn)標(biāo)識碼： A文章編號： 1672-9838（2011）01-0028-06
Cultural Implications of the Patterns of Sunit Horse Burn
WANG Li-li
(Material Science and Art and DesignCollege of Inner Mongolia Agricultural University, Hohhot, Inner Mongolia 010018)
Abstract: Sunit Mongolian horse burn culture is representative of the ancient northern nomadic horse cultures. The patterns of the horse burn design has seven big types concerning animals, plants, objects, life, geometry, text, religion with the rich folk ideas and aesthetic concepts of the grassland peoples. Horse burn has a close relationship to the horse industry management, livestock production, nomadic life, culture and arts, religious belief and it played a positive role in the development of grassland animal husbandry in ancient times.
Key words: Sunit Mongolian; horse burn; patterns; folk culture
“通古斯”鄂溫克服飾種類與制作技藝
呼格吉樂瑪
（內(nèi)蒙古師范大學(xué)社會學(xué)民俗學(xué)學(xué)院， 內(nèi)蒙古 呼和浩特 010010）
摘 要：服飾制作技藝是鄂溫克民族世世代代流傳下來的民族手工技藝，他們在適應(yīng)自然、與自然和諧共存的過程中，依靠自己的智慧創(chuàng)造出了集中體現(xiàn)本民族生活習(xí)俗、審美心理、深厚文化內(nèi)涵的“通古斯”鄂溫克民族服飾。從文化人類學(xué)的角度試對“通古斯”鄂溫克服飾的種類及制作技藝作一淺析。
關(guān)鍵詞： “通古斯”鄂溫克；服飾；種類；制作技藝
分類號：TS941.742.8“223”文獻(xiàn)標(biāo)識碼：A文章編號：1672-9838（2011）01-0034-05
The Types and Production Techniques of “Tunguska”Clothing
Hugjilma
(SociologyFolkloreCollege of Inner MongoliaNormalUniversity, Hohhot, Inner Mongolia 010010)
Abstract: The dress making skills are passed down from generations of ancient Ewenki people of national manual skills, in the process to adapt to nature, in harmony with nature, relying on their wisdom to create a concentrated expression of the customs of national life, aesthetic psychology, the deep cultural meaning of the“Tunguska”Ewenki traditional national dress. This article tries to analyze the types and production techniques from the perspective of cultural anthropology of the“Tunguska”clothing.
Key words: “Tunguska”; Ewenki; clothing; types; production techniques
從北方巖畫看游牧民族的科學(xué)觀
馮軍勝
（內(nèi)蒙古社會科學(xué)院 呼和浩特 010010）
摘 要：人類在成長的過程中，要不斷認(rèn)識自己生存的世界，這個世界包括人類自身、自然，乃至宇宙。原始人類的觀念受自然力的困囿，產(chǎn)生了原始宗教觀念。這些原始的觀念雖是蒙昧的，但其中醞釀著科學(xué)觀念的種子，經(jīng)歷一代又一代人的淘漉和積淀，我們從北方巖畫的角度對草原民族的哲學(xué)觀，只是對其認(rèn)知方法略作管窺。這種科學(xué)觀念明顯處于感性的、直觀的階段，其所含的科學(xué)因素可稱“具體性的”或“原始的”。但由于游牧民族的體驗和觀察的細(xì)致入微，這種科學(xué)觀為真正縝密的科學(xué)奠定了基礎(chǔ)。
關(guān)鍵詞：巖畫；游牧民族；科學(xué)觀
分類號： K879.49文獻(xiàn)標(biāo)識碼： A文章編號： 1672-9838（2011）01-0039-08
On the Scientific View of Nomads from the Northern Cliff Painting
FENG Jun-sheng
(Inner MongoliaAcademy of Social Sciences, Hohhot, Inner Mongolia 010010)
Abstract: In the development process of human being, we should continue to understand our own world of survival, including human beings, nature, and even the universe. The plight of the original concept of the human caused the original religious ideas caught by the forces of nature. The original ideas were still ignorance, but the seeds of scientific ideas brewing, accumulating from generation to generation. We only start from the philosophy of national grasslands of the northern cliff paintings to glimpse the cognitive methods. The concept of science was at the emotional, intuitive stage, which contains scientific factors can be described as“specific”or“original”. However, the observation and experience of the nomads are meticulous and set up a real careful scientific foundation.
