《內(nèi)蒙古大學(xué)藝術(shù)學(xué)院學(xué)報(bào)》

2016年第3期中英文論文摘要、關(guān)鍵詞

一次當(dāng)代中國(guó)傳統(tǒng)音樂(lè)研究碩果的

集中展示^①

——在中國(guó)傳統(tǒng)音樂(lè)學(xué)會(huì)第十九屆年會(huì)上的開幕詞

蕭 梅

（上海音樂(lè)學(xué)院， 上海 300191）

A Showcase of the Contemporary Chinese Traditional Music

——The Opening Speech at the Nineteenth Annual Meeting of theChinese Traditional Music Society

XIAO MEI

(Shanghai Conservatory of Music,Shanghai , 300191)

學(xué)術(shù)共同體與國(guó)家音樂(lè)文化的價(jià)值

體系建構(gòu)

——在中國(guó)傳統(tǒng)音樂(lè)學(xué)會(huì)第十九屆年會(huì)上的發(fā)言

李 松

（文化部民族民間文藝發(fā)展中心 ，北京 100009）

關(guān)鍵詞：學(xué)術(shù)共同體；中國(guó)音樂(lè)文化；價(jià)值體系；建構(gòu)

The Construction of the Value System of the Academic Communityand the National Music Culture

——The Speech at the Nineteenth Annual Meeting of theChinese Traditional Music Society

LI SONG

(Center for Ethinc and Folk Literature and Art Development,Ministry of Culture,P.R.C., Beijing, 100009)

Key words: Academic community ; Chinese Music Culture ;Value System; Construct

論蒙古族傳統(tǒng)音樂(lè)文化觀

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: 蒙古民族在其漫長(zhǎng)的發(fā)展歷程中，由于其特定的自然環(huán)境、生存環(huán)境和特殊的游牧生產(chǎn)方式與生活方式以及社會(huì)變遷等因素，形成了自身獨(dú)特的世界觀和文化觀。在其政治、宗教、文化及早期哲學(xué)思想方面有其自己的認(rèn)識(shí)論和方法論, 而在此社會(huì)背景和文化背景及民族意識(shí)和審美意識(shí)背景下，又形成了獨(dú)具特色的傳統(tǒng)音樂(lè)文化觀念。

關(guān)鍵詞：蒙古族；傳統(tǒng)音樂(lè)；文化觀；音樂(lè)觀

A Brief Introduction of Traditional Musical and Cultural Perspectiveof the Mongolians

Hobis

(Art College of Inner Mongolia University,, Hohhot, Inner Mongolia, 010010 )

Abstract: During its long period of development, the Mongolians has formed their own perspective of world andculture because of the certain natural environment, living condition peculiar production mode and lifestyle of nomadism aswell as social transformations; and has created their special epistemology and methodology in the fields of politics, religion,culture and early philosophical thoughts. Under these backgrounds of society, culture, national and aesthetic consciousness,the distinctive traditional musical perspectives has came into being.

Key words: the Mongolians; traditional Music; perspective of culture; perspective of music

“場(chǎng)域”的方法論意義及個(gè)案分析

——音樂(lè)廳中的中國(guó)傳統(tǒng)音樂(lè)

王文卓

（山西師范大學(xué)音樂(lè)學(xué)院，山西 臨汾 041004）

摘 要: 本布爾迪厄的場(chǎng)域理論對(duì)民族音樂(lè)學(xué)研究具有啟發(fā)性，此理論可用于對(duì)研究對(duì)象意義的闡釋及跨場(chǎng)域的音樂(lè)實(shí)踐的分析上。傳統(tǒng)音樂(lè)走進(jìn)音樂(lè)廳是典型個(gè)案之一，這種跨場(chǎng)域的音樂(lè)實(shí)踐會(huì)使傳統(tǒng)音樂(lè)在異場(chǎng)域中進(jìn)行意義重塑。音樂(lè)廳中的傳統(tǒng)音樂(lè)實(shí)踐會(huì)割斷原有場(chǎng)域中的文化生態(tài)鏈，這表現(xiàn)在表演者“創(chuàng)- 演”行為及音聲結(jié)構(gòu)的變化上。從釋義學(xué)角度說(shuō)，音樂(lè)場(chǎng)域的變遷會(huì)導(dǎo)致新的“闡釋視界”的出現(xiàn)，進(jìn)而影響接受者的闡釋過(guò)程。

關(guān)鍵詞：場(chǎng)域；傳統(tǒng)音樂(lè)；音樂(lè)廳；意義

The Methodological Significance of “Field”and The Case Analysis

——The Chinese Traditional Music in Concert Hall

WANG Wenzhuo

(Art College of Shanxi Normal University, Linfen, Shanxi, 041004)

Abstract: Pierre Bourdieu’s field theory is enlightening to study of Ethnomusicology.This theory can be used toexplain the meaning of object in the study and to analysis the cross- field music practice.The traditional music into theconcert hall is one of the typical cases.Cross-field music practice will make the traditional music to remodel the meaningin different field.The traditional music practice in concert hall will cut the cultural ecological chain of original field.This isreflected in the change of music-making and sound structure.From the perspective of hermeneutic,The change of field willlead to the emergence of new “interpretation horizon”and affect the process of interpretation.

