《內(nèi)蒙古大學(xué)藝術(shù)學(xué)院學(xué)報(bào)》2011年第4期
中英文論文摘要、關(guān)鍵詞
舞蹈中的多元文化主義：新加坡的經(jīng)驗(yàn)
（新加坡）蔡曙鵬 著 李修建 譯
（新加坡亞太演藝研究中心，新加坡 267552 ）
摘 要：舞蹈是文化表達(dá)的重要部分，是凝聚共同體的一大資源。對(duì)音樂(lè)和舞蹈活動(dòng)的分析，可以揭示一個(gè)共同體的思維方式、價(jià)值觀念與自我認(rèn)同。通過(guò)考察最近幾十年來(lái)新加坡的重要舞蹈作品，意在探討新加坡舞蹈中多元文化主義的概念與實(shí)踐，以及它如何成為舞蹈場(chǎng)景中可識(shí)別的特征。
關(guān)鍵詞：多元文化主義；新加坡；舞蹈藝術(shù)；多民族舞蹈
Multiculturalism in Dance: the Singapore Experience
(Singapore) Written by CAI Shu-peng Translated by LI Xiu-jian
（Asia-Pacific Performing ArtsResearchCenter in Singapore, Singapore 67552）
Abstract: Dance is an important part of cultural expression, and a major resource of community cohesion. The anaysis of music and dance activities may reveal a community's way of thinking, values and self-identity. By examining the important dance works in Singapore in the recent decades, this article intends to explore the concept of multiculturalism and practice, and how it can become a recognition feature of the dance scene.
Key words: multiculturalism; Singapore; dance art; multi-ethnic dance
賈作光舞蹈教育思想三題
李穎
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特 010010）
摘 要： 賈作光是中國(guó)當(dāng)代杰出的舞蹈藝術(shù)家，曾長(zhǎng)期工作生活在內(nèi)蒙古，對(duì)草原文化有很深的了解和感情。他編創(chuàng)了大量的蒙古族舞蹈作品，為蒙古族培養(yǎng)出幾代優(yōu)秀的舞蹈表演藝術(shù)人才。賈作光先生不僅在舞蹈表演和舞蹈編導(dǎo)方面才華出眾，他在舞蹈理論的研究和舞蹈教學(xué)方面也有自己獨(dú)到的見(jiàn)解和長(zhǎng)期的實(shí)踐，《賈作光舞蹈藝術(shù)文集》就是他舞蹈教育思想和舞蹈教育實(shí)踐的結(jié)晶。
關(guān)鍵詞： 賈作光；舞蹈理論；舞蹈教學(xué)；《賈作光舞蹈藝術(shù)文集》
Three Questions in Jia Zuoguang’s Dance Education Thoughts
LI Ying
（Art College of Inner Mongolia University, Hohhot 010010, Inner Mongolia）
Abstract: Jia Zuoguang is an outstanding contemporary dance artist in China, and he has a long working life in Inner Mongolia, has a deep understanding and affection to steppe cultures. He compiled a great amount of Mongolian dance works and trains Mongolian dancers of several generations. Mr. Jia Zuoguang is not only talented in dance performance and dance choreographer, but also has his own unique insights and long-term practice in his dance theory of dance research and teaching . "Jia Zuoguang Dance Works Collection"" is the crystallization of his dance education thinking and dance practice.
Key words: Jia Zuoguang; dance theory; dance teaching; "Jia Zuoguang Dance Works Collection"
神奇的“安代” 火紅的“安代舞”
趙小丁
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特 010010）
摘 要：蒙古族的“安代舞”作為國(guó)家“非遺”文化保護(hù)項(xiàng)目和草原文化的標(biāo)識(shí)性品牌，是蒙古族引以為自豪的舞蹈奇葩。當(dāng)下，在“全球一體化”和“多元文化”沖擊的背景下，它的發(fā)展空間日益萎縮，“自我”的個(gè)性化和地域性文化特征逐漸消失，生存狀態(tài)面臨尷尬的境地。由此，重新引發(fā)了人們對(duì)“安代舞”這一民族原生態(tài)歌舞形式的研究與關(guān)注。
關(guān)鍵詞： 安代；安代舞；奇葩；草原文化 ；標(biāo)識(shí)性品牌
The Magic of "Andai Dance” and the Popular “Andai Dance”
ZHAO Xiao-ding
（Art College of Inner Mongolia University, Hohhot 010010, Inner Mongolia）
Abstract: Mongolian "Andai Dance”, as national intangible cultural heritage conservation projects and the identity of the grassland culture brand, is a unique dance form of which Mongolian are proud. Nowadays, under the impact of the background of "globalization" and "multicultural", its development space is shrinking. The personal and regional cultural identity has gradually disappeared, living conditions faced embarrassment. Thus, this article tries to arise again the research and attention to the national dance forms of original and ecological concerns.
