以音乐欣赏为媒介打开大学生心灵之窗--音乐欣赏与大学生心理健康的调节

大学生心理健康状况已经成为全社会关注的焦点,而培养德才兼备、情志并重、身心健康的高素质人才更是全社会的迫切呼求。音乐欣赏以它独特的表现形式在大学生心理健康的调适与治疗中发挥着其他学科领域不可替代的作用。本文从大学生存在的心理状况、音乐欣赏的作用、音乐欣赏对人的心理调节作用、音乐欣赏的多元化等作了较深刻的阐述。     

邯郸优秀地方传统文化与高校音乐技能课相结合探析

邯郸是一个拥有深厚传统历史文化的古城,然而许多优秀的地方传统文化在新型社会形式的冲击下却面临失传的危机。以声乐技能课教学改革为例,以邯郸优秀的传统文化为内容与高校音乐教育相结合进行论述,希望从中探寻一条可行之路,既有利于地方优秀传统文化的发扬,又能够推动高校教学的深化改革。     

Wang Ming-hui and Blacklist Production: the Third World/Asia turn of Taiwan’s new music production

ABSTRACT

The paper discusses the music group ‘Blacklist Production’ (also known as Blacklist Studio) that was established in the late 1980s when the Martial Law was lifted in Taiwan, and the group’s original works of music. It investigates the music composition and thinking process of Wang Ming-hui, the founder of Blacklist Production, and analyses two albums produced by the music studio, Songs of Madness (1989) and Lullaby (1996), as a way of reconsidering and reflecting the feeling process and limitations of the nativist ideology from 1989 to 1996 that took shape in Taiwan’s society. In addition, the paper also explores Wang’s musical practices through which he has tried to answer the question of ‘how to express thoughts with music’. Through the historical analysis of musical works and interviews with Wang Ming-hui, the paper suggests that ‘Taiwan’s New Music Production’ brought up and practiced by Wang and Blacklist Production is embedded with the possibility for Taiwan’s culture and imagination of modernity to ‘turn’ the referent point to the Third World/Asia.     

Disability,personalisation and community arts: exploring the spatial dynamics of children with disabilities participating in inclusive music classes*

This paper uses personalisation and the capabilities approach to explore inclusive music classes for children with disabilities in Scotland. It provides a unique insight into the impact of participation through the voices of the disabled young musicians, their parents and tutors. The study highlights the power of inclusive spaces to transform lives, to build confidence and contest disabled identities. It engages in the spatial dynamic of opening up inclusive spaces, as well as exposing emerging tensions in the liminal space that is created through movement between safe and supported spaces and the antithesis, spaces that disempower and marginalise. The findings suggest good practice around personalisation, when conceived of from a social justice perspective, as a template for working with other marginalised groups and in other professional settings.     

Theory of mind: are there wider implications from working with d/Deaf people?

An exploratory teaching approach was inspired by the communicative experiences of d/Deaf students in tertiary education. ‘Theory of Mind’ has been used by some to describe the capacity to appreciate that views of others may be different from our own, a concept that could provide a different way for students and educators to understand the barriers identified. An adapted assessment highlighted challenges faced and a communication group provided opportunities for extending personal understandings of social settings. Emerging ideas to inform practice and potential implications for inclusion have relevance for other contexts.     

浅论舞蹈与音乐的关系

本文从舞蹈的起源、二者在感官上的统一性、在节奏上的联系等角度论述了舞蹈与音乐之间的密切联系和相互关系。     

小议歌曲在法语教学中的运用

音乐能够调节情绪、激发兴趣,促进理解、增强记忆。法语歌曲较好地融合了语音、语言和文化知识,如果选择恰当、教学设计合理,在遵循法语语言知识的学习和各项语言技能训练的前提下,将法语歌曲作为语言学习的辅助材料,既可增加教学内容的趣味性,又可提高教学方式的灵活性。     

Gender,Field, and Habitus: How Gendered Dispositions Reproduce Fields of Cultural Production

Bourdieu argues that fields of action produce a specific habitus in participants, and views this specific habitus as a mechanism through which the field is reproduced. Although Bourdieu acknowledges the habitus as gendered, he does not theorize gender as part of the mutually constitutive relationship between field and habitus. Using evidence from two cultural fields, the Toronto heavy metal and folk music scenes, I show that gender is central to the process through which field and habitus sustain each other. The metal field produces a “metalhead habitus” that privileges gender performances centered on individual dominance and status competition. In contrast, the “folkie habitus” encourages gender performances centered on caring, emotional relations with others, and community‐building. These differently gendered habitus support different working conventions: music production occurs largely through volunteer‐based nonprofit organizations in the folk field, and individual entrepreneurship in the metal field. The gendered habitus also supports different stylistic conventions: guitar virtuosity in the metal field, and participatory music‐making in folk. Applying a gendered lens to the field–habitus relationship clarifies the mechanisms through which cultural fields shape individual action, and the mechanisms through which cultural fields are reproduced and maintained.     

当代中国的音乐及社会差序——京剧票友会与摇滚乐队“派对”比较研究

本文主要探讨当代中国的两种音乐活动形式——京剧票友会以及摇滚乐队派对。这两种音乐形式虽然在风格上截然不同,但是两种社团在结构上却存在着一定的相似性。这两种活动形式基本上都具有我们所称之为＂为位＂（positioning）的行为,参与者由此在音乐活动中找到他们各自的位置。而且,两种活动形式都涉及到＂外来者的融入＂（outsider integration）,即允许陌生人的参与并在活动中找到他们的位置。     

论云南少数民族音乐与流行音乐结合的传承方式

本文试图论证云南少数民族音乐与流行音乐结合的可能性、结合的形式及相互间的影响,为民族音乐的传承找到新的路径,从而繁荣云南少数民族音乐。研究云南少数民族音乐与流行音乐结合的传承方式,有利于传承我省丰富的少数民族音乐文化,有利于弘扬和发展我省少数民族音乐文化,从而传承和发展我省丰富多彩的民族文化,使之在中华民族文化大花园中绽放出一朵更加艳丽的奇葩。