Key words: Field; Traditional music;Concert hall; Meaning

多重視域下的中國(guó)傳統(tǒng)音樂(lè)

影像民族志之探索與實(shí)踐

——以麗江洞經(jīng)音樂(lè)再研究為例

吳 凡

（華中師范大學(xué)音樂(lè)學(xué)院，湖北 武漢 430079）

摘 要: 自2014 年成功申報(bào)了華中師范大學(xué)中央高?；究蒲袠I(yè)務(wù)費(fèi)專項(xiàng)資金支持計(jì)劃的優(yōu)勢(shì)課題培育項(xiàng)目《中國(guó)傳統(tǒng)音樂(lè)文化影像民族志大系及其研究》以來(lái)，希望能夠充分借力大學(xué)的多學(xué)科平臺(tái)優(yōu)勢(shì)、音樂(lè)學(xué)院的團(tuán)隊(duì)特色和自身在學(xué)業(yè)上的積累，將科研、教學(xué)與藝術(shù)實(shí)踐三個(gè)方面結(jié)合起來(lái)設(shè)計(jì)和研究。論文闡述了近三年來(lái)研究項(xiàng)目設(shè)計(jì)和進(jìn)展情況。鑒于目前該項(xiàng)目仍舊處于進(jìn)行時(shí)態(tài)，僅側(cè)重于“探索與實(shí)踐”的理念建構(gòu)與進(jìn)展分析，而并非是終止式的結(jié)語(yǔ)。主要內(nèi)容分為四個(gè)部分：1. 課題理念緣起；2. 課題整體設(shè)計(jì)；3. 課題個(gè)案闡述：麗江洞經(jīng)音樂(lè)再研究；4. 課題后續(xù)進(jìn)行時(shí)。

關(guān)鍵詞：跨學(xué)科；再研究；影像民族志

Exploration and Practice of Inter-discipline Subject Perspective

of Chinese Traditional Musical Visual Ethnography: An RestudyExample of Dongjing music in Lijiang City

WU FAN

(Chinese normal university, Music Department, Hubei Province, Wuhan City, Post Code 430079 )

Abstract: Since 2014, when the advantage project Chinese Traditional Musical Visual Ethnography Series andits research was successfully approved in CCNU, I hope to combine three aspects in it ,which are study & education &performance. This paper interpretate the design and progress in past three years. As it is on-going, I prefer to analysisthe concept construction of exploration and practice, but not an conclusion. The main content is divided into four parts:concept, design, an restudy example of Dongjing music in Lijiang city, and project follow-up.

Key words: Inter-discipline subject; Restudy; Visual Ethnography

論19 世紀(jì)晚期歐洲與“原始藝術(shù)”的相遇

（荷蘭）雷蒙德• 科比¹, 范• 丹姆 ² 王永健³ 譯 李修建⁴校譯

（1 荷蘭蒂爾堡大學(xué)人文學(xué)院，蒂爾堡 荷蘭 2. 荷蘭萊頓大學(xué)，萊頓 荷蘭

3.4. 中國(guó)藝術(shù)研究院，北京 100029）

Introduction: European encounters with ‘primitive art’ during

the late nineteenth century

Written by Raymond Corbey¹and Wilfried Van Damme²， Translate by WANG Yongjian³

Proofread by Li Xiujian⁴

(1.Tilburg University and the Faculty of Archaeology, Tilburg,Netherlands

2. Leiden University,Leiden,,Netherlands

3.4.Chinese National Academy of Arts ,Berjing,100029 )

廣義東南亞地區(qū)

現(xiàn)存巖畫的全球性意義^①

保羅•泰森¹諾埃爾·伊達(dá)爾戈潭²蘇·奧康納³ 吉學(xué)平⁴ 李鋼⁵ 戴倫·科勒⁶

大衛(wèi)· 布魯貝克⁷ 巴迪拓· 哈基姆⁸ 伊萬(wàn)· 蘇門瑞⁹ 亨· 桑¹⁰

伊姆· 蘇克瑞斯¹¹ 斯蒂芬·謝¹² 庫(kù)恩·瑞伊¹³ 森·孔¹⁴ 著 吳沄¹⁵ 譯

（1. 格利菲斯大學(xué)人文學(xué)院PERAHU 中心 澳大利亞 黃金海岸 昆士蘭4222

2．3．7. 澳大利亞國(guó)立大學(xué)歷史語(yǔ)言文化學(xué)院 澳大利亞 堪培拉 ACT0200

4.15. 云南省文物考古研究所 中國(guó) 昆明 650118

5. 迪慶藏族自治州文物管理所 中國(guó) 香格里拉 674400

6. 新南威爾士大學(xué)生物地球與環(huán)境科學(xué)院 澳大利亞 悉尼 NSW2052

8.9. 哈桑丁大學(xué)考古系 印度尼西亞 望加西

10.11.13.14. 柬埔寨暹粒省暹粒市管理局 柬埔寨 暹粒

12.馬來(lái)西亞塞恩斯大學(xué)全球考古學(xué)研究中心 馬來(lái)西亞 檳城）

摘 要: 東南亞地區(qū)的巖畫研究程度與澳大利亞和歐洲相比較低，且被多數(shù)學(xué)者認(rèn)為起源較晚，東南亞大陸及其各島國(guó)新的測(cè)年結(jié)果卻表明該地區(qū)最早的巖畫主題（寫實(shí)的動(dòng)物和噴繪手?。┢鹪从谕砀率?，與歐洲同樣古老。歐洲、非洲和東南亞早期巖畫主題的相似性表明它們是人類共同的基本行為的產(chǎn)物，而其作畫背景（如巖廈）的不同表明洞穴深處的經(jīng)歷并不是激發(fā)巖畫創(chuàng)作者們靈感的原因。

