乡土社会中的民间惩罚——以乡土社会中信用为媒介予以说明

困扰民间法研究的一个重要问题是:民间法的效力来源是什么?诚如我们所知,国家法是以国家的强制力为后盾的,那么民间法呢?民间法得以实施的保障机制是什么?当然探讨这一问题的方法可能有许多,但以民间惩罚为视角对其予以阐释和说明不失为一条有效的进路.虽然民间惩罚主要是立基于乡土社会这一特定环境的基础上说明的,但其对民间法有效的规制,对于完善国家法的保障机制亦具有重要的借鉴意义.     

菲律宾"安蒂波罗女神"信仰与"妈祖"信仰对比研究

菲律宾是一个海岛国家,在不同的历史时期形成了不同形式的海上信仰形式,其中之一就是安蒂波罗女神信仰.本文主要分为三个部分.第一部分介绍了安蒂波罗女神信仰的形成过程,第二部分运用功能主义学派的观点分析了这一民间信仰形式在菲律宾社会中三个方面的功能.第三部分对比安蒂波罗女神信仰和福建妈祖信仰在社会功能、形成过程、表现形式等方面的异同.在对比研究的基础上,笔者强调功能的相似性决定了文化形式的相似性.     

"五花爨弄"及其意义新探

"五花爨弄"是中国古代戏曲史上的一个专有名词.关于"五花爨弄",近世学者研究已多而分歧亦多,至今仍然悬而未决.本文考订认为"五花爨弄"即南诏、大理之高级迎宾馆--五花楼内所表演的一种爨系乐舞,渊源于爨氏统治时期的"乐人幻戏"."五花爨弄"于北宋末传入内地后,不啻巨大地影响了中国戏曲的发展,且直接丰富了中国汉语言的表达.由此揭示,边疆少数民族与内地的文化影响是相互的,虽不排除内地对边疆少数民族的影响更大.     

Melbourne (1835–1927): The Birth of a Music City

Music heritage in cities has become a significant area of interest in the twenty-first century because it is linked to profitable music tourism and a growing cultural economy. Melbourne, the Victorian state capital, is used as a case study; in March 2013, the city was unofficially crowned Australia’s music capital because it, at the time, had the most music venues and a vibrant music economy. However, this paper argues that this identification is somewhat ahistorical for two reasons. Firstly, it leaves out the colonial and gold rush prehistory of Melbourne’s music culture. Secondly, it omits the critical recognition of Melbourne’s (and Australia’s) first international music superstar exports, such as opera diva Dame Nellie Melba (nee Helen Porter Mitchell), who was named after her home town of Melbourne, and pianist prodigy and composer Percy (Aldridge) Grainger. Drawing on a textual analysis of government policies, economic reports, and the work of historians, musicologists and journalists, this paper synergises the history of Melbourne’s music culture from its colonial beginnings in 1835, until 1927, when the city was no longer Australia’s political capital. It identifies four early stages of Melbourne’s musical development, which laid the foundations for iconic music venues, Australia’s first opera company, music entrepreneurs, and the initial nurturing of the nation’s first music superstars in Melba and Grainger.     

On the Dual Form of Acoustic Beauty

To analyze and value of the acoustic beauty, we must acknowledge the difference between the beauty of form and the beauty of implication. The so-called “acoustic beauty” refers to the beauty of the sound that directly evokes pleasure in the sense of hearing. It is actually represented as the beauty in the form evoking acoustic pleasure and the beauty in the implication enriched by human imagination, association, and understanding. This article explores into the physical foundation and the physiological mechanism of the acoustic beauty from the musical perspectives of frequency, pitch, volume, tone and quality. It then discusses the beauty of form from the musical perspectives of melody, harmony and rhythm and the beauty of implication on the basis of understanding, imagination and association. Finally the author puts forward his aesthetic view of the dual form that integrates both the acoustic beauty and the implication beauty free from unbalanced biases.     

20世纪西方现代音乐的艺术内涵

20世纪西方现代音乐打破了传统音乐思想和理论的束缚,以多元发展、对立兼容的姿态开创着艺术审美的全新风格。尽管对于20世纪西方现代音乐人们褒贬不一,但事物的存在与发展定有其客观的理由,因此,要深入的对西方现代音乐艺术的内涵进行阐释,并要把对西方现代音乐的欣赏、理解和创作的认同建立在对其艺术表现的思考与把握,建立在对艺术发展时代背景的深刻理解的基础上。显而易见,对20世纪西方现代音乐艺术内涵的阐释十分必要。     

Reviving rosetta tharpe: performance and memory in the 21st century

This article examines the pleasures and dangers of the 'reviving'—that is, restoring to memory, of a 'forgotten' female gospel-guitarist, Sister Rosetta Tharpe. It argues that the erasure of black women from cultural memory is not merely the effect of the passage of time, but of small but significant acts of forgetting that themselves constitute cultural practices. As examples of attempts to forestall forgetting and 'revive' the dead, the essay looks to a recent Rosetta Tharpe tribute CD, composed of women musicians' versions of songs Tharpe made famous, as well as a local Pittsburgh theatre incorporation of Tharpe as a character in its production 4 Real Women. Both projects, although inevitably fraught by difficulties specific to their medium of performance and address, set the terms of cultural 'revival' crucial not merely to Rosetta Tharpe but to black women performers generally.     

哈尔滨俄侨音乐教育史初探

哈尔滨俄侨音乐教育从1921年至1962年迄未间断．先后建立了6所正规的音乐学校．这是在中国创办的第一批西洋音乐学校．培养出众多音乐人才。这些学校的特点是师资素质高、实行正规化的科班教育，重视艺术实践。哈尔滨俄侨教育家在西洋音乐传入中国的过程中发挥了重要作用.     

从五部歌剧看中国歌剧丰收期音乐创作特点

中国歌剧的音乐创作在第二次发展期(丰收期)中表现出5个方面的特点:一是在歌剧音乐的发展手法方面,表现出以传统戏曲音乐或当地民歌为主题音调,借鉴西洋作曲技法加以改编发展的特点。二是在人物音乐形象的刻画方面更具体,更富个性。三是在音乐的表现力方面,增强了交响乐队在表现戏剧性剧情方面的力度。四是在演唱形式的运用方面,对独唱、重唱及合唱等演唱形式的运用更加成熟。五是在宣叙调的写作方面,开始了集乐队衬托对白插入、诗句配乐乃至全剧演唱于一体的中国式的“宣叙调”写作方式。     

规范村规民约 依法治理滨海新区新农村——从对滨海新区核心区塘沽农村的调查谈起

村规民约在社会秩序的构建中发挥了重要作用,是一项有中国特色的法律文化传统。认真分析研究村规民约,有利于进一步了解、熟悉滨海新区农村的乡民社会,有利于构建和谐乡村社会的法治环境,有利于加强党在农村基层的执政能力建设。在建设社会主义新农村的进程中,必须不断改革与完善村规民约,在规范村规民约的基础上推进依法治村。