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双语推荐：歌舞

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土家族花灯歌舞流行于湘鄂渝黔边邻的土家族聚居区，具有悠久的历史，是土家族文化重要的体现形式。明清土司统治时期是土家族花灯歌舞兴盛时期，由于保存完整而且具有浓郁的地方风格，因而有着重要的文化价值、艺术价值和研究价值。土家族土司花灯歌舞在表现形式、表演形态、音乐特征等方面与其它民间歌舞艺术不同，有着自己的特色。
Tujia flower-lantern dance with a long history is popular in the adjacent areas of Tujia in Hunan, Hubei, Chongqing, and Guizhou province, so it is the important embodiment form of Tujia cul-ture .Because of the intact and rich local style in the Headmen -period of Ming and Qing dynasties -the thriving period of the Tujiaˊs lantern dance , it has important cultural , artistic and research value .The flower-lantern dance of Heanmen in Tujia with its own characteristics is much different from other folk songs and dances such in the aspects of form , performance and music feature , etc.

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儿童歌舞是一个专门的学科,已被人们更多的重视和认可。其具有独特的表现形式、教学特点和美学标准。在教学中严格把握、突出其美学标准,是儿童歌舞教学的重要环节,需要我们教师在实践中不断地探索、研究,从而创造出更加符合儿童歌舞教学特点的教育教学方法。
Children''s dance is a special discipline, has catches more and more attention and recognition. Its unique form, teaching characteristics and aesthetic standards. Strictly grasp, highlighting its aesthetic standards in teaching, is an important part of the children dance teaching, need our teachers constantly explore, research in practice, thus creating more accord with the characteristics of children''s dance teaching education teaching methods.

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敦煌所见五套大曲中与戏剧相关者共有四套。从内容看，四套曲辞中均有简单故事的推演，虽然情节较为简单，但故事主题明确，《阿曹婆辞》和《何满子辞》中有明显的代言叙事；从形式来看，四套曲辞均为用于歌舞表演的唱词，《剑器辞》和《苏莫遮五台山曲子》在演唱过程中具有相应的既定调式，并配有伴唱的舞蹈。这四套大曲通过歌舞的形式，借助不同调式的唱词叙述简单的故事，已经具备了歌舞戏的基本要素，应该属于唐代早期歌舞戏表演时的剧曲。
There are four sets of Quci related to drama in the five sets of Dunhuang divertimentos .From the content viewpoint , there is a simple story-telling in these four sets of Quci .Though the plots are simple , the themes of the stories are clear , and the first-person narrative is used apparently in two of these Quci .From the form point of view , these four sets of Quci are all lyrics for singing and dancing .Another two of these Quci have established the appropriate tunes during the performance with the accompanied dances .In the form of song and dance ,all these four sets of Quci have already had the basic elements of dance drama with different tune lyrics telling simple stories .And all these Quci should be considered as the dance drama song in early Tang dynasty .

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依饭节是仫佬族最隆重的一个传统节日,依饭祭祀仪式须通过师公的歌舞表演来完成,依饭仪式歌舞的文化特征具体表现在宗教性、故事性、教育性和艺术性等几个方面。
The Eat-fun Festival is one of the most premier festivals of the Mulao people.A grand-mas-ter performs songs and dances throughout the fete ceremony.Cultural features of these songs and dances are recog-nized as religious, legendary, preaching and artistic, etc.

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音乐图像学作为一名独立而又交叉的学科,现如今正被一些音乐史学家们重视。它是以美术作品为线索进行音乐史研究,是对美术作品中的音乐题材内容进行分析与解释的有关音乐史。本文从黎锦晖出版的儿童歌舞作品的文字刊物图像进行分析,探索黎锦晖儿童歌舞作品的纯朴童真和符合时代气息的儿童形象,进而分析黎锦晖儿童歌舞作品艺术风格形成的成因。
Nowdays, music historians attach more attention to Musical Iconography, which is an independent but intersectant subject as well. Works of art are taken as clues of music history in the study of this subject, and the musical theme or content involved in works of art is analyzed and interpreted. This essay analyzes the image text publications in children''s dance works published by Li Jinhui in order to explore the simple innocence included in his works and those images of children which are consistent with the spirit of the times, and then analyzes the cause of formation of artistic style in Li Jinhui''s works.

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对英歌舞和花鼓进行舞蹈形态学比较表明,其相似性极低,英歌戏的戏曲和武术表演也不是源自花鼓。萧遥天推论英歌源自花鼓的5个论据及其论证皆不成立。英歌舞的主要渊源是武舞和南拳武技。
The dance form comparison between Yingge Dance and Flower Drum Dance shows that the similarity is very small. The opera and martial arts are not derived from the Flower Drum Dance. The 5 argu-ments and the argumentation of“Yingge Comes from Flower Drum Dance”put forward by Xiao Yaotian are untenable. The main origin of Yingge Dance is the military dance and Nanquan martial arts.