關(guān)鍵詞：巖畫，噴繪手印，洞穴巖畫，巖廈，動(dòng)物圖形，釉系斷代

Global implications of early surviving rock art of greater

Southeast Asia

Written by Paul S.C. Tac¸on¹Noel Hidalgo Tan² Sue O’Connor³ Ji Xueping⁴ Li Gang⁵

Darren Curnoe⁶ David Bulbeck⁷ Budianto Hakim⁸ Iwan Sumantri⁹ Heng Than¹⁰ Im Sokrithy¹¹ StephenChia¹² Khuon Khun-Neay¹³Soeung Kong¹⁴ Translate by Wu Yun¹⁵

(1PERAHU, School of Humanities, campus, Griffith University, Gold Coast , Australia,

2.3.7Archaeology and Natural History, School of Culture, History and Language,

Australian National University, Canberra, Australia,

4.15.Yunnan Institute of Cultural Relics and Archaeology, Kunming, China, 650118,

5. Diqing Tibetan Autonomous Prefecture Cultural Relics Administration Office, Shangri-La, China, 674400

6.School of Biological, Earth and Environmental Sciences, University of New South Wales, Sydney, Australia.

8.9.Archaeology Faculty, Hasanuddin University, Makassar, Sulawesi, Indonesia.

10.11.13.14.APSARA, Siem Reap Province, Cambodia.Archaeological Research, Siem Reap Cambodia.

12.Universiti Sains Malaysia, Penang, Malaysia. )

Abstract: The rock art of Southeast Asia has been less thoroughly studied than that of Europe or Australia, and it hasgenerally been considered to be more recent in origin. New dating evidence from Mainland and Island Southeast Asia,however, demonstrates that the earliest motifs (hand stencils and naturalistic animals) are of late Pleistocene age and asearly as those of Europe. The similar form of the earliest painted motifs in Europe, Africa and Southeast Asia suggests thatthey are the product of a shared underlying behaviour,but the difference in context (rockshelters) indicates that experiencesin deep caves cannot.

Key words: rock art, hand stencils, painted caves, rockshelters, animal motifs, uranium-series dating

藝術(shù)史和藝術(shù)人類學(xué)

（法國(guó)）克勞德-弗朗索瓦·博德茲¹ 著 崔巧葉² 譯 李修建³ 校

（1.法國(guó)2. 內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特 010010；3. 中國(guó)藝術(shù)研究院，北京 100029）

摘 要: 藝術(shù)史家和人類學(xué)家的目的，都是從藝術(shù)品的創(chuàng)作者和使用者的視角對(duì)作品進(jìn)行研究，并且基于功能、意義和審美三個(gè)方面進(jìn)行分析。人類學(xué)家的經(jīng)驗(yàn)和調(diào)查結(jié)果告訴我們，首先，西方的審美范疇通常不適用于非西方藝術(shù)。其次，許多作品的語(yǔ)義和審美的屬性在很大程度上依賴于它們所使用的材料的屬性，而且據(jù)觀察，未處理過(guò)的材料本身可能有重要的象征意義和美學(xué)價(jià)值。第三，一件藝術(shù)品不可能脫離它的環(huán)境而去研究它。在某些情況下，一件藝術(shù)品的周圍環(huán)境與作品本身同樣重要，并且促成了作品的意義。

關(guān)鍵詞：藝術(shù)史；藝術(shù)人類學(xué)；美學(xué)；語(yǔ)境；材料

History of Art and Anthropology of Art

Written by Claude-François Baudez¹ Translate by CUI Qiaoye²

Proofread by Li Xiujian³

(1.French.2.Art College of Inner Mongolia University,Hohhot,Inner Mongolia 010010

3.Chinese National Academy of Arts ,Berjing,100029 )

Abstract: The aim of both art historians and anthropologists is the study of art objects from the perspective of theirproducers and users, and to analyze them under the three aspects of function,meaning,and aesthetics. The experience andfindings of ethnologists tell us,first of all,Western aesthetic categories are generally nonapplicable to non-Western art.Second,semantic and aesthetic properties of many objects depend to a large extent on the nature of the material in whichthey are made; it has also been observed that unworked materials per se may have a considerable symbolic and aestheticvalue.Third,an art object cannot be studied out of its context. There are cases where the surroundings of an object are asimportant as the object itself and contribute strongly to its meaning.