Key words: cliff paintings; nomads; scientific view
生活方式轉(zhuǎn)變與民間美術(shù)的發(fā)展
李東風(fēng)
（西華師范大學(xué)美術(shù)學(xué)院， 四川省 南充市 637009）
摘 要：隨著生活方式的轉(zhuǎn)變，民間美術(shù)的發(fā)展既遇到了挑戰(zhàn)，又有了新的發(fā)展機遇。生活方式轉(zhuǎn)變促進(jìn)了民間美術(shù)產(chǎn)業(yè)的創(chuàng)新，也促使民間美術(shù)審美的回歸，同時促成部分民間美術(shù)納入“非物質(zhì)文化遺產(chǎn)”范疇。圍繞現(xiàn)代生活的轉(zhuǎn)變，以產(chǎn)業(yè)化發(fā)展為契機使民間美術(shù)得以傳承和保護是一條可行之道。
關(guān)鍵詞：生活方式；民間美術(shù)；產(chǎn)業(yè)創(chuàng)新；審美回歸；非物質(zhì)文化遺產(chǎn)
分類號： J528文獻(xiàn)標(biāo)識碼： A文章編號： 1672-9838（2011）01-0047-06
Lifestyle Changes and the Development of Folk Art
LI Dong_feng
(College of Fine Arts, WestChinaNormalUniversity, Nanchong City, Sichuan Province 637009)
Abstract: With the lifestyle changes, the development of folk art has not only met the challenge, there has also been new development opportunities. Lifestyle changes not only promote the innovation of the folk art, industrial innovation, but also impel the return of the aesthetic of folk art, folk art has also been led into the “intangible cultural heritage”category. Around the changes in modern life, folk art with the industrial development as an opportunity finds a viable way to be inherited and protected.
Key words: ifestyle; folk art; industrial innovation; aesthetic regression; non-material cultural heritage
人類學(xué)視野下大足石刻藝術(shù)世俗化審美蹤跡
邱正倫
（西南大學(xué)美術(shù)學(xué)院， 重慶市 400715）
摘 要：大足石刻藝術(shù)作為世界非物質(zhì)文化遺產(chǎn)，它的價值本身就具有全人類的意義。對宗教題材中的人間生活情態(tài)特征、造型風(fēng)格的生活情狀以及形成大足石刻藝術(shù)世俗化審美的人類學(xué)動因等方面的分析，旨在探尋石刻造型藝術(shù)世俗化風(fēng)格背后的人類學(xué)價值特征和蘊藏其中的豐富的人類學(xué)含義。
關(guān)鍵詞：人類學(xué)；石刻藝術(shù)；大足石刻；審美價值；世俗化風(fēng)格
分類號：J315文獻(xiàn)標(biāo)識碼： A文章編號： 1672-9838（2011）01-0053-06
The Aesthetic Traces of the Art Secularization of Dazu Rock Carvings from the Perspective of Anthropology
QIU Zheng_lun
(Academy of Fine Arts, SouthwestUniversity, Chongqing, China 400715)
Abstract: As a world intangible cultural heritage, the value of the Dazu Rock Carvings art has the meaning of humanity with itself. This article tries to explore the anthropological value and the rich anthropological meaning behind the features secular style of the Dazu Rock Carvings art from the religious themes in human life, modal characteristics, modeling style of life of situation and the formation of Dazu Rock Carving Art motivation.
