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。     

谈学习民歌的意义

从《诗经》到现在的《中国民歌集成》都真实地反映了许多历史故事、人物及人民的生活。每一个历史时期都有其不同的表现形式、不同的风格及丰富的内容,了解和学习民歌的意义不仅在于它的形式和风格,更重要的是深含在其中的民族文化的精华,体现出一种不屈、乐观和奋发自信的民族精神,了解和学习民歌是陶冶情操,加深修养,提高文化素质的重要内容。也是加强爱国主义教育,促进精神文明建设的有效途径。     

论“於菟”的音乐与文化内涵——黄南州同仁县年都乎乡祭祀仪式音乐田野调查

青海是多民族聚居地区,一些地区至今仍然保存着先民的宗教仪式、仪轨,这种传承与沿袭下来的远古文化的"活化石"折射出一个民族的历史演变、文化传承、宗教信仰以及社会结构等等.从黄南藏族自治州同仁县年都乎乡年都乎村的"於菟"舞音乐中,我们可以更好地诠释原始祭祀乐舞中仪式音乐的本真和所蕴舍的文化内涵,以及阐释信仰、仪式、仪式音乐三者之间的互动关系.     

“原生态”唱法热后的冷思考

本文就“原生态”唱法的划分、中国当代学院派声乐教育的发展、“原生态”唱法的评定标准以及“原生态”唱法的传承和发展等四个方面提出自己的思考。     

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。     

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.     

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.     

中国传统音乐与社会和谐

文章简要论述了以“和”制乐,以“中和”之乐推助社会和谐,是中国宗法社会传统音乐的核心思想;并就中国传统音乐的四个组成部分(宫廷音乐、文人音乐、宗教音乐、民间音乐),分析了当时以“中和”之乐治世、推助社会和谐的功效,最后提出了撰写此文的现实价值。