Key words: Andai; Andai Dance; wonder; steppe culture; identity of the brand
景鎮(zhèn)窯神崇拜與象征空間的構(gòu)建
——以風(fēng)火神童賓為個(gè)案研究
李興華 李松杰 肖絢
（景德鎮(zhèn)陶瓷學(xué)院陶瓷美學(xué)研究所， 江西省 景德鎮(zhèn) 333403）
摘 要：行業(yè)神崇拜在景德鎮(zhèn)陶瓷生產(chǎn)中有著重要的地位和作用，是維系瓷業(yè)從業(yè)人員凝聚力和團(tuán)結(jié)的體現(xiàn)。從象征空間的理論出發(fā)，以風(fēng)火神童賓為個(gè)案，探討景德鎮(zhèn)瓷業(yè)生產(chǎn)中的文化認(rèn)同、政治認(rèn)同，并基于活態(tài)的模式來(lái)探究風(fēng)火神崇拜過(guò)程中的官民互動(dòng)。
關(guān)鍵詞： 景德鎮(zhèn)；窯神崇拜；風(fēng)火神；童賓；活態(tài)；文化認(rèn)同；象征空間
Construction of Kiln God Worship and Symbolic Space of Jingdezhen
—— Take the Wind & Fire Godling Tongbin as a case study
LI Xing-hua, LI Song-jie, XIAO Xuan
（Institute of Ceramics Aesthetics, Jingdezhen Ceramic Institute, Jingdezhen 333403, Jiangxi Province）
Abstract: Worship in the Jingdezhen ceramics industry production has an important position and role, and it is the embodiment employed to maintain cohesion and unity inside porcelain industry. This article begins from the theory of symbol space, take the Wind & Fire Godling Tongbin as a case study, to discuss the cultural identity, political identity, and state-based model to explore the live the Wind & Fire Godling Tongbin and the public worship of the process of interaction in Jingdezhen porcelain production.
Key words: Jingdezhen; kiln god worship; Wind & Fire Godling; Tongbin; living state; cultural identity; symbolic space
閬中木板彩繪門(mén)神的人類(lèi)學(xué)考察
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：閬中木板門(mén)神從人類(lèi)學(xué)的意義來(lái)看，表現(xiàn)人神關(guān)系，確證人的價(jià)值和閬中古城的文化身份。它綜合多種現(xiàn)代民間繪法，對(duì)了解主人身份、審美觀念等都是實(shí)物佐證。研究閬中木板彩繪門(mén)神的刻繪技法可以看出門(mén)神崇拜傳統(tǒng)向世俗年畫(huà)過(guò)渡的痕跡。而閬中木板彩繪門(mén)神，也成為了建筑藝術(shù)的一個(gè)組成部分，形成獨(dú)特的風(fēng)景。
關(guān)鍵詞： 閬中；木板彩繪門(mén)神；文化身份；刻繪技法；環(huán)境藝術(shù)
An Anthropological Study of Langzhong Colored Painting
of the Door God on the Board
LI Dong-feng
（School of Fine Arts, West China University, Nanchong 637009, Sichuan Province）
Abstract: From an anthropological sense, Langzhong board door-god performs the relationship between man and God, confirming the value of the man and Langzhong city's cultural identity. It combines a variety of modern folk painting methods and they are all physical evidence for the understanding of the mastership and aesthetic ideas. The research on the carving techniques of Langzhong colored painting of the door god on the board gives the traces of the transition from the traditional worship of door-god to the secular New Year paintings. It has also become an integral part of architecture art.