Key words: anthropology; stone art; Dazu Rock Carvings; aesthetic value; secularization style
西伯利亞—貝加爾湖畔的晚唐突厥系—九姓回鶻部落考古遺存
（哈薩克斯坦）阿布利特·卡瑪洛夫著
（東方文化研究院， 哈薩克斯坦 阿拉木圖 050000）
摘 要：歷史上，九姓回鶻部落在中唐突厥汗國衰落之后，曾經(jīng)一度建立稱霸西伯利亞-蒙古草原的回鶻汗國?？甲C晚唐（公元9、10世紀(jì)左右）貝加爾湖畔的游牧民族考古遺跡的歸屬后，認(rèn)為公元840年在吐蕃和（黠）嘎斯部落的侵略下回鶻汗國崩潰；其中一部遷入唐朝西域和甘肅建立小國，史稱高昌回鶻汗國與甘州回鶻汗國。
關(guān)鍵詞：晚唐突厥系；回鶻汗國；九姓回鶻；考古遺存
分類號： C912.4文獻(xiàn)標(biāo)識碼： A文章編號： 1672-9838（2011）01-0059-03
The Archaeological Remains of the Late Tang Dynasty Turks - Jiuxing Uighur Tribe in Siberia - LakeBaikal
(Kazakhstan) Albred ·Kamarov
(Academy of Oriental Culture, Almatu, Kazakhstan 050000)
Abstract: In historically, Jiuxing Turkic Uighur tribes once established hegemony in Siberia-the Uighur Khanate on Mongolia steppe after the decline of Turkic Khanate in the Mid-Tang Dynasty. The textual research of the ascription of archaeological sites of the nomadic tribes on Lake Baikal in Late Dynasty (9,10 century AD or so) concludes that under the Tibet and (Craftiness) GAZ tribal invasion, in AD 840, the Uighur Khanate was in the collapse; one tribe of them moved intoTang Dynasty established the Western Regions and Gansu to set up a small country, known as Gaochang Uighur Khanate and Ganzhou Uighur Khanate.
Key words: Late Turks system; Uighur Khanate; Jiuxing Uighur; archaeological remains
蒙古族長調(diào)區(qū)域分布及生存現(xiàn)狀
博特樂圖
（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：蒙古族長調(diào)民歌的豐富性首先表現(xiàn)在其區(qū)域風(fēng)格的多樣性上。部落傳統(tǒng)、地緣環(huán)境、歷史境遇、生活背景等因素，形成了蒙古族長調(diào)不同的區(qū)域傳統(tǒng)和風(fēng)格。新的社會制度、意識形態(tài)以及新的政治經(jīng)濟體制的建立，使得蒙古族長調(diào)賴以生存的社會文化生活結(jié)構(gòu)發(fā)生改變，其在現(xiàn)代化進(jìn)程中的生存狀況也隨之沉浮。
關(guān)鍵詞：蒙古族長調(diào)；區(qū)域分布；社會轉(zhuǎn)型；生存現(xiàn)狀
分類號： J616.2文獻(xiàn)標(biāo)識碼： A文章編號： 1672-9838（2011）01-0062-14
The Survival Status and the Regional Distribution of Mongolian Long-tune
Botolt
(Music Department of ArtCollege of Inner MongoliaUniversity, Hohhot, Inner Mongolia 010010)
Abstract: The richness of the Mongolian long-tune folk songs lies firstly in its diversity of styles concerning their regions. Tribal traditions, geographical environment, historical circumstances, background and other factors, form the different regional traditions and styles of the Mongolian long-tune. New social system, ideology and the new political economy system bring changes in social and cultural life structure where the Mongolian long-tune survives. Its survival status will also be ups and downs in of the process of modernization.
