中国古代音乐史_中央音乐学院

{1}–课程 [7.83G]

{1}–第一讲华夏音乐文明的先声 [540.64M]

{1}–1.1鸣响中州的贾湖骨笛 [123.16M]

[1.1.1]–1.1鸣响中州的贾湖骨笛.mp4 [123.16M]

{2}–1.2文献中显露的先民音乐 [114.14M]

[1.2.1]–1.2文献中显露的先民音乐.mp4 [114.14M]

{3}–1.3出土乐器的情况与特点 [165.80M]

[1.3.1]–1.3出土乐器的情况与特点.mp4 [165.80M]

{4}–1.4夏及早商音乐的朦胧面貌 [137.54M]

[1.4.1]–1.4夏及早商音乐的朦胧面貌.mp4 [137.54M]

{10}–第十讲戏曲音乐的兴盛与演化 [661.81M]

{1}–1.明清音乐文化的特点 [169.31M]

[10.1.1]–1.明清音乐文化的特点.mp4 [169.31M]

{2}–2.明代戏曲声腔的演化 [221.30M]

[10.2.1]–2.明代戏曲声腔的演化.mp4 [221.30M]

{3}–3.明清之际及清代前期的昆曲艺术 [138.39M]

[10.3.1]–3.明清之际及清代前期的昆曲艺术.mp4 [138.39M]

{4}–4.乱弹时期及京剧的形成 [132.81M]

[10.4.1]–4.乱弹时期及京剧的形成.mp4 [132.81M]

{11}–第十一讲中国传统音乐结构的基本定型 [727.19M]

{1}–1.宫廷音乐机构及雅乐 [118.77M]

[11.1.1]–1.宫廷音乐机构及雅乐.mp4 [118.77M]

{2}–2.俗曲、歌舞与说唱艺术 [162.92M]

[11.2.1]–2.俗曲、歌舞与说唱艺术.mp4 [162.92M]

{3}–3.乐器与各类器乐艺术 [153.52M]

[11.3.1]–3.乐器与各类器乐艺术.mp4 [153.52M]

{4}–4.朱载堉的音乐贡献 [147.29M]

[11.4.1]–4.朱载堉的音乐贡献.mp4 [147.29M]

{5}–5.音乐理论成果及曲谱刊刻 [144.70M]

[11.5.1]–5.音乐理论成果及曲谱刊刻.mp4 [144.70M]

{12}–第十二讲清代晚期的中国音乐 [674.40M]

{1}–1.戏曲等传统音乐的延续 [179.60M]

[12.1.1]–1.戏曲等传统音乐的延续.mp4 [179.60M]

{2}–2.音乐家与音乐理论所蕴蓄的深刻变革 [117.29M]

[12.2.1]–2.音乐家与音乐理论所蕴蓄的深刻变革.mp4 [117.29M]

{3}–3.中外音乐交流的转向 [182.71M]

[12.3.1]–3.中外音乐交流的转向.mp4 [182.71M]

{4}–4.中国音乐再次转型 [194.79M]

[12.4.1]–4.中国音乐再次转型.mp4 [194.79M]

{13}–期末考试 [0.00K]

{2}–第二讲礼与乐的相遇相融 [686.11M]

{1}–2.1晚商时期的出土乐器及音乐风格 [221.36M]

[2.1.1]–2.1晚商时期的出土乐器及音乐风格.mp4 [221.36M]

{2}–2.2西周礼乐制度及钟磬乐悬的应用 [148.53M]

[2.2.1]–2.2西周礼乐制度及钟磬乐悬的应用.mp4 [148.53M]

{3}–2.3周代大司乐的构成与职责 [136.34M]

[2.3.1]–2.3周代大司乐的构成与职责.mp4 [136.34M]

{4}–2.4周代乐器的丰富与乐律理论的初起 [179.89M]

[2.4.1]–2.4周代乐器的丰富与乐律理论的初起.mp4 [179.89M]

{3}–第三讲多彩纷呈的春秋战国音乐 [777.82M]

{1}–3.1礼崩乐坏的发生 [154.84M]

[3.1.1]–3.1礼崩乐坏的发生.mp4 [154.84M]

{2}–3.2孔子及其音乐贡献 [152.58M]

[3.2.1]–3.2孔子及其音乐贡献.mp4 [152.58M]

{3}–3.3民间音乐的繁盛 [133.57M]

[3.3.1]–3.3民间音乐的繁盛.mp4 [133.57M]

{4}–3.4曾侯乙墓的出土乐器 [167.55M]

[3.4.1]–3.4曾侯乙墓的出土乐器.mp4 [167.55M]

{5}–3.5音乐理论领域的成就 [169.29M]

[3.5.1]–3.5音乐理论领域的成就.mp4 [169.29M]

{4}–第四讲秦汉音乐的转型 [672.74M]

{1}–4.1汉初对礼乐的延续 [144.26M]

