《內(nèi)蒙古大學(xué)藝術(shù)學(xué)院學(xué)報(bào)》2011年第2期目錄
藝術(shù)即行為，藝術(shù)即證據(jù)……………………（澳大利亞）霍華德·墨菲 著 李修建 譯（5）
城市里的農(nóng)村移民對(duì)非物質(zhì)文化遺產(chǎn)的認(rèn)同危機(jī)
——北京城區(qū)進(jìn)城務(wù)工農(nóng)民與農(nóng)村社區(qū)非物質(zhì)文化遺產(chǎn)傳承調(diào)查…………翟風(fēng)儉（18）
達(dá)斡爾族說(shuō)唱藝術(shù)烏春的價(jià)值與保護(hù)建議……………………………………………安 英(26)
試論烏蘭牧騎的文化屬性及文化功能 ………………………………………………郝鳳彩(32)
蒙古族民間多聲部音樂(lè)中的和音技法…………………………………………………潮 魯(36)
蒙古族長(zhǎng)調(diào)的傳承與保護(hù)…………………………………………………………博特樂(lè)圖(42)
蒙古族長(zhǎng)調(diào)民歌歌詞的藝術(shù)特征……………………………………………………薩日娜(53)
雅托噶文獻(xiàn)考…………………………………………………………………………額爾敦(59)
論潤(rùn)腔在我國(guó)民間音樂(lè)中的應(yīng)用……………………………………………………王宇琪(66)
明代太常樂(lè)官考…………………………………………………………………………鄭 莉(70)
再現(xiàn)與升華的體現(xiàn)
——柴可夫斯基改編曲《D大調(diào)小步舞曲》(K.355)配器分析………………趙曦君(83)
二胡音樂(lè)多樣化的現(xiàn)狀初探……………………………………………………………張 明(89)
唐代琴意象中的古琴審美
——以《全唐詩(shī)》中的古琴詩(shī)為例………………………………………………鄧 婷(93)
貧困的還是富裕的？
——論格羅托夫斯基的戲劇理論及其影響……………………………………潘 薇（100）
二人臺(tái)牌子曲的傳承與變遷…………………………………………………………劉曉文(103)
古代書(shū)畫(huà)典籍之“浙江鮑士恭家藏本”的若干問(wèn)題研究……………………………李永強(qiáng)(108)
試論正書(shū)的嬗變………………………………………………………………………孟德鄉(xiāng)(112)
小議裝置藝術(shù)中的材料及其文化功能………………………………………………吳 昶(116)
后瓶頸階段電視講壇節(jié)目的出路
——以《百家講壇》為例…………………………………………………………李永鳳(120)
一個(gè)貴霜國(guó)王的大夏銘文印章：來(lái)自烏茲別克斯坦的察干揚(yáng)遺址
………………………………………………瑞德維拉扎 著 徐文靜 譯 毛民 校(124)
試論《呼嘯山莊》與《基督山伯爵》中的復(fù)仇……………………………………楊 薇(127)
中國(guó)北方民族文化研究論文索引（1991）…………………………………………其其格(131)
·補(bǔ)白·……………………………………………………………………(58)(65)(107)(126)(130)
《內(nèi)蒙古大學(xué)藝術(shù)學(xué)院學(xué)報(bào)》2011年第2期英文目錄
Art Is Act, Art Is Evidence …………Written by Murphy Howard, translated by LI Xiu-jian（5）
The Identity Crisis of the Rural Migrants in the Cities of ntangible Cultural Heritage
——Survey of intangible cultural heritage of Beijing urban migrant farmers and rural communities…………………………………………………………………ZHAI Feng-Jian（18）
The Value and Protection Suggestions of Daur Rap Art Wu Chun ……………AN Ying（26）
On the Cultural Property and Cultural Functions of Ulaanmuchi………HAO Feng-cai（32）
Chord Techniques of Mongolian Multi-voice Folk Music…………………………Chulu（36）
The Inheritance and protection of the Mongolian Long-tune Music………………Botolt（42）
The Artistic Features of Mongolian Long-tune Folk Song Lyrics…………………Sarina（53）
Yatog Literature Study ………………………………………………………………Erdun（59）
On the application of Run Cavity in Folk Musicof China …………………WANG Yu-qi（66）
On the Music Officail Taichang of Ming Dynasty……………………………ZHENG Li（70）
Embodiment of Reproduction and Sublimation
—— Analysis of the (K.355)adapter of transcriptions of Tchaikovsky’s“D Major Minuet”…………………………………………………………………………ZHAO Xi -jun（83）
A Study of the Status of Diversity of Erhu Music……………………………ZHANG Ming（89）
Aesthetic in the Qin Images in TangDynasty
—— Take the ancient music poem in "Quan tang shi”as example…………DENG Ting（93）
Poor or rich?