Key words: Mongolian long-tune; regional distribution; social transformation; survival status
科爾沁蒙古族音樂劇之理論構(gòu)建
布日古德，高巧艷
（內(nèi)蒙古民族大學(xué)音樂學(xué)院， 內(nèi)蒙古 通遼 028043）
摘 要：科爾沁蒙古族是一個有著悠久、深厚歌舞傳統(tǒng)的民族。廣博豐富的民族歌舞，為借鑒西方音樂劇和發(fā)展民族音樂劇提供了堅實的基礎(chǔ)。將科爾沁地區(qū)音樂藝術(shù)與現(xiàn)代音樂劇相結(jié)合，尋求蒙古族原創(chuàng)音樂劇的創(chuàng)新，使其成為科爾沁傳統(tǒng)音樂藝術(shù)傳承與發(fā)展的新的載體，對于我國音樂劇創(chuàng)作“本土化”發(fā)展，進(jìn)一步弘揚民族傳統(tǒng)音樂文化具有重要意義。
關(guān)鍵詞：科爾沁； 蒙古族；音樂?。焕碚摌?gòu)建
分類號： J021文獻(xiàn)標(biāo)識碼： A文章編號： 16729838（2011）01-0076-04
The Theory Construction of Horchin Mongolian Music Drama
BurgudGAO Qiao-yan
(MusicSchool of Inner MongoliaNationalUniversity, Tongliao, Inner Mongolia 028043)
Abstract: Mongolian has a long, deep folk songs and dances tradition. Vast wealth of folk singing and dance provides a solid foundation for the learning of Western music, and the development of national music drama. It is of great significance to combine the Horchin music art with modern music drama, seek for the innovation of Mongolian original music drama to become a new carrier of inheriting and developing Mongolian traditional music art for the“native”development of the creation of music drama of music drama in china , and for further promoting the national traditional music culture.
Key words: Horchin; Mongolian; music drama; theory construction
二人臺《走西口》產(chǎn)生的時間及劇情解讀
劉忠和
(內(nèi)蒙古科技大學(xué)包頭醫(yī)學(xué)院， 內(nèi)蒙古 包頭 014040)
摘 要：關(guān)于二人臺的起源地，盡管幾種說法不盡一致，但都指出二人臺的產(chǎn)生與晉、陜、蒙結(jié)合部有關(guān)。探討二人臺小戲《走西口》產(chǎn)生的時間，認(rèn)為它不是產(chǎn)生于咸豐年間，而是產(chǎn)生在光緒三、四年的“丁戊奇荒”期間。
關(guān)鍵詞：二人臺；《走西口》；產(chǎn)生時間；劇情解讀
分類號： J605文獻(xiàn)標(biāo)識碼： A文章編號： 1672-9838（2011）01-0080-05
The Time of the Production of Er Ren Tai“Moving Westward”and the Interpretation of the Story
LIU Zhong-he
(BaotouMedicalCollege, Inner Mongolia Science and TechnologyUniversity, Baotou, Inner Mongolia 014040)
Abstract: There have been several different opinions about the origin of Er Ren Tai, although they are not consistent, but they point out that Er Ren Tai′s production iwas related to the common boundary of Shanxi and Shaanxi provinces and Inner Mongolia. The time of Er Ren Tai opera“Moving Westward”was not in Xianfeng period, but in the third or fourth years of Guangxu period.
