《内蒙古大学艺术学院学报》2010年第4期目录
民族艺术与民间艺术中的非物质文化遗产
……………………………（英）罗伯特·莱顿著，关祎译，李修建校（5）
新世纪新理念：文化作为资源………………………………………………… 刘锡城（16）
流变中的非物质文化遗产
——长白山地域影响下满族剪纸表现手法的传承与发展………………………王 纪（19）
从古代北方草原游牧文明解读蒙古刀的形成与发展……………………吴苏荣贵(27)
艺术人类学视野下的湘西芭排与西兰卡普……………………………………田 明(33)
花鼓灯舞鞋“衬子”制作的田野调查…………………………………………刘伽(39)
对少数民族工艺美术研究的几点看法…………………………………………徐万邦(44)
关于装饰艺术综合材料实训课程建设的思考………………………………李兆斌(50)
西方视野下的泛音歌唱研究………………………………………………………徐欣(54)
论蒙古族乌日汀哆的可塑性与即兴性………………………………………格日勒图(69)
演唱蒙古族长调的心理空间需求与即兴性…………………………………好必斯(72)
蒙古族短调民歌旋律中的“马步节奏”内涵…………………………………李世相(76)
蟒古思因·乌力格尔《宝迪嘎拉巴可汗》中的角色类型及其演述禁忌…佟占文(83)
仓山大乐和土门社火锣鼓的音声形态与文化显现………………田彬华，华明玲(88)
视唱练耳中多元音乐文化观念的渗透…………………………………………赵楠(95)
福建沙县肩膀戏音乐形态及其传承…………………………………………吴碧玲(101)
礼教视野下的古典戏剧生存环境刍议…………………………………………张帆(109)
李渔戏曲艺术之舞台表演论刍议……………………………………………葛丽英(113)
契丹舞蹈对中原舞蹈元素的借鉴与融合………………………………………文 华(117)
北方草原地域性特征对蒙古族舞蹈风格的影响……………………………赵小丁(120)
从社会变革看我国新闻播音风格的演变……………………………………刘凤至(124)
中国北方民族文化研究论文索引（1991）…………………………………其其格(128)
本刊2010年总目录………………………………………………………………………(133)
·补白·………………………………………………………(38)(75)(87)(108)(112)(123)
《内蒙古大学艺术学院学报》2010年第4期英文目录
Intangible and Material Heritage in Ethnic Art and Folk Art
(UK) Written by Robert ·Leiden Translated by GUAN Yi Proofread by LI Xiu-jian…………………………………………………………………………………………（5）
The New Century and New Concepts: Culture as Resource………LIU Xi-cheng（16）
Intangible Cultural Heritage in Changes
——The heritage and development of the Manchu paper-cutting performance under the influence of Changbai Mountain region…………………………………WANG Ji（19）
From the interpretation of the ancient Mongolian nomadic civilization northern grasslands of the formation and development tool……………………Usurunggui（27）
Xiangxi Bapai and Xilankapu from the Perspective of Art Anthropology
………………………………………………………………………………TIAN Ming（33）
The Fieldwork of Making of Huagudeng Shoes “Chenzi” …………LIU Jia（39）
Some Views on the Study of Minority Industrial Arts………………XU Wan-bang（44）
On the Construction of the Training Courses of the Composite materials of the Decorative Art………………………………………………………………LI Zhao-bin（50）
Research on Overtone Singing in Western Vision…………………………XU Xin（54）
On the Plasticity And Impromptu Nature of Mongolian Urdinduu……Gereltu（69）
The Psychological Needs and Improvisation of Mongolian Long-tune Singing
………………………………………………………………………………………Hobis（72）
The Connotation of the“Horse- paced”Tune Melody of the Short-tune Mongolian Folk Songs……………………………………………………………………LI Shi-xiang（76）
The Character Types and Performance Narration Taboo in Monster′s Story“Bodibalaga Khan” …………………………………………………TONG Zhan-wen（83）
The Sound Modality and the Cultural Manifestation of the Cangshan Dayue and Tumen Community Fire Gong and Drums…………TIAN Bin-hua HUA Ming-ling（88）
The Penetration of the Concept of Diverse Music Culture in the Solfeggio
…………………………………………………………………………………ZHAO Nan（95）
The Music Forms and Succession of the Shoulder Opera in Shaxian County, Fujian Province………………………………………………………………WU Bi-ling（101）
An Approach the Survival of Classical Drama from the Perspective of Propriety Environment……………………………………………………………………ZHANG Fan（109）
An Approach to Stage Performance of Li Yu′s Opera Art…………GE Liying（113）
The Borrowing and Integration of the Dance Elements of Khitan Dance and the Central Plains……………………………………………………………………WEN Hua(117)
