Portrayal of＂Oud＂ Musical Instrument in Creative Work of Alisher Navoi

The Oud is a pear-shaped stringed instrument with 11 ＇or 13 strings grouped in 5 or 6 courses, commonly used in Persian, Arabic, Greek, Turkish, Jewish, Byzantine, Azerbaijani, Armenian, North African and Middle Eastern music. Oud had been widely popular before 17th century among society, and it provided moral and spiritual nourishment. This musical instrument was created by singer Borbad who lived in the period of Khisrav Parviz who was Sosoniy King and it was in the novel of ＂Khisrav and Shirin＂ （Nizami Ganjavi）. Oud was also described in Kitab al-Musiqa al-Kabir （The Book of Music） by Farabi. Moreover, Alishir Navoi showed the connection of the science of music with spiritual world in verses of his priceless heritage. The poet assessed the sound features of the musical instruments in his book Mahbub ul-Qulub. Additionally he has written, ＂While the sound of Chang （struck zither） is torturing, sound of Oud is more touching.＂ Sometimes Navoi used the Oud in musician＇s hands as an artistic image in order to illustrate his torture to reader. He described his condition very vividly and skillfully. This is probably because Oud has unique wail, which cannot be heard in any other instruments.

The Unique Chinese National Musical Instruments

The Chinese-made musical instruments, qin, zheng, bamboo flute and xiao, enjoy an irreplaceable position in the international instrument market, for their time-honored history, unique musical effect and delicate craftsmanship. Ancient zheng, named after its sound, is one of the oldest musical instruments of China. According to ancient records, zheng was popular in the Qin region (Shaanxi today) in 400 B.C. At that time, a zheng had 10 swings and was made of wood. In 900 B.C., the

Research on Aesthetic Education in Instrumental Music Teaching

Aesthetic education is an important part of instrumental music teaching content.The study of aesthetic education in instrumental music teaching can not only cultivate sentiment and improve artistic accomplishment,but also promote the healthy and all-round development of students.Through the emotional experience,the students can feel the emotion contained in the music,creating and transmitting the beauty in the performance.This paper starts from the importance of aesthetic education in instrumental music teaching,and analyzes the current situation of aesthetic education in instrumental music teaching,and puts forward corresponding implementation strategies,in order to truly realize the value of talent cultivation and art in instrumental music teaching.

Application of Timbres of National Musical Instruments in the Performance of Chinese Piano Works

Piano and national musical instruments symbolize the understanding and interpretation of different cultures, races and regions for music. However, music is the art of sound. Both piano and national music instruments reflect sound art. Similarly, both of them blend with and affect each other. For instance, some excellent piano works in China inherit national culture and fuse western music techniques. Timbres of national musical instruments present the music characteristics of combining Chinese elements with western elements and integrating with each other in piano performance.

Construction of Three-in-one Industry and Cultural Inheritance of Musical Instruments of Li People in Hainan from the Perspective of Rural Revitalization

From the perspective of industrial integration,how the musical instruments of Li people in Hainan can solve the current development problems such as lack of endogenous power and market enthusiasm under the strategy of rural revitalization to walk out a unique road of three-in-one industry construction was studied.

Exploration on the Foundations of Contemporary Education and Ethnic Music Education from the Perspective of Traditional Chinese Musical Instruments

With the rapid development of multicultural arts,music education has become an important component of the educational research system.However,the teaching of traditional Chinese folk musical instruments,as an essential branch of music education teaching,has been neglected.This paper discusses the significance of Chinese folk musical instrument education from three aspects:the history of Chinese folk musical instruments,the development of folk musical instrument teaching,and the integration of modern musical instrument education with folk musical instrument education.

高校音乐教学中民族器乐教学的创新研究

为了更好地构建高校民族器乐教育教学的学术体系,从教学目标、教学内容、教学方法、教学评估四个方面阐释了高校民族器乐教学中存在的问题,并给出相应的解决对策,以促进民族器乐教学的良性发展.

南音管乐器考略

作为中国古代传统音乐文化的活化石,泉州南音已有上千年的历史。南音洞管、品管、嗳仔指、笙管相较于其他传统乐种具有鲜明的独特性,对南音不同艺术风格的形成和定型有着深刻的影响。运用文物与文献相结合的方法对南音管乐器进行整体性考察研究,是深入揭示南音历史变迁、艺术特征、表演技艺不可替代的重要途径。

古琴入诗与汉代诗、赋创作

乐器作为一种题材,自汉代开始进入文学视野。古琴在汉代成为楚声楚歌的主导乐器,“援琴而歌”成为汉代诗赋中的固定意象。古琴在文人心中的地位及其所承载的文化意义,使其在汉代文学中成为某种符号化的象征,对汉代诗体、诗歌抒情方式及乐器赋与“七体”赋叙写模式均产生了深远影响。

