“四方言区达斡尔族传统歌舞艺术学术研讨会”综述

中国音乐学院举办"四方言区达斡尔族传统歌舞展演暨达斡尔族传统歌舞艺术研讨会",目的是将生活在四个不同地区的达斡尔族民间艺术家们汇集到一起,集中展示达斡尔族传统歌舞的艺术魅力,并同时邀请来自各地的达斡尔族专家学者,围绕相关学术问题进行深入研讨。此次研讨会,讨论的重点即是达斡尔族传统歌舞的保护、传承与发展问题。达斡尔族音乐文化是达斡尔族人民集体智慧的结晶,是经历漫长历史演变而发展来的,这些珍贵的文化遗产造就出了独特的民族音乐文化。     

现代文化展演中鼓舞的变迁和调适

随着我国时代的进步,在现代文化展演中我国鼓舞艺术也在不断变迁发展中,而且随着社会的不断发展我国鼓舞艺术也经过了有效的调适,更加适应现今社会发展.鼓舞艺术是我国苗族的一种民族民间舞蹈文化,而且苗族鼓舞艺术有着非常悠久的文化历史,早在古代唐朝时期就有击鼓歌舞文化的内容,其鼓舞的表演形式也是多种多样的,而且鼓舞艺术的变迁和调适过程也是经过了多种的挑战,本文就根据不同的鼓舞表演形式进行研究,分析在现代文化展演中鼓舞艺术的变迁和调适,从鼓舞服装道具、鼓舞表演动作、鼓舞表演形态的变迁和调适进行研究,从而有效地推动我国鼓舞艺术良好发展.     

西藏阿里的民间卡尔歌舞音乐

流传在拉萨布达拉宫和日喀则扎什伦布寺的卡尔被称为西藏的宫廷歌舞音乐,但是西藏的宫廷卡尔却源自阿里民间的卡尔歌舞音乐。阿里民间卡尔是藏民族积极吸收、融合周边伊斯兰国家和地区的文化艺术并不断创新的产物。阿里民间卡尔歌舞音乐既保持了伊斯兰歌舞音乐的基本形式、特点,又融入了大量阿里歌舞音乐的风格和内容,形成既有别于中南亚伊斯兰歌舞音乐又不同于藏族传统歌舞音乐的新的艺术形式。它与阿里普兰、日土、札达等地的各种庆典、迎送仪式和民俗活动相结合,成为阿里地区独特的民间传统歌舞音乐艺术。     

现代文化展演中鼓舞的变迁和调适

随着我国时代的进步,在现代文化展演中我国鼓舞艺术也在不断变迁发展中,而且随着社会的不断发展我国鼓舞艺术也经过了有效的调适,更加适应现今社会发展。鼓舞艺术是我国苗族的一种民族民间舞蹈文化,而且苗族鼓舞艺术有着非常悠久的文化历史,早在古代唐朝时期就有击鼓歌舞文化的内容,其鼓舞的表演形式也是多种多样的,而且鼓舞艺术的变迁和调适过程也是经过了多种的挑战,本文就根据不同的鼓舞表演形式进行研究,分析在现代文化展演中鼓舞艺术的变迁和调适,从鼓舞服装道具、鼓舞表演动作、鼓舞表演形态的变迁和调适进行研究,从而有效地推动我国鼓舞艺术良好发展。     

丝绸之路明清俗曲展演及学术研讨会述要

<正>2015年9月21日至22日,"丝绸之路明清俗曲展演及学术研讨会"在西安音乐学院举办。这次展演与研讨属文化部和陕西省人民政府主办的第二届丝绸之路国际艺术节"丝路文化·长安论坛"的音乐分论坛,     

民族风，’95大上海──’95上海中国民族风音乐舞蹈展演花絮

民族风，’９５大上海──’９５上海中国民族风音乐舞蹈展演花絮彭高成１９９５年新年伊始，全国５６个民族的文艺工作者汇聚黄埔江边，成功地举办了“上海’９５中国民族风──全国５６个民族音乐舞蹈邀请展演”。这不仅是一次优秀民族歌舞的会演，也是显示５６个民族大...     