Key words: Er Ren Tai ; “Moving Westward”; generation time; plot Interpretation
敘 事 的 賦 格
——淺析林華《G大調(diào)前奏曲、圣詠與賦格》中賦格的情感布局與技法運用
劉燕婷
（集美大學(xué)誠毅學(xué)院， 廈門 361000）
摘 要：林華先生的《G大調(diào)前奏曲、圣詠與賦格》飽含了強烈的情感，帶有極強的敘事性，這與他縝密的復(fù)調(diào)思維、嫻熟的復(fù)調(diào)技法和鮮明的音樂審美觀是密不可分的。以其中的賦格作為主要研究對象，剖析其運用的創(chuàng)作技法及表現(xiàn)的情感意義，并以此為契機尋找作者力圖在嚴(yán)謹(jǐn)?shù)那?、音樂的情感及人的審美心理間建立起來的合理的聯(lián)系。
關(guān)鍵詞：林華；《G大調(diào)前奏曲、圣詠與賦格》；賦格；情感布局；技法運用 分類號： J614.2文獻(xiàn)標(biāo)識碼： A文章編號： 1672-9838（2011）01-0085-11
Narrative Fugue
——On the emotion layout and the use of techniques of fugue in Lin Hua′s“G Major Prelude, Psalm and Fugue”
LIu Yan-ting
(ChengyiCollege of JimeiUniversity, Xiamen, FujianProvince 361000)
Abstract: Mr. Lin Hua′s“G major Prelude, Psalm and Fugue,”full of strong emotions, with a strong narrative feature, which are inseparable from his careful polyphonic thinking, skillful techniques and distinctive polyphonic music aesthetics. To take one of the Fugue as the main object of study, this article analyzes the use of creative techniques and the performance of emotional significance, trying to take this opportunity to look at reasonable links among the strict musical form, music emotion and human as well as the aesthetic psychology.
Key words: Lin Hua; “G major Prelude, Psalm and Fugue”; fugue; emotional layout; techniques used
中國傳統(tǒng)曲藝與戲曲元素影響下的民族聲樂
王志昕
（沈陽音樂學(xué)院， 遼寧省 沈陽市 110004）
摘 要： “瓦市” “勾欄”里的原始戲曲、曲藝音樂主要有嘌唱、唱賺、鼓子詞、諸宮調(diào)、雜劇等。這些民間的、平民性質(zhì)的音樂表演，首先包含了聲樂演唱的表演（唱與說），同時不可或缺的包括一定形式的樂器伴奏和簡繁不一的裝扮下的形體表演。傳統(tǒng)曲藝戲曲影響到現(xiàn)當(dāng)代中國民族聲樂的“字、聲、情”，是眾多民族聲樂教育家在傳授民族聲樂表演技藝的過程中，反復(fù)強調(diào)的幾個環(huán)節(jié)。戲曲表演過程中，要求“字正腔圓、聲情并茂”，在現(xiàn)當(dāng)代的中國民族聲樂演唱中，仍是一個核心。
關(guān)鍵詞：民族聲樂；中國傳統(tǒng)曲藝；戲曲；影響
分類號： J616文獻(xiàn)標(biāo)識碼： A文章編號： 1672-9838（2011）01-0096-04
National Vocal Music under the Influence of Elements of Traditional Chinese Opera and Drama
WANG Zhi-xin
(ShenyangMusicCollege, Shenyang, Liaoning Province 110004)
Abstract: There are mainly the music types of “Piao chang singing”,“Chang zhuan singing”, “Gu zi ci singing”etc in the original opera and folk music“Wa shi,”and“Gou lan”. These folk, the civilian nature of the musical performances firstly contains the vocal music performance (singing and speaking), with the accompaniment of the physical performance and indispensable musical instruments, including certain different forms of dress. The traditional folk operas have influenced the contemporary“word, sound, feeling”in Chinese vocal music, is one of many national vocal music educator in the teaching of national vocal music performance skills in the process, the following aspects are repeatedly emphasized during opera performances, calling for“enunciate, extremely rich”, in modern and contemporary Chinese folk song singing and it is still a core.
Key words: national vocal music; Chinese traditional folk art; operas; influence
淺析打擊樂藝術(shù)的審美體驗
韓曉晨
（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：打擊樂是所有器樂中歷史最為悠久，聲音最為特殊的樂器。它的樂器種類繁多，音色各不相同，有相當(dāng)豐富的審美價值。從節(jié)奏，音色，表演三方面體驗打擊樂藝術(shù)之美，總結(jié)打擊樂藝術(shù)審美體驗的價值。
關(guān)鍵詞：打擊樂；審美體驗；節(jié)奏；音色；表演
分類號： G112文獻(xiàn)標(biāo)識碼： A文章編號： 1672-9838（2011）01-0100-03
An Approach to the Aesthetic Experience of Percussion Art
HAN Xiao-chen
(Music Department of ArtCollege of Inner MongoliaUniversity, Hohhot, Inner Mongolia 010010)
Abstract: Percussion is a musical instrument with the longest history and most unique musical sounds. It has wide range of musical instruments, different sounds with a wealthy aesthetic value. This article experiences the beauty of art from the perspective of rhythm, tone, performing and sum up the value of art aesthetic experience of percussion.