The Influence of the Regional Features of the Northern Steppe on Mongolian Dance Style………………………………………………………………ZHAO Xiao-ding(120)
The Evolution of News Broadcast Style of China from the Perspective of Social Change………………………………………………………………………LIU Feng-zhi(124)
Index of Research papers on Northern China Culture（1991）…………Checheg（128）
Volume lndex for 2010……………………………………………………………………（133）
民族艺术与民间艺术中的非物质和物质遗产
（英国）罗伯特·莱顿 著 关祎 译 李修建 校
（英国杜伦大学人类学系， 英国 TS176BH）
摘 要：非物质遗产想要被保存下来，其理念和价值观就必须为观众所接受或最好能激发观众的兴趣。对于物质遗产来说，艺术家必须能够获得创作所需的物质材料。一旦材料的来源枯竭，艺术家就不得不停止创作或者另寻他途。遗产的物质方面不自觉地成为了社会关系网络中的一部分，它们在其中被制作、使用和交换，并且传统或许需要改变才能被保存下来。笔者通过后欧洲殖民时期澳大利亚边远地区的原住民艺术史和同山东工艺美术学院合作的关于20世纪山东省民间艺术两个个案的研究来详述上述思考。
关键词：非物质遗产；物质遗产；保护；传承；个案研究；澳大利亚；中国山东
Intangible and Material Heritage in Ethnic Art and Folk Art
Written by Robert·Leiden Translated by GUAN Yi Proofread by LI Xiu-jian
(Department of Anthropology, University of Durham, UK TS176BH)
Abstract: If intangible heritage wants to be preserved, its ideas and values must be accepted by the audience or, preferably, can stimulate the audience′s interest. For the material heritage, the artists must be able to obtain materials necessary for creation. Once the source of the material is dried up, the artists have to stop stop their creation or to find another way out. The material of the heritage unconsciously becomes part of the network of social relations, in which they are made, used and exchanged, and may need to change the traditional order to be saved. The author gives a detailed thinking through the two case studies of the 20th Century folk art through the aboriginal art history in the colonial period in Europe of the remote areas of Australia, and co-operation with the Shandong Institute of Arts.
Key words: intangible heritage; material heritage; protection; heritage; case studies; Australia; Shandong, China
新世纪新理念：文化作为资源
刘锡诚
（中国文联理论研究室， 北京 100029）
关键词：书评；费孝通；西部人文资源研究丛书；成果总汇
The New Century and New Concepts: Culture as Resource
LIU Xi-cheng
(CFLAC Theory Research, Beijing, China 100029)
Key words:book review; Fei Xiao-tong; Series of Research on Human Resources of the Western China; achievement confluence
流变中的非物质文化遗产
——长白山地域影响下满族剪纸表现手法的传承与发展
王 纪
(通化师范学院美术系， 吉林 通化市 134002)
摘 要：满族剪纸传统表现手法有剪、熏、衬、烧、撕，其中剪的技艺得到了传承和发展，由原来的“插剪”发展出“掏剪” “连接线” “短线”等方法。这些技法的产生源自民间艺人对空间表达的需求，更重要的它是在长白山地域、材料、满族剪纸传统的特定剪技的前提下形成的独特表现手法，也成为今天满族剪纸技艺的识别系统。
关键词：满族剪纸；长白山地域；材料；剪技；表现手法；传承；发展
Intangible Cultural Heritage in Changes
——The heritage and development of the Manchu paper-cutting performance under the influence of Changbai Mountain region
WANG Ji
(Fine Arts Department of TonghuaTeachers College, Tonghua City, Jilin Province 134002)
Abstract:The traditional Manchu paper-cut has the technology of smoked, lining, burning, tearing, among which cut has been inherited and developed, the original“plug cut”developed into“dig cut”, “cable”, “short line”. These techniques have developed from the spatial expression of folk artists, more importantly, the unique technique of expression are closely related to the Changbai Mountain area, materials, and Manchu traditional paper-cutting technology under the premise of a particular cut formation, and it has become today′s Manchu paper-cut art identification system .
