Lu Yin Hui Kao is a genealogical work compiled by the Hunan guqin master Qiu Zhilu during the reign of Emperor Daoguang of the Qing Dynasty,with the aim of reviving ancient music.It is guided by the"Kangxi Fourteen Temperaments"in the Qing Dynasty's official musical work Yu Zhi Lu Lu Zheng Yi.Qiu Zhilu derived a pair of philosophical categories of"body"and"usage"from the corresponding rules and regulations on various musical instruments in Volume 3 of the Lu Yin Hui Kao"."Body"is the relationship between the laws and regulations of Yin and Yang under the theoretical framework of the"Kangxi Fourteen Temperaments";Usage"as a name for Gong Shang and others,to illustrate the true interval relationship between various musical instruments.Qiu's citation of the philosophical concepts of"body"and"usage"highlights his adherence to the theoretical system of official music temperaments,but also illustrates the true practice of music.
西人教堂婚礼对近代中国婚俗产生了深远影响,上海作为近代西方风俗文化的在华集散地,最能直观呈现近代中国新式婚礼用乐形塑过程中的外源形态.晚清上海,有限的异乡人口组成的西人"社区",教堂成为情感维系和个人归属感表达的最主要的场所.他们尽力维持着婚礼仪式的完整性呈现,当职业乐师缺位时,普通教友以居民互助的形式补职参与演奏也是仪式得以正常开展的重要因素.《婚礼进行曲》的程式化进程成为在沪西人原乡文化认同的表证.教堂乐师担负起了重要的民众音乐教育职能,他们不止拥有神职人员的特殊身份,还兼有指挥家、演奏家、琴行老板、音乐教师等多重身份.
舞蹈主体性话语与其民族性息息相关,代表了中华民族舞蹈艺术总体特征的精神属性,也是中国舞蹈与世界对话的根本.对于现实题材作品而言,它既包含了对扎根民族土壤的"自我"特质的坚持、也包含了对历史与现实间社会问题的理解、还包含坚定美学风范,挖掘实现"舞以载道"的责任认知.以主体性话语建构现实题材舞蹈的过程,既是中国舞蹈自我发现、自我更新和自我创造的过程,也是中国舞蹈融合过去、现在和未来意义内涵,努力建构民族性、开放性和前瞻性价值系统的过程.
This author takes the French speaking Caribbean writer Aimé Césaire as the research object,and conducts a profound analysis of"A Storm"from the perspective of mutual learning among civilizations.The aim is to deconstruct the absurd arguments of Western racism and colonialism,highlighting the contribution of this"black trait"movement leader to the Pan African National Liberation Movement.His poetry collection Notes on Returning Home has long entered the literary kingdom,causing strong reactions in France,French speaking countries,and even the world literary world.In fact,his play"A Storm"also has a distinct political reality,shining with a dazzling humanistic brilliance in both the creative theme and the expressive techniques.
上古时期,楚地先民已经创造了乐舞文化,出土音乐文物以及文献记载中的乐舞传说,都体现了当时楚地乐舞的活跃.这一时期楚地的乐器主要有摇响器、陶哨、陶埙和陶铃等,显得原始粗朴;而相关的乐舞传说则记载了部族的乐舞活动、上古乐舞事件和原始的楚声歌谣等.这都表明楚地在中国传统乐舞发展中也作出了重要的贡献.上古楚地乐舞都是在群体活动中产生的,是人类劳动中的精神产物,同时具有鲜明的巫祭功能.与中原地区相比较,上古楚地乐舞文化的发展相对落后,但楚乐舞的浪漫特性已经初步呈现.