Key words: History of Art;Anthropology of Art;Aesthetics;Context;Material

試析胡仁烏力格爾的產(chǎn)生過(guò)程

齊占柱

（呼和浩特民族學(xué)院 呼和浩特 010010）

摘 要: 本森烏力格爾、潮仁烏力格爾和胡仁烏力格爾三者之間有著同一源流所傳承下來(lái)的相互聯(lián)系，經(jīng)過(guò)考證，其實(shí)在胡仁烏力格爾產(chǎn)生過(guò)程中分別包含了本森烏力格爾的產(chǎn)生過(guò)程和潮仁烏力格爾的產(chǎn)生過(guò)程，換言之，胡仁烏力格爾是由本森烏力格爾和潮仁烏力格爾相繼發(fā)展而成的產(chǎn)物。本文試對(duì)本森烏力格爾、潮仁烏力格爾和胡仁烏力格爾的產(chǎn)生與發(fā)展過(guò)程以及三者之間的內(nèi)在聯(lián)系進(jìn)行探析。

關(guān)鍵詞：本森烏力格爾；潮仁烏力格爾；胡仁烏力格爾；拖力；潮爾；胡爾

Analysis of the Developing Process of Horin Wulger

QI Zhanzhu

(Hohhot Minzu College, Hohhot, Inner Mongolia, 010010 )

Abstract: Bensen Wulger, Chaoren Wulger and Horin Wulger are interrelated and have inherited from the same artform. After studying, the researcher found that the developing process of Bensen Wulger and Chaoren Wulger are includedin the process of the development of the Horin Wulger. In other words, Horin Wulger is a combined product of the BensenWulger and Chaoren Wulger. This paper tries to uncover the developing process of the three art forms and their interrelationship.

Key words: Bensen Wulger; Chaoren Wulger; Horin Wulger; drag force; Chaoer; fiddle

琶杰胡仁烏力格爾《程咬金的故事》

音樂(lè)特征

娜仁娜

（中央民族大學(xué)音樂(lè)學(xué)院，北京 100081）

摘 要: 現(xiàn)代蒙古族杰出的說(shuō)書藝人，著名的“格斯?fàn)?rdquo;史詩(shī)藝人琶杰，在其生活的年代創(chuàng)作說(shuō)唱了許多優(yōu)秀的作品，流傳至今，婦孺皆知。琶杰創(chuàng)作演唱過(guò)的大量好來(lái)寶、胡仁烏力格爾，還有著名的蒙古族英雄史詩(shī)，都為后人留下了寶貴的口頭文化遺產(chǎn)。本文主要以琶杰說(shuō)唱的胡仁烏力格爾《程咬金的故事》為研究對(duì)象，解析琶杰的胡仁烏力格爾音樂(lè)特征，為當(dāng)代胡仁烏力格爾研究工作的進(jìn)一步深入和拓寬，做出自己的貢獻(xiàn)。

關(guān)鍵詞：琶杰；胡仁烏力格爾；音樂(lè)特征

The Musical Features of Pajie's Hurenwuliger Work The Story ofChengyaojin

NaRiNa

(School of music, Minzu University of China,BeiJing, 100081 )

Abstract: Pajie was an outstanding story-teller in modern Mongolian and “Geser” singer. He created many greatworks that are popular until today. He created and sang a great many Holaibao, Hurenwuliger, and Mongolian heroic epicsongs, leaving precious oral cultural heritage to next generations. This paper studied Pajie’s version of The Story of ChengYaojin to analyze the musical feature of Pajie’s Hurenwuliger style, widening the modern spectrum of Hurenwuliger study.

Key words: Pajie;Hurenwuliger ;Musical Feature

音樂(lè)美學(xué)視閾中的蒙古族長(zhǎng)調(diào)研究述評(píng)

侯 燕

（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特 010010）

摘 要:20 世紀(jì)中葉以來(lái)，國(guó)內(nèi)音樂(lè)理論界對(duì)長(zhǎng)調(diào)音樂(lè)的研究，由最初的星火漸起而逐步向縱深、多元的維度拓展，并取得豐厚的學(xué)術(shù)成果，其中也不乏涉及到對(duì)相關(guān)音樂(lè)美學(xué)問(wèn)題的探討。本文通過(guò)立足于音樂(lè)美學(xué)學(xué)科，以“感性學(xué)”的視角，對(duì)迄今所見(jiàn)涉及長(zhǎng)調(diào)音樂(lè)美學(xué)問(wèn)題的主要文論成果進(jìn)行梳理與述評(píng)，指出現(xiàn)有相關(guān)學(xué)術(shù)研究動(dòng)態(tài)凸顯出一種“有學(xué)無(wú)美與有美無(wú)學(xué)”的特點(diǎn)。這一學(xué)科發(fā)展的失衡現(xiàn)狀更加說(shuō)明，對(duì)蒙古族傳統(tǒng)音樂(lè)中美學(xué)問(wèn)題的系統(tǒng)探討，是非常必要并亟待進(jìn)一步展開的。

關(guān)鍵詞：音樂(lè)美學(xué)；蒙古族長(zhǎng)調(diào)；理論研究

A Review of Research on Mongolian Long-song from Perspective ofMusical Aesthetics

HOU YAN

(Art College of Inner Mongolia University, Hohhot, Inner Mongolia, 010010 )

Abstract: Since Mid-20th Century, the study of the long-song music has gradually developed from its initial sparkand flourishedinto multi- dimension expansion in depth, and has made substantial academic achievements in the fieldof domestic music theoretical research, among which there are also quite a few research on the relevant issues aboutmusic aesthetics.Based on the aesthetics of music discipline, this paper systematically reviews of the existed research andstudies involving the music aesthetics in Long-song from the perspective of “perceptual learning", It has pointed out thatthe existing relevant academic research highlights the feature of“having either pure aesthetic theories or pure musicalappreciation". The current unbalance development of this discipline has further demonstrated that the systematic researchof the issues in the traditional Mongolian music is necessary and highly needed for further expansion.