Key words: Langzhong; colored painting of the door god on the Board; cultural identity; carving techniques; environmental art
一堂活著的水陸畫(huà)
——陜北橫山牛王會(huì)活動(dòng)考察
呼延勝
（西安美術(shù)學(xué)院，陜西 西安 710100）
摘 要：觀察牛王會(huì)活動(dòng)及水陸畫(huà)存留使用的真實(shí)場(chǎng)景及傳承模式，感受到了宗教藝術(shù)在鄉(xiāng)間廟會(huì)中的巨大影響力，以及宗教藝術(shù)背后顯現(xiàn)出的普通百姓的精神需求。認(rèn)為，民間宗教美術(shù)的研究應(yīng)走出廟宇和書(shū)齋，通過(guò)對(duì)活態(tài)的民間宗教藝術(shù)品的藝術(shù)人類(lèi)學(xué)觀察，通向民間藝術(shù)活動(dòng)與普通百姓的精神世界。
關(guān)鍵詞： 水陸畫(huà)；牛王會(huì)；宗教藝術(shù)；藝術(shù)人類(lèi)學(xué)觀察
A Living Drawing Water and Land Painting
——A survey of Hengshan Niu-wang-hui in Northern
HUYAN-Sheng
（Xi'an Academy of Fine Arts, Xi'an 710100, Shaanxi Province）
Abstract: To observe the real scene and the mode of inheritance of Niu-wang-hui and use of land and water paintings scene helps the author of the article feel the tremendous influence of the religious art in the rural temple, and the spiritual needs of ordinary people shown behind religious art. Folk religion art should go out of the temple and the room through the anthropology observation of the living state of folk religious art, to get to the spiritual world of the ordinary people through folk art activities.
Key words: land and water paintings; Niu-wang-hui; religious art; anthropology observation of art
神圣的送靈
——彝族民間喪禮花鼓舞儀式展演
黃龍光
（玉溪師范學(xué)院文學(xué)院，云南 玉溪 653100）
摘 要：作為一個(gè)典型的送靈儀式舞蹈，彝族民間喪禮花鼓舞，是強(qiáng)化彝族歷史記憶的特殊肢體形態(tài)藝術(shù)?；ü奈枰馕吨环N責(zé)任和義務(wù)，它表面上是行孝必備的禮儀，深層次是彝族祖靈崇拜藝術(shù)化符號(hào)。彝族花鼓舞的喪禮參與和藝術(shù)展演，主要承擔(dān)安魂、驅(qū)鬼和送靈的功能。花鼓舞于喪禮儀式，不是一種客位的參與和展演，其關(guān)系不是簡(jiǎn)單的被采借和被征用的關(guān)系，其文化內(nèi)涵和社會(huì)功能全由彝族民間喪禮儀式反向賦予。
關(guān)鍵詞： 彝族喪禮；花鼓舞；儀式展演；送靈；社群凝聚
Holy Sending of the Soul
—— The exhibition of the flower drum performance in funeral ceremony of Yi people
HUANG Long-guang
（College Literature of Yuxi Teachers College, Yuxi 653100, Yunnan Province）
Abstract: As a typical dance of spiritual ceremony to send the soul, flower drum dance of Yi people is a special physical form of art to strengthen the memory of the history of Yi people. Flower drum dance means responsibility and obligation, it appears to be an essential ritual piety, and the deep-seated meaning is the Yi people’s ancestor soul worship symbols. The funeral participation and arts festivals of flower drum dance of Yi are mainly responsible for requiem, exorcism and sending spiritual functions. Flower drum dance at the funeral ceremony is not only participation and performances, whose relationship is not simple to be taken by the expropriation and the relationship with their culture and social functions given by the funeral ceremony of Yi people.
Key words: Yi funeral; flower drum dance; ritual performances; send souls; community cohesion
淺談和林格爾剪紙藝術(shù)的特點(diǎn)
趙 福
（呼和浩特職業(yè)學(xué)院美術(shù)與傳媒學(xué)院，內(nèi)蒙古 呼和浩特 010010）
摘要：內(nèi)蒙古自治區(qū)呼和浩特市和林格爾民間剪紙藝術(shù)，文化底蘊(yùn)深厚，是平面二維的造型藝術(shù)，是將概括性的造型和夸張性的特點(diǎn)緊密結(jié)合的民間藝術(shù)形式，具有圖案化、隨形隨意、諧音寓意和象征性的特點(diǎn)。
關(guān)鍵詞： 和林格爾；剪紙藝術(shù)；特點(diǎn)
On the Art features of Helinge’er Paper-cut
ZHAO Fu
（Fine Arts and Media College of Hohhot Vocational College, Hohhot 010010, Inner Mongolia）
Abstract: Helinge’er folk paper-cut in Hohhot, Inner Mongolia with rich cultural heritage, is the art of two-dimensional shape and mixture of the folk art forms of general shape and exaggerated characteristics, with the features of patterned, shape free, homophonic meaning and symbolic features.
