民间音乐

Key: The scope of intangible cultural heritage covers: poems, fairy tales, epics, s tories, legends and proverbs that have been spread orally among people for a l ong time; folk performing arts like traditional music, dance, drama, quyi, acr obatics, puppet show, shadow play, etc.; folk practices like rituals, festival s, sports, competitions, production related and life related customs; folk tra ditional knowledge and practices related to nature and the universe; tradition al handcraft skills; and cultural space related to the above-mentioned express ions.

非物质文化遗产涵盖范围包括在民间长期口耳相传的诗歌、神话、史诗、故事、传说、谣谚；传统的音乐、舞蹈、戏剧、曲艺、杂技、木偶、皮影等民间表演艺术；广大民众世代传承的人生礼仪、岁时活动、节日庆典、民间体育和竞技，以及有关生产、生活的其他习俗；有关自然界和宇宙的民间传统知识和实践；传统的手工艺技能；与上述文化表现形式相关的文化场所等。

His major works and commissions include: ' Three Temperaments , for Big Choir ' (1986), ' Counterpoint of Times , for woodwind septet ' (1989), ' Wild Children , for mixed Chamber Ensemble ' (1993), ' Overture , for solo Chinese bass drum and Chinese winds and percussion band ' (1994), ' Intonation , for chamber orchestra ' (1990-1994), ' Flavour of Bashu , for two violins, piano and percussion ' (1995), ' Pole , for solo Chinese Yun-luo, Chinese pai-gu and Chinese bass drum with six percussionists ' (1996),commissioned by Japan Asian Percussion Ensemble, ' Symphonic Prelude --- Bashu Capriccio' (1996), 'The Song Without Words , for solo percussion ' (1997), commissioned by the Ministry of Culture of Japan, Japanese Contemporary Music Association, and Japanese Embassy in China,'Illusions of the Symphonic Stage of Tang Dynast y , for orchestra of Tang Dynasty, percussion, voices and a big choir '(1999), commissioned by Japanese No Music Guanshiliu Green Spring Association, Chinese Music Research Center in Japan, Japanese Asian Percussion Ensemble and Japanese-Chinese Cultural Exchange Association,'The Prospect of Colored Desert , for violin, cello, sheng, pipa and percussion '(2000),commissioned by Yo-Yo Ma, Silk Road Project Inc. of the U.S., Sony Record,'Three Movements of Autumn , for small Chinese instruments ensembl e'(2000) and ' Sound Games , for 5 Chinese Percussion Instruments Players ' (2000-01), commissioned by La Cité de la Musique, Paris "2000 Chinese Classical Music Series", ' Fusion I , for Mixed Chamber Ensemble ' (2002), commissioned by Holland New Ensemble and Atlas Ensemble, ' Fusion II , Concerto for Solo Chinese Percussion and Orch.' (2002), commissioned by Japanese–Chinese Committee of Friendship and Public Music Performance, and ' Fusion III , for Irish flute, accordion, bodhran, Chinese sheng, zheng, Percussion and 13 Strings with Chamber Choir.' (2003-04), commissioned by China-Ireland Exchange Program, ' The Three Images from Washing Painting , for chamber ensemble of 17 players '(2005) commissioned by the New Juilliard Ensemble for the special concert of the Juilliard Centennial and sponsored by Asian Cultural Council and the Guggenheim Partnership and 'The Butterfly Dream', new 7 scenes Opera inspired by KUN QU' (2007) commissioned by the Contemporary Legend Theatre, Taiwan etc.

主要作品及委约包括：《三种气质，无伴奏合唱》(1986)、《时间的对位，木管七重奏》（1989）、《野娃子，混合室内乐队与童声》(1993)、《对话，男声独唱，女高音，童声合唱团，混声合唱团与混合乐队》(1993-94)、《序鼓，独奏中国大鼓、排鼓、云锣与中国民间吹打乐队》（1994）、《吟，室内交响乐》（1990-1994）、《蜀韵，两支小提琴、钢琴与打击乐》（1995）、《极，独奏中国云锣、大鼓、排鼓与六位打击乐演奏家》（1996）、《巴蜀随想，交响序曲》（1996）、《无词歌，打击乐独奏》（1997）（日本国文化厅、日本现代音乐协会、日本国驻中国领事馆等联合委约）、《梦的交响舞台，唐代乐队，打击乐，人声与合唱团》（1999）（日本能乐观世流绿泉会、日本中国音乐勉强会、日本亚洲打击乐团、日中文化交流协会等联合委约）、《舞蹈组曲，大型管弦乐队》(1999)、《漠墨图，小提琴、大提琴、笙、琵琶与打击乐》（2000）（马友友、美国丝绸之路文化发展公司、日本Sony唱片等联合委约）、《秋三阕，9位中国乐器演奏家》（2000）、《响趣，5位中国打击乐器演奏家》（2000）（法国巴黎音乐城"2000中国古典音乐系列音乐会"委约）、《融I ，混合室内乐团》（2002）（荷兰 New Ensemble， Atlas Ensemble联合委约）、《融II ，打击乐协奏曲》（2002）（日本日中友好音乐公演委员会委约）、《融III ，爱尔兰笛子、手风琴、巴朗鼓，中国笙、筝，打击乐，13件弦乐器以及室内合唱团》（2003-04）（爱尔兰国家文化委员会、爱中2004文化交流年组委会委约）、《水墨画意三则，为17位演奏家的室内乐团》（2005）（美国朱丽亚音乐学院新室内乐团委约，美国亚洲文化基金会和美国古根海姆基金支助）及《梦蝶，七场新昆剧》（2007）等。