Key words: Manchu paper cutting; Changbai Mountain area; materials; cutting technology; performance practices; inheritance; development
从古代北方草原游牧文明解读蒙古刀的形成与发展
吴苏荣贵
（内蒙古大学艺术学院， 内蒙古 呼和浩特 010010）
摘 要：从中国北方游牧民族历史文化的角度来诠释蒙古刀的形成、发展及其工艺特色，认为蒙古刀这一精美绝伦的工艺品，延续并记载着北方游牧民族的勇敢、智慧和辉煌的历史，同时也继承发展并丰富了草原游牧文明。
关键词：草原文明；蒙古刀；形成；发展
From the interpretation of the ancient Mongolian nomadic civilization northern grasslands of the formation and development tool
Usurunggui
(Art Institute of Inner MongoliaUniversity, Hohhot 010010)
Abstract:The history and culture from the Chinese northern nomadic Mongolian knife point to explain the formation, development and technology features that the Mongolian arts and crafts knives of this exquisite, and recorded in northern nomads continued courage, wisdom and glorious history, Inheritance also developed and enriched grassland nomadic civilization.
Key words:grassland culture; Mongolian knife; formation; Development
艺术人类学视野下的湘西芭排与西兰卡普
田 明
（吉首市文化局， 湖南 吉首 416000）
摘 要：苗族织锦芭排是历史上仡佬人直接继承了僚的织造文化，同时与三苗及土家人在长期的文化交融中形成的。土家织锦西兰卡普是由賨布结合僚布技术发展的结果，是融合了僚的织造文化而形成的土家族典型织物代表，两者有相近的文化渊源，是同根姊妹。但又分别属两个不同民族的文化结晶，各自有不同的特点，不是同一种织锦。
关键词：湘西；苗族织锦；土家族织锦；芭排；西兰卡普；织造文化
Xiangxi Bapai and Xilankapu from the Perspective of Art Anthropology
TIAN Ming
(Jishou City Department of Cultural Affairs, Jishou, HunanProvince 416000)
Abstract:The Miao brocade Bapai is the direct successor to the history of the Liao Gelao people weaving culture, while three Miao and Tujia people culture formed mixing in the long term. Tujia brocade Xilankapu was developed from Cong and Liao cloth fabric technology with the result of weaving is the integration of the bureaucratic culture of the fabric formed a typical representative of the Tujia, both have similar cultural origins and they are sisters from the same root. But each is a crystallization of two different cultures, each with different features, not the same tapestry.
Key words:Xiangxi; Miao tapestry; Tujia brocade; Bapai; Xilankapu; weaving culture
花鼓灯舞鞋“衬子”制作的田野调查
刘 伽
（内蒙古大学艺术学院， 内蒙古 呼和浩特 010010）
摘 要：花鼓灯是包括舞蹈、锣鼓音乐、灯歌以及具有一定情节的后场小戏等多种表演形式的传统民间舞蹈艺术，“衬子”是花鼓灯改革前女角“兰花”表演时的重要道具，为了有效传承和保护民间艺术，笔者于2010年8月期间，前往安徽省蚌埠市禹会区冯嘴子村，进行关于花鼓灯舞鞋“衬子”制作的田野调查，考察包括“衬子”制作的材料、工具及工艺流程。
关键词：田野调查；民间艺术；花鼓灯；舞鞋；衬子；手工制作
The Fieldwork of Making of Huagudeng Shoes “Chenzi”
LIU Jia
(Art College of Inner MongoliaUniversity, Huhhot, Inner Mongolia 010010)
Abstract:The performance of Huagudeng is a traditional folk dance performing art with dance, percussion music, light songs and some plays with the plot and other art forms .“Chenzi”is the important prop of performance in pre-reform Huagudeng female character“Orchid”. For the effective protection of heritage and folk art, in August 2010, the author went to Fengzuizi Village of Bengbu, Anhui Province to conduct field research on Huagudeng shoes“chenzi, ”produced by study including the“chenzi”production of materials, tools and processes.