——On Grotowski's Drama Theory and Its Impact……………………………PAN Wei（100）
Heritage and the Evolution of Er-ren-tai Music……………………………LIU Xiao-wen（103）
Some Problems of “Zhejiang Bao Shi-gong Possessions,”of the Ancient Painting
……………………………………………………………………………LI Yong-qiang（108）
On the Evolution of the Regular Script…………………………………MENG De-xiang（112）
The Discussion of Materials and the Cultural Function of Installation Art…WU Chang（116）
The Way Out of the Television Forum in the later Bottleneck stage
——Take "Lecture Room", for example…………………………………LI Yong-feng(120)
A Kushan King of the Bactrian Seal Inscription: The Chaganyang site in Uzbekistan
…………………Written by Ruidwelach, translated by Xu Wen-jing, proofread by Mao Min(124)
On the "Wuthering Heights" and "Count of Monte Cristo" in revenge……YANG Wei(127)
Index of Research papers on Northern China Culture 1991……………………Checheg（131）
《內(nèi)蒙古大學(xué)藝術(shù)學(xué)院學(xué)報(bào)》2011年第2期
中英文論文摘要、關(guān)鍵詞
藝術(shù)即行為，藝術(shù)即證據(jù)
（澳大利亞）霍華德·墨菲 著 李修建 譯
（澳大利亞國(guó)立大學(xué)人文與藝術(shù)研究院,澳大利亞 堪培拉 2601）
摘 要：藝術(shù)是一種行為方式，藝術(shù)生產(chǎn)融入于意義創(chuàng)造過(guò)程的整體之中。藝術(shù)提供了進(jìn)行跨文化交往和理解的平臺(tái)，在許多社會(huì)中，藝術(shù)與價(jià)值創(chuàng)造過(guò)程是一個(gè)整體。藝術(shù)應(yīng)該成為一種證據(jù)資源，也應(yīng)成為交流價(jià)值、知識(shí)和跨文化觀念的一個(gè)媒介。為了對(duì)藝術(shù)品進(jìn)行研究，有必要將其納入更為寬泛的范疇和語(yǔ)境之中。
關(guān)鍵詞：藝術(shù)；家族相似；方法論；語(yǔ)境
Art Is Act, Art Is Evidence
Written by Murphy Howard, translated by LI Xiu-jian
(Humanities and Arts Research Institute,
AustralianNationalUniversity, Canberra2601, Australia)
Abstract: Art is a kind of act, artistic production integrates into the overall meaning creative process. Art provides a the platform of cross-cultural communication and understanding. In many societies, art and the value creation process is a whole. Art should be an evidence resources, should also be a medium for exchange of values, knowledge and cross-cultural concept. In order to study the works of art, it is necessary to include them into a broader scope and context.
Key words: art; family resemblance; methodology; context
城市里的農(nóng)村移民對(duì)非物質(zhì)文化遺產(chǎn)的認(rèn)同危機(jī)
——北京城區(qū)進(jìn)城務(wù)工農(nóng)民與農(nóng)村社區(qū)非物質(zhì)文化遺產(chǎn)傳承調(diào)查
翟風(fēng)儉
（中國(guó)藝術(shù)研究院音樂(lè)研究所， 北京 100029）
摘 要：通過(guò)調(diào)查北京城區(qū)的部分進(jìn)城務(wù)工農(nóng)民，考察他們目前的生存狀態(tài)以及他們對(duì)城市文化及他們自己鄉(xiāng)土文化的認(rèn)同觀念，調(diào)查所反映出的問(wèn)題是他們中多數(shù)對(duì)自己的鄉(xiāng)土文化并不認(rèn)同，中國(guó)農(nóng)村地區(qū)的非物質(zhì)文化遺產(chǎn)的傳承與保護(hù)面臨嚴(yán)重危機(jī)。
關(guān)鍵詞：調(diào)查；進(jìn)城務(wù)工農(nóng)民（北京）；非物質(zhì)文化遺產(chǎn)；認(rèn)同；危機(jī)
The Identity Crisis of the Rural Migrantsin the Cities of Intangible Cultural Heritage
——Survey of intangible cultural heritage of Beijing urban migrant farmers and rural communities
ZHAI Feng-Jian
(Music Institute of ArtAcademy of China, Beijing 100029)
Abstract:Through the survey of migrant farmers in Beijing, this article examines their current existence and their local urban culture and cultural identity of their own ideas. The issues reflected in the survey are that majority of them do not identify their own local culture and the inheritance and the protection of China's intangible cultural heritage in rural areas is facing a serious crisis.
Key words:survey; migrant workers (Beijing); intangible cultural heritage; identity; crisis
達(dá)斡爾族說(shuō)唱藝術(shù)烏春的價(jià)值與保護(hù)建議
安 英
（內(nèi)蒙古藝術(shù)研究所，內(nèi)蒙古 呼和浩特 010010）
摘 要：烏春是達(dá)斡爾民族創(chuàng)造的古老的說(shuō)唱藝術(shù)形式，具有重要的歷史價(jià)值、藝術(shù)價(jià)值和文化價(jià)值。烏春的傳承與保護(hù)要體現(xiàn)“政府主導(dǎo)、社會(huì)參與”的原則；要進(jìn)一步做好更深層次的普查、認(rèn)定和登記工作；應(yīng)當(dāng)建立烏春傳承人檔案，有計(jì)劃地提供資助；要加強(qiáng)烏春傳習(xí)人才的培養(yǎng)和強(qiáng)化學(xué)術(shù)研究工作。
關(guān)鍵詞：達(dá)斡爾族；烏春；說(shuō)唱藝術(shù)；價(jià)值；保護(hù)；建議
The Value and Protection Suggestions of Daur Rap Art Wu Chun
AN Ying
(Inner Mongolia Art Institute, Hohhot 010010, Inner Mongolia)
Abstract: Wu Chun is an ancient rap art form created by the Daur ethnic group, and it has important historical value, artistic value and cultural value. The heritage Wu Chun and protection should reflect the principle of "government leadership, social participation"; to further improve the deeper survey, identification and registration; the file of the inheritors of Wu chun should be established and provide funding; to strengthen the teaching talents and academic research of Wu Chun.