Key words: Helinge’er; paper-cut art; features
漢字書(shū)法與藏傳佛教繪畫(huà)的完美結(jié)合
——評(píng)吳蘇榮貴的佛教繪畫(huà)作品《般若心經(jīng)》
孔靜
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院， 內(nèi)蒙古 呼和浩特 010010）
摘 要：分析吳蘇榮貴博士佛教美術(shù)創(chuàng)作《般若心經(jīng)》的緣由、經(jīng)過(guò)、創(chuàng)作心得等，評(píng)述他以禪者的智慧之心創(chuàng)作出了漢字書(shū)法與藏傳佛教繪畫(huà)相結(jié)合的全新形式的佛教美術(shù)作品。
關(guān)鍵詞：佛教美術(shù)；《般若心經(jīng)》；書(shū)法；繪畫(huà)
A Perfect Combination of Chinese Calligraphy and Painting of Tibetan Buddhism
——A Review of Usuronggui’s Buddhist paintings“Wisdom Heart Sutra”
KONG Jing
（Art College of Inner Mongolia University, Hohhot 010010, Inner Mongolia）
Abstract: This article analyses the reason, process, creative ideas, etc. in Usuronggui’s Buddhist art creation of "Wisdom Heart Sutra," and reviews his heart of wisdom to create a combination of new forms of Buddhism works of art combining Chinese calligraphy and painting of Tibetan Buddhism.
Key words: Buddhist art；“Wisdom Heart Sutra”; calligraphy; painting
蒙古族家具裝飾圖案中的藏傳佛教因素
房魁嬌
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特 010010）
摘 要：藏傳佛教進(jìn)入蒙古草原后，滲透到蒙古游牧生活的方方面面，甚至體現(xiàn)在蒙古族家具裝飾圖形上。分析蒙古族家具中藏傳佛教圖案紋樣，對(duì)于藏傳佛教藝術(shù)如何影響蒙古族牧人的日常生活有更加直觀、形象的認(rèn)識(shí)。
關(guān)鍵詞： 蒙古族家具； 藏傳佛教；裝飾紋樣
The Tibetan Buddhism Factors of the Decorative Patterns in Mongolian Furniture
FANG Kui-jiao
（Art College of Inner Mongolia University, Hohhot 010010, Inner Mongolia）
Abstract: After Tibetan Buddhism came into Mongolian grassland, it infiltrated the Mongolian nomadic life to all aspects, and even reflected in the graphs of Mongolian furniture. This article analyses the Mongolian furniture design of Tibetan Buddhism patterns to give a more intuitive understanding of the image of how Tibetan Buddhist Art affects the daily lives of Mongolian herders.
Key words: Mongolian furniture; Tibetan Buddhism; decorative patterns
1990年代以來(lái)國(guó)外西藏藝術(shù)研究述評(píng)
羅易扉
(中國(guó)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)遺產(chǎn)。對(duì)西藏綜合藝術(shù)的代表性著作予以述評(píng)，綜述文本主要是1990年代以來(lái)的英文代表性著作。通過(guò)藝術(shù)門(mén)類(lèi)進(jìn)行分類(lèi)綜述，按照雕塑、建筑、手工藝、舞蹈、儀式以及收藏品研究等門(mén)類(lèi)綜述西藏藝術(shù)。反映了關(guān)于西藏藝術(shù)的研究進(jìn)展和成果，展現(xiàn)西藏各門(mén)類(lèi)藝術(shù)研究中重要的理論和方法。
關(guān)鍵詞： 1990年代；國(guó)外研究；西藏藝術(shù)；西藏綜合藝術(shù)；
Review of Research on Tibetan Art Abroad since the 1990s, study
LUO Yi-fei
（Graduate School of Chinese Academy of Arts, Beijing 10029, China）
Abstract:Tibet has a rich artistic heritage. This article reviews the representative Tibetan works of art with the main English texts since the 1990s. Classified by the kinds of art reviewed, it is in accordance with sculpture, architecture, arts and crafts, dance, ceremony and collections of Tibetan art and other categories. It reflects the progress and results of research of Tibetan art to show the important theories and methods of the studies on various categories of Tibetan art.
