Cultural Duplicity:The Social Poetic Nature of Folk Songs and Their Discourse

There is a close relationship between the folk songs and the earth bound society in China,bearing functions of load transfer,expression,dissemination of information,and beauty aspiration,etc.Folk songs are mainly presented through voice and thus possess powerful cultural duplicity,which rightly represents the social poetic quality that both the local residents and the nation-state need to take advantage of.A flexible space of co-existence is thus provided with for both of them.

Realism of Movie Arts and Ecology folk cultural heritage in Southern Shaanxi Province --Taking the real movie ＂Lang singing folk songs in the door＂ for example

The real movie ＂Lang singing folk songs in the door＂ is the triangle love story among Xiao Yang, Feng Gang and Zhang Xuefeng. the three characters are the main line. folk songs in Nan Kang Ziyang of Shaanxi are the carrier, full of musical charm and cultural values. Folk songs, and love reveal the tragic loss and suffering in modern youth life-changing period, and reflect the gap between ideal and reality. Movie inspires people, developing and upholding heritage of folk music and cultural needs the whole community＇ s concern and support, a cavity blood alone and personal ideals are not enough, only rely on social groups and cultural media, can Southern folk ecological culture be in sustainable development, and fly out of the country to the world.

Research on aesthetic charm of Qiang folk songs

Qiang folk songs are a form of expression of the ancient oral literature and mass creation, regardless of folk songs, work songs, custom songs, worship songs, etc., They mostly reflect the dominated public opinion of Qiang people from different historical periods and cultural life. Qiang folk songs are born with a strong national consciousness, national temperament and color. Through social and cultural changes, Qiang folk song forms its unique aesthetics in the language, form, emotion, mood and other aspects. Understanding and analyzing the aesthetic charm of Qiang folk songs helps to strengthen the Qiang heritage and intangible cultural heritage protection, and benefit rich folk culture of Chinese Qiang cognition.

The Inheritance Status of Miao Folk Songs in Central Guizhou

More than 20,000 people of Miao minority are living in a 500-meter-altitude area,which is located 40 kilometers away to the southeast of Guiyang City,Guizhou province.In June 2019,Miao folk song Banglang Song was added in the provincial intangible cultural heritage list.In addition to Banglang Song,many traditional folk songs were prevailing in this area in the past.However,the inheritance of such historical and cultural treasures is not satisfying.Based on the field research of folk songs in this region,the author summarized the factors contributing to the oblivion of Miao folk songs in central Guizhou.

On the appreciation of the beauty and the permeation of the cultural factors in the teaching of the folk songs in Shanxi

In the teaching of the folk songs in Shanxi, the effective ＂permeation＂ has an important significance to the appreciation of the beauty behind the folk songs and the explanation and revelation of the cultural factors, the teaching effect of the folk songs in the local universities in Shanxi and the inheritance and development of the actual results of the folk songs in Shauxi. In this paper, combined with the teaching practice, the author intends to explore the necessity of the appreciation of the beauty and the permeation of the cultural factors in the teaching of the folk songs in Shanxi and the related pitching-in angle and the operational approaches.

Love Interaction of Miao Folk Songs Records in Central Guizhou

There is a Miao nationality living on the highland in central Guizhou,where they live in a typical karst landform with an average altitude of 1500 meters and steep terrain.Since July 2018,the author has carried out a 180-day field research in Gaopo Township and other places.Through the research,it is found that there are four different types of Miao songs,which are divided into:Wine song,ancient song,love song,sad song.The structure of the four kinds of songs is to sing different lyrics repeatedly with only one melody.For example,wine songs are the most common kind of songs in Miao people's life.Unmarried men and women learn about each other's thoughts through singing.This not only tests their singing ability,but also shows that each other's mind is good at adapting to changes.

The Crisis of the ＂First Republic＂ in the Lyrics of Italian Singers-Songwriters

In the mid- 1980s, in Italy the first symptoms of a crisis in the traditional party system, later known as the prima repubblica or ＂first republic＂, began to emerge. The ＂Tangentopoli＂ scandal was still to come, but the seed of anti-politics started to grow in collective mentality. Italian singers-songwriters, the so-called ＂cantautori＂ （a portmanteau of cantare, to sing, and autori, authors）, were interested in these developments; their songs commented on elements that played a crucial role, few years later, in the irreversible crisis of the ＂prima repubblica＂： the overwhelming power of political parties, the ＂consociativismo＂ （secret power agreements between the government and the opposition）, the corruption, the growing and pervasive role of mass media Through the songs of singers-songwriters, the present essay traces the season of the scandal of ＂Tangentopoli＂, stopping at 1994, the year of the victory of＂Forza Italia＂, the new political party founded by Silvio Berlusconi

Representing Islam in China： A Case Study on the Religious Motifs of Uyghur Sermon Poems

As a unique local convention of Islamic proselytizing, Uyghur religious specialists in the present Turpan Basin are using a kind of folk songs ＂qoshaq＂ to organize motifs and materials for their religious sermons. Though the poems are particularly used as religious texts at mosque preaching and other chances of Islamic proselytizing, their contents give insights into the ways of local Uyghurs to understand various daily happenings through the lens of Islamic doctrines. This issue can be taken as a process of the localization of Islamic culture among Uyghurs, therefore, it provides comprehensive pictures on the Islamic ways of local Uyghurs to accommodate their social realities. Through undertaking analyses on the structure, style, contents of the poems, this paper makes efforts to unfold the symbolic landscape of the poems implied, making clear the logic bases of those religious motifs and the attitudes Uyghur preachers had toward social realities.

