海外学堂乐歌的产生及其历史作用

本文分析了海外学堂乐歌产生的历史背景、海外学堂乐歌的类别及其特点。作者认为 ,这些学堂乐歌具有明显的与时俱进的时代特征 ;极力鼓吹和弘扬中华文化 ;提倡热爱中华祖国 ,为祖国服务 ;勉励学生勤学向上 ,充实自己 ,努力奋斗 ,不断追求进步 ;提倡热爱所在国、文化融合和中外友好。作者也分析了海外学堂乐歌的历史作用和意义。     

The Singing War: Canadian Soldiers' Songs of the Great War

Singing was an important leisure activity for Canadian soldiers serving overseas in the Great War. Soldiers sang popular songs of the day and religious hymns, while also parodying them to better suit their wartime experience. Singing was a group activity that brought men together, forged bonds of comradeship, reinforced belonging in the group, and helped the soldiers endure the strain of unending combat and service. Wartime songs reveal the culture from below and shed new light on the soldiers' experience.     

对中日学校唱歌的发生与发展的思考

音乐作为文化的一个领域,在中日交流中发挥着极其重要的作用。这一点从中日两国近代音乐交流的代表事物－学校唱歌（中国早期称之为学堂乐歌）中即得到反映。就中日两国而言,它体现了与西方音乐相接触时所发生的变迁,即音乐上的“涵化”过程。同时,由于两国社会历史条件、文化经济等方面的差异,因此两国的学校唱歌也有着不同的发展轨迹,对其的研究也正受到应有的重视。     

论《诗经·桧风》的创作时代

由于桧国微小,《诗经·桧风》在春秋时代就不受人重视,后人对《桧风》四首诗的主题解释也往往含糊其辞、牵强附会。本文运用组诗研究的方法,把这四首诗联系在一起分析,认为《桧风》创作于东周初年郑武公灭桧之后,它是一组桧遗民抒发亡国之痛的诗篇。     

“Hymns of a More or Less Idiotic Character”: The Impact and Use of “Sankey's” Gospel Songs in Late Nineteenth‐Century Australia

Through the large inter‐denominational evangelistic campaigns of the last quarter of the nineteenth century in Australia, the gospel songs commonly described as “Sankey's” were introduced to both church‐goers and the general community and came into wide public knowledge. This article explores their early acceptance, dissemination, and use, and argues that while their impact upon church‐goers was considerable since they were so widely sung in many churches, they were also known, or known about, in the wider community, occupying a significant cultural space.     

中原文化与土著文化在梅州的整合研究——以梅州客家山歌的形成为例

作为汉族民系的客家创造了独特的客家文化 ,客家山歌就是其中的典型代表之一。客家是一个历史范畴 ,又是一种地域现象。从文化地理学理论考察 ,区域文化的成型取决于主体文化要素的分别成熟。据此 ,确定客家民系与客家文化的成型期在明末清初。由于历史的原因 ,梅州客家文化与梅州客家山歌具有客家区域文化代表意义。中原文化与土著文化的整合造就了特色鲜明的客家文化。这在梅州客家山歌的形成过程中有充分的体现。中原文化构建了梅州客家山歌的骨架。因此 ,梅州客家山歌的艺术风格、修辞方法、章法结构都留有“十五国风”以及迁徙途经的江南吴音印迹。客家山歌自明末清初始与吴歌分道扬镳 ,佐证了客家民系及其文化成型于明末清初说。土著文化填充了客家山歌的肉体并使其尽显地域个性。因而 ,梅州客家山歌中还大量存在土著民族的歌词、唱名、旋律及修辞方法。从过程来看 ,文化整合导致梅州客家山歌的形成也是客家民系长期的区域环境感应的结果。从模式与效应来看 ,梅州客家山歌的形成经历了前期的汉族低势位文化与土著高势位文化的整合、中期汉族与土著等势位文化的整合、后期汉族高势位文化与土著低势位文化的整合的不同模式。属于特殊的高低互位的文化整合模式 ,其效应是互相融合。     

Toast Songs Popular in Ngari

When guests came to visit Diya people in Ngari,the hosts would ask the young girl in the family to toast them with songs. Holding a wine cup, the girl would stand in front of the guests in turn, and after singing one song, would invite the guest to drink one cup of wine; each guest was serenaded with a different song, although all centered on blessing. From many different people, I have received details of the different songs that now fill my notebook. One song goes like this: In the azure a…     