Key words:fieldwork; folk art; huagudeng; dance shoes; liner; handwork
对少数民族工艺美术研究的几点看法
徐万邦
（中央民族大学民族学与社会学学院， 北京 100081）
摘 要： 针对少数民族工艺美术的特点，提出自己对研究的现实意义、研究中的概念问题和当前研究动态的看法。认为，“工艺”“手工艺”是指技术层面的东西，即民间所说的手艺；而“工艺美术”和“工艺品”指的是物质层面的东西，即指技艺手段创造出来的作品。
关键词： 少数民族；工艺美术；特点；现实意义；概念界定；研究动态
Some Views on the Study of Minority Industrial Arts
XU Wan-bang
(College of Ethnology and Sociology of Central University for nationalities, Beijing 100081)
Abstract:This article aims at the characteristics of ethnic arts and crafts to make its own practical significance of research, makes study of the conceptual issues and the current dynamic view. It holds that the“arts and craft”refers to the technical aspects of things; and “industrial arts”refers to the material aspects of things i.e. the works of art created with technology.
Key words:minority; industrial arts; characteristics; practical significance; concepts defined; research trends
关于装饰艺术综合材料实训课程建设的思考
李兆斌
（无锡工艺职业技术学院环境艺术系， 江苏 宜兴 214206）
摘 要：结合“装饰艺术综合材料实训”课程教学实践中的一些认识，在分析研究其他同类院校该课程开设状况的基础上，对课程建设定位、课程教学模式、主要教学内容等问题进行了探讨。强调了高校装饰艺术设计人才的培养要紧密联系社会实际，重视理论学习与创作实践之间的相辅相成关系。
关键词：艺术教育；装饰艺术；课程建设；综合材料艺术；工作室模式；
教学基地
On the Construction of the Training Courses of the
Composite materials of the Decorative Art
LI Zhao-bin
(Department of Environmental Art, Wuxi Institute of Vocational Technology, Yixing, Jiangsu 214206)
Abstract:This article combines some understanding of the course of “Art Deco comprehensive materials training,”with the practice of teaching other similar institutions in the analysis of the situation set up the course, based on the orientation of the course construction, course patterns, the main teaching content and other issues discussion, emphasizing that the decorative art and design university training of personnel should be closely linked social reality, pays attention to theoretical study between the complementary relationship and the creative practice.
Key words:art education; decorative art; course construction; integrated material arts; studio mode; teaching base
西方视野下的泛音歌唱研究
徐 欣
（上海音乐学院， 上海 201400）
摘 要：1970年代以来，源于亚洲腹地的呼麦逐渐被西方世界所熟知。此后，在不断地传播与发展过程中，整个西方（以欧美为主）不仅在学术领域对呼麦进行了全面且深入的研究，还有众多音乐家、作曲家以及笃信声音治疗功效的新世纪运动者们，在泛音歌唱的表演、创作、教学、精神灵性运用方面进行了大量实践，发展出有别于东方传统的“泛音歌唱”知识与应用体系。从近四十年来西方的相关研究文论入手，探究泛音歌唱在西方语境中所具有的多重面向与意义。
关键词：综述；泛音歌唱；呼麦；新世纪运动；声音治疗
Research on Overtone Singing in Western Vision
XU Xin
(ShanghaiMusicCollege, Shanghai 201400)
Abstract:Since 1970s, Khoomei from the hinterland of Asia has been gradually known to the Western world. Since then, in the process of its continued spread and development, the Western world (mainly Europe and America) not only makes in-depth and comprehensive study of Khoomei in the academic areas, many musicians, composers, and believers in the efficacy of voice therapy in the new century activists have had much practice in the performances, writing, teaching, and spiritual aspects of overtone singing to develop the knowledge and application system different from the East traditional“overtone singing”. This article starts from the research on the corresponding papers of forty years in Western world to explore the multiple sides and significance of overtone singing in the Western context.