Key words: 1990s; abroad; Tibetan art; Tibetan integrated arts
關(guān)于鄂爾多斯史詩(shī)
——《鄂爾多斯史詩(shī)》代序
阿爾丁夫
（內(nèi)蒙古師范大學(xué)文學(xué)院，內(nèi)蒙古呼和浩特010020）
摘 要：過(guò)去，我國(guó)蒙古學(xué)界一直熱衷于長(zhǎng)篇英雄史詩(shī)《江格爾》《格斯?fàn)枴返姆g和研究，以致于形成了“江格爾學(xué)”和“格斯?fàn)枌W(xué)”。相形之下，學(xué)界對(duì)蒙古中短篇英雄史詩(shī)則未免太過(guò)于冷落了。《鄂爾多斯史詩(shī)》及其漢譯本的面世，不僅有利于糾正目前學(xué)界普遍存在的對(duì)史詩(shī)貌似既專(zhuān)業(yè)又深刻，實(shí)則極端片面、狹隘膚淺的認(rèn)識(shí)，而且也能為學(xué)界研究鄂爾多斯英雄史詩(shī)提供了較為充分而可信的文本。
關(guān)鍵詞：《鄂爾多斯史詩(shī)》；蒙古英雄史詩(shī)；翻譯研究
On Ordos Epic
——Preface of "Ordos Epic"
Ardinhu
（Literature School of Inner Mongolia Normal University, Huhhot 010020,Inner Mongolia）
Abstract:In the past, Mongolian Studies circle of China has been keen to the translation and research of Mongolian scholars long epic "Jianger" and "Gesr,", resulting in the formation of the " Jianger study " and " Gesr study." In contrast, scholars have been a bit too neglected of Mongolia short epics. The publication of "Ordos Epic" and its Chinese translated edition not only helps to correct one-sided, narrow superficial understanding of the seemingly widespread professional and profound academic world of epic, but also in fact provides a more adequate and credible text for research on the "Ordos Epic".
Key words: "Ordos Epic"; Mongolian heroic epic; translation studies
也論“雜劇”
張勇敢
（華東師范大學(xué)，上海 200241）
摘 要：“雜劇”始見(jiàn)于初唐，是以簡(jiǎn)便化、模糊化概稱(chēng)若干伎藝的身份躋身歷史舞臺(tái)的伎藝類(lèi)名，“雜”為雜劇誕生之時(shí)的意義取向。以“雜”冠名的術(shù)語(yǔ)都具有指稱(chēng)若干伎藝的功能，歷史選擇“雜劇”作為宋金戲劇的主要指稱(chēng)是雜劇之“劇”決定的。由唐而至宋金，“雜劇”的語(yǔ)義重心實(shí)現(xiàn)了從“雜”向“劇”的轉(zhuǎn)變。
關(guān)鍵詞：雜?。患克嚪Q(chēng)謂；概念內(nèi)涵；宋金戲?。豢疾?/p>
Also on "Zaju Drama"
ZHANG Yong-gan
（East China Normal University, Shanghai 200241,China）
Abstract: "Zaju" first appeared in the Tang Dynasty, it was a simplification of the name referring to a number of fuzzy identity of Kabuki art among the historical stage of Kabuki art class name, "Za" is the meaning of the birth the time of drama’s orientation. The term initiated with the character" Za" have alleged a number of features of Kabuki art. In history, to select the "Za" as a reference of the drama of Song and Jin Dynasty is mainly the reference of"drama". From the Tang to Song and Jin Dynasty, the semantic focus has changed from a "miscellaneous" to "drama".
Key words: drama; Kabuki art title; the concept of connotation; Song and Jin drama; survey
蒙古族題材電視劇的何謂與何為
李樹(shù)榕
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特 010010）
摘 要：“蒙古族題材電視劇”是源自蒙古民族歷史和現(xiàn)實(shí)生活，通過(guò)表現(xiàn)其“生活本來(lái)的樣子”，充分反映該民族文化訴求的電視劇，不以主創(chuàng)人員的民族屬性為標(biāo)準(zhǔn)。凡優(yōu)秀的蒙古族題材電視劇，遴選民族歷史文化資源大多秉持這樣幾個(gè)標(biāo)準(zhǔn)：獨(dú)特性，科學(xué)性，有效性，可持續(xù)發(fā)展性，普適性，審美性。
關(guān)鍵詞： 蒙古族題材電視?。晃幕?；文化資源
What and For What of Mongolian Television Plays
LI Shu-rong
（Art College of Inner Mongolia University, Hohhot 010010, Inner Mongolia）
Abstract: "Mongolian television plays" is derived from the Mongolian history and real life, through the performance of its "original way of life," fully reflecting the aspirations of the national culture, not taking the national attribute of the creative staff as the standard. The good Mongolian television plays select the national historical and cultural resources with the following criteria: uniqueness, scientific, effectiveness, sustainability, universal, and aesthetic nature.