Key words: Daur; Wu Chun; rap art; value; protection; suggestions
試論烏蘭牧騎的文化屬性及文化功能
郝鳳彩
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特，010010）
摘 要： 烏蘭牧騎是內(nèi)蒙古的文化創(chuàng)舉，為我國(guó)社會(huì)主義文化建設(shè)做出了獨(dú)特的貢獻(xiàn)。烏蘭牧騎是我國(guó)社會(huì)主義文化范疇的獨(dú)特形態(tài)和構(gòu)成部分，是傳播民族文化的特殊載體，提供的是精神產(chǎn)品和服務(wù)，具有文化的屬性和鮮明意識(shí)形態(tài)意義上的文化功能。
關(guān)鍵詞：內(nèi)蒙古；烏蘭牧騎；文化屬性；文化功能
On the Cultural Property and Cultural Functions of Ulaanmuchi
HAO Feng-cai
(Art College of Inner MongoliaUniversity, Hohhot, 010010, Inner Mongolia)
Abstract: Ulaanmuchi is the cultural initiative in Inner Mongolia and it has made a unique contribution to the construction of socialist culture in China. Ulaanmuchi is the unique form and components of socialism cultural context of China. It is a special carrier to spread culture, providing the spiritual products and services with its cultural attributes and distinct ideological sense of the cultural functions.
Key words:Inner Mongolia; Ulaanmuchi; cultural property; cultural functions
蒙古族民間多聲部音樂(lè)中的和音技法
潮 魯
（內(nèi)蒙古師范大學(xué)音樂(lè)學(xué)院，內(nèi)蒙古 呼和浩特 010022）
摘 要：蒙古族民間多聲部音樂(lè)中的和音技法，是指兩個(gè)或兩個(gè)以上音縱向的、音高變化的同時(shí)的結(jié)合。與和聲學(xué)以及蒙古族民間多聲部音樂(lè)的持續(xù)音技法有區(qū)別。蒙古族民間多聲部音樂(lè)中，多個(gè)和音縱向同時(shí)結(jié)合的技法，超越了單旋律的音樂(lè)思維，初步具有了多聲部音樂(lè)的立體思維，音樂(lè)表現(xiàn)方式更加豐富。蒙古族民間多聲部音樂(lè)中的和音技法，音與音之間具有多種度數(shù)的結(jié)合關(guān)系，形成了和音結(jié)合中相對(duì)豐富的度數(shù)結(jié)合關(guān)系。
關(guān)鍵詞： 蒙古族；民間音樂(lè)；多聲部音樂(lè)；和音技法
Chord Techniques of Mongolian Multi-voice Folk Music
Chulu
(MusicCollege of Inner MongoliaNormalUniversity,
Hohhot 010022, Inner Mongolia)
Abstract: The chord techniques in Mongolian folk multi-voice music, is the sound of two or more vertical, while the combination of pitch change. Mongolian folk and acoustic as well as with multi-voice music continued to sound techniques are different. Mongolian folk music in multiple voices, multiple and sound techniques, combined with the vertical, beyond the single melody of musical thinking, initially with a three-dimensional multi-voice music, thinking, music is way richer. Mongolian folk music of many voices, and sound techniques, sound and tone between the various degrees of union with the form and sound combined with the relative wealth of the degree of relationship.
Key words: Mongolian; folk music; polyphonic music; sound techniques
蒙古族長(zhǎng)調(diào)的傳承與保護(hù)
博特樂(lè)圖
(內(nèi)蒙古大學(xué)藝術(shù)學(xué)院音樂(lè)系，內(nèi)蒙古 呼和浩特 010010）
摘 要：內(nèi)蒙古各地長(zhǎng)調(diào)民歌曲目的傳承情況并不樂(lè)觀，而且其傳承情況因地而“異”。長(zhǎng)調(diào)民歌的式微，不僅表現(xiàn)在曲目的流失和歌手的減少等方面，而且表現(xiàn)在與牧民現(xiàn)實(shí)生活的脫離、社會(huì)觀念與價(jià)值觀的改變、技藝與風(fēng)格的變異等一系列問(wèn)題上。造成這種情況的原因和動(dòng)態(tài)因素十分復(fù)雜。長(zhǎng)調(diào)民歌相關(guān)研究工作的滯后是目前保護(hù)工作中一個(gè)亟待解決的問(wèn)題。將保護(hù)工作當(dāng)成純行政行為而忽視科學(xué)研究在保護(hù)工作中的基礎(chǔ)性意義，是目前一些部門(mén)制定措施以及工作實(shí)施中的一個(gè)誤區(qū)；另一個(gè)誤區(qū)是將蒙古族各地長(zhǎng)調(diào)看作是鐵板一塊，而不注意其內(nèi)部各地分支系統(tǒng)的多樣性。
關(guān)鍵詞：蒙古族長(zhǎng)調(diào)；傳承情況；問(wèn)題；建議
The Inheritance and protection of the Mongolian Long-tune Music
Botolt
(Music Department of ArtCollege of Inner MongoliaUniversity,
Hohhot 010010, Inner Mongolia)
Abstract: The status of inheritance of the Mongolian long-tune folk songs in different parts of Inner Mongolia is not optimistic and with various situations. The decline of long-tune folk songs is not only in loss and reduction of singers, etc., but also in its break away from nomads real life, changes in social attitudes and values, skills and style variations in a series of issues. The reasons for this are complex and dynamic. Long-tune folk songs related research work is currently lagging behind in the protection of a serious problem. The neglect of scientific research on Mongolian long-tune folk songs the issue to be solved. It is a misunderstanding to consider the work of protection as pure administrative activity and neglect its basic meaning of scientific research. Another misunderstanding is to consider Mongolian long-tune as monolithic, but not pay attention to its internal diversity in the branch system.