Key words: review; overtone singing; Khoomei; New Age Movement; voice therapy
论蒙古族乌日汀哆的可塑性与即兴性
格日勒图
（内蒙古大学艺术学院音乐系， 内蒙古 呼和浩特 010010）
摘 要：蒙古族乌日汀哆堪称是具有“非律动性”自由节奏节拍的、有丰富的装饰技巧的拖腔体音乐。然而对乌日汀哆来讲，“自由”二字不仅仅局限于节奏节拍，还与其他很多因素有关。这些自由性，创造了乌日汀哆的可塑性，而可塑性又创造了即兴性。这些都体现在每一位歌者演唱风格特点的差别及他们每次或每一段演唱的不同程度的区别中。
关键词：蒙古族；乌日汀哆；演唱；可塑性；即兴性
On the Plasticity And Impromptu Nature of
Mongolian Urdinduu
Gereltu
(Music Department of ArtCollege of Inner MongoliaUniversity, Huhhot, Inner Mogolia 010010)
Abstract:Mongolian Urdinduu is the music with“non-rhythm of”free tempo beat and rich pro-longed tune. However, for and has a wealth of decorative techniques drag chamber music. However, for Urdinduu, the word“free”is is not limited to the beat rhythm, but also many other factors. The freedom creates the plasticity and Impromptu plasticity and Impromptu also creates plasticity. These are reflected in the difference of the singing styles of each singer and their differences in the characteristics of each concert, or different levels of each section.
Key words:Mongolian; Urdinduu; singing plasticity;iImpromptu〖HT
演唱蒙古族长调的心理空间需求与即兴性
好必斯
（内蒙古大学艺术学院， 内蒙古 呼和浩特 010010）
摘 要：蒙古族长调民歌是草原游牧文化的特殊产物，特定的自然环境和人文环境孕育并生成了特殊的音乐文化形态，而在诠释（表演）这一音乐形式时，需求相对的环境空间或心理空间，特殊的音乐文化形态及演唱环境，直接影响着演唱者的心理状态。
关键词：蒙古族；长调演唱；心理空间；即兴性；记谱法
The Psychological Needs and Improvisation of
Mongolian Long-tune Singing
Hobis
(Art College of Inner MongoliaUniversity, Huhhot, Inner Mongolia 010010)
Abstract:The Mongolian long-tune folk songs are the product of grassland nomadic culture, the particular and specific natural and human environment have bred and generated a special form of musical culture. And the interpretation of the (performing of ) the music form demand relative space or mental environment space. The special form of music culture and the concert environment has a direct impact on the singer′s mental state.
Key words:Mongolian; long tune singing; mental space; improvisation; tablature
蒙古族短调民歌旋律中的“马步节奏”内涵
李世相
（内蒙古大学艺术学院音乐系， 内蒙古 呼和浩特 010010）
摘 要：与蒙古族长调民歌相比,短调民歌的旋律节奏组合清晰明了，具有鲜明的均分律动特点和节奏强弱关系与节拍强弱关系相一致等特点。短调民歌在旋律节奏构成方面与游牧民族的“马背文化”内涵有着紧密联系。这一点甚至直接反映于民歌之中，“马步节奏”就是其中的重要因素之一。
关键词：蒙古族；短调民歌；旋律；马步节奏；节奏韵律；马背文化
The Connotation of the“Horse- paced” Tune Melody of
the Short-tune Mongolian Folk Songs
LI Shi-xiang
(Department of Music, ArtCollege of Inner MongoliaUniversity, Huhhot, Inner Mongolia 010010)
Abstract:Comparing to the Mongolian long-tune folk songs, melody tempo of the short-tune folk songs have the distinct characteristics of break even rhythm, with and rhythm sharing rhythm and beat strength of the relationship between the strength of consistent characteristics. The composition of short-tune folk songs is closely linked to the rhythm of the nomadic“horse culture”. One of the important factors is that it is directly reflected in the folk songs and even among the“horse- paced rhythm”.