Key words: Music Aesthetics; Mongolian Long-song; theoretical research

熱貢“六月會(huì)”勒什則儀式音樂(lè)探析

——以藏族村落浪加為例

郭曉虹^１逯克勝^２

（１. ２. 青海民族大學(xué)，青海 西寧 810007）

摘 要: 熱貢“六月會(huì)”，以其獨(dú)特的人文、民俗與歷史等諸文化事項(xiàng)，與多元復(fù)雜的原始面貌交織而成的文化現(xiàn)象相融合，成為熱貢地區(qū)藏族、土族共同參與的最盛大的宗教性節(jié)日。文中對(duì)“六月會(huì)”儀式上龍舞（勒什則）貫穿始終的鑼鼓節(jié)奏進(jìn)行音樂(lè)解讀，認(rèn)為鑼鼓節(jié)奏是熱貢浪加“六月會(huì)”儀式中最為重要的表述方式之一，也是整個(gè)儀式中的靈魂所在。

關(guān)鍵詞：熱貢“六月會(huì)”；勒什則鑼鼓；儀式音樂(lè)

Rei Gong “June Assembly“ Festival,

Musical Analysis of ( Le Shi Ze) Rite

GUO xiaohong¹ LU kesheng²

(1.2.Qing Hai Nationality University , QingHai Xining 810007 )

Abstract: Rei Gong “June Assembly” festival is the cultural phenomenon , which is the fusion of the culturalitems such as the distinctive humanities, folk customs, and histories of the “June Assembly”, and the multi-complexityof its primitive local culture. Rei Gong “June Assembly became the grand religious festival of the Zang and the Tu coparticipationin the region of Rei Gong. In this article, we interpreted the rhythms of the gongs and drums throughoutthe dragon dance ( Le Shi Ze) in “June Assembly”, as one of the important presentations of Rei Gong Lang Jia “JuneAssembly” and also the soul of the rite.

Key words: Rei Gong “June Assembly” ; ( Le Shi Ze) Gongs and Drums ; ritual music

響徹草原的交響音詩(shī)

——淺析交響音詩(shī)《壯美的牧歌》民族交響特征

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: 內(nèi)蒙古的長(zhǎng)調(diào)民歌《牧歌》是一首非常經(jīng)典的中國(guó)民族風(fēng)格的作品，這首民歌素材于1953 年，由我國(guó)著名作曲家沙漢昆創(chuàng)作成小提琴獨(dú)奏曲，1956 年由作曲家瞿希賢改編成無(wú)伴奏混聲合唱。2006 年，該民歌主題被作曲家李世相選中，創(chuàng)作成一首交響音詩(shī)作品《壯美的牧歌》。作品是應(yīng)2006 年內(nèi)蒙古昭君草原文化節(jié)組委會(huì)之邀，為這臺(tái)晚會(huì)寫一首大型的開場(chǎng)音樂(lè)。該作品是一首單一主題發(fā)展而成的復(fù)三部曲式的交響音詩(shī)。作品氣勢(shì)恢宏，將牧歌主題演繹得廣闊壯美。

關(guān)鍵詞：交響音詩(shī)；民族交響曲；創(chuàng)作特征

A Symphonic Poem Resounding Through The Grasslands

——On Ethnic Characteristics of Magnificent Mu Ge

GAO Enuo

(Art College of Inner Mongolia University, Hohhot, Inner Mongolia, 010010 )

Abstract: As a Mongolian long drawn song, Mu Ge (Pastoral Song) is a very classic Chinese national style work.Its subject was written for violin solo by a well-known composer, Mr. Shahan Kun, in 1953; and three years later, anothercomposer, Mr. Xixian Qu, adapted it into a cappella mixed chorus. In 2006, the organizing committee of Zhaojun CulturalFestival invited Mr. Shixiang Li, a Mongolian composer, to write a large opening musical work for this activity. Aftercareful consideration, he used the theme of Mu Ge and developed the former monothematic work into a compound ternarymasterpiece named Magnificent Mu Ge, which depicts the spacious grasslands and the tranquility of the Mongolian soul.