[4.1.1]–4.1汉初对礼乐的延续.mp4 [144.26M]

{2}–4.2乐府及其音乐活动 [121.31M]

[4.2.1]–4.2乐府及其音乐活动.mp4 [121.31M]

{3}–4.3鼓吹乐与相和乐的发生发展 [138.45M]

[4.3.1]–4.3鼓吹乐与相和乐的发生发展.mp4 [138.45M]

{4}–4.4文人音乐呈现的面貌 [107.37M]

[4.4.1]–4.4文人音乐呈现的面貌.mp4 [107.37M]

{5}–4.5乐律理论与音乐思想 [161.35M]

[4.5.1]–4.5乐律理论与音乐思想.mp4 [161.35M]

{5}–第五讲魏晋南北朝的多元音乐共生 [649.58M]

{1}–5.1华夏固有音乐的发展 [110.84M]

[5.1.1]–5.1华夏固有音乐的发展.mp4 [110.84M]

{2}–5.2文人音乐及其理论 [159.75M]

[5.2.1]–5.2文人音乐及其理论.mp4 [159.75M]

{3}–5.3乐律理论的收获 [124.10M]

[5.3.1]–5.3乐律理论的收获.mp4 [124.10M]

{4}–5.4西域音乐风靡中原 [131.89M]

[5.4.1]–5.4西域音乐风靡中原.mp4 [131.89M]

{5}–5.5歌舞俳优及其西域因素 [122.99M]

[5.5.1]–5.5歌舞俳优及其西域因素.mp4 [122.99M]

{6}–第六讲隋唐宫廷中的音乐 [579.78M]

{1}–6.1燕乐及其相关话题 [126.07M]

[6.1.1]–6.1燕乐及其相关话题.mp4 [126.07M]

{2}–6.2宫廷乐部的更易 [159.55M]

[6.2.1]–6.2宫廷乐部的更易.mp4 [159.55M]

{3}–6.3音乐机构的组成与职能 [119.48M]

[6.3.1]–6.3音乐机构的组成与职能.mp4 [119.48M]

{4}–6.4雅乐理念之差异 [66.95M]

[6.4.1]–6.4雅乐理念之差异.mp4 [66.95M]

{5}–6.5与音乐相关的制度 [107.73M]

[6.5.1]–6.5与音乐相关的制度.mp4 [107.73M]

{7}–第七讲隋唐音乐多彩的另一面 [656.72M]

{1}–1.音乐体裁与主要作品 [163.19M]

[7.1.1]–1.音乐体裁与主要作品.mp4 [163.19M]

{2}–2.宫调理论和记谱法 [147.59M]

[7.2.1]–2.宫调理论和记谱法.mp4 [147.59M]

{3}–3.中外音乐文化交流 [75.48M]

[7.3.1]–3.中外音乐文化交流.mp4 [75.48M]

{4}–4.音乐家的才华与贡献 [155.31M]

[7.4.1]–4.音乐家的才华与贡献.mp4 [155.31M]

{5}–5.音乐理论成果与著述 [115.15M]

[7.5.1]–5.音乐理论成果与著述.mp4 [115.15M]

{8}–第八讲俗乐时代的来临 [600.22M]

{1}–1.宋代音乐的转型及其缘由 [78.14M]

[8.1.1]–1.宋代音乐的转型及其缘由.mp4 [78.14M]

{2}–2.音乐机构及俗乐演出场所 [145.57M]

[8.2.1]–2.音乐机构及俗乐演出场所.mp4 [145.57M]

{3}–3.形式多样的说唱音乐 [125.50M]

[8.3.1]–3.形式多样的说唱音乐.mp4 [125.50M]

{4}–4.宋代杂剧和南戏 [117.79M]

[8.4.1]–4.宋代杂剧和南戏.mp4 [117.79M]

{5}–5.元杂剧艺术与剧作家 [133.23M]

[8.5.1]–5.元杂剧艺术与剧作家.mp4 [133.23M]

{9}–第九讲宋元音乐在多领域的成就 [792.40M]

{1}–1.文人音乐的表现 [179.75M]

[9.1.1]–1.文人音乐的表现.mp4 [179.75M]

{2}–2.宋元时期的曲子与散曲 [143.76M]

[9.2.1]–2.宋元时期的曲子与散曲.mp4 [143.76M]

{3}–3.乐器与器乐 [169.97M]

[9.3.1]–3.乐器与器乐.mp4 [169.97M]

{4}–4.其他民族与地区的音乐及其交流 [157.90M]

[9.4.1]–4.其他民族与地区的音乐及其交流.mp4 [157.90M]

{5}–5.宋元时期的音乐理论成果 [141.02M]

[9.5.1]–5.宋元时期的音乐理论成果.mp4 [141.02M]

dpl_pyjun [11.01K]

播放列表.dpl [11.01K]

修复播放列表.bat [0.17K]