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第75届奥斯卡最佳影片《芝加哥》是歌舞片的一大飞跃,它创造了一个全新的歌舞理念。《芝加哥》的特殊叙事方式给影片的声音创作带来了很多挑战和创作空间,经过混录师的精心制作,最终也夺得了当年奥斯卡最佳音响效果奖。
The best film of the 75th Oscar, "Chicago", is a great leap of musical films, for it creates a totally new concept of songs and dances. The special narrative way of "Chicago" brought many challenges and creation space to music creation of this film, and it also achieved the best sound award in the same year''s Oscar.

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从体育人类学的视角对江永女书文字符号与鸟图腾崇拜艺术,江永女书文字中的歌舞文化及歌舞鸟图腾文化展开了多元的考证与思辨,旨在通过女书文字的历史考证形成对江永女子体育文化的整理。研究认为:女书字符中的"鸟型"造字现象与古越人的鸟图腾崇拜具有精神上的继承与贯通,是古越文化的孑遗和演变;女书文字符号显示了鸟、人、神三位一体的微标性鸟图腾图像;女书具有典型地域性、群体性、标志性的文化基调,诠释了江永妇女生活的群体意识、社会地位和性别意识,反映出一定历史时期我国妇女的文化自觉和精神慰藉;以体育游戏为题材是江永女书歌舞艺术的表现形式之一;女书"歌舞"造字艺术起源于对鸟图腾的崇拜;女书文字在自我建构与被建构博弈冲突过程中实现双向的流动、传承与文化变异,只有克服现代文化的话语霸权和知识暴政,探索历史和现实语境下女书歌舞艺术自身传承的发展规律,充分尊重女书传承人的主体地位和人性关怀,才能形成对江永女书歌舞艺术展开原生态的传承与保护。
From the perspective of sport anthropology,this study examines text symbols and bird totem worship in Jiangyong nushu script( women’s writing) ,singing and dancing tradition in it and the relationship between the bird totems and the singing-dancing. The aim is to achieve a better and clearer understanding of women sport in the his-tory of Jiangyong. We have made the following findings. Characters containing bird elements bear a relationship to the bird totem worship of ancient Yue people. Nushu characters incorporate bird,man and God in one. Nushu script is characterized by being regional,communal and symbolic,an interpretation of women’s communal consciousness, social status and gender consciousness in Jiangyong and a reflection of women’s cultural consciousness and spiritual comfort in a certain historical period. The art of singing and dancing in nushu script sometimes takes the form of sports games. Characters created based on singing and dancing originated in the wors

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锅庄是康巴藏族的一种民间歌舞艺术。具有综合性、多样性、自娱性、群众性等特点。由于社会经济和历史文化传统的不完全相同,各地锅庄舞的表演风格也不完全相同。锅庄随着时代的发展而发展,近年来,内容与形式、传承方式和传播渠道不断创新,并逐步向舞台表演、商业表演和广场歌舞发展。
Guozhuang , a kind of folk dance from the Tibetans , is characterized by comprehensiveness , self-entertainment, diversity, and mass, etc.Due to the diversity in social economy , historical and cul-tural traditions, the Guopzhuang''s performance style also varies a lot.In addition, Guozhuang is changing according to the social development .Recently, its content, form, inheritance and communication are ex-periencing the innovation , and gradually it develops into a special performance featured by stage , com-mercial and square -dance, etc.

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钢琴这种西洋乐器历经几百年的发展，其演奏技法和作品创作都已达到至臻纯熟的状态。文章以藏族民间歌舞音乐中的“母、子”曲体结构为切入点，探讨了如何将藏族民间歌舞音乐演奏技法与钢琴的演奏和创作完美的结合，实现“古为今用，洋为中用”，打造以西藏民间音乐为素材的钢琴作品，发掘民间音乐元素，并运用于钢琴演奏，使钢琴这架西洋乐器在演奏藏族音乐旋律上更有特色。
Piano, a western musical instrument, has a history of hundreds years, and the performance skills and works creation of piano music have reached to a perfect state. This article contains a discussion of the perfect combination of the performance skills of Tibetan folk song-dance music with the performance skills and works creation of piano music. By taking the"parent-child"music structure in piano music works as the key it is dis-cussed that how to create piano music with Tibetan folk musical sources and how to play Tibetan music with a pi-ano with better effect and distict features.

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