Key words: Symphonic poem; National Symphony; Creation Features

奏鳴曲式結(jié)構(gòu)原則的審美功能演變及啟示

李 末

（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院 ， 內(nèi)蒙古 呼和浩特 010010）

摘 要: 本文通過(guò)對(duì)奏鳴曲式結(jié)構(gòu)在古典主義時(shí)期、浪漫主義時(shí)期、印象主義時(shí)期及20 世紀(jì)不同表現(xiàn)的梳理與研究，總結(jié)出奏鳴曲式結(jié)構(gòu)原則的審美功能演變特征，以及對(duì)我國(guó)作曲家創(chuàng)作的啟示和影響。

關(guān)鍵詞：奏鳴曲式；審美功能；括展；多樣化；三部性

Aesthetic Function Evolution of Sonata Form Structural

Principle and Enlightenment

LI MO

(Hohhot Minzu College, Hohhot, Inner Mongolia, 010010 )

Abstract: This paper carding and research the different manifestations of sonata form structure in the classical period,romantic period, Impressionism period and 20th century, summed up the aesthetic function evolution characteristics ofsonata form structural principle,the enlightenment and influence on the creation of Chinese composer.

Key words: Sonata form; Aesthetic function; Expand; Diversification;three parts

蒙古族音樂(lè)研究百年（九）

博特樂(lè)圖¹ 郭晶晶²

（1.內(nèi)蒙古大學(xué)藝術(shù)學(xué)院 2. 內(nèi)蒙古社會(huì)科學(xué)院，內(nèi)蒙古 呼和浩特 010010 ）

Centuries Research on Mongolian Music(Part Ⅸ）

Boteletu¹, GUO Jingjing²

(1.Art College, Inner Mongolia University,

2.Inner Mongolia Academy of Social Science Hohhot, Inner Mongolia, 010010 )

江西夏布繡的溯源與技藝考

廖江波¹李強(qiáng)²楊小明³

（1.3. 東華大學(xué)紡織學(xué)院，上海 201600；

2.江西服裝學(xué)院 江西省文化藝術(shù)科學(xué)重點(diǎn)研究基地，江西 南昌 330200）

摘 要: 江西夏布繡是以繡底夏布命名的刺繡，由民間麻繡發(fā)展而來(lái)，在2014 年入選國(guó)家級(jí)非物質(zhì)文化遺產(chǎn)代表性項(xiàng)目名錄擴(kuò)展項(xiàng)目名錄。論文通過(guò)對(duì)江西夏布繡的歷史追溯和當(dāng)?shù)赜逯菹牟祭C坊的走訪交流，揭示江西夏布繡的關(guān)鍵技術(shù)要點(diǎn)，歸納江西夏布繡的藝術(shù)特征。研究表明，在傳承與發(fā)展中，江西夏布繡以夏布繡底與書畫相融合，形成了粗中有細(xì)、醇厚典雅的藝術(shù)風(fēng)格。

關(guān)鍵詞：江西；夏布繡；書畫；技藝

The roots and skill of Jiangxi grass cloth embroidered

LIAO JiangBo¹,LI QIANG², YANG Xiaoming³

(1. 3.College of Textiles, Donghua University, Shanghai 201600, China;

2.Jiangxi Culture Art Science Research Base , Jiangxi Institute of Clothing Technology, Nanchang 330201, China )

Abstract: Jiangxi grass cloth embroidered is named the grass cloth embroidered of embroidery ground, from thedevelopment of folk ramie embroidered, selected national non-material cultural heritage representative projects listextension project in 2014. The paper based on the historical trace of Jiangxi grass cloth embroidered and local Yuzhougrass cloth embroidered workshop visited and communicated, reveals key technology points of Jiangxi grass clothembroidered, inductive Jiangxi grass clothembroidered skill of characteristics. Research shows that in the heritage anddevelopment, Jiangxi grass cloth embroidered with grass cloth embroidered ground and the integration of calligraphy andpainting, formed the crude and refined, mellow and elegant artistic style.

Key words: Jiangxi; Grass cloth embroidered; Calligraphy and painting; skill

作為非物質(zhì)文化遺產(chǎn)的宣紙制作

技藝保護(hù)與傳承

戴 健

（中國(guó)藝術(shù)研究院，北京 100029）

摘 要: 宣紙是中國(guó)著名的傳統(tǒng)手工制作紙，作為中國(guó)傳統(tǒng)書法和繪畫的優(yōu)良載體，宣紙?jiān)趥鞒兄腥A文明的過(guò)程中發(fā)揮了重要作用。近年來(lái)，隨著社會(huì)的發(fā)展和經(jīng)濟(jì)全球化進(jìn)程的加快，宣紙所賴以生存的自然環(huán)境和社會(huì)環(huán)境發(fā)生了變化，特別是文化生態(tài)發(fā)生了巨大變化，對(duì)宣紙制作技藝的保護(hù)與傳承產(chǎn)生了深刻影響。本文探討和分析了宣紙制作技藝保護(hù)與傳承的現(xiàn)狀和困境，提出了有關(guān)對(duì)策。

關(guān)鍵詞：宣紙制作技藝；宣紙行業(yè)；保護(hù)與傳承

Safeguarding and Inheritance of Producing Skills of Xuan Paper

As an Item of the Intangible Cultural Heritage

DAI Jian

(Chinese National Academy of Arts BeiJing 100029 )

Abstract: As a good carrier of Chinese traditional calligraphy and painting, Xuan Paper is a kind of famous Chinesetraditional handmade paper, and plays an important role in promoting the Chinese civilization. In recent years, withaccelerating process of social development and the economic globalization, the natural and social environment for thesurviving of Xuan Paper has changed. Particularly, the cultural environment which has undergone tremendous changeexerts great impact on safeguarding and inheritance of Xuan Paper producing skills. This thesis discusses and analyzesthe present situation and difficulties of safeguarding and inheritance of Xuan Paper producing skills, and puts forwardcorresponding measures.