Key words: percussion; aesthetic experience; rhythm; timbre; performance
談音樂學(xué)科中聲樂鋼琴藝術(shù)指導(dǎo)的價值體現(xiàn)
成莉
（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：聲樂鋼琴伴奏和聲樂演唱是兩個獨立的表演專業(yè)，在各自的領(lǐng)域里分別有各自的專業(yè)內(nèi)容和技巧，必須以伙伴的關(guān)系才能共同完成聲樂表演藝術(shù)。目前存在著鋼琴伴奏的教學(xué)與表演、培養(yǎng)與需要相脫節(jié)并且導(dǎo)致伴奏人才缺乏及質(zhì)量不高等問題。因此探討鋼琴藝術(shù)指導(dǎo)專業(yè)的價值，可更好地為聲樂專業(yè)人才的培養(yǎng)做出應(yīng)有的貢獻(xiàn)。
關(guān)鍵詞：聲樂鋼琴伴奏；技術(shù)扶持；心理扶持；教學(xué)內(nèi)容
分類號： J624.1文獻(xiàn)標(biāo)識碼： A文章編號： 1672-9838（2011）01-0103-03
On the Value Realization of Piano Art Direction in Vocal Music
CHENG Li
(Music Department of ArtCollege of Inner MongoliaUniversity, Hohhot, Inner Mongolia 010010)
Abstract: Piano accompaniment in vocal music and its performance are two independent performance specialities, having their respective fields of professional content and skills of their own, must be partners to jointly complete the vocal performing arts. There have currently been some problems like disjunction between the teaching of piano accompaniment and piano performing, training, and between the training and the needs of the shortage of talent and lack of quality. Therefore, it is necessary to discuss the value of the profession piano art director to make due contributions to the training of better vocal music professionals.
Key words: piano accompaniment; technical support; psychological support; teaching content
男中音聲樂教學(xué)“三段法”
楊寶利
（天津音樂學(xué)院聲樂系， 天津 300171）
摘 要：總結(jié)多年的聲樂教育實踐，認(rèn)為男中音在啟蒙階段的教學(xué)雖易，但萬萬不可掉以輕心，造成聲音概念和發(fā)聲技巧上的一些錯誤，一旦初學(xué)階段走入誤區(qū)，則悔之晚矣。應(yīng)在男中音教學(xué)中采取打造呼吸基礎(chǔ)、突破換聲點、提高演唱綜合素質(zhì)的階段性教學(xué)。
關(guān)鍵詞：聲樂教學(xué)；男中音教學(xué)；呼吸技巧；換聲點；演唱素養(yǎng)
分類號： J616.2文獻(xiàn)標(biāo)識碼： A文章編號： 1672-9838（2011）01-0107-03
The“Three-stage method”in Baritone Vocal Teaching
YANG Bao-li
(Vocal Music Department of TianjinMusicCollege, Tianjin 300171)
Abstract: To summarize the vocal music education practice of many years, this article holds that though the teaching of the baritone is easy in the initiation phase, it must not be taken lightly, causing the sound concepts and vocal skills on some of the errors, once the novice gets into the errors, then it is too late . Teaching should be taken to create breathing baritone basis for the sound breaking point, to improve the overall quality of stage teaching.