The melody mainly adapts traditional Uighur classical music, drawing on the experience of many life in addition to long and dance drama.Most of the Uyger drama peculiar to the nation. Have been adapted from folk stories and narrative poems among Uighurs and in the mid-Asian area. And combined with poems, song, dance and drama. The masterworks are 《Airef and Synime》《Lyli and Miji long》 and《SherUin》.

维吾尔剧是地方戏曲剧种，其艺术形式以民族音乐、歌舞为主，兼容有诗歌、宾白等表演艺术，音乐曲调大多采用维吾尔族传统古典音乐《十二木卡姆》和民间歌曲、乐曲，借鉴了维吾尔民间文艺娱乐形式"麦西莱甫"及我国兄弟民族歌舞戏剧的表演形式，维吾尔剧的剧目大多由维吾尔族和中亚地区的民间传说故事和叙事长诗所改编，具有鲜明的民族特点，诗、歌、舞、戏融为一炉，其代表作有《艾里甫与赛乃姆》、《帕尔哈特与西琳》、《莱丽与麦吉侬》等，《艾里甫与赛乃姆》原是一个古老的维吾尔民间传说。

You see that especially the pro-" and a "two-Taiwan" for the music tone, and in the narrative part of Hebei and learned the folk music of the material;"a new look to the motherland," the use of the Xinjiang Uygur music, and in the cavity source Also cleverly Roujin the Yi people in Yunnan folk song tone;"a good example to learn from Lei Feng", while China is old and the new Song of the Song of the inheritance and development;"Tibetan children miss Premier Zhou is the Tibetan 〔〕 Langma Fujian Key Nanqu〕 things both clever combination of music .......

如《看见你们格外亲》，是以&二人台&的音乐为基调，而在叙事部分又汲取了河北民间说唱音乐的素材；《祖国一片新面貌》运用了新疆地区维吾尔音乐节奏，而在腔出处又巧妙地揉进了云南彝族民歌音调；《学习雷锋好榜样》，则是中国旧军歌与新军歌的继承和发展；《藏族儿女怀念周总理》是藏族〔朗玛〕与福建〔南曲〕东西两地音乐的巧妙结合……。

The melody mainly adapts traditional Uighur classical music, drawing on the experience of many life in addition to long and dance drama.Most of the Uyger drama peculiar to the nation. Have been adapted from folk stories and narrative poems among Uighurs and in the mid-Asian area. And combined with poems, song, dance and drama. The masterworks are 《Airef and Synime》《Lyli and Miji long》 and《SherUin》.

维吾尔剧是地方戏曲剧种，其艺术形式以民族音乐、歌舞为主，兼容有诗歌、宾白等表演艺术，音乐曲调大多采用维吾尔族传统古典音乐《十二木卡姆》和民间歌曲、乐曲，借鉴了维吾尔民间文艺娱乐形式&麦西莱甫&及我国兄弟民族歌舞戏剧的表演形式，维吾尔剧的剧目大多由维吾尔族和中亚地区的民间传说故事和叙事长诗所改编，具有鲜明的民族特点，诗、歌、舞、戏融为一炉，其代表作有《艾里甫与赛乃姆》、《帕尔哈特与西琳》、《莱丽与麦吉侬》等，《艾里甫与赛乃姆》原是一个古老的维吾尔民间传说。