Key words: Xuan Paper Producing Skills;Xuan Paper Industry;Safeguarding and Inheritance

傳統(tǒng)產(chǎn)業(yè)生產(chǎn)模式的轉(zhuǎn)型與發(fā)展

——以景德鎮(zhèn)民窯變遷為個(gè)案

吳 艷¹ 李興華²

（1.2. 景德鎮(zhèn)陶瓷大學(xué)科技藝術(shù)學(xué)院，江西 景德鎮(zhèn) 333001）

摘 要: 陶瓷生產(chǎn)是一個(gè)復(fù)雜的系統(tǒng)，瓷窯燒造是核心環(huán)節(jié)，在景德鎮(zhèn)陶瓷生產(chǎn)中曾經(jīng)起到重要的作用。但自從改革開放以后，景德鎮(zhèn)民窯生產(chǎn)出現(xiàn)了新的特征。探究新民窯生產(chǎn)的特征和重要作用，進(jìn)而折射出現(xiàn)代景德鎮(zhèn)陶瓷生產(chǎn)中的傳統(tǒng)和現(xiàn)代影響中的景德鎮(zhèn)瓷業(yè)發(fā)展。

關(guān)鍵詞：新民窯；現(xiàn)代重生；瓷業(yè)燒造；轉(zhuǎn)型

The transformation and development of traditional production mode

——With the Transition of Folk Kiln in Jingdezhen as An Example

WU YAN¹Li Xinghua²

(College of Technology and Art Jingdezhen Ceramic Institute, Jingdezhen, Jiangxi 333001)

Abstract: The production of ceramics is a very complex system, whose core is kiln firing that plays a very vital rolein the production of ceramics in Jingdezhen. However, since the reform and open-up, new features begin to appear in theproduction of folk kiln in Jingdezhen. This article mainly analyzes the features and importance of new kiln production,which reflects the development of Jingdezhen ceramics under the traditional and modern influence in the production ofJingdezhen modern ceramics.

Key words: New Kiln; the Modern Rebirth; Ceramics Production; Transformation

《長(zhǎng)物志》中尚“雅”卑“俗”器物審美觀管窺

謝云霞

（西南大學(xué)中國(guó)語(yǔ)言文學(xué)博士后流動(dòng)站，重慶 400715）

摘 要: 尚“雅”卑“俗”審美觀念貫穿于《長(zhǎng)物志》始終，成為文震亨賞鑒一切物品尤其是器物的核心標(biāo)準(zhǔn)。此種器物審美觀主要體現(xiàn)在對(duì)器物材料、形制以及工藝裝飾等三個(gè)方面的品鑒上。文震亨人文精神的物化與其對(duì)所處特定時(shí)代之社會(huì)風(fēng)尚的理性批判共同促進(jìn)了其尚“雅”卑“俗”器物審美觀的形成。

關(guān)鍵詞：長(zhǎng)物志；尚“雅”卑“俗”；器物；人文精神

Having a Restricted View on Aesthetic Perception of Advocating “Ya”and Demeaning “Su” about Implements in Zhang Wu Zhi

XIE Yunxia

(Postdoctoral Research Station of Chinese Language and Literature, Southwest University, Chongqing, 400715 )

Abstract: Aesthetic perception of advocating “Ya” and demeaning “Su” runs through Zhang Wu Zhi and becomesWen zhenheng’s core standard of appreciating everything especially implements. This Aesthetic perception aboutimplements is mainly reflected in the appreciations of three aspects such as implements’ material, structure and technicalornamentation. Wen zhenheng’s materialization of humanistic spirit and his rational criticism to the social climate ofspecial time which he lived jointly promoted the formation of his aesthetic perception of advocating “Ya” and demeaning“Su” about implements.

Key words: Zhang Wu Zhi;Advocating “Ya” and Demeaning “Su”;Implements; Humanistic Spirit

從靜態(tài)觀到動(dòng)態(tài)論：

百年來(lái)人類學(xué)的文化變遷研究

桂慕梅

（天津社會(huì)科學(xué)院社會(huì)學(xué)研究所， 天津 300191）

摘 要: 文化變遷一直是人類學(xué)家關(guān)注的經(jīng)典議題。在人類學(xué)百年來(lái)的學(xué)科發(fā)展史中出現(xiàn)過(guò)多個(gè)涉及文化變遷的觀點(diǎn)和理論，但目前我國(guó)學(xué)界對(duì)此卻缺乏系統(tǒng)的解析。本文通過(guò)梳理人類學(xué)主要理論流派關(guān)于文化變遷的研究發(fā)現(xiàn)，該領(lǐng)域存在從靜態(tài)觀到動(dòng)態(tài)論的研究脈絡(luò)，而布迪厄是動(dòng)態(tài)分析文化變遷的集大成者。對(duì)文化變遷諸種觀點(diǎn)和理論的系統(tǒng)說(shuō)明利于學(xué)者清晰認(rèn)識(shí)相關(guān)研究，也有助于從學(xué)理上把握未來(lái)的研究方向。