Key words: Mongolian television plays; culture; cultural resources
論納蘭性德對(duì)李后主詞的文學(xué)接受
賀 利
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特 010010）
摘 要：納蘭性德文學(xué)成就的取得，與他對(duì)前代文學(xué)的接受是分不開(kāi)的。尤其是對(duì)南唐后主李煜的主動(dòng)學(xué)習(xí)與繼承。從令詞的創(chuàng)作、詞的情感特質(zhì)、表現(xiàn)風(fēng)格等方面來(lái)考察納蘭性德對(duì)李后主詞的文學(xué)接受與傳承。
關(guān)鍵詞：納蘭性德；詞；李后主；文學(xué)接受
On Nalanxingde’s Literary Reception of Ci of Li Yu
HE Li
（Art College of Inner Mongolia University, Hohhot 010010, Inner Mongolia）
Abstract: Nalanxingde’s literary achievements could not be separated from his acceptance of literature of the former generation, especially his active learning and inheritance of Southern Tang emperor Li Yu. This paper examines from the creation of Lingci, the word's emotional nature, performance style to survey on his literary reception and transmission of the Ci of the emperor Li Yu.
Key words: Nalanxingde; Li Yu; literary reception
開(kāi)拓·追求·耕耘·守護(hù)
烏蘭杰
（中央民族大學(xué)少數(shù)民族藝術(shù)研究所， 北京 100081）
關(guān)鍵詞： 莫爾吉胡；作品；評(píng)價(jià)
Exploring·Pursuit· Hard Work·Guard
Wu Lanjie
（Minority Art Institute of Central University for Nationalities, Beijing 100081）
Key words: Morjihu; works; evaluation
集民族音樂(lè)創(chuàng)作與研究之大成者
——莫爾吉胡先生藝術(shù)成就述評(píng)
好必斯
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特 010010）
摘 要：莫爾吉胡先生是內(nèi)蒙古自治區(qū)著名的蒙古族作曲家、民族音樂(lè)理論家和民族藝術(shù)教育家，長(zhǎng)期從事民族音樂(lè)的創(chuàng)作與研究；著有《蒙古音樂(lè)研究文集》《追蹤胡茄的蹤跡》等多部民族音樂(lè)學(xué)研究專(zhuān)著，其研究領(lǐng)域涉及音樂(lè)歷史學(xué)、音樂(lè)形態(tài)學(xué)、音樂(lè)民族學(xué)、音樂(lè)傳播學(xué)及音樂(lè)文化人類(lèi)學(xué)等，研究莫爾吉胡先生的創(chuàng)作與理論研究及其學(xué)術(shù)思想，對(duì)于構(gòu)建蒙古族音樂(lè)文化理論體系具有重要的學(xué)術(shù)意義和理論價(jià)值。
關(guān)鍵詞：莫爾吉胡；藝術(shù)成就；學(xué)術(shù)思想；述評(píng)
The Culmination of Creation and Study of National Music
——Review of the artistic achievements of Mr.Murjihu
Hobis
（Art College of Inner Mongolia University, Hohhot 010010, Inner Mongolia）
Abstract: Mr.Murjihu is a famous Mongolian composer, national music theorist of and ethnic arts educator of Inner Mongolia, engaged in the creation and study of national music; with the works of"Mongolian Music Study Series", "Hu Jia track traces" and many other national music research monographs including the research in the fields of music history, music, morphology, music ethnology, music communication and music cultural anthropology, etc.. It has important theoretical significance and academic value to make research on Mr.Murjihu’s creative and theoretical research and academic thought for building the theoretical system of Mongolian music culture.
Key words: Murjihu; artistic achievement; academic thinking; review
“莫爾吉胡音樂(lè)作品暨學(xué)術(shù)思想研討會(huì)”綜述
李佳音
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特 010010）
摘 要：2011年11月29日, “莫爾吉胡音樂(lè)作品暨學(xué)術(shù)思想研討會(huì)”在內(nèi)蒙古飯店隆重召開(kāi)，與會(huì)專(zhuān)家各抒己見(jiàn)。本次研討會(huì)旨在展示莫爾吉胡先生的優(yōu)秀作品并進(jìn)行系統(tǒng)整理，以期推動(dòng)蒙古族音樂(lè)創(chuàng)作、研究的進(jìn)程。研討會(huì)上各位專(zhuān)家學(xué)者對(duì)莫先生的為人之道、學(xué)術(shù)之道給予高度概括，贊譽(yù)他的做人風(fēng)骨、民族情懷以及深厚歷史使命感和責(zé)任感。
關(guān)鍵詞： 莫爾吉胡；音樂(lè)作品；研討會(huì)；綜述
Review of “The Symposium on Morjihu’s Musical Works and His Academic Thoughts”
LI Jia-yin
（Fine Arts and Media College of Hohhot Vocational College of, Hohhot 010010, Inner Mongolia）
Abstract: “The Symposium on Morjihu’s Musical Works and His Academic Thoughts”was held on November 29, 2011 in Inner Mongolia Hotel, and the experts expressed their various views. The symposium aims to showcase outstanding works of Morjihu and gave systematic order with a view to promote Mongolian music, research process. The experts and scholars on the symposium highly praised his academic achievements, and his strength of character, national feelings, and deep sense of historical mission and responsibility.
