曲谱中的《牡丹亭》

曲谱中对《牡丹亭》的改动,是从音乐入手,改调就词.随着戏曲音乐的发展,订谱技艺的提高,《牡丹亭》拥有了自己独立完备的音乐体制,显示出在舞台搬演中的生命力.嗣后,再没有人去走改词就调的老路,《牡丹亭》的失律却恰恰给曲师们提供了驰骋技艺的广阔天地.在中国戏曲由文学时代向演技时代的转移中,《牡丹亭》能以本来的面貌参与竞争,并焕发出新的光彩,曲谱的支撑作用不容忽视.     

通向寂静之途——论汉语诗歌音乐性的变迁

诗乐套语是诗歌和音乐的共同源头 ,但诗歌的材料——语言是由语音和语义两部分组成的 ,因而诗歌和音乐的分离具有必然性。乐府的“采诗”行为是诗乐分离的契机之一 ;对于“文气”的自觉和四声的归纳 ,使得语言发现了自身的节律 ,诗歌文本脱离外在的曲调存在成为可能。对于永恒的追求 ,进一步成为诗歌摆脱音乐瞬间生灭这一宿命的契机 ,促使诗歌通过寂静抵达永恒。     

音乐欣赏的心理过程

音乐的美是抽象的。音乐欣赏的审美过程是由感知、感受、感应三个阶段组成的。对音乐欣赏的全部过程,都是一种心理过程。     

Of oligarchs,orientalists, and cosmopolitans: how “Armenian” is rabiz music?

This paper examines the controversial music genre rabiz in relation to political and socio-economic developments in post-Soviet Armenia. Rabiz, an urban folk-pop genre characterized by melismatic singing and “oriental” embellishments, is a ubiquitous soundtrack to everyday life in the country, with lyrics commonly covering romance, male friendship, and family ties. Ethnographic observations suggest that its popularity draws on the affective appeal with which it captures common hardships and aspirations of post-socialist transition. In spite of this, rabiz is almost universally denounced by nationalist intellectuals and liberal citizens for foreign influences, sentimentality, consumerism, and conservatism. While for the cultured classes, the rejection of rabiz as “un-Armenian” is often an integral part of the construction of a virtuous self, the alternative conceptions of performers and fans reveal the polysemy of Armenianness as a moral category.     

哼鸣与艺术性歌唱初探

哼鸣练习是获取鼻腔共鸣、头腔共鸣及声音高位安放的有效途径之一,也是引导学生掌握正确声音概念的最好方法。本文介绍了什么是哼鸣,以及哼鸣练习的方法和手段,强调了哼鸣在声乐训练中的重要作用。     

仪式与暴力——论卡夫卡《在流放地》

卡夫卡的《在流放地》展示了新旧时代交替过程中,仪式与暴力的运行方式的变迁。在古旧的刑罚体系中,绘制仪、耙等工具以不同的功能在十二个小时的行刑仪式中展演暴力;而人则在仪式化的暴力下,被降级为动物性、工具性的存在,丧失反抗能力,臣服于暴力。作品中新指挥官上任后的新时代,仪式式微,权力空间从公共景观转向封闭场所,惩罚对象从肉体转向灵魂,暴力隐匿。但是,式微的仪式仍有着潜在的力量,暴力终会以某种形式复归。     

Modern poetry,popular song and their dangerous liaisons

Abstract

In this article, Tsuboi Hideto examines the mutually entwined pursuits of modern poetry and music in interwar Japan, focusing especially on the work of Nakahara Chūya, Kitahara Hakushū, and the People's Poetry group. Cutting across their respective distinctions within the poetry establishment, Tsuboi draws attention to these figures’ shared investment in symphonic, folk and popular music. In so doing, he identifies among them a prevailing concern for curating a poetic voice that might harmonize the conflictual registers of individual and collective expression and thereby attune the work of the poet to that of the ‘people’ more broadly. Meanwhile, the essay traces the currents of modernist and avant-garde thought in Japan and Europe that framed these poets’ engagements with music and sound. Tsuboi then illustrates the varying degrees to which these voices, forged within the cosmopolitan milieu of the Taisho period, bent toward the nationalizing project and later gave way to the chorus of wartime fascism and imperial expansion.     

音乐心理剧对海洛因依赖者戒毒动机的干预

目的:研究音乐心理剧对我国海洛因依赖者的戒毒动机和操守的临床干预效果。方法:将62名女性海洛因依赖者随机分为实验组(n=31)和对照组(n=31)。实验组进行为期12周的Joseph.J.Moreno音乐心理剧临床干预;对照组常规治疗。将实验组干预后的戒毒动机与干预前及对照组进行比较;追踪所有被试的复吸情况并进行统计;对总体戒毒动机、操守率和各戒毒动机因子进行相关分析,了解干预的方法对戒毒动机和操守率的干预效果。结果:实验组总体戒毒动机与对照组和干预前相比显著提高(P<0.05);总体戒毒动机与"家庭因子"呈显著正性相关(r=0.364)。实验组操守情况(58.06%,18/31)优于对照组(35.48%,11/31),但无统计学意义上的显著性差异(P>0.05)。结论:音乐心理剧临床干预对提高海洛因依赖人群的戒毒动机有明显作用,但在提高复吸率方面效果不明显。提高戒毒动机需要从家庭角度进行干预。由于文化上的差异,本法在临床运用的过程中有些技术的使用存在一定的局限性。