柴可夫斯基与他的钢琴小品《四季》

柴可夫斯基是一个具有强烈民族感情的爱国者 ,一生从事音乐创作 ,他把俄罗斯民间曲调作为创作素材 ,创作了大量的各种体裁、各种形式的音乐作品 ,风格独特。柴可夫斯基的钢琴小品《四季》以春、夏、秋、冬为背景 ,通过对大自然的描写 ,表达了他对祖国的无限热爱     

清代中国与二十世纪英美诗律话语规则的比较

清代诗律著作和20世纪英美诗律著作在话语对象上,都具有广泛的适用性和延伸性,这是二者的一个相似之处。二者的差别在于,清代的诗律著作偏重技巧规则,强调诗律的示范功能,有中国古代的传统思想相伴随;20世纪英美诗律著作偏重理论探究,强调诗律的认识功能,不但有西方传统思想相伴随,而且与20世纪多种现代学科、思想发生融合。总的来说,从诗律著作的功能上看,清代诗律著作与后者扮演的是不同的角色形象;就理论品质来看,清代的诗律著作与后者相比存在着较大的理论差距。     

Music,rowing, and the aesthetics of rhythm

Having “good rhythm” is essential in both music and competitive rowing, but what exactly constitutes “good rhythm,” and how do we achieve it? Although rhythm is often discussed in purely auditory terms, I argue that rhythm is fundamentally a multisensory, kinesthetic phenomenon. By drawing parallels between music and rowing, I illustrate how biological motion principles underlie the parameters of rhythm in both disciplines, and how the cognition and appreciation of rhythm is deeply embodied. I suggest that the two main ways in which rhythms generate pleasure in both music and rowing are by enabling behavioral synchrony between individuals, and by engaging the body in the cognitive process of rhythm perception and prediction. In essence, “good rhythm”—a rhythm that is enjoyed and appreciated—is rhythm that moves.     

元兢《诗人秀句序》释论——兼论其诗学对初盛唐诗歌发展之意义

保存于《文镜秘府论》中的元兢的《诗人秀句序》是初唐时期一篇重要的诗学文献。在初唐诗坛重物色、尚绮错的时代背景之下,它以铨选历代秀句的方式,通过重新诠释谢朓的诗歌遗产,直接继承钟嵘和刘勰的诗学传统,重新强调诗歌要以“情绪”为先、“直置”为本,辅以“物色”和“绮错”等,构成了一个完整的体系, 具有辩证而多元的特点,并与他的声病说有着深层的统一性,在唐代诗学与诗歌发展史上都具有相当重要的历史意义,有力地促进了唐代诗歌从初唐向盛唐的转变。     

BANALITY FOR CULTURAL STUDIES

In her 1990 essay, ‘Banality in Cultural Studies,’ Meaghan Morris raises very serious concerns about the relatively unexamined role that banality plays in cultural studies' work. Taking up her challenge, this essay endeavors to unlock some of the ways that banality might be, as Morris suggests, ‘empowering’ and ‘enabling’ for cultural studies and, thus, not merely banality as something that is left behind after it has been exorcised or redeemed in the movements of cultural analysis itself. Beginning with a few of Morris' own critical coordinates (such as Michel de Certeau and Maurice Blanchot), this essay, then, looks to how banality enters into the triadic philosophical conceptualizations of Henri Lefebvre on ‘everyday life’ particularly through his concept of ‘everydayness’. Most of all, this essay investigates the ways that this often-undertheorized concept from Lefebvre might be brought to ‘life’ (in the widest sense imaginable) in the writings of Gilles Deleuze and Felix Guattari on ‘the virtual.’ The virtual is, in one sense, a means of grasping what lies beyond the realm of cognition a more diffuse view of the real that would include the incorporeal, the inorganic, and all points in-between (including a more broadly drawn version of consciousness). It will be argued that, through ‘the virtual,’ everyday life becomes available to cultural studies' accounts as a radically ‘open totality’ or Outside and, as such, the movements, as well as the politics, of critique take on a different sort of tone and trajectory.     

古代至巴洛克时期音乐节奏的演变及特点

音乐作品的风格主要由旋律、和声、节奏等因素决定，而节奏的作用尤为突出。不同时代、不同地域、不同民族对音乐节奏的理解各不相同，因此，赋予节奏以不同特色。古代至巴洛克时期的音乐节奏就经历了一个复杂化、多样化的演变过程。     

浅谈休止

通过对休止即空拍的分析,提出了休止在音乐当中的重要作用;休止符在乐段不同的位置上（开头、中间及段落中间）产生的不同的效果以及休止符在乐句、乐节和动机中产生的不同的效果;及准确弹奏休止即空拍的方法：教师在教学中要让学生认清准确“弹奏”休止符的重要性;教师在教课时要向学生详细讲解休止在曲子中的意义,使学生在理解的基础上弹奏休止,会起到更好的效果。     

音乐学专业视唱练耳教学初探

视唱练耳是音乐教育的启蒙,是进入专业层次学习的必要训练手段。作为一门课程,它是一门涉及到培养一个人的视奏、视唱、音高听辩、节奏把握,以及乐曲表达等多方面综合能力的音乐基础学科。只有通过多方面综合能力的严格而规范的训练,方可更好地进行其它相关音乐课程的学习。     

我国传统文化中的数字“五”

数字“五”体现了人类与许多事物完美存在方式及宇宙空间方位对立统一的结构律，诸多客观实体及人类活动方式的集合律，人类生命与许多事物运动变化的节律，同时体现了人类社会历史发展进程及相关物象的结构律、集合律与节律。由此，“五”在古人心目中产生某种审美价值取向和神秘崇高的意义。     

对电视片节奏的再认识

本文对电视片节奏的内涵和形式进行了阐述,尤其是对新技术下对电视片节奏的拓展进行了探讨,并研究了如何把握好电视片的节奏。