Key words:Mongolian; short- tune folk songs; melody; horse- paced rhythm; rhythm; horse culture
蟒古思因·乌力格尔《宝迪嘎拉巴可汗》
中的角色类型及其演述禁忌
佟占文
(内蒙古师范大学音乐学院， 内蒙古 呼和浩特 010010)
摘 要：对布仁初古拉演述的蟒古思因·乌力格尔《宝迪嘎拉巴可汗》中的角色进行类型学分析，讨论了蟒古思因·乌力格尔的故事及角色属性。认为，蟒古思因·乌力格尔是一种高度模式化的故事类型，其表演是在既定的结构程式和民俗语境中进行的，且有明确的禁忌。
关键词：蒙古族；英雄史诗；蟒古思因·乌力格尔；《宝迪嘎拉巴可汗》；角色类型；演述禁忌
The Character Types and Performance Narration Taboo in Monster′s Story“Bodibalaga Khan”
TONG Zhan-wen
(MusicCollege of Inner MongoliaNormalUniversity, Huhhot, Inner Mongolia 010010)
Abstract:This article makes an typological analysis of the characters in the oral performance narratiing of“Bodibalaga Khan”by Burenchugul and discusses the story of Monster′s stories and the nature of the characters. It holds that the types of Monster′s stories have very hipping types with their performance carried on in certain construction forms and folk context with very clear taboos.
Key words:Mongolian; heroic epic; monster′s stories; “Bodibalaga Khan” role types;
仓山大乐和土门社火锣鼓的音声形态与文化显现
田彬华 华明玲
（西南科技大学文艺学院， 四川 绵阳 621010）
摘 要：对比考察四川仓山大乐和甘肃土门社火锣鼓这两种南北民间锣鼓的外在音声形态，探讨喧闹的音乐后隐藏的深层文化意义、人文精神和历史内涵。认为，这种群体性的集体仪式行为具有一定的狂欢性质，他们除了娱人、共乐的庆典仪式共同特性外，还显露出现实社会中权利结构形态和男性的强力特征。
关键词：民俗文化；仓山大乐；土门社火；锣鼓音声；仪式；狂欢
The Sound Modality and the Cultural Manifestation of theCangshan Dayue and Tumen Community Fire Gong and Drums
TIAN Bin-hua HUA Ming-ling
(Literature and Art Institute of SouthwestUniversity of Science and Technology, Mianyang, Sichuan Province 621010)
Abstract:This article makes a comparative study between Sichuan and Gansu Cangshan Tumen Dayue the external sound modality of the music community of north and south fire gongs and drums to discuss the deep cultural significance hidden the loud music. It holds that this kind of groupment collective ceremony or behavior has a carnival nature. In addition to entertaining people, ceremonies have the common characteristics of entertainment, but also reveal the power structure in the form of social reality and strength characteristics of men.
Key words:folk culture; Cangshan Dayue; Tumen community fire; fongs and drums; ceremony; carnival
视唱练耳中多元音乐文化观念的渗透
赵 楠
（内蒙古大学艺术学院音乐系， 内蒙古 呼和浩特 010010）
摘 要：随着时代的发展，多元音乐文化观念已渗透到各种艺术生活以及音乐教育中。视唱练耳作为音乐专业的基础已不再局限于听音、记谱等方面，向着教学审美性、文化内涵性、实际运用性拓展。
关键词：视唱练耳；音乐文化；审美性；多元化思维
The Penetration of the Concept of Diverse Music Culture in the Solfeggio
ZHAO Nan
(Music Department of ArtCollege of Inner MongoliaUniversity, Huhhot 010010)
Abstract:With the development of the time, the concept of diverse musical culture has penetrated into a variety of artistic life and music education. As music professional basis Solfeggio is no longer confined to listening, notation, etc. but developed toward the teaching aesthetic, cultural connotation and actual expansion use.