Penetrating the ‘black‐box’ of ‘remembrance day’ playlist: bereavement and the induction mechanisms of glocalization – a study in cultural sociology

This article examines the musical repertoire broadcast on Israeli state radio stations on Remembrance Day. Commencing with the first Remembrance Day, Israeli radio stations have refrained from broadcasting songs that do not contribute to the glorification of the military mythology or failure to reinforce the consensual perception of national loss. In view of globalization – it might be assumed that Remembrance Day songs would undergo changes in tune with the times. From a musical point of view, new songs that belong to what Regev and Seroussi classify as ‘globalizing Israel’ penetrated into the nationalist arena. But, following Inglehart and Baker, these songs, despite their seemingly secular façade, remain limited hegemonic enclosures organized around the core of founding values. Apparently, this is an example of the process of glocalization of culture. The article seeks answers to the strategies employed to accommodate these new songs to the traditional ideology of the classical Remembrance Day songs and examines whether the mechanisms of legitimacy that enable the inclusion of new voices on Remembrance Day, can be identified. We argue that their choice is not arbitrary and that they illustrate the manner by which voluntary cultural entrepreneurs (musical editors) are co‐opted in the postnational condition.     

Songs by Female Diviner Initiates from Zwelibomvu in KwaZulu-Natal,South Africa: A Response to Patriarchal Abuse in their Society

Indigenous societies that are steeped in patriarchy have various avenues through which they deal with the abuse characteristic of relations in some of these communities. One such route is songs which allow women to voice that which, bound by societal expectations, they would not normally be able to say. This article presents the cases of several young female diviner initiates in Zwelibomvu, KwaZulu-Natal who have experienced different forms of abuse. These initiates, under the guise of being possessed and through songs that are supported by personal-experience narratives, open up about the ordeals they suffer under patriarchal power in their families.     

《十咏图》及其对宋元吴兴文化圈的影响

由北京故宫博物院重新购藏的《十咏图》是一幅流传有绪的11世纪作品。在综合近人对《十咏图》考证的基础上,本文重点分析了这一北宋绘画基准作品的历史重要性及其对吴兴一地的文化影响。这卷叙事性的作品通过描绘“南园”之景开创了“家产山水”的范例。在南宋史学家的笔下,《十咏图》呈现了特别的文化史价值:它被用作修纂《吴兴人物志》的第一手材料,而且它的创作成为中国史学上较早的以图像证史的自觉实践。在宋亡之际,收藏界开始将张先视为《十咏图》的创作者,即文人画的早期代表。配合文人艺术在吴兴这个元初绘画中心所形成的新格局,《十咏图》直接激励了赵孟顿等大画家确立起的反映主观自我意识的山水境界。这些新的山水创作不仅突出了地域景观特色,而且表现出文人画家们在蒙古人的统治下,努力显示自己的家庭财富及文化优势的鲜明个性。在此过程中,整个元代绘画的风格发生了革命性的转变。     

Representations of 1968 in French Popular Music: The Case of Dominique Grange

Focusing on the songs written during 1968–69 presented on the album L'Utopie toujours…(2004) by Dominique Grange, this article discusses some of the representations of key themes of 1968 in song. Grange is a politically engaged singer-songwriter who, whilst enjoying limited commercial success, was very much involved with the 1968 protest movement in Paris and was subsequently linked with various Maoist organisations throughout the 1970s. Her songs constitute an immediate response to the events of 1968 and reflect many of the key themes of the period as identified by Kristin Ross, whose seminal work on May ’68 provides the starting point for the article. The themes of disruption, displacement and reappropriation that Ross identifies in the movement generally are analysed within the context of Grange's songs. In particular the representations of these themes in the context of political contestation, the occupation of space and the seizing of speech are considered. This analysis will ultimately show how Grange's songs highlight the complex nature of the cultural construction that is 1968.     

From folklore to patriotic and protest songs: Music,youth, and Basque identity during the 1960s

Taking a bottom‐up approach to the study of nationalism, the following pages constitute an attempt to shed light on the role singing played for a young generation of Basques who actively participated in the process of construction of Basque collective identity during the cultural revival movement of the 1960s. In doing so, this article aims at showing the fundamental role of active audiences, as well as their changing political and social context, in conforming the meaning of “Basque songs” as means to promote Basque nationalism and sustain opposition to the Franco regime. The study of the production, reception, and reinterpretation of Basque music during the cultural revival of the 1960s presented here intends to emphasize the interest of focusing on how ordinary people contribute to the recreation of the nation through their appropriation and interpretation of cultural symbols and practices.     