Key words: Mongolian long-tune music; inheriting; issues; suggestions
蒙古族長(zhǎng)調(diào)民歌歌詞的藝術(shù)特征
薩日娜
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特 010010）
摘 要：蒙古族長(zhǎng)調(diào)民歌不僅具有音調(diào)高亢、音域?qū)拸V、旋律悠揚(yáng)、節(jié)奏自由舒緩等獨(dú)特的音樂(lè)美，而且其歌詞還具有修辭藝術(shù)含蓄美和襯詞藝術(shù)韻味美的特點(diǎn)。各種修辭手法在長(zhǎng)調(diào)民歌歌詞中巧妙得體的運(yùn)用，使歌曲的主旨更為鮮明，情感的表達(dá)更為委婉、含蓄；而襯詞藝術(shù)的運(yùn)用，起到了引出主曲、裝飾旋律、擴(kuò)充曲調(diào)、增強(qiáng)韻味及使歌詞富有變化的作用，表現(xiàn)出濃郁的蒙古民族風(fēng)格。
關(guān)鍵詞：蒙古族長(zhǎng)調(diào)民歌；歌詞；修辭手法；襯詞
The Artistic Features of Mongolian Long-tune Folk Song Lyrics
Sarina
(Art College of Inner MongoliaUniversity, Hohhot 010010, Inner Mongolia)
Abstract: Mongolian long-tune folk songs have not only high-pitched tone, wide range, melody melodious, soothing rhythm of free music and other unique beauty, and its lyrics also have rhetorical art the word subtle art of beauty and charm. A variety of rhetorical devices in the traditional folk long song lyrics with clever use of the theme is even more striking, the expression of emotion is more tactful; the lining of the use of the word art, leads to the decorative melody, melody expansion to enhance the flavor and make the changes in the role of rich lyrics, showing a strong Mongolian style.
Key words: Mongolian long-tune folk songs; lyrics; rhetoric; vocable words
雅托噶文獻(xiàn)考
額爾敦
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特 010010）
摘 要：雅托噶是蒙古族彈撥弦鳴樂(lè)器（漢族稱(chēng)“蒙古箏”）。以有限的文獻(xiàn)資料考究其起源，最初形制、流變以及古瑟與漢族箏之淵源、并借助民間傳說(shuō)和文學(xué)作品中描述，認(rèn)為，蒙古族彈撥弦樂(lè)器雅托噶曾經(jīng)歷過(guò)六弦、七弦、八弦、十弦、十二弦、十三弦、十四弦、十六弦和如今十九弦的流變過(guò)程。蒙恬根據(jù)匈奴箏（雅托噶）把原是“五弦、筑身”的箏改作“如瑟”形制是完全有可能的。蒙古族傳統(tǒng)雅托噶在結(jié)構(gòu)、定弦法、演奏風(fēng)格和民俗等方面均有別于漢族箏。
關(guān)鍵詞：蒙古族彈撥弦鳴樂(lè)器；雅托噶；起源；形制；演奏民俗；古瑟；箏
Yatog Literature Study
Erdun
(Art College of Inner MongoliaUniversity, Hohhot 010010, Inner Mongolia)
Abstract: Yatog is a Mongolian musical instrument playing plucked (Han Chinese call it , "Mongolian Zheng"). This article studies its origin, the initial shape, rheological, and ancient origin of Chinesemusical instrument zheng , and with the folklore and literature work with the limited literature documents. The Mongolian plucked stringed instruments Yatog has experienced six strings, seven-string, eight string, ten strings, twelve strings, thirteen strings, fourteen strings, sixteen strings and now nineteen strings. It is possible for Meng Tian to change Yatog to the form as”se” shape. Mongolian traditional Yatog is different from the Han Zheng in the structure, tuning method, playing style and folk, etc..