On the Use of Music in Paul Green's In Abraham's Bosom

This essay analyses Paul Green's use of music in his first long play In Abraham's Bosom and finds that music,especially the folk songs not only created authentic background for the story,but also strengthened the play's themes—black people's different attitudes toward tradition and the great difficulties for a black man to change his own and his people's fate.

巢湖劳动民歌生态意蕴探究

由于时代变迁,社会生产劳动方式的改变,巢湖劳动类民歌失去了原有的生存根基,但其映射出的劳动人民的生活状态,沉淀出的特有地方文化,以及浓郁的田园气息和独特的自然生态意蕴,是现代人在高速发展的工业文明中意欲表达的生态情怀。从巢湖劳动类民歌生态表现、生态意识,结合音乐本体的生态特征,钩沉巢湖劳动类民歌中的生态记忆,探究其生态意蕴。将传统艺术中的生态意蕴向实现天蓝、地绿、水清,建设美丽中国的行动中延展,具有理论与实践上的借鉴意义。

“巢湖民歌”地域界属及音乐文化特征

“巢湖民歌”虽为“巢湖”区域民歌,但其区域划分并不统一,是巢县民歌,巢湖地区民歌,还是巢湖流域民歌?“巢湖民歌”的地域界属,人们尚未形成趋同认识。基于自然、行政、文化三个方面梳理“巢湖民歌”区划的衍变过程,并结合人文、地理、历史、方言等方面,通过音乐形态分析,探究“巢湖民歌”“和而不同”的音乐文化特征。

中华民族共同体视域下黄河流域民歌语言特征计量研究

结合生态语言学、类型学、计量语言学和依存语法等多学科理论背景,聚焦黄河流域九省区汉语民歌词汇、句法和语义层面特征,研究发现:在句法特征上,黄河流域民歌表现出支配词居前和支配词居后的混合语序类型特征,词汇和语义主题一致性表现出与中华民族共同体的内在联系。对黄河流域民歌进行多学科研究,可以拓宽中国民歌研究的视角,全面了解黄河流域的语言生态特点,黄河流域民歌具有直观可见的中华民族多元纷呈、和谐相融的黄河流域文化标识度。

The Impact of Contextual Teaching Method on Sichuan Folk Song Education and Students’Musical Expressiveness

This study explores the application of the contextual teaching method in Sichuan folk song education and its impact on students’musical expressiveness.By incorporating contextual teaching methods in music classes,this research investigates the effectiveness of this approach in enhancing students’understanding of Sichuan folk songs and improving their musical expressiveness and emotional expression.A mixed-method research approach is employed,utilizing classroom observations,questionnaires,interviews,and statistical analysis to assess the practical outcomes of contextual teaching in folk song education.

民俗文化视域下桐城歌的音乐艺术特征研究

桐城歌是安徽省桐城地区的一种民间音乐形式,具有悠久的历史和丰富的民俗文化内涵。本文从民俗文化的视角出发,探讨桐城歌的音乐艺术特征。对桐城歌的发展历史、音乐特点进行分析,进而用艺术人类学的研究方法对桐城歌的地域性、叙事性、文学性进行论述,揭示其独特的音乐艺术特征。此外,桐城歌作为国家级非物质文化遗产,本文也对其传承模式和推广模式进行了深入探讨,以探寻其与当地民俗文化的紧密联系。通过对桐城歌的音乐艺术特征进行研究,不仅可以丰富对民间音乐艺术形式的认识,还可以促进对当地民俗文化的传承和保护。

“民歌”与黄遵宪的“普通学”教育观

为促进清末教育改革,晚年的黄遵宪以所编《日本国志》为参考,在家乡创办师范和中小学,践行“普通学”教育。尝试以客家歌谣和汉乐府的语言、句式为范本,创作言文合一的杂歌谣,推动女学、幼学和军国民教育的发展。以幼歌为蒙小学教科书之用,以军歌为鼓舞民气之乐声,为“普通学”教育之媒介与载体。以李叔同为代表的近代音乐家,承继黄遵宪的“民歌”实践,促进了学堂乐歌之修身与美育的结合,成为20世纪教育的奠基。

爱情、劳动与文质之辩:社会主义爱情与政治关系再探

学术界流行的对中华人民共和国爱情的叙述有两种观点:一是爱情压倒政治,一是政治压倒爱情。两种观点针锋相对,但也有着共同点:它们都是从男女权利平等原则出发展开的讨论,而忽略了劳动生产话语在中华人民共和国爱情建设中的作用。从劳动生产话语出发,会发现其不仅为自由爱情的出现打开了更广阔的空间,同时也对爱情中的爱欲表达造成了限制。这一打开和限制与新中国建设带来的生活方式由文趋质的变化有关。因此,劳动对爱情表达的限制不能简单地视为政治压抑爱情的表现,毋宁看作是生活方式由文趋质的表征。