Key words: Morjihu; music; symposium; review
察哈爾蒙古族民歌的題材類(lèi)型與藝術(shù)風(fēng)格探析
周麗青
（集寧師范學(xué)院，內(nèi)蒙古 集寧市 012000）
摘 要：察哈爾蒙古部作為蒙古民族重要的組成部分，在歷史上曾占有獨(dú)特的地位。通過(guò)對(duì)于察哈爾地區(qū)傳唱的蒙古族民歌進(jìn)行題材類(lèi)型的梳理及藝術(shù)風(fēng)格的探討，希望對(duì)蒙古族音樂(lè)文化的研究能起到一定的推動(dòng)作用。
關(guān)鍵詞： 察哈爾；蒙古族民歌；題裁類(lèi)型；音樂(lè)風(fēng)格
An Approach to the Theme Types and Art Style of Chahar Mongolian Folk Songs
ZHOU Li-qing
（Jining Teachers’ College, Jining012000, Inner Mongolia）
Abstract: Chahar Mongolian Tribe is very important in the modern history of Inner Mongolia and therefore the study of Chahar Mongolian culture, is the complement and contribute to Mongolian cultural studies. It is no exception for the study of Chahar Mongolian folk songs. Through the combing and sorting of the theme types and artistic styles of Chahar Mongolian folk songs sung in Chahar area , it is hoped to play a certain rolein the study of Mongolian musical culture.
Key words: Chahar; Mongolian folk songs; genre classification; musical styles
歐洲表現(xiàn)鳥(niǎo)鳴的長(zhǎng)笛音樂(lè)分析研究
——從現(xiàn)代音樂(lè)的創(chuàng)作看其存在的音樂(lè)本質(zhì)
楊麗佩
（江西師范大學(xué)音樂(lè)學(xué)院，江西 南昌 330027）
摘 要：在歐洲傳統(tǒng)音樂(lè)中，表現(xiàn)大自然的作品占有極其重要的位置，特別是進(jìn)入19世紀(jì)以后，崇尚大自然已成為浪漫樂(lè)派和民族樂(lè)派音樂(lè)的重要美學(xué)精神和藝術(shù)特征，其中不乏表現(xiàn)大自然體裁的優(yōu)秀作品。而用長(zhǎng)笛表現(xiàn)鳥(niǎo)類(lèi)的鳴叫并刻畫(huà)其形象，是表現(xiàn)大自然內(nèi)容的重要手段。梳理表現(xiàn)鳥(niǎo)類(lèi)的代表作品，以對(duì)其本體上共性進(jìn)行形態(tài)分析，進(jìn)而對(duì)其美學(xué)特征作初步探究。
關(guān)鍵詞： 歐洲；傳統(tǒng)音樂(lè)；鳥(niǎo)鳴；長(zhǎng)笛音樂(lè)；現(xiàn)代音樂(lè)；美學(xué)特征
The Analysis and Research of the European Flute Music Representing Bird Tweet
——Viewing the music nature from the creation of modern music
YANG Li-pei
（School of Music of Jiangxi Normal University, Nanchang 330027, Jiangxi Province）
Abstract: In traditional Europe music, the performance of the works of nature occupies an important position, especially in the 19th century, advocating the nature has become a national romantic music school and music camp, music and artistic spirit of the important aesthetic features, many of them show genre of the outstanding works of nature. It is an important means of expression of the content of nature to use flute performance and portray the image of the chirping of birds. Starting from the performance of representative works for bird tweet, this article tries to make an analysis of their common morphology, and then conduct a preliminary inquiry of its aesthetic features.