Key words:Solfeggio; music culture; aesthetic; diversity of thinking
福建沙县肩膀戏音乐形态及其传承
吴碧玲
（三明学院艺术系， 福建 三明 365004）
摘 要：肩膀戏是福建沙县民间艺术的奇葩，它既是福建地方的文化财富，也是中华民族灿烂文化的组成部分，对沙县肩膀戏音乐文化的研究,了解这一独特艺术形式的音乐形态和特征；阐释音乐与民俗文化的关系，寻求肩膀戏在当代社会文化背景下的传承状况和存在方式。
关键词：民间艺术；肩膀戏；渊源；音乐形态；传承
The Music Forms and Succession of the Shoulder Opera in Shaxian County, Fujian Province
WU Bi-ling
(Art Department of SanmingCollege, Sanming, FujianProvince 365004)
Abstract:The shoulder opera is wonderful work of folk art in FujianShaxianCounty. It is both the cultural wealth of FujianProvince and a part of the splendid culture of Chinese Nation. The article researches on the music culture of the opera to understand this unique form of art forms and music features; explain the relationship between music and folk culture, seeks for the the status and existence of the shoulder opera in contemporary social and cultural heritage context.
Key words:folk art; shoulder opera; origin; music form; heritage
礼教视野下的古典戏剧生存环境刍议
张 帆
（中央戏剧学院学报编辑部， 北京 100710）
摘 要：中国千年礼教规范着人们的思想、言行，“越礼”的言行，一方面破坏了既定的社会规范，带来不安定因素；另一方面则是社会进步、思想多元化的体现。纵览中国戏曲的演进历程，多有与“越礼”的主题、情节、行动纠织在一处的情况。本文就中国历代的戏曲与礼教之间的关系作一概括性的梳理。
关键词：古典戏剧；演进历程；礼教；越礼情节
An Approach the Survival of Classical Drama from the Perspective of Propriety Environment
ZHANG Fan
(Newsroom of the Journal of CentralDramaCollege, Beijing 100710)
Abstract:China′s millennium ethics have regulated people′s thoughts, words and deeds. On the one hand, they undermine the established social norms, bringing unrest; on the other hand, they are the embodiment of ideological pluralism and social progress. Overview the evolution of Chinese opera, they have been related to“more ritual”theme, plot, action to correct the situation in one place organized. This article sorts out the general relationship between the Chinese opera and ethics.
Key words:classical; drama; evolution; ethics; not act on etiquette
李渔戏曲艺术之舞台表演论刍议
葛丽英
(内蒙古大学艺术学院， 内蒙古 呼和浩特 010010）
摘 要：李渔的戏曲理论依照戏曲艺术由剧本创作到舞台表演的逻辑顺序分为词曲部与演习部两大部分。李渔用“填词之设，专为登场”巧妙又有机地把二者结合在一起——论剧本创作，始终围绕着登场搬演这一核心；论戏曲表演，又以剧本的创作质量为前提，鲜明地标识着其戏曲理论始终以戏曲艺术舞台表演性为观照标准的独特之处。
关键词：李渔；戏曲理论；戏曲艺术；舞台表演
An Approach to Stage Performance of Li Yu′s Opera Art
GE Liying
(Art College of Inner Mongolia University, Huhhot 010010)
Abstract:The theory of Li Yu′s opera theory is divided into two parts according to the logical order from the play writing to the stage performances: lyric music part and rehearsal part. Li Yu skillfully and organically combines the two. When commenting the play writing, it always parades around the core of the performance; and when saying opera performances, he premises the script creation of quality with the uniqueness of his distinctive Identify of the art of opera theory as the reflection standard of stage performances of opera.