Key words: Mongolian plucked musical instrument; Yatog; origin; shape; playing folk; old Se; Zheng
論潤(rùn)腔在我國(guó)民間音樂(lè)中的應(yīng)用
王宇琪
(內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特 010010)
摘 要：在我國(guó)民間音樂(lè)尤其是聲樂(lè)藝術(shù)中，唱腔所體現(xiàn)的情感與韻味直接取決于演唱者的“唱”，都與“潤(rùn)腔”有著直接的聯(lián)系。不論是裝飾型潤(rùn)腔、音色型潤(rùn)腔抑或節(jié)奏型潤(rùn)腔，在我國(guó)民間聲樂(lè)藝術(shù)中都廣泛的運(yùn)用，并成為體現(xiàn)我國(guó)民間音樂(lè)地方特征的重要一環(huán)。
關(guān)鍵詞：民間音樂(lè)（中國(guó)）；潤(rùn)腔；裝飾型；音色型；節(jié)奏型
On the application of Run Cavity in Folk Musicof China
WANG Yu-qi
(Art College of Inner MongoliaUniversity, Hohhot 010010, Inner Mongolia)
Abstract: In China folk music, especially in the vocal art, singing and charm embodied emotion is directly dependent on the singer's "singing" with the "Run-cavity". both the decorative Run type cavity, or a sound-based rhythm-based Run cavity chamber, vocal folk art in China is widely used, reflecting China's folk music and becoming an important part of local characteristics of folk music in China.
Key words: folk music (China); Run cavity; decorative; tone type; rhythmic pattern
明代太常樂(lè)官考
鄭 莉
（華東師范大學(xué)中文系，上海 200241）
摘 要：太常是我國(guó)古代負(fù)責(zé)宗廟祭祀等禮樂(lè)活動(dòng)的重要部門(mén)，其前身是周禮的春官宗伯，其官制設(shè)置、架構(gòu)內(nèi)容因各朝代禮樂(lè)需求不同而有所增減，但其掌管邦國(guó)宗廟祭祀禮樂(lè)的職能從未改變，直到清末封建社會(huì)結(jié)束。太常的樂(lè)官專(zhuān)門(mén)負(fù)責(zé)王朝雅樂(lè)，其發(fā)展經(jīng)歷了從專(zhuān)掌祭祀雅樂(lè)到兼領(lǐng)俗樂(lè)再到只掌雅樂(lè)這樣一個(gè)發(fā)展過(guò)程。到了明代，太常樂(lè)官的職能非常集中，并且不同于前朝，廢除了太樂(lè)、鼓吹等樂(lè)署，新建神樂(lè)觀，以道士承應(yīng)祭祀典禮。
關(guān)鍵詞：明代；太常；樂(lè)官；祭祀；雅樂(lè)；協(xié)律郎；神樂(lè)觀
On the Music Officail Taichang of Ming Dynasty
ZHENG Li
(Chinese Language Department of EastChinaNormalUniversity,
Shanghai 200241)
Abstract: Taichang was an important department responsible for ancestral worship and other ritual activities in ancient China. Its predecessor is the Zongbo, its bureaucratic setting, content structure changed due to the different needs of ritual increase or decrease in various dynasties, but the function to charge natioanl ancestral worship ritual had never changed until the end of Qing Dynasty feudal society. The Taichang music official wasresponsible for the Ya music, its development has gone through a specialprocess from the court music festival folk music to folk music and then only ya music. In Ming Dynasty, the official functions of Taichang music was very concentrated, and unlike the former, abolished tai yue and guchui muisc wih the new optimism of to be Taoist ritual ceremony.
Key words: Ming Dynasty; Taichang music; music officer; worship; Ya music; xie lv lang; God optimistic
再現(xiàn)與升華的體現(xiàn)
——柴可夫斯基改編曲《D大調(diào)小步舞曲》(K.355)配器分析
趙曦君
（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： 鋼琴曲的樂(lè)隊(duì)改編包含多種可能性，其中最重要的是編曲者對(duì)原作的把握和提升，編曲者可以是原樣的改編，也可以是植入自我思維的編創(chuàng)。柴可夫斯基對(duì)莫扎特小步舞曲的改編，可以說(shuō)是將清晰、流暢的古典音樂(lè)濃化為“用音樂(lè)來(lái)講述娓娓動(dòng)聽(tīng)的故事”的柴氏語(yǔ)言之作。
關(guān)鍵詞：柴可夫斯基；改編曲；鋼琴曲；管弦樂(lè)曲；聲部；對(duì)比；音色
Embodiment of Reproduction and Sublimation
—— Analysis of the (K.355)adapter of transcriptions of Tchaikovsky’s "D Major Minuet"
ZHAO Xi -jun
(Art College of Inner MongoliaUniversity, Hohhot010010, Inner Mongolia)
Abstract:The band transcription of piano music contains a variety of adaptation possibilities among which the most important is the composer’s grasp and improvement of the original and it can also be the creation of the arranger himself. it can be implanted in the innovations of self-thinking. Tchaikovsky's adaptation of Mozart minuet can be said to be clear, thick fluid style into classical music "sounds appealing to use music to tell the story ".