Key words: vocal music teaching; baritone teaching; breathing techniques; for acoustic point; singing attainment
版畫藝術(shù)的空間感及表現(xiàn)
王茹
（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：現(xiàn)代版畫的圖像表現(xiàn)強調(diào)物體的明暗關(guān)系和色彩關(guān)系，追求畫面立體形象塑造和光影效果。透視、光影、色彩的運用是版畫空間感表現(xiàn)的重要方法，也是版畫語言得以傳達(dá)的重要方式。
關(guān)鍵詞：版畫藝術(shù)；空間感；表現(xiàn)形式 ；表現(xiàn)方法
分類號： J227文獻(xiàn)標(biāo)識碼： A文章編號： 1672-9838（2011）01-0110-05
Sense of Space and Performance of Engraving Arts
WANG Ru
(Art Department of ArtCollege of Inner MongoliaUniversity, Hohhot, Inner Mongolia 010010)
Abstract: The performance of modern engraving arts emphasizes the relationship between the light and shade, and the relations between the colors, pursuits the screen three-dimensional image of the lighting effects. Perspective, light and shadow, color prints use are the important methods to show a sense of space, but also is an important way to transmit the language of this kind of art.
Key words: engraving arts; sense space; form of expression; methods of performance
試論版畫技術(shù)語言與情感
劉英
（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：版畫技法與情感表達(dá)的關(guān)系問題已愈來愈引起人們的關(guān)注。技法與媒材是畫家情感表達(dá)的前提和基礎(chǔ)，畫家情感的表達(dá)是版畫作品的靈魂所在。畫家在藝術(shù)創(chuàng)作過程中如何拓寬思路，跨越技術(shù)與媒材的定式局限，正確把握二者的關(guān)系，是藝術(shù)作品能否感染人、打動人的關(guān)鍵所在，也是畫家必須面對和思考的問題。
關(guān)鍵詞：版畫創(chuàng)作；技法；媒材；情感表達(dá)
分類號： J227文獻(xiàn)標(biāo)識碼： A文章編號： 1672-9838（2011）01-0115-03
On the Technical Language and Emotion of Engraving
LIU Ying
(Art College of Inner MongoliaUniversity, Hohhot, Inner Mongolia 010010)
Abstract: The relationship between the engraving techniques and emotional expression have caused more and more concern. Techniques and media material are the prerequisite and basis for emotional expression of the artists, the artist′s expression of emotion is the soul of engraving arts. How artists can expand the idea of the creative process in the art, across the limitations of the fixed type of technology and media and correctly grasp the relationship between the two, are what artists have to face and think about the works of art to infect humans and the key to move people.
Key words: engraving creation; techniques; media material; emotional expression
讓表演為動畫角色注入靈魂
王芳雷
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院新媒體藝術(shù)系， 內(nèi)蒙古 呼和浩特 010010）
摘 要：將日常積累的表演和“陌生化”的表演運用到動畫角色動作的創(chuàng)造上是我們急需解決的問題，也是國內(nèi)動畫片發(fā)展的一個突破口。好的動畫片表演對動畫角色表情和動態(tài)肢體語言的塑造會產(chǎn)生深遠(yuǎn)的影響，甚至對動畫角色的成功塑造產(chǎn)生決定性的影響。
關(guān)鍵詞：動畫片；角色；表演；肢體動作
分類號： J954文獻(xiàn)標(biāo)識碼： A文章編號： 1672-9838（2011）01-0118-06
Let the Performance Give A Soul to the Cartoon Characters
WANG Fang-lei
(New Media Arts Department of ArtCollege of Inner MongoliaUniversity, Hohhot, Inner Mongolia 010010)
Abstract: It is an urgent need to resolve the issue to make the daily accumulation of performance and“estrangement”applied to the creation of character motion animation, and it is also a breakthrough in the development of the domestic animation. Good performance of the animated character animation and dynamic body language, facial expressions will have a profound impact on molding, or even have a decisive impact on the successful shaping of the animated characters.