让原生态歌舞植根沃土

正来自山野沟壑,不染铅华、不事雕琢、散发着泥土气息和草根馨香的原生态歌舞,带给观众清新的感受。湖北巴东水布垭是原生态民间歌舞成长的沃土,有撒叶儿嗬、山歌、十姊妹歌、花鼓子、吹打乐等原生态民间歌舞,有的还被列入了国家级非物质文化遗产保护项目。原生态民间歌舞之乡水布垭因水闻名。高峡出平湖的水布垭大坝、秀丽的清江画廊,如今已成为远     

民族艺术的瑰宝——藏族民间歌舞巡礼

藏族是我国历史悠久的伟大民族,在漫长的人类社会发展进程中,藏民族通过生产生活寄情于歌舞,以歌舞形式述说着对自然的敬畏和对美好生活的崇尚,孜孜不倦地追求着天人合一、自然和谐的美好理想.藏民族歌舞文化博大精深,源远流长,具有鲜明的民族特性和时代特征,它以种类繁多,形式多样而著称.由于藏族的生活地域与生产方式的不同,形成了各地区民间歌舞不同的风格与流派.     

云南独有少数民族民间原生态歌舞进课堂探析

云南是我国拥有少数民族最多的省份,其中有15个少数民族是云南独有的。这些独有的少数民族各自都有着丰富多彩且独一无二的原生态歌舞种类,这些都是云南少数民族传统文化的瑰宝。因此,对于独有少数民族原生态歌舞的传承与发展,本土艺术类高校有着不可推卸的责任。而云南独有少数民族民间歌舞进课堂就成为最有力的手段之一。     

旅游展演艺术研究述评

在旅游业中生成的旅游展演艺术,是各种地方性文化旅游中文化变迁的表征,目前学界主要在旅游人类学和民族文化学视野对其进行阐释.无论其作为"传统"文化还是"发明"的"传统",或是其中表现的"意识形态"与地方性"认同"、"真实性"以及"互动协商性",都未能很好地呈现其与一般文化现象的不同及其与地方性文化生活的具体关联,艺术人类学"回到生活"的"行为研究"和"艺术""文化"双重解读的理念方法无疑为其提供了富有阐释力的学科视野.     

关于歌唱艺术的几个问题

歌唱者不仅要有良好的声音素质,还需要学习正确的歌唱方法,掌握适合自己嗓音条件的歌唱技术和适合自己实际情况的歌唱训练,这样的歌唱训练是对歌唱乐器的制作、调理和再整顿的过程。只有经过良好的歌唱训练,才能灵活自如地运用歌唱乐器,使之更适合歌唱艺术表现的需要,发挥歌唱的艺术表现力。就歌唱乐器的使用而言,歌唱技巧是获得歌唱艺术表现力的必要手段,歌唱者必须重视技术的磨练,以求得艺术的完美。     

论藏族民间舞蹈个性化特征

藏族以能歌善舞著称。藏族民间舞蹈历史久远、感情真挚、风格多样。我国,藏族因三大方言区,而形成了各自的舞蹈形式和个性特征。     

论蒙古族舞蹈的民俗文化意蕴

蒙古族舞蹈具有深厚的民族文化意蕴,它是蒙古人心灵深处对于生命和自然的折射和独白.这种文化意蕴又由于蒙古族能歌善舞的天性得到了充分的发展,使得许多与生活、娱乐、宗教有关的舞蹈以特有的动作、形式、特征流传下来,彰显了一个民族所走过的历史及由此积淀形成的集体审美意识.     