Key words: Tchaikovsky; transcriptions; piano; orchestra; voices; contrast; sound
二胡音樂(lè)多樣化的現(xiàn)狀初探
張明
（沈陽(yáng)音樂(lè)學(xué)院，遼寧省 沈陽(yáng)市 110004）
摘 要： 今天，作為中國(guó)民族樂(lè)器之一的二胡,在保留傳統(tǒng)音樂(lè)文化精髓的同時(shí)，急于吸收外來(lái)文化的優(yōu)秀成分為己所用，尋求新的發(fā)展之路。東西方音樂(lè)的碰撞交匯、傳統(tǒng)與現(xiàn)代創(chuàng)作手法的結(jié)合、演奏技術(shù)的飛速發(fā)展，使二胡音樂(lè)的發(fā)展進(jìn)入了一個(gè)輝煌燦爛的歷史時(shí)代。各種地方風(fēng)格、體裁內(nèi)容、演奏形式和演奏技法的出現(xiàn)，運(yùn)用不同理念創(chuàng)作的大量二胡樂(lè)曲的涌現(xiàn)，使二胡音樂(lè)呈現(xiàn)出前所未有的多樣化現(xiàn)狀。
關(guān)鍵詞： 二胡音樂(lè)；地方風(fēng)格；體裁形式；演奏技法 ；創(chuàng)作方向
A Study of the Status of Diversity of Erhu Music
ZHANG Ming
(ShenyangMusicCollege, Shenyang 110004 ,LiaoningProvince)
Abstract: Today, as one of China's national musical instruments, erhu, while retaining the essence of traditional music culture at the same time, it is eager to absorb foreign cultures as fine ingredients for their own use, to seek new development. Intersection, collision of East and West music, traditional and modern writing style combination of performance technology, the rapid development of the erhu music's development have entered a glorious historical era. Variety of local styles, genre content, playing the emergence of form and playing techniques, the use of a large number of different creative ideas emerge erhu music and erhu music presents an unprecedented diversity of the status quo.
Key words: erhu music; the local style; genre form; playing techniques; creative direction
唐代琴意象中的古琴審美
——以《全唐詩(shī)》中的古琴詩(shī)為例
鄧 婷
（南開(kāi)大學(xué)文學(xué)院，天津市 300071）
摘 要： 以《全唐詩(shī)》中所存關(guān)于古琴描寫(xiě)的詩(shī)歌以及琴曲歌辭來(lái)看，唐人的古琴審美主要包括：擇幽靜處而鼓琴，以簡(jiǎn)靜指法聆聽(tīng)“琴心”，不僅關(guān)注琴藝，還注重欣賞琴德以及味外疏淡意趣的特點(diǎn)——“無(wú)弦琴”意象是最好的詮釋。另外，由于唐代昂揚(yáng)壯大的時(shí)代風(fēng)氣，在士人渴望建功立業(yè)的人生理想影響下，此時(shí)的古琴音樂(lè)又呈現(xiàn)出一種慷慨悲音的美感特質(zhì)。
關(guān)鍵詞： 唐代；全唐詩(shī)；琴；古琴詩(shī)；審美
Aesthetic in the Qin Images in TangDynasty
—— Take the ancient music poem in "Quan tang shi”as example
DENG Ting
(College of Nankai University, Tianjin 300071)
Abstract: Viewing the poems and music "Quan tang shi” , the Chinese Guqin aesthetics include: choose a quiet place and ancient music instrument Qin, using simple static fingering listening to "piano heart", not only concerned about playing music but also pay attention to taste and enjoy the music charm - "no harp" is the best interpretation of the image. In addition, since the Tang Dynasty of growing high-spirited atmosphere, the scholars were eager to make contributions under the influence of ideals, then the ancient music showing a generous sad beauty of tone qualities.
Key words: Tang Dynasty; "Quan tang shi”;ancient music instrument; music poem; aesthetic
貧困的還是富裕的？
——論格羅托夫斯基的戲劇理論及其影響
潘 薇
（吉林藝術(shù)學(xué)院戲劇影視學(xué)院，吉林 長(zhǎng)春 130021）
摘 要：波蘭戲劇大師格羅托夫斯基創(chuàng)立了貧困戲劇理論與一套系統(tǒng)的演員訓(xùn)練方法，他的理論深刻影響了當(dāng)代歐美許多先鋒劇團(tuán)的表演實(shí)踐。貧困戲劇不過(guò)是藝術(shù)的載體，格羅托夫斯基及其追隨者真正要追求與實(shí)現(xiàn)的恰恰是精神上的富裕。
關(guān)鍵詞：波蘭戲?。桓窳_托夫斯基；貧困戲劇；富裕戲?。粦騽∮绊?/p>
Poor or rich?
——On Grotowski's Drama Theory and Its Impact
PAN Wei
(Institute of the ArtsFilmSchoolJilinArtCollege,
Changchun 130021, JilinProvince)
Abstract: Polish theater guru Grotowski created the poverty dramatic theory and a system of actor training methods. His theory has a profound impact on many pioneers of contemporary European theater performance practice. Poverty drama is only the carrier of art, and what Grotowski and his followers really want to pursue and achieve precisely is the spiritual wealth.
