蒙古族短歌创造性的感性展示  

Perceptual Creative Revealing of Mongolian Short Songs

作　　者：马丽娜[1] 

机构地区：[1]内蒙古大学艺术学院音乐系,内蒙古呼和浩特010010

出　　处：《内蒙古师范大学学报（哲学社会科学版）》2011年第1期105-108,共4页Journal of Inner Mongolia Normal University：Philosophy and Social Sciences Edition

摘　　要：蒙古族短歌无论是旋律发展的对称性句法关系,还是以四五度为主和二三度级进为主的两种音程旋律进行规律,充分体现了情感发展和旋律运动相互关联的内在的逻辑关系。这种旋律运动的逻辑关系,表明了蒙古族人民自己民族审美及其尺度,并创造出符合本民族历史、宗教、传统生活习俗的自由完美的艺术形式。蒙古族短歌在蒙古族音乐史上,具有很高的音乐美学价值。它的这种艺术形式不但对蒙古族人民的音乐艺术历史的发展产生深远影响,而且,为中国民族民间音乐的研究提供了更加广阔的平台。Both the symmetry syntactic relations of Mongolian short song melody and the two main tones of four to five degree-based or three degree-based progressive melodic intervals,fully embodies the inner logic interrelated melodic movement and emotional development.This kind of logic melodic movement indicates that the Mongolian people and their national aesthetic scale,and creates a free perfect art form conforming to the national history,religion,traditional habits and custom.Mongolian short songs have very high music aesthetic value in the Mongolian music history.Its art form not only has profound impact on the Mongolian people＇s music art history,but also provides a broader platform for the study of Chinese folk music.

关 键 词：蒙古族短歌 对称性原则 感性展示 

分 类 号：G112[文化科学]