Key words:Li Yu; opera theory; opera art; stage performances
契丹族舞蹈对中原舞蹈元素的借鉴与融合
文 华
（齐齐哈尔大学音乐与舞蹈学院， 黑龙江 齐齐哈尔 161006）
摘 要：契丹族的舞蹈植根于传统的民族文化土壤，具有鲜明的民族特色和生活气息。契丹族吸收中原文化，重视、继承中原乐舞并在与当地各族民间舞蹈相互融合的基础上不断演变发展成为具有特色的舞蹈文化，对今天北方民族的舞蹈艺术产生了一定影响。
关键词：契丹族；舞蹈；中原；舞蹈元素；借鉴
The Borrowing and Integration of the Dance Elements of Khitan Dance and the Central Plains
WEN Hua
(Music and DanceCollege of QiqiharUniversity , Qiqihar, HeilongjiangProvince 161006)
Abstract:Khitan dance is rooted in the traditional folk culture soil with its distinctive national characteristics and life breath. khitan people absorb the Central Plains culture, pay attention to the inheriting of the Central Plains music and dance and folk dance with the local ethnic groups on the basis of mutual integration of the evolving development of a distinctive dance of the north of the nation today, and their dance has an impact on the art of dance of northern ethnic groups.
Key words:Khitan people; dance; the Central Plains; dance elements; reference
北方草原地域性特征对蒙古族舞蹈风格的影响
赵小丁
（内蒙古大学艺术学院舞蹈系， 内蒙古 呼和浩特 010010）
摘 要：北方草原地域性特征不仅赋予了蒙古族舞蹈艺术创作的空间和灵感，也对蒙古族舞蹈艺术的样式、体裁、风格、音乐、表现形式等方面的形成和发展产生了重要的影响，创造和培育了与之相适应的蒙古族舞蹈文化，展示了蒙古族舞蹈的审美追求和深厚的文化积淀。
关键词：北方地区；蒙古族舞蹈；风格化；形态特征
The Influence of the Regional Features of the
Northern Steppe on Mongolian Dance Style
ZHAO Xiao-ding
(Dance Department of ArtCollege of Inner MongoliaUniversity, Huhhot 010010)
Abstract:Regional features of the northern steppe not only the gives the space and inspiration for artistic creation of Mongolian dance, but also has great influence on the formation and development of the style, genre, style, music, form and other aspects of the of Mongolian dance, and creates and fosters a corresponding to Mongolian dance culture, shows the aesthetic pursuit and rich cultural heritage of Mongolian dance.
Key words:North China; Mongolian dance; stylized; morphological characteristics
从社会变革看我国新闻播音风格的演变
刘凤至
（内蒙古电视台， 内蒙古 呼和浩特 010020）
摘 要：我国的新闻播音语体风格特征，从延安新华广播电台的建立到20世纪80年代初，大体经历了磅礴大气（延安时期）→热情昂扬（建国时期）→呆板灌输（文革时期）→积极浸润（改革开放）等几个历史发展时期，而不同的历史时期，不同的社会背景，影响着新闻播音语体特征。
关键词：中国；社会变革；新闻播音；风格特征；演变
The Evolution of News Broadcast Style of China
from the Perspective of Social Change
LIU Feng-zhi
(Inner Mongolia TV Station, Huhhot, Inner Mongolia 010020)
Abstract:The news broadcast style of China has gone through several historical periods of development from the establishment of Yan′an Xinhua Radio to the early 80s of the 20th century language: the majestic atmosphere (Yan′an) → warm and spirited (the founding period) → rigid indoctrination (the Cultural Revolution) → active infiltration (reform). The different historical periods, different social backgrounds have influenced the styles of the news broadcasting.
Key words:China; social changes; news broadcast; style characteristics; evolution
中国北方民族文化研究论文索引（1991）
其其格
（中央民族大学图书馆， 北京 100081）
关键词： 论文索引；中国北方民族；文化研究；民族学研究
Index of Research papers on Northern China Culture 1991
Checheg
(Library of Central University for Nationalities, Beijing 100081)
Key words:paper Index; northern China nationalities; culture studies; ethnic studies