情绪对创造性思维的影响:认知风格的调节作用

通过对214名大学生施测镶嵌图形测验,筛选出场独立型和场依存型被试各45人,通过自传体回忆方法分别诱发被试的高兴、愤怒和中性情绪,探讨情绪对创造性思维的影响,以及认知风格在情绪与创造性思维之间是否存在调节作用.结果发现:高兴和愤怒情绪均对创造性思维有促进作用,认知风格在情绪和创造性思维之间起调节作用,具体表现为对于场独立型被试,愤怒情绪促进思维的流畅性、灵活性和独创性;对于场依存型被试,高兴情绪促进思维的流畅性、灵活性和独创性.     

论峡江地区“烧龙”与“烧畬”的区别和联系

唐宋时期峡江地区“击鼓焚山”的民俗活动是远古时代尚巫之风的残存,其目的是为烧龙祈雨以禳除旱灾;而“烧畬下种”则是自远古“刀耕火种”传承下来的一门农耕技术,但由于“占卜伺雨”的仪式亦使它带上了一些巫风色彩。二者既有明显的区别又有一定的联系。     

教师良好情绪对学生学习效果的影响

在课堂教学中，教师良好的情绪往往能产生说教及语言无法替代的感染效应。它不仅能缩短师生问的距离，创造和谐、融洽氛围，更重要的是激发学生的学习兴趣，启发学生思维，强化学生注意的稳定性与长久性，从而促进学生学习效果。     

Comparisons of pharynx, source, formant, and pressure characteristics in operatic and musical theatre singing

Belting, a vocal technique typically cultivated in musical theatre singing, differs timbrally from operatic singing in many interesting respects. The underlying phonatory differences have not been previously investigated in detail. Yet, belting is frequently associated with disturbances of voice function. Articulatory and phonatory characteristics are investigated in a female subject who is a professional singer (co-author JL) trained in both the operatic and belting styles and in an intermediate vocal technique (“mixed”). This article presents data obtained from this subject by video-fiberoptic observation of the pharynx, inverse filtering of airflow, and measurement of subglottal pressure. The results reveal that belting was characterized by very high subglottal pressures and sound levels, and apparently also by a comparatively high degree of glottal adduction. Comparisons with other investigations of related aspects of belting and operatic singing support the assumption that the data obtained from our subject are representative for these vocal techniques.     

Analysis and modelling of overtone singing in the sygyt style

Overtone singing, also called biphonic singing, xöömij or chant diphonique in french; is a special singing style that exhibits two or more separate sounds - one “drone” sound of relatively low pitch and one or more high pitch melody sounds. The perceived pitches of the upper tones are multiples of the drone sound, i.e. taken from its overtone scale. Compared to voiced sounds of western style singers, the relative amplitude of the melody pitches is quite high, and the formant bandwidth of overtone sounds is small. This paper tries to answer the question of how these formant properties are achieved. Experimental investigations and numerical calculations prove the existence of two closely neighboured formants for the production of the melody sound in the sygyt style.     

科技英、俄语虚拟语气的简要比较

本文就科技英语和科技俄语的虚拟语气进行了简要对比。     

论歌唱审美艺术实践

在歌唱审美活动中，歌曲创作、歌曲演唱和歌曲欣赏是其审美实践的三大环节。这里将歌曲创作称为歌唱审美活动的一度创作，歌曲演唱成为二度创作，歌曲欣赏称为三度创作。     

男童声乐教学现象透析

许多大学音乐系里男声奇缺,男女声严重失衡。究其原因,是因为小学、初中阶段的男声缺乏正确的引导和科学发声方法的训练,从而使他们失去了对歌唱的兴趣,甚至畏惧唱歌。歌唱教学如果放弃了占学生总数二分之一的男生,这无疑是音乐教育的失败。     

试评王维《送别》英译文的人际功能

运用韩礼德的系统功能语言学的人际纯理功能理论对王雏的《送别》一诗和它的四种英译文作初步的探讨,从中可以看出,语气,交际角色以及时态均具有人际意义。在检验系统功能语言学在诗歌分析中的可操作性和可运用性的同时,对于翻译问题也提出了一些疑义和看法。     

论“武王伐纣”战役中的巴、蜀之师

约公元前1066年的西方周族，在经过先前周文王的苦心经营后，由一个蕞尔小邦发展成拥有数十万大军的强国，为灭殷帝国打下了坚实的基础。武王继位，在孟津观兵之后二年，这时期的周族已在政治上，军事上都取得了能与殷帝国抗衡的优势后，从而发动了我国历史上著名的“牧野之战”（即“武王伐纣”之战）。当时跟随周方参战中的巴、蜀二国不仅参战人数众，而且还是周方作战的先头部队，在大决战的关键时刻，巴蜀之师以威武。勇猛之气势压到了对方。