论少数民族声乐演唱的艺术特征及发展

我国少数民族声乐演唱的艺术特征在风格特点、演唱方法、语言差异及表现形式上形成了各具特色的民族声乐文化,在继承、融合、借鉴和创新的过程中,不断发展与繁荣。本文就此问题作具体探讨。     

南涧彝族"跳菜"礼仪的象征分析

"跳菜"是彝族在宴请宾客时跳着舞上菜的最高待客礼仪,它是舞蹈和饮食合二为一的典型。本文在明确跳菜礼仪及其特点的基础上,通过对跳菜舞蹈象征符号和饮食象征符号的意义解析,揭示了彝族传统的认知体系和乐观豁达的民族心理,以及跳菜对彝族族群认同、民族和睦相处的积极作用。     

从咏青诗歌看清代河湟商贸活动

在历代流传下来的诗篇中,歌咏青海的诗歌缕缕不绝,青海地区的历史轨迹,多被文人雅士以诗歌的形式记载下来.本文从清代咏青诗歌为介入,采用"以诗证史"的方法,勾勒出清代咏青诗歌中商贸活动的一些情况.     

艺术化生存的淡化与侗族歌师的精神皈依——侗歌艺术传承研究系列(七)

在社会转型期,侗族社会以歌唱为重要乐生手段的艺术化生存方式发生了日趋淡化的变化,因而,侗歌艺术传承场域如何实现现代性转型,有侗歌活态仓库之称的歌师为此担当着重任。然而,当下传统型歌师、民间新型歌师、学者型歌师等类型歌师的概念内涵、外延已发生了变化,歌师日常生活状态由于文化市场化操作、利益最大化等诱因的影响亦悄然发生了改变,侗歌艺术传承场域模式也发生了颇具现代性特征的衍化。因此,呼吁传统型、民间新型、学者型等类型歌师重拾歌师精神,皈依侗歌养心论的经典性和神圣性,即提请最受人尊重的歌师①如何实现专注于以歌‘养心’②的歌师精神的崇高性、神圣性和价值归位,为转型期侗歌艺术传承场域的健康发展继续发挥主体性作用,这乃是一个关乎祛魅与复魅③的抉择性的问题及具有现代性启示意义的话题。     