His major works and commissions include: ' Three Temperaments , for Big Choir ' (1986), ' Counterpoint of Times , for woodwind septet ' (1989), ' Wild Children , for mixed Chamber Ensemble ' (1993), ' Overture , for solo Chinese bass drum and Chinese winds and percussion band ' (1994), ' Intonation , for chamber orchestra ' (1990-1994), ' Flavour of Bashu , for two violins, piano and percussion ' (1995), ' Pole , for solo Chinese Yun-luo, Chinese pai-gu and Chinese bass drum with six percussionists ' (1996),commissioned by Japan Asian Percussion Ensemble, ' Symphonic Prelude --- Bashu Capriccio' (1996), 'The Song Without Words , for solo percussion ' (1997), commissioned by the Ministry of Culture of Japan, Japanese Contemporary Music Association, and Japanese Embassy in China,'Illusions of the Symphonic Stage of Tang Dynast y , for orchestra of Tang Dynasty, percussion, voices and a big choir '(1999), commissioned by Japanese No Music Guanshiliu Green Spring Association, Chinese Music Research Center in Japan, Japanese Asian Percussion Ensemble and Japanese-Chinese Cultural Exchange Association,'The Prospect of Colored Desert , for violin, cello, sheng, pipa and percussion '(2000),commissioned by Yo-Yo Ma, Silk Road Project Inc. of the U.S., Sony Record,'Three Movements of Autumn , for small Chinese instruments ensembl e'(2000) and ' Sound Games , for 5 Chinese Percussion Instruments Players ' (2000-01), commissioned by La Cité de la Musique, Paris "2000 Chinese Classical Music Series", ' Fusion I , for Mixed Chamber Ensemble ' (2002), commissioned by Holland New Ensemble and Atlas Ensemble, ' Fusion II , Concerto for Solo Chinese Percussion and Orch.' (2002), commissioned by Japanese–Chinese Committee of Friendship and Public Music Performance, and ' Fusion III , for Irish flute, accordion, bodhran, Chinese sheng, zheng, Percussion and 13 Strings with Chamber Choir.' (2003-04), commissioned by China-Ireland Exchange Program, ' The Three Images from Washing Painting , for chamber ensemble of 17 players '(2005) commissioned by the New Juilliard Ensemble for the special concert of the Juilliard Centennial and sponsored by Asian Cultural Council and the Guggenheim Partnership and 'The Butterfly Dream', new 7 scenes Opera inspired by KUN QU' (2007) commissioned by the Contemporary Legend Theatre, Taiwan etc.

主要作品及委约包括：《三种气质，无伴奏合唱》(1986)、《时间的对位，木管七重奏》（1989）、《野娃子，混合室内乐队与童声》(1993)、《对话，男声独唱，女高音，童声合唱团，混声合唱团与混合乐队》(1993-94)、《序鼓，独奏中国大鼓、排鼓、云锣与中国民间吹打乐队》（1994）、《吟，室内交响乐》（1990-1994）、《蜀韵，两支小提琴、钢琴与打击乐》（1995）、《极，独奏中国云锣、大鼓、排鼓与六位打击乐演奏家》（1996）、《巴蜀随想，交响序曲》（1996）、《无词歌，打击乐独奏》（1997）（日本国文化厅、日本现代音乐协会、日本国驻中国领事馆等联合委约）、《梦的交响舞台，唐代乐队，打击乐，人声与合唱团》（1999）（日本能乐观世流绿泉会、日本中国音乐勉强会、日本亚洲打击乐团、日中文化交流协会等联合委约）、《舞蹈组曲，大型管弦乐队》(1999)、《漠墨图，小提琴、大提琴、笙、琵琶与打击乐》（2000）（马友友、美国丝绸之路文化发展公司、日本Sony唱片等联合委约）、《秋三阕，9位中国乐器演奏家》（2000）、《响趣，5位中国打击乐器演奏家》（2000）（法国巴黎音乐城&2000中国古典音乐系列音乐会&委约）、《融I ，混合室内乐团》（2002）（荷兰 New Ensemble， Atlas Ensemble联合委约）、《融II ，打击乐协奏曲》（2002）（日本日中友好音乐公演委员会委约）、《融III ，爱尔兰笛子、手风琴、巴朗鼓，中国笙、筝，打击乐，13件弦乐器以及室内合唱团》（2003-04）（爱尔兰国家文化委员会、爱中2004文化交流年组委会委约）、《水墨画意三则，为17位演奏家的室内乐团》（2005）（美国朱丽亚音乐学院新室内乐团委约，美国亚洲文化基金会和美国古根海姆基金支助）及《梦蝶，七场新昆剧》（2007）等。

Central America and parts of the Amazon basin Indians living in lowland areas; Mexico, Guatemala, the lives of aboriginal Andes; the Caribbean, Ecuador, Guyana, French Guinea, Venezuela, Colombia and Brazil, non-Northeast American, as well as scattered in South America speak Spanish and Portuguese immigrant, and their different but it is also controlled by the Latin American unity and the development of folk music.

中美洲部分地区和亚马逊河流域居住的低地印地安人；墨西哥、危地马拉、安第斯山脉生活的原住民；加勒比海地区、厄瓜多尔、圭亚那、法属几内亚、委内瑞拉、哥伦比亚和东北部巴西的非裔美洲人；以及分散于南美讲西班牙和葡萄牙语的移民后裔，他们不同的同时又是统一地把持了拉美民间音乐的发展。

She helped her father and brother, John and Alan Lomax, collect folk music.

她帮助自己的父亲和哥哥，John和Alan Lomax搜集民间音乐。

John Lomax developed an Archive of American Folk Song at the Library of Congress.

John Lomax编纂了一份美国民间音乐档案，保存在国会图书馆。

In the nineteen fifties Alan Lomax traveled to Europe where he collected folk music.

在19 50年代艾伦洛马克斯前往欧洲，他的民间音乐。

Plunder melds and run with this jewel!

掠夺melds和运行与此宝石！

My dream is to be a crazy growing tree and extend at the edge between the city and the forest.

此刻，也许正是在通往天国的路上，我体验着这白色的晕旋。