壮族情歌,Zhuang love songs
1)Zhuang love songs壮族情歌
1.The "demonization"ofZhuang love songs in various historical periods reflected the cultural needs and political needs of the mainstream of society as well as the social ideology and social control model at that time.壮族情歌被"妖魔化"主要有三个时期:明清时期、民国时期、文革时期。
英文短句/例句
1."Demonization" and "Romanticization":A Study of Zhuang Love Songs from the Perspective of the Other“妖魔化”与“浪漫化”:他者视域中的壮族情歌
2.Ge Xu(The folk Song festival) Complex--a survey on Ge Xu Culture of the Zhuang in Daxin County,Guangxi;歌圩情结——广西大新县壮族歌圩调查
3.Miserable Destiny of the Zhuang Women--Interpretation of Feminine Culture Study of Zhuang s Somber Sentimental Songs;壮族妇女的悲苦命运——壮族抒情悲歌的女性文化学解读
4.Zhuang nationality people are famous for their skills in singing and dancing and are good at expressing their feelings with singing, fairy singer Liu Sanjie is their representative of folk song culture.壮族人民素以能歌善舞著称，善于以歌来抒发思想感情，“歌仙”刘三姐便是他们山歌文化的代表。
5.New Research on Secrets of Succeeding Mountain Folk Songs of Zhuang Nationality;壮族山歌传承奥秘新探——以百色壮族山歌为例
6.Cultural Connotation of Zhuang s Liao Songs-Part Ⅴ of Cultural Research on Zhuang s Liao Songs;壮族《嘹歌》的文化内涵——壮族“嘹歌”文化研究之五
7.Women s Poetry of the Bai,Zhuang and Tujia Nationalitiesin Qing Dynasty and Their Poems;清代白族、壮族、土家族的妇女诗歌
8.Examples are Climbing Mount Jia and North-South Road Mountain Song of the Zhuang and the Butterfly Song of the yao.如壮族的"上甲山歌"、 "南北路山歌"，瑶族的"蝴蝶歌"等。
9.Liao Songs: Classic of Songs Culture About Zhuang Nationality--Part I of Cultural Research on Zhuang’s Liao Songs;《嘹歌》:壮族歌谣文化的经典——壮族《嘹歌》文化研究之一
10.Zhuang National Minority Liao Song Dike Culture and Esthetic Connotation Research;壮族嘹歌歌圩文化及其审美内涵研究
11.A Comparison of the Rhythmical Structures of Zhuang Ballads in China and Yue Ballads in Vietnam;壮族歌谣与越南越族歌谣韵律结构之比较
12.The inheritance and dissemination of Liao songs;壮族《嘹歌》的传承与传播研究——壮族《嘹歌》文化研究之七
13.The aesthetics value of art of Zhuang s Liao songs;论壮族《嘹歌》艺术的美学价值——壮族《嘹歌》文化研究之六
14.Analysis on the Cultural Center of Zhuang s Liao Songs--Part III of Research on the Culture of Zhuang s Liao Songs;关于壮族《嘹歌》文化中心地的探讨——壮族《嘹歌》文化研究之三
15.The Culture Inheritance Approval between Vietnamese High Hurdles Folk Song and Zhuang Nationality;越南高栏民歌与壮族文化的传承认同
16.On the Beauty of Meaning and Atmosphere in the Folk Songs of Zhuang Nationality;试论壮族民歌的“意”、“境“之美
17.Zhuang Ballads in the Perspective of Traditional Textual Culture;传统书写文化视野下的壮族歌谣习俗
18.A Survey of Current Inheritance Situation of Zhuang Folk Songs--A Case Study of Zhuanghuan Singers in Liucheng County壮族民歌传承现状调查与研究——以柳城县壮欢歌手为案例
相关短句/例句
Liaoge Songs of the Zhuang壮族嘹歌
3)Geyu custom of Zhuang壮族歌圩
1.Its survival until today relies onGeyu custom of Zhuang.坡芽歌书是用图画文字描写成的壮族传统民歌集,承传自远古的氏族部落时代,它之所以能够存活到现在,是因为有壮族歌圩这片广袤的沃土;坡芽歌书的发现,唤醒了壮民族的族群记忆,应当是我国珍贵的民族文化遗产。
4)mountain folk songs of Zhuang Nationality壮族山歌
5)Zhuang"s Liao songs壮族《嘹歌》
6)The Zhuang singers壮族歌师
延伸阅读
壮族三月三歌节壮族三月三歌节是壮族人民盛大的传统节日，因以唱歌为其活动的主要内容而得名。举办的时间各地不一而称呼也不尽相同。壮族歌圩之俗源远流长，文字记载始见于南朝，后历代均有史书述事，到了清代和民国时期，有关歌圩的图书记录更为翔实，歌圩的内容和形式与现代差不多。青年男女对唱山歌是歌圩的主要活动。对歌分组有男对男，女对女，男对女三种，以第三种最吸引人。每组起码有歌师一人，专司编歌之责；歌手2人以上，多可达10余人，专司引吭高歌（其中也有配音的）。若无歌师，歌手亦编亦唱，身兼二职。各地对歌的程序大同小异，常见的有游歌、相见歌、求歌、初交歌、深交歌、盘答歌、离别歌。歌圩期间，除对唱山歌外，还有抛绣球、碰蛋、抢花炮、打扁担、演壮剧、唱师公戏或唱采茶等项传统项目。现代歌圩还增加了物资交流、文娱体育比赛和经贸洽谈等活动。歌圩普遍流行于壮族地区，其中尤以红水河、左右江流域各壮族聚居地最为常见。百色、田东、田阳、平果、凌云、德保、靖西、天等、崇左、宁明、龙州、凭祥、马山、都安、大化、巴马等县（市、自治县）相当流行。每场歌圩人数多者可达数万。1983年广西壮族自治区人民政府作出决定，将每年农历三月三日定为壮族统一的民歌节。而南宁市的民歌节已发展为“国际民歌节”，常有国内外著名歌手参加，成了很有影响的大型民族欢歌盛典。（