LED蓝光照射仪配合音乐抚触在新生儿黄疸患儿中的护理效果

目的:探讨LED蓝光照射仪配合音乐抚触在新生儿黄疸患儿中的护理效果。方法:选取2022年6月—2023年6月江南大学附属儿童医院接收的88例新生儿黄疸患儿,随机分为对照组与观察组,各44例。对照组给予LED蓝光照射仪治疗,观察组给予LED蓝光照射仪联合音乐抚触治疗。比较两组治疗前后的胆红素含量、依从性、康复时间及临床疗效。结果:观察组总依从性为97.73%,高于对照组的81.82%,差异有统计学意义(P<0.05);治疗前,两组总胆红素含量、经皮胆红素含量比较,差异无统计学意义(P>0.05),治疗后,观察组总胆红素含量、经皮胆红素含量均低于对照组,差异有统计学意义(P<0.05);观察组每日哭闹时间、黄疸消失时间短于对照组,每日睡眠时间长于对照组,差异有统计学意义(P<0.05);观察组总有效率为97.73%,高于对照组的79.55%,差异有统计学意义(P<0.05)。结论:LED蓝光照射仪配合音乐抚触治疗可降低新生儿黄疸患儿体内胆红素含量,缩短每日哭闹时间,延长每日睡眠时间,加快黄疸消失速度,从而提高临床疗效。

基于乐种的传统回响——由傅利民的《中国民族器乐配器教程》引发的思考

傅利民教授的《中国民族器乐配器教程》是第一部真正在中国传统乐种学的基础上,以各乐种较稳固的民间乐队为研究对象,将研究的目标集中在乐器本身的文化性能与编配艺术上的教材,是乐种音乐本体研究的一个重要拓展。民间属性是这本教材的底色,在结构与编写中既有经典方法的借鉴,又有另辟蹊径的创新,其中翔实具体的典型案例分析为教学和创作提供了丰厚的参考资源。这对中国传统乐种学的继承与发展无疑有着推动实践的作用。

咸阳布里村十六国墓M63出土乐俑研究

陕西咸阳布里村十六国墓M63出土乐俑可分为伎乐俑和姿态俑两类。伎乐俑所奏乐器包括吹、弹、击奏3类8种;姿态俑均做特殊动作,并伴有张口特征,在音乐场景中承担了说、唱、领奏(领唱)、击掌、动作表演等角色与职能。布里村M63乐俑丰富的乐器种类、独特的表演形式以及与“清乐”有关的完整表演场景,为研究公元4~5世纪的音乐发展及社会生活提供了重要的实物资料。

西南少数民族边棱音管乐器定名习惯探讨

一套逻辑严密、指向明确、标准统一的乐器定名原则对于少数民族乐器研究具有至关重要的意义。西南少数民族边棱音管乐器的定名习惯,主要可以分为民间习俗定名、专有名词定名、民族语言释义定名三大类。其中,专有名词定名类中又包含语言昵称类、演奏方式类、乐器形制类。总体上看,西南少数民族边棱音管乐器的定名习惯呈现出多样化的特点。作者根据田野实践,总结乐器定名习惯与分类结果,对方言语调与演奏方式对乐器称谓的影响进行阐释,认为西南少数民族边棱音管乐器定名习惯具有随意性较强的特点。

基于木材振动特性的月琴声学品质广义回归神经网络预测模型

泡桐木始终是制造乐器谐振元件的重要材料,对乐器的音质有着重要的影响。采用广义回归神经网络(General Regression Neural Network,GRNN)建立基于共鸣板振动性能的月琴音质评价模型。以制造出的9把月琴为研究对象,根据月琴的音质评价以及制备月琴的共鸣板信息,提出月琴音质的预测模型。在180组数据中,随机抽取135组数据进行训练,其余45组数据进行验证。使用主成分分析方法、GRNN建立月琴声学质量评价模型,并进行仿真预测。结果表明,基于共鸣板的振动特性,利用Matlab仿真可以实现对月琴音质的预测,预测的准确率可达到91.41%。此外,研究还表明,泡桐木共鸣板的动态弹性模量、声辐射阻尼系数、弹性模量、剪切模量比、声阻抗,损耗角正切和声转化率等参数均是影响其制备成品月琴声学质量的重要因素。

新世纪中国歌剧旋律写作与主题

新世纪中国歌剧旋律写作通常有主题设计与贯穿,注重人物情感表达、戏剧场景描绘与音乐形象打造。声乐旋律分为板腔体、歌谣体两类基本曲体结构,或二者混合使用。宣叙调的旋律写作尊重汉语声调与节奏规律,器乐旋律伴随唱腔或独立使用,担当了抒情写景、叙事与人物刻画同样的戏剧功能。不同作品的音乐表达戏剧的准确、生动、流畅、简洁程度不一,情感抒发深度与尽兴的程度有别,人物形象音乐刻画的鲜明生动程度不同,显示出戏剧音乐创作的水平与艺术表达的成就不一。总体而言成绩斐然,不足与问题依然存在。“古为今用、洋为中用、以人为本、推陈出新”依然是推动创作进步的重要原则。

桉树皮灰改性乐器胶粘剂制备及性能研究

为了提高乐器胶粘剂的耐湿热稳定性和粘接性能,采用桉树皮灰(A)和偶联桉树皮灰(CA)对涂料胶粘剂进行了改性处理,研究了其占胶粘剂占比,以及添加面粉后对酚醛胶粘剂的改性效果。结果表明,相同改性剂添加量时,CA改性胶粘剂的干胶合强度和湿胶合强度都高于A改性胶粘剂;在相同占比下,偶联桉树皮灰+面粉(CAF)改性胶粘剂的干胶合强度和湿胶合强度都高于桉树皮灰+面粉(AF)改性胶粘剂。A改性胶粘剂的固化起始点、峰值、终止点和热焓值的变化趋势与CA改性胶粘剂较为相似,CA改性胶粘剂的固化峰值温度低于A改性胶粘剂。CAF占比为25%时胶粘剂具有较好的干胶合强度和湿胶合强度。