Migration and adaptation of popular Balladry in the US Appalachian region

Scottish ballads were carried to isolated hamlets in the Appalachian Mountains of North America through successive waves of migration in the 17th and 18th centuries. The cultural diffusion of ballad singing underwent divergence as the songs were transmitted orally. Place names, local festivals, and current events were especially plastic components of this process. In the beginning of the 20th century, the intrusion of the radio and rural disturbances brought about by the coal industry functioned as barriers to cultural transmission of the ballads. Even so, songs were kept alive as evidenced by the metamorphosis of My Boy Tammie into Billy Boy and the more recent resurrection of The Elfin Knight into popular culture as Scarborough Fair by Simon and Garfunkel. The relationship between orality and literacy is multi‐faceted and difficult to categorise and evaluate.     

Landscape,Religion and Folk Art in Mithila: An Indian Cultural Region

Folk art portrays aspects of cultural geography that have been frequently ignored. Important aspects of the cultural geography of Mithila arc illustrated through folk paintings and songs. By understanding the symbolism in folk art, cultural geographers can discover fresh meanings in landscapes and culture, thus gaining a deeper knowledge of the aspirations and behavior of a specific group.     

Mabo and Museums: ‘The Indigenous (Re)Appropriation of Indigenous Things’

In this paper I extend upon the categories of appropriation identified by Beings, land and people. Using the work of Nancy Munn (1984) and Annette Weiner (1992), I argue that the relationship between objects, place, Beings and people is of a consubstantial and inalienable nature. Following on from this argument, I propose that Aboriginal and Torres Strait Islander rights and interests in land or waters, as defined by the recent Native Title legislation, cannot be alienated from rights and interests in other cultural possessions. These other cultural forms include tjurunga, as well as songs, ceremonies and paintings. As this suggests, in the post-Mabo landscape museums represent important collecting sites for indigenous people; a somewhat different identity to the former status of museums as sites of indigenous collections.     

A Complete Edition of an Oral Tradition: Text Selection Practices in the History of Publishing Latvian Folk Songs

This article addresses the history of publishing folklore texts—particularly the attempts at creating all-inclusive publications that would represent an oral tradition in its entirety. Despite the quest for comprehensiveness, these attempts have always entailed the need to be selective in order to draw textual boundaries within the unbounded, diverse folk singing repertory. The focus of this study is on the text selection principles applied by two editors of Latvian folk songs: Kri?jānis Barons (1835–1923) and Pēteris ?mits (1869–1938).     

区域民俗文化的旅游资源的类型及旅游业价值研究——九寨沟藏族民俗文化与江苏吴文化民俗旅游资源比较研究之一

民俗文化是文化景观的组成部分,本文对民俗文化类型及其旅游资源类型进行了研究和划分。本文认为民俗文化对自然景观、人文景观以及旅游地整体形象有着多方面的影响或贡献。"地方"的概念是阐释旅游地整体形象形成及特征的有效工具。论文对九寨沟藏族民俗和江苏吴民俗进行了实例比较研究,讨论了其形成与地理环境背景的关系、各自特征、现状及开发途径。     

Shamanic Eroticism in the Jiu ge (Nine Songs) of Early China

This article presents an analysis of certain erotic strategies employed by shamans of the early Chinese state of Chu that were intended to attract and seduce an array of spirits thought to inhabit the world of nature. These strategies are analyzed from a collection of songs gathered together under the title of the Jiu ge from the Chuci anthology, and they provide some of the clearest evidences for a tradition of early Chinese southern Chu shamanism. After setting forth certain elements of the religious, historical, and theoretical background of this shamanism, this article approaches and analyzes it in terms of the eroticized gender relations between humans and spirits upon which this shamanism is centrally based. Because the present author understands shamanism in terms of face to face communication between human beings and bodiless beings in a séance event, and because these communications are represented as taking place by way of either the shaman journeying to the spirit or the spirit coming to take possession of the shaman, the final sections of this article analyze each type of séance event separately.