Key words:Europe; traditional music; bird tweet; flute music; aesthetic features
淺析美聲歌唱理論的實(shí)際運(yùn)用
——蒙古族學(xué)生學(xué)習(xí)美聲唱法應(yīng)注意的幾個(gè)問(wèn)題
鞠善日
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院， 內(nèi)蒙古 呼和浩特 010010）
摘 要：思考和探索蒙古族學(xué)生學(xué)習(xí)美聲唱法的理論和實(shí)踐，引導(dǎo)蒙古族學(xué)生將自然質(zhì)樸的演唱風(fēng)格發(fā)揮到極致，找到蒙古族學(xué)生演唱蒙古族歌曲和學(xué)習(xí)美聲唱法的趨同點(diǎn)，并強(qiáng)調(diào)氣息運(yùn)用的技巧，是既能演唱好蒙古族民歌也能演唱好美聲歌曲的關(guān)鍵點(diǎn)。
關(guān)鍵詞： 美聲唱法；民歌唱法；蒙古族學(xué)生；技巧風(fēng)格
Analysis of the Practical Application of the Bel Canto Singing Theory
——Several issues needed to be paid attention to by Mongolian students
when learning Bel Canto singing
JU Shan-ri
（Art College of Inner Mongolia University, Hohhot 010010, Inner Mongolia）
Abstract: This article thinks and explores the theory and practice of the Mongolian students who learn bel canto, and guide students to play the natural simplicity of Mongolian singing style, to find the convergence point between the Mongolian singing and the bel canto singing of Mongolian students, stressing the technique s of the use of breathing not only good for singing Mongolian folk songs but also helpful to bel canto singing.
Key words: bel canto singing; folk song singing; Mongolian students; skills and style
藝術(shù)產(chǎn)業(yè)化背景下藝術(shù)管理者的角色意識(shí)
陳 煜
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特 010010）
摘 要：藝術(shù)管理者的角色意識(shí)主要包括：把關(guān)意識(shí)、創(chuàng)新意識(shí)、傳播意識(shí)。只有最大限度地強(qiáng)化藝術(shù)管理者的角色意識(shí)，自覺(jué)地提高藝術(shù)管理者的素養(yǎng)，大力倡導(dǎo)和充分發(fā)揮個(gè)性化優(yōu)勢(shì)，才能全面激發(fā)藝術(shù)管理者的主觀能動(dòng)性和積極性。
關(guān)鍵詞：藝術(shù)產(chǎn)業(yè)；藝術(shù)管理者；社會(huì)角色；角色意識(shí)
Awareness of the Role of Arts Managers under the
Background of Art Industrialization
CHEN Yu
（Art College of Inner Mongolia University, Hohhot 010010, Inner Mongolia）
Abstract: The awareness of the role of art managers include: check awareness, innovation, and communication awareness. Only to maximize the role of the manager to strengthen the artistic sense, consciously improve the artistic quality of managers, advocate, and give full play to individual strengths in order to fully stimulate the initiative and enthusiasm of the artistic managers.
Key words: art industry; art managers; social roles; the role consciousness
烏茲別克-捷克聯(lián)合考古隊(duì)的考古發(fā)掘
——在舍拉巴德古城劍達(dá)伏拉特遺址和大夏北部蘇爾罕河流域
（烏茲別克）K·阿卜杜拉耶夫（捷克）L·斯坦科 張國(guó)偉 李 迪 譯 毛 銘 校
摘 要： 2002年10月，烏茲別克-捷克聯(lián)合考古隊(duì)開(kāi)始了在舍拉巴德古城劍達(dá)伏拉特遺址和大夏北部蘇爾罕河流域的首次實(shí)地考察工作。2003年的考古調(diào)查清楚地表明，如能對(duì)劍達(dá)伏拉特遺址進(jìn)行進(jìn)一步地考古工作，一定會(huì)有更多的發(fā)現(xiàn)。劍達(dá)伏拉特遺址顯然是舍拉巴德河流域中段最重要的考古區(qū)域之一。
關(guān)鍵詞： 藝術(shù)考古；舍拉巴德古城；劍達(dá)伏拉特遺址；古建筑；墓葬
Uzbekistan - Czech Republic joint archaeological excavation team
——Sword of V in Shelabade ancient ruins and big lats Suer Han River basin in northern summer
（Uzbekistan） K · Abdullayev（zech）L · Stanco
Zhang Guowei Li Mao Ming Di translation school
Abstract: In October 2002, Uzbekistan - CzechRepublic joint archaeological team began in Shelabade sword of the ancient city of ruins and a large V Lats Suer Han River in the northern summer and the first fieldwork. Archaeological survey in 2003 clearly shows that if the sword of V Lats archaeological site for further work, there will be more discoveries. Sword of the site is clearly Shelabade V Lats river segment domain is one of the most important archaeological areas.
Key words: Shelabade city; sword of V LVL sites; ancient buildings; tombs