Key words: Poland drama; Grotowski; poor drama; rich drama; dramatic impact
二人臺(tái)牌子曲的傳承與變遷
劉曉文
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特 010010）
摘 要：二人臺(tái)牌子曲是二人臺(tái)音樂(lè)中具有相對(duì)獨(dú)立性的重要組成部分，是由二人臺(tái)樂(lè)隊(duì)演奏的器樂(lè)曲牌的統(tǒng)稱(chēng)，是具有深厚民間傳統(tǒng)的絲竹合奏樂(lè)。其演奏技藝經(jīng)歷了對(duì)各種樂(lè)器性能、技法、作用進(jìn)行客觀總結(jié)、改進(jìn)、規(guī)范、傳承的過(guò)程；而二人臺(tái)牌子曲的變遷則主要體現(xiàn)在傳承渠道、傳播方式與范圍、藝術(shù)功能和審美取向等方面。
關(guān)鍵詞：二人臺(tái)；牌子曲；傳承 ；變遷 ；演奏技藝
Heritage and the Evolution of Er-ren-tai Music
LIU Xiao-wen
(Art College of Inner MongoliaUniversity, Hohhot 010010, Inner Mongolia)
Abstract: Er-ren-tai brand music is the important part music with relative independence and is played by the Er-ren-tai music band, is a strong string and wind ensemble of traditional folk music. Their playing skills have gone through the performance of various musical instruments, techniques, the role of an objective summary of improvement, specifications, transmission process; and the changes in Er-ren-tai song tradition are mainly reflected in the channel of communication with the scope, function and aesthetic orientation and other arts aspects.
Key words: Er-ren-tai; brand music; heritage; change; playing skills
古代書(shū)畫(huà)典籍之“浙江鮑士恭家藏本”的若干問(wèn)題研究
李永強(qiáng)
（廣西藝術(shù)學(xué)院中國(guó)畫(huà)學(xué)院, 南寧 530022）
摘 要：《四庫(kù)全書(shū)》中書(shū)畫(huà)典籍以及其他不少歷史典籍書(shū)目下都寫(xiě)有“浙江鮑士恭家藏本”的字樣，事實(shí)上這些書(shū)都來(lái)源于鮑士恭父親鮑廷博的精心收藏。乾隆三十七年，鮑廷博傾盡其家藏書(shū)，讓其子鮑士恭進(jìn)獻(xiàn)朝廷以編撰《四庫(kù)全書(shū)》，鮑廷博才是幕后的大功臣，他是清代著名的藏書(shū)家、?？睂W(xué)家，其刊刻的《知不足齋叢書(shū)》更是具有極高的學(xué)術(shù)價(jià)值和收藏價(jià)值。
關(guān)鍵詞：《四庫(kù)全書(shū)》；書(shū)畫(huà)典籍；鮑士恭；鮑廷博；《知不足齋叢書(shū)》
Some Problems of “Zhejiang Bao Shi-gong Possessions,”
of the Ancient Painting
LI Yong-qiang
(Guangxi Art Institute of ChinesePaintingCollege,
Nanning 530022, GuangxiProvince)
Abstract: “Si Ku Quan Shu” calligraphy books and many other history books are written under the titles of "Zhejiang Bao Shi-gong possessions," in fact, these books are from Bao Shi-gong’s father Bao Tingbo 's carefulcollection. Qianlong 37 years Bao Ting-bo ran to their home collections, the court allowed the child into the offer in order to compile Bao Shi -gong "Si Ku Quan Shu", Bao Ting-bo made a great contribution. He is a famous Qing bibliophile, collated scientists, his "Collection of zhi-bu-zu room " is acollection with very high academic value and collection value.
Key words:“Si Ku Quan Shu”; painting books; Bao Shi-gong; Bao Ting-bo; "Collection of zhi-bu-zu room "
試論正書(shū)的嬗變
孟德鄉(xiāng)
(內(nèi)蒙古包頭師范學(xué)院美術(shù)學(xué)院，內(nèi)蒙古 包頭014030)
摘 要：在中國(guó)書(shū)法形成的歷史過(guò)程中，有篆、隸、楷、行、草等書(shū)體形式，歷史上能代表國(guó)家官方正規(guī)使用的文字形式主要是楷書(shū)書(shū)體。從過(guò)去所謂的楷書(shū)字體形式延伸囊括為篆、隸、楷三種文字書(shū)體形式的，即是正書(shū)。在正書(shū)形成和發(fā)展的歷程中，它向世人弘揚(yáng)了正大、正義和正氣的民族文化精神。
關(guān)鍵詞：中國(guó)書(shū)法；正書(shū)；歷史形成；嬗變
On the Evolution of the Regular Script
MENG De-xiang
(Institute of Fine Arts, Inner MongoliaBaotouNormalUniversity,
Baotou 014030, Inner Mongolia)
Abstract: In the form of Chinese calligraphy history, there are seal, Li, Kai, line, grass and other forms of script forms of which is able to represent the country's official history of the language used in the form of regular main body of the writing is the regular script. The regular script froms in the past are the so-called extended the zhuan, li, Kai body in the form of the regular script writing. In the course of the formation and development, it promote it to the world and presents justice and righteousness in the spirit of national culture.
Key words: Chinese calligraphy;regular script; the formation of the history of; evolution
小議裝置藝術(shù)中的材料及其文化功能
吳 昶
（湖北民族學(xué)院，湖北省 施恩市 445000）
摘 要：裝置藝術(shù)是現(xiàn)當(dāng)代藝術(shù)的重要表現(xiàn)形式之一，其所借用的材料并非純粹的物質(zhì)材料，而往往是文化材料。裝置作品中的材料往往具備象征意義，在經(jīng)過(guò)藝術(shù)家精細(xì)構(gòu)思之后，彼此之間形成意義的關(guān)聯(lián)，繼而生出整體的隱喻。解讀材料背后的文化意義以及符號(hào)與符號(hào)之間的意義關(guān)聯(lián)是突破文化障礙，正確理解裝置藝術(shù)作品真實(shí)內(nèi)涵的方法之一。
關(guān)鍵詞：裝置藝術(shù)；材料；符號(hào)；文化功能
The Discussion of Materials and the Cultural Function
of Installation Art
WU Chang
(Hubei Institute for Nationalities, EnshiCity 445000, HubeiProvince)
Abstract: Installation art is now an important form of contemporary art, one of the materials they borrow is not purely material, but often cultural materials. The materials in installations often have symbolic meaning, after a fine designing of the artist, producing the significance of the association and then give birth to a whole metaphor. Reading cultural significance behind the symbols and material and the symbols associated with the material is one way to break the cultural barriers and correctly understand the connotationa of installation art works.