贵州彝族传统情歌（曲谷）的音乐特色

Being one of the most ancient eth-nic groups in China, the ‘Yi’ have a long history and an abundant culture. Yi folk songs, which are widely sung in many regions of China, have vari-ous forms and styles. These folk songs reflect the lengthy history of the Yi society; indeed they ex-press the happiness and misery, the dreams and desires of the Yi people. Within this context, this article focuses on‘Qugu’ which is a unique type of music belonging to the Yi people. In fact most Yi people of Guizhou live in the Wumeng Mountains. In their quest for survival, over time the Yi had developed a series of natural worship rites which became one of the sources of their traditional mu-sic. In addition, Yi people formed a unique way to express their love: in times past they developed a tradition of singing in the mountains and forests as to convey their love to their beloved;the‘Qugu’ is one of these Yi’ s traditional love song genres.‘Qugu’ means ‘singing’ and this genre has its own social functioning. According to traditional Yi culture and habits, a ‘Qugu ’ should not be sung in front of parents, brothers, or other rela-tives;instead it should only be sung in a place sur-rounded by mountains and forests and on certain singing sites, called ‘Guji’(in Yi language). In most of the Yi settlements, such ‘singing sites ’ were placed far away from the villages, sometimes on flat areas and sometimes in the remote wilder-ness, in forests or caves. The singing activities on those special sites took place according to specific rules and calen-dars. During the so-called ‘singing festival’ peri-od ( from the 1 st to the 15 th day of the 1 st lunar month and on the 5th day of the 5th lunar month), the singing performances were particularly magnifi-cent. People of all ages, young and old, would gather together from all directions and would sing without interruption for several days. Moreover , the singing festival also had certain traditional rites ( ceremonies ) . For example, at the very beginning, certain clan elders or prestig-ious singers would offer wine and water to the‘heavens and earth ’ . After this offering, ‘the soul of the song’ was invited. The Yi people tradi-tionally worship nature and believe in animism, so indeed a ‘Qugu’ also has its own ‘soul’ . There-fore, when the singing festival would commence, they would invite the ‘soul of the song’ to come;this custom is called ‘Guyexi’ in the Yi language. The nextritual would be the ‘Guyidai ’ ( in Yi) , which means‘the settling down of the soul of the song’ at the particular singing site. There are lyrics like:‘If there is no settling down of the soul of the song, then when the next spring comes the sil-ver flowers will sever their roots, the golden flowers will sever their roots, and the singing sites cannot be set up ’ . After the settling down of the soul of the song, the next ceremony would be the ‘Gukoupu’ ( in Yi) or ‘opening of the mouth of the song ’:this basically means the ‘opening of the door of love’ and also indicates the formal beginning of‘Qugu’ activity. All of this shows indeed that the rite of‘Qugu’ is not as solemn as other rites, as in fact the lyrics of ‘Qugu ’ are mostly about love af-fairs and romance. When the‘Gukoupu’ ends, the young people can start to freely sing. There are indeed lyrics like: ‘Three young chaps brought three axes and went into three directions of the universe; they chopped three pine trees, sawed off three boards, made three chairs, and placed these facing three di-rections. They invited girls to take a seat; the girls sat down and sang. The girls invited the chaps to take a seat;the chaps sat down and sang’ . When this‘free singing’ begins, an ‘antiph-onal group singing’ starts at the singing site (‘Gu-ji ’ ); males and females take part in this and stand/sit separately as they all sing in antiphonal style. In the middle there is a ‘go-between ’ in charge of coordination, judging, and passing on information. The males and females sing and ob-serve back and forth. During this process, affec-tions may emerge between a certain male and fe-male. If indeed a guy or young lady takes a fancy to another person, he or she will ask the go-be-tween for help. If the counterpart gives a positive response, then the two will leave the group and go elsewhere to talk and sing. During this ‘antiphonal group-singing’ , each group can allow a certain ‘representative ’ to sing solo;this solo should not be a repeat of some song performed by someone from another group. The young males and females thus can each show off their voices by singing songs with free rhyme, sweet melodies, and serious or deep topics. It is easy to see that this ‘antiphonal group singing ’ provided a major means of romantic communication between young Yi men and women. In fact, the number of songs they could sing as well as the technique used in singing these significantly deter-mined one’ s ability to attract the opposite sex. As a consequence, both males and females were strongly committed to learn to sing, trying their best to master more and better songs. Through learning from their predecessors, they made an ef-fort to improve their singing abilities. As said, traditionally at the beginning of the singing festival, ‘the soul of the song’ would be invited; well, likewise at the end of the festival‘the soul of the song’ should be sent away again. The Yi people believed that if they would not send the soul of the song away, the young would be ob-sessed by affections all the time and even lose their minds. Finally, Guizhou Yi ’ s folk music-generally speaking-has a great variety in content, perform-ance locations, forms, and genres. Moreover, due to the regional differences music styles also vary geographically. All of this makes the multi-colored Yi music even more delightful and appealing. Unfortunately, the entire tradition ( ceremo-nies) of the‘Qugu’ as described above, no longer exists today. The singers who still know these pro-cedures are getting old and eventually will forget these rites. This is a big loss for the living tradition of the Yi culture, and it is a source of grief for those who study Yi culture, in China and abroad.     

鲍曼及其表演理论述评——以河湟“花儿”的演唱为例

本文对理查德.鲍曼及其表演理论的学理主张作了简要介绍,对该理论的实践可能性和实践业绩与缺憾进行初步探讨,并结合河湟花儿的演唱方式对该理论作了进一步解读,认为在研究地方民俗文化时,表演理论应与其他理论方法相结合,同时兼顾其地域性、民族性特点。     

史诗《玛纳斯》域内翻译传播研究

史诗《玛纳斯》属于口头文学,其传播方式有两种:口头传播与文本传播。由于口头传播范围有限,文本传播成为史诗流播范围得以扩大的重要途径。论文探讨史诗《玛纳斯》口头传播局限以及文本传播成因,从史诗的搜集、记录、整理、出版、翻译等方面评述域内史诗文本传播的发生、发展过程,指出对于"活形态"史诗来说,口头传播是其根本特征,但如果缺少文本传播这种方式,史诗很难形成跨民族、跨地区、跨国界传播态势,这对于《玛纳斯》史诗的"世界化"无疑是一种损失和缺憾。