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新疆素有“歌舞之乡”的美名,可能与古代此地盛产歌舞有很紧密的联系是分不开的。说到古代的胡舞,我们不能不把它和现在新疆的民间舞蹈联系起来,唐代《十部乐》中八部是西域舞蹈,其中三部是来自新疆的,这些胡舞这些千百年来在族群中自然传承,伴随着人类文明的进程流传至历了时代的变迁,有些精华慢慢渗透到新疆的各个地域中,形成了风格迥异、个性鲜明的本地域舞蹈。当今的维族民间舞蹈无论是在原生态舞蹈、剧目创作和教学上都继承和沿袭了古代胡舞的这些特点,保持了古代胡舞的异域情调和别具一格的风格特征。无论是维族的木卡姆、赛乃姆节奏型、麦西热普节奏型、那兹而库姆节奏型、手鼓舞等等都是从古代胡舞的节奏上继承和发展而来的。
Xinjiang is known as “song and dance town ” reputation, may be rich in ancient and modern song and dance are closely linked are inseparable. Speaking of the ancient dance of Hu, we can not but relate it to the folk dance in Xinjiang nowadays. Eight of the “Ten Music” in the Tang Dynasty were Western dance, three of which were from Xinjiang. In the process of human civilization, the process of human civilization spread to the vicissitudes of the times. Some of the essence has gradually infiltrated into various regions of Xinjiang and formed a local dance with a distinctive style and distinctive personality. Today’s Uygur folk dances inherit and follow the characteristics of the ancient Hu dance both in primitive dance, repertory creation and teaching, maintaining the exoticism and unique style of ancient Hu dance. Whether it is the Muqam Uyghur, Seymour rhythm type, Macy Geppe rhythm type, then the Qiemo rhythmic type, tambourine and so on are from the rhythm of ancient Hu dance inherited and developed.