Key words: animation; character; performance; body movements
風(fēng) 氣 之 重
——大學(xué)精神建樹芻議
宋生貴
(內(nèi)蒙古大學(xué)藝術(shù)學(xué)院， 內(nèi)蒙古 呼和浩特市 010010)
摘 要：一所學(xué)校最關(guān)鍵的養(yǎng)成就是風(fēng)氣。崇尚學(xué)術(shù)，追求文明，營造優(yōu)質(zhì)而合規(guī)律的學(xué)術(shù)生態(tài)，是每一所學(xué)校都應(yīng)該始終倡導(dǎo)的風(fēng)氣。崇尚學(xué)術(shù)之風(fēng)，應(yīng)該像空氣與陽光一樣與大學(xué)生息俱在。一所學(xué)校要養(yǎng)成好風(fēng)氣，則需特別注重如下三點：其一，要有正確而合規(guī)律的導(dǎo)向；其二，要有良好的典范；其三，要營造相諧的環(huán)境。
關(guān)鍵詞：高等教育；大學(xué)精神；學(xué)術(shù)生態(tài)；風(fēng)氣；導(dǎo)向
分類號： G640文獻(xiàn)標(biāo)識碼： A文章編號： 1672-9838（2011）01-0124-05
Importance of the Atmosphere
——Discussion of University Spirit Contibution
SONG Sheng-gui
(Art College of Inner MongoliaUniversity, Hohhot, Inner Mongolia 010010)
Abstract: The most critical thing to develop of a university is atmosphere. Respect for learning, pursuit of civilization and to creation of the academic quality and ecological affinities, is what every university should always promote. Advocating learning should be the same as air and sunshine existing together with college students. To develop a good atmosphere in a university, you will need to pay special attention to the following three points: First, there must be correct co-orientation laws; Second, a good example; Third, to create harmony with the environment.
Key words: higher education; spirit of university; academic ecology; atmosphere; orientation
關(guān)注生存狀態(tài)的精神之域
——讀宋生貴散文隨筆作品集《詩意夢尋》
郭鵬
（集寧師范學(xué)院中文系， 內(nèi)蒙古 集寧 012000）
摘 要：《詩意夢尋》中的56篇散文，其筆觸所及是廣泛與豐富的，既有感性的敘寫，又有理性的闡發(fā)；既有對身邊小事的體認(rèn)，又有對人類生存的思考；既有對往昔歲月的追憶，又有對當(dāng)下世象的分析與批判。但這種種情況都基于一個指向，那就是對人類生存命題中的詩意追尋。
關(guān)鍵詞：宋生貴；《詩意夢尋》；詩性智慧；精神綠洲
分類號： G256.4文獻(xiàn)標(biāo)識碼： A文章編號： 1672-9838（2011）01-0129-03
Concerned about the Mental State of the ExistenceState
——Read Song Sheng-gui′s prose works“Poems in Dreams”
GUO Peng
(Department of Chinese Language and Literature of Jining Teacher′s College, Jining, Inner Mongolia 012000)
Abstract: The 56 essays in“Poems in Dreams”are related to broad and extensive reach of both emotional narrations and rational exposition with both realizingthe little things on the side and thinking of human survival; recalling of past years, and the analysis and criticism of the present world. But these circumstances are based on one point, that is, the pursuit of poetry of human existence.
Key words: Song Sheng-gui; “Poems in Dreams”; poetic wisdom; spiritual oasis
中國北方民族文化研究論文索引（1991）
其其格
（中央民族大學(xué)圖書館， 北京 100081）
關(guān)鍵詞：論文索引；中國北方民族；文化研究；民族學(xué)研究
分類號： Z87文獻(xiàn)標(biāo)識碼：D文章編號： 1672-9838（2011）01-0132-05
Index of Research papers on Northern China Culture 1991
Checheg
(Library of CentralUniversity for Nationalities, Beijing 100081)
Key words: paper Index; northern China nationalities; culture studies; ethnic studies