也谈永明体与音乐的关系

"四声"一词最早出现于中国古代传统音乐理论中,早在先秦两汉就有关于乐律"四声"的讨论,沈约声律"四声"理论同乐律"四声"有着相同的文化渊源,并存在一定的对应关系。永明声律说中以四声作文的主张与传统音乐学"五声杂比"为乐的理论及方法非常接近,永明体平仄病犯等理论同乐论中"同声"、"异音"等理论亦相类似。由此可见,中国古代音乐理论是永明声律说最直接的来源。     

湖南新化孟公方言高升调(35)的中古来源

孟公方言高升调(35)的来源为:绝大部分中古入声字,中古去声中滂、并、透、定、清、从母字的绝大部分以及彻、澄、穿(初)、床(崇)、审(生)、穿(昌)、床(船)、审(书)、日、溪、群、晓、匣母字的一部分,另外还有少数的上声字。这个高升调的产生在去声字中可能与声母有关系,在入声字中则可能与韵尾有关系。     

昆明方言单字调的实验研究

昆明方言是云南的官话,属于北方方言中的西南次方言.以往学者对昆明方言单字调的研究均为传统的“听音笔录”法,本研究首次在“自主音段音系学”理论的基础上,通过声学实验的方法,借助语音分析软件Praat,探索到昆明方言的4个单字调:阴平(33)阳平(31)上声(53)去声(41);在老、中、青三代及不同性别昆明人的单字调比较中,发现昆明方言的声调格局存在年龄、性别差异.     

Let's dance – feel better! Mood changes following dancing in different situations

Abstract

In the present study, we examined mood changes following dancing. Previous works suggested that contextual factors may influence affective states; it has been shown that changes in mood following competition differ from those following recreational exercise. The study has been conducted in Warsaw, Poland. Mood was assessed before and after dance activity in three groups of ballroom dancers: recreational (n = 32) and competitive (n = 38) dancers doing ordinary training and competitive dancers taking part in a dance competition (n = 35). We observed a moderately positive change in recreational dancers doing ordinary training; they reported higher energetic arousal (EA) and hedonic tone (HT) and lower tense arousal (TA) after dance activity. In comparison dancers taking part in a competition were higher on TA before dancing and felt less pleasure after dancing than recreational and competitive dancers doing ordinary training; HT, TA and EA moderately decreased during competition. In general, the current study suggests that dance can elicit changes in mood; however, situational context has to be taken into consideration when explaining the influence of dance on mood.     

Physiological efficiency of constant power output at varying pedal rates

Abstract

The study investigated the absolute and relative (% maximal) physiological demands of constant power output at three pedal rates chosen to incorporate the range used by racing cyclists. Following the assessment of maximal exercise capabilities utilizing a recently developed racing cycle ergometry system, ten highly trained racing cyclists undertook a randomized sequence of work bouts at low (70.0 ± 1.1), medium (94.8 ± 0.8) and high (126.5 ± 1.1) pedal rates per minute at constant power output under an unloaded (free wheel) condition and under a loaded (196.2 ± 8.0 W) condition which demanded approximately 75% VO₂ max. In both the unloaded and loaded conditions absolute cardiorespiratory demands of work at the highest pedal rate were significantly higher than those at the low and medium pedal rates (P<0.05). Similarly, the relative (% max) cardiorespiratory demands of unloaded work at the highest pedalling rate were significantly greater that at low and medium pedal rates (P < 0.05). There were clear, but nonsignificant trends of elevated relative cardiorespiratory demands during loaded work at the highest pedal rate, compared with low and medium pedal rates. Furthermore, net muscular efficiency demonstrated a significant decline (P<0.01) at the highest pedalling rate (21.2%) compared with the medium (24.0%) and low (25.6%) pedalling rates, confirming that metabolic economy of constant power output declined with increased pedalling rate under simulated racing cycling conditions.     

黄安伦《序曲与舞曲I》“指-腕-肩-腕-指”的演奏处理

钢琴曲《序曲与舞曲》是黄安伦中期创作的代表性作品。笔者通过研究演奏中对“指-腕-肩-腕-指”的转换,探索对该作品音乐结构的宏观控制,以及更好地把握黄安伦钢琴作品的风格和特点。     

《高昌馆杂字》的入声

《高昌馆杂字》回鹘文汉文对音材料中的入声字分为两类,一类是没有入声韵尾的;另一类是回鹘文对音仍出现入声韵尾(-p,-t,-k)的,分析入声字的对音情况,讨论证明当时的汉语共同语入声并未完全消失,为研究15世纪汉语入声的演变提供新资料。     

谈谈“怨女”

随着"痴男怨女"怨女旷夫"等词在人们的日常生活中的广泛使用,不少人往往望文生义,受"怨"字常用义——"哀怨、怨恨"的误导,把"怨女"理解为"哀怨、怨恨的女性",把"怨"读为"yuàn"。其实,"怨女"中的"怨"不是"哀怨、怨恨"之义,而是一个通假字,通"蕴",读为"yùn",是"蕴藏、蓄积"的意思。所以,"怨女"是指"已到婚龄而无合适配偶的女子"。     

董桥语言与董桥风格

董桥的散文多短章小品 ,但其行文翩翩然 ,逸致栩栩然 ,意蕴丰富 ,满纸烟霞 ,风格非常独特。董桥的语言是形成董桥风格的关键要素。他善喻善引 ,修辞极个性化。董桥又以其富有古典特征和文化特征的话语系统构成文章的庄重基调 ,并用幽默谐趣的语言去化解那份书生气 ,使文章清丽雅致又智慧洒脱。     

南京方言声调的若干问题

南京方言的两字组有五种常见的连读变调现象 ;上声字儿化以后声调读如阳平 ,“菊花脑”读如“菊花劳”之类现象可能是儿化变调的残迹 ;修饰亲属称谓名词的单数人称代词定语有读如阳平的变调情况 ;轻声与有些连读变调、声调组合会出现较多的交叉音位现象 ;南京话的入声的特色是“高”和“紧” ,南京话在稳定地保持着入声这一调类的同时也具有向普通话靠拢的具体表现。