關(guān)鍵詞：文化變遷、人類學(xué)理論流派、理論演進(jìn)

From Static View to Dynamic View: The Research on the CulturalChange of Anthropology in the Last Hundred Years

GUI Mumei

(Institute of Sociology,Tianjin Academy of Social Sciences,Tianjin 300191,China )

Abstract: Cultural change has always been a classic topic of concern to anthropologists. There have been a numberof views and theories about cultural change in the history of the anthropology research in the last hundred years, but upto now, there is a lack of systematic analysis to the Chinese academics. Through sorting out cultural change research ofanthropology major theoretical schools, this article found there is theory evolution from static view to dynamic view, andPierre Bourdieu is master of the dynamic analysis of cultural change. The systematic description of the various views andtheories of cultural change will help scholars to understand the relevant research clearly and also help to grasp the futureresearch direction.

Key words: Cultural change; Theory schools of anthropology; Theory evolution

認(rèn)同理論視閾下的文化傳播

——內(nèi)蒙古文化傳播的歷史考察研究之二

徐 英

（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特 010010）

摘 要: 文化的傳播繞不開文化的認(rèn)同，或者說(shuō)文化的傳播就是建立在文化認(rèn)同的基石之上的，尤其是民族文化，當(dāng)在不同時(shí)空的交互中，在不同觀念的碰撞中，形成多層次、多角度的文化認(rèn)同后，進(jìn)而更能開啟文化傳播的閘門，在互動(dòng)與共融中產(chǎn)生新的文化形態(tài)，使各個(gè)民族的文化在良性的傳播過(guò)程中結(jié)出豐碩之果。梳理內(nèi)蒙古文化傳播歷史中的諸多文獻(xiàn)和實(shí)例，能從理論與實(shí)踐兩個(gè)方面顯示出文化認(rèn)同與文化傳播二者之間共生互補(bǔ)的邏輯關(guān)系，同時(shí)，也能為這一課題研究的可持續(xù)發(fā)展，提供實(shí)證研究的范例。

關(guān)鍵詞：文化認(rèn)同；文化傳播；互動(dòng)；共融；共生；互補(bǔ)

Cultural Communication from the Perspective of Identity Theory: Part 2 of the Study on the History of Cultural Communication ofInner Mongolia

XU Ying

(Art College of Inner Mongolia University, Huhhot Inner Mongolia 010010 )

Abstract: The dissemination of culture cannot be separated from the cultural identity, and that is to say culturalcommunication is based on cultural identity, especially for national culture. The interaction among different ethnic groupsat different times and spaces and the conflict of different concepts form the multi-level and multi-angle cultural identities,which make likely cultural spread. The new culture develops in the interaction and communion. The cultures of all ethnicgroups develop well in the process of harmonious communication. Through sorting out a lot of literature and explainingexamples of the history of Inner Mongolia culture communication, we can find the logic relation of the symbiotic andcomplement between the cultural identity and the cultural communication in both theory and practice. And at the same

time, this article will provide a typical example of empirical study to the continuing research of this subject.

Key words: Cultural identity; Cultural communication; Interaction; Communion; Symbiosis; Complement

淺析蒙古族視覺(jué)元素在內(nèi)蒙古衛(wèi)視

頻道包裝中的運(yùn)用

李 杰

（內(nèi)蒙古藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特 010010）

摘 要: 本文通過(guò)內(nèi)蒙古衛(wèi)視《內(nèi)蒙古新聞聯(lián)播》等幾檔欄目視覺(jué)效果的呈現(xiàn)情況剖析，對(duì)蒙古族視覺(jué)元素在內(nèi)蒙古衛(wèi)視頻道包裝中的運(yùn)用進(jìn)行了成功與不足兩方面的探討。在成功方面，體現(xiàn)出了造型簡(jiǎn)約、現(xiàn)代感強(qiáng)和應(yīng)用得當(dāng)、“形”“意”相彰的特點(diǎn)，同時(shí)也存在整體性弱、細(xì)節(jié)性差和同質(zhì)化高、多樣性差的不足。

關(guān)鍵詞：內(nèi)蒙古衛(wèi)視；蒙古族視覺(jué)元素；頻道包裝；“形”與“意”；設(shè)計(jì)理念

Analysis on the Application of the Mongolian Visual Elements

in Channel Packaging of NMTV

LI JIE

(Art College of Inner Mongolia University, Huhhot Inner Mongolia 010010 )

Abstract: Through the show of NMTV "Inner Mongolia News " and other programs visual effects to discuss theapplication of Mongolian visual elements in NMTV channel packaging in success and insufficient.It reflects the simpleshapes,strong sense of modernity and properly applied,"shape""meaning"promote each other.It also shows insufficient suchas weak integrity, poor details and high homogenization,less diversity.

Key words: NMTV; Mongolian visual elements; channel packaging; "shape"and"meaning";design idea