Key words: installation art; materials; symbols; cultural functions
后瓶頸階段電視講壇節(jié)目的出路
——以《百家講壇》為例
李永鳳
（內(nèi)蒙古師范大學(xué)傳媒學(xué)院，內(nèi)蒙古 呼和浩特 010022）
摘 要：以《百家講壇》為代表的電視講壇節(jié)目遭遇收視瓶頸，以理性的視角來(lái)探討后瓶頸時(shí)代電視講壇節(jié)目的創(chuàng)作要點(diǎn)。認(rèn)為，科學(xué)性是電視講壇節(jié)目的靈魂，是其創(chuàng)作應(yīng)堅(jiān)守的基本原則；影像化是電視講壇節(jié)目的翅膀，實(shí)現(xiàn)了學(xué)術(shù)知識(shí)具象化的電視表達(dá)；故事化是電視講壇節(jié)目贏得受眾的敘事策略和基礎(chǔ)賣(mài)點(diǎn)；品牌化是電視講壇節(jié)目長(zhǎng)效發(fā)展的目標(biāo)和歸宿。
關(guān)鍵詞： 電視欄目；百家講壇；創(chuàng)作原則；電視表達(dá)；敘事策略；發(fā)展目標(biāo)
The Way Out of the Television Forum
in the later Bottleneck stage
——Take "Lecture Room", for example
LI Yong-feng
(MediaCollege of Inner MongoliaNormalUniversity,
Hohhot 010022,Inner mongolia)
Abstract: The televison forum represented by "Lecture Room" program viewing experience of bottlenecks. We should explore the era after the bottleneck in the creation of television programming forum points from a rational perspective. Science is the soul of a TV forum show and its creation should adhere to basic principles; image is the wings of TV forum program to achieve the concrete express of television academic knowledge; the story is the narrative strategy and basic selling point for TV forum program to win the audience's; brand is the goals and destination for television forum’s long-term development.
Key words:TV forum; “Lecture Room”; creative principle; TV expression; narrative strategy; development goals
一個(gè)貴霜國(guó)王的大夏銘文印章：來(lái)自烏茲別克斯坦①的察干揚(yáng)遺址
(烏茲別克斯坦)瑞德維拉扎 著 徐文靜 譯 毛民 校
（烏茲別克國(guó)立美術(shù)學(xué)院科學(xué)研究所，烏茲別克斯坦，塔什干）
摘 要：
關(guān)鍵詞：藝術(shù)考古；貴霜王朝；大夏地區(qū)（今烏茲別克南部和阿富汗北部）；鐵爾梅茲古城；察干揚(yáng)遺址；陶甕；銘文
A Kushan King of the Bactrian Seal Inscription: The Chaganyang site in Uzbekistan①
Written by Ruidwelach, translated by Xu Wen-jing, proofread by Mao Min
(Sciences Institute of NationalAcademy of Uzbekistan, Tashkent ,Uzbekistan)
Abstract：
Key words: art archeology; Kushan Dynasty; Bactrian region (now in southern Uzbekistan and northern Afghanistan); the ancient city of Termez; Chaganyang observation sites; earthenware pots; inscriptions
試論《呼嘯山莊》與《基督山伯爵》中的復(fù)仇
楊 薇
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)，內(nèi)蒙古 呼和浩特 010010）
摘 要：《呼嘯山莊》與《基督山伯爵》是西方文學(xué)史上兩部著名的復(fù)仇題材小說(shuō)，復(fù)仇是貫穿整個(gè)作品的主線(xiàn)。前人研究多集中在兩部小說(shuō)背景、風(fēng)格、題材和人物形象等方面的相同點(diǎn)上，而筆者試對(duì)兩部小說(shuō)中復(fù)仇情節(jié)的異同進(jìn)行比較，并簡(jiǎn)析其異同的原因。
關(guān)鍵詞：復(fù)仇題材；比較；異同；呼嘯山莊；基督山伯爵
On the “Wuthering Heights” and “Count of Monte Cristo”
in revenge
YANG Wei
(Art CollegeofInner MongoliaUniversity, Hohhot 010010, Inner Mongolia)
Abstract: “Wuthering Heights” and “Count of Monte Cristo” are two well-known novels of revenge in the history of Western literature, revenge is the main theme throughout the works. Previous studies have focused on the similiarities of the background, style, theme and characters and other aspects of the two novels, however this article tries to compare the plot of revenge in the two novels to compare the similarities and differences, and analyze the reasons for their similarities and differences.
Key words: revenge theme; comparison; similarities and differences; WutheringHeights; Count of Monte Cristo