韶乐探源:苗蛮文化对中原早期文明的影响

古今学界都认为韶乐是中原早期发明的礼乐制度．与处在蛮荒地区的苗蛮化并无关系。但根据可靠献．隋置韶州得名于韶石,韶石得名于韶乐．可知粤北地区的古化当与韶乐有联系。如果进一步探索．先秦献所载帝舜奏韶乐的传说和夏启舞九韶的“天穆之野”都在今湘南、粤北的南岭地区,韶关石峡遗址出土的6人舞蹈实物显示这一地区的先民早在5000年前左右就对乐舞情有独钟。因此．韶乐当是中华明初期南北方化交流、融合的产物．是南方苗蛮化对中原早期明的形成作出的重要贡献。     

论徐州西汉乐舞俑的艺术特色

徐州地区出土的西汉乐舞陶俑,其造型采用大写意手法刻画舞俑的形体、动作、表情,同武俑不仅具有艺术的共性。还有细微的个性特征,生动地表现了汉乐舞艺术的时代风格。     

日照地区出土的原始乐器考

日照作为东夷文化的重要地区,具有自己较完整的文化发展体系。陵阳河遗址出土的大汶口文化时期的陶号角、笛柄杯,东海峪遗址出土的龙山文化陶铃等,反映了日照原始音乐的发达状况,佐证了日照史前文化的繁荣。这些原始乐器的研究对了解日照乃至东夷地区的原始社会发展状况以及文明起源进程意义重大。     

高中音乐鉴赏教学学生学习评价研究

在评述学生的综合音乐学习成就时,首先要关注学生的音乐趣味、音乐态度、音乐习惯等方面,这是音乐学习评价的核心目标。培养学生的音乐鉴赏和评价能力,形成健康向上的审美观是音乐教学的根本任务。     

The Yezidi Wednesday and the Music of the Spheres

The article is an attempt to answer the question why Wednesday has the status of a holy day in Yezidism. Wednesday can be seen as a commemoration of the fourth day of creation, when the life on earth began and the Peacock Angel became its ruler. The article points to the Yezidi worship of the Moon and the Sun and related angels (Melek Fakhradin and Melek Sheikh Shams) and connects it with the Pythagorean concept concerning the movement of the planets and the Music of the Spheres. Two sacred Yezidi instruments, def and shibab, appear as allegories of celestial bodies in the Yezidi sacred hymns in the cosmogonic context of the creation of the macrocosm and microcosm (Adam). The article also points out the meaning of Wednesday in Judaism as the day when God created the sun, moon and stars and briefly discusses relationships with planet worship in Harran, Zoroastrianism and Mandaeism, especially in the context of the Yezidi Çar?emiya Sor festival which takes place on the first Wednesday of the month of Nisan.     

Disorienting Rhythms: Gypsyness, “Authenticity” and Place on the Greek–Albanian Border

Against a located background—a focus that highlights the significance of place in the constitution of Gypsy identifications and runs counter to most of the assumptions shared by recent studies on Gypsies—the article tries to explore the tensions, ambiguities and contradictions generated by the involvement of the Gypsy musicians of Parakalamos, a village on the Greek–Albanian border, in issues concerning “tradition” and “authenticity”. More specifically, the article considers how Gypsy music playing practices initially allowed Gypsy practitioners to be included in the nation‐state project in a somewhat “dishevelled” form as local musicians; however, in the face of recent shifts in politics, culture and representation in Greece concerning multiculturalism and “cultural heritage”, Gypsy musicians find themselves in the position of being recognised as “musical outsiders” that should by implication adhere to their distinct musical tradition. In this respect, although it has hardly been admitted, such a move runs counter to what constitutes the core of Gypsy musicianship: their locatedness. The article argues that within such “identitying” practices lurks an occlusion of the ways Parakalamos Gypsyness has been, and continues to be, dependent on place and music, and not on a separate, distinct and self contained Gypsy identity, thereby casting doubts on assumptions about what constitutes identity as such.     

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.     

音乐社会学研究的对象和方法

音乐社会学的研究是一种经验的方式,是对音乐生活中人们的行为态度、关系以及由此形成的各种社会音乐现象所进行的科学探究活动。音乐社会学在其发展过程中根据特殊的研究对象和范围,又形成了许多分支学科,本文应用社会学研究的理论和方法,结合作者从事音乐创作研究的实践经验对其进行新的综合研究。     

Jazzing Sheiks at the 25 Cent Bram: Panama and Harlem as Caribbean Crossroads,circa 1910–1940

Both Harlem and Panama were, in the early twentieth century, crossroads of the Caribbean. This essays traces the musical echoes of that fact, arguing that British West Indians had a central but often unrecognized role in the exchanges driving Black cultural innovation in the interwar metropoles. Hundreds of thousands of British West Indians came to and through Panama at the start of the twentieth century, creating a Pan-Caribbean space where the rhythms of son, tango, mento, cumbia, and ragtime rang out. From there many would travel onward. The lives of Panama-born, New York-based performers like Vernon Andrade, Luis Russell, Teófilo Alfonso ‘Panama Al’ Brown, and Estelle Bernier show how British West Indians shaped by the Greater Caribbean’s borderlands crossed boundaries within New York as well. Multilingual and multicultural, they moved easily within Harlem’s ‘Latin Quarter’ of Puerto Ricans and other Spanish-speakers, helping to bring rhythms and styles from the Hispanic Caribbean to the Afro-American listening and dancing public. Stories of the working-class dance halls of 1920s Panama and of the Latin connections of British Caribbean performers in New York together point to tropical circuits of music and moves rarely recognized as part of the metropolitan Jazz Age.