管弦乐

词组短语

orchestral music

与管弦乐相关的网络例句 [注：此内容来源于网络，仅供参考]

Samuel Barbers Essay for Orchestra and Adagio for Strings have been major titles in the repertory ever since.

事实证明，托斯卡尼尼是完全正确的，塞缪尔·巴伯的《管弦乐随笔》和《大提琴协奏曲》从那以后就成了业界的保留曲目。

Rossini inherited the brilliant tradition of Italian classical opera; chose typical characters and events in theme; Pursued its ampleness and showed conditions and conflicts in personalities; Adjusted the inne...

在继承意大利古典歌剧优秀传统的同时，在题材上选择典型的人物和事件，在人物塑造上力求丰满，表现个性冲突和矛盾；对歌剧的内部结构进行了合理的调整，改革了以往咏叹调和宣叙调交替出现，统领一部歌剧的现象；改变了歌唱家为了炫耀技巧而随意改动旋律声部，破坏剧作的统一和完整的现象；增加了重唱与合唱的分量；在歌剧管弦乐的表达上与剧作内容紧密结合，管弦乐为戏剧服务。

An arranger who writes for ''.

为管弦乐写曲的作者。

In this regard, the entire experience of visiting the project is an orchestrated sequence of participatory events - walking the 164-foot- long quarry passage, arriving at the underground social chambers built into the wine cellar, enjoying the company of friends at a spectacular long table, and contemplating views of the surrounding country that have been articulately framed by doorways and the longitudinal direction of the earth berm.

在这一方面，整个参观这项计画的经验，就像一段由所有参与的事件所串起的管弦乐章---包括：走在那164英尺长的采石场小路上、抵达盖在酒窖中的地下室交谊厅、在壮观的长桌旁享受朋友的陪伴，以及沈思著周围的乡村景观、看它们如何被门口以及earth berms所构成的经线勾勒出来。

The rhythmic proportion was an important precondition and foundation to the serialize rhythm and integral serialism later. The article analyzed Webern's two early compositions, the Six Orchestral Pieces, Op.6 (1909), and the Five Pieces for Orchestra, Op.10 (1913), both of them in the style of free atonality. From the relation principle of the rhythmic cell, the writer discussed Webern's way of organizing rhythm, technique of developing variate of rhythmic cell, as well as its score writing way, and summarized the Webern's early orchestral outputs rhythmic features and its impact on the rhythm style of the works in his later years.

文章以威伯恩早期自由无调性时期的两部管弦乐作品《六首管弦乐小品》Op.6和《五首管弦乐小品》Op.10为对象，从"节奏细胞"的形成以及关系原则着手进行剖析，挖掘、揭示作品中节奏的组织方式；并进一步用作品文本说明、论证节奏细胞的变值发展手法与节奏细胞的谱面组成方式；最后总结出威伯恩早期管弦乐作品中的节奏特征以及对作者晚期节奏风格产生的影响。

The various sections of the orchestra have to be kept in the right balance.

管弦乐队里的不同乐器之间必须保持恰倒好处的平衡。

This "soprano problem" was formally recognized at least as far back as 1843, when French composer Hector Berlioz wrote in his Treatise on Instrumentation that " should not be required to sing many words on high phrases, since this makes the pronunciation of syllables very difficult if not impossible."

这个"女高音问题"早在至少1843年就已经被认识到。当时法国作曲家埃克托·柏辽兹在他的《管弦乐法》中写道："不应该被要求在高音域演唱太多的歌词，因为这使得发音非常困难，甚至不可能。"

The most important among them are: opera The Devils of Loudun (1968-69), Utrenya (1970), cantata Cosmogonia (written in 1970 for the United Nations), De Natura Sonoris No.2 (1971), Canticum Canticorum Salomonis (1973), Magnificat (1973), his second stage work Paradise Lost, Te Deum (1979/80), Requiem (1984), opera The Black Mask(1986), opera King Ubu (1991), Benedicamus Domino (1992), Seven Gates of Jerusalem (1996), Credo (1998) besides six symphonies, two violin concertos, two cello concertos and a viola concerto and many chamber music works.

从60年代以来，潘德列茨基创作了大量作品，其中最重要的有合唱与管弦乐作品《最后审判日》、《乌特伦亚》、《宇宙演化》、《所罗门之歌》、《圣母颂》、《感恩赞》、《波兰安魂曲》、《耶路撒冷的七座门》，歌剧《劳敦的魔鬼》、《失乐园》、《黑面具》、《乌布王》，管弦乐《声音的性质》以及六部交响曲、两部小提琴协奏曲、两部大提琴协奏曲、中提琴协奏曲和大量室内乐作品。

The rhythmic proportion was an important precondition and foundation to the serialize rhythm and integral serialism later. The article analyzed Webern's two early compositions, the Six Orchestral Pieces, Op.6 (1909), and the Five Pieces for Orchestra, Op.10 (1913), both of them in the style of free atonality. From the relation principle of the rhythmic cell, the writer discussed Webern's way of organizing rhythm, technique of developing variate of rhythmic cell, as well as its score writing way, and summarized the Webern's early orchestral outputs rhythmic features and its impact on the rhythm style of the works in his later years.

文章以威伯恩早期自由无调性时期的两部管弦乐作品《六首管弦乐小品》Op.6和《五首管弦乐小品》Op.10为对象，从&节奏细胞&的形成以及关系原则着手进行剖析，挖掘、揭示作品中节奏的组织方式；并进一步用作品文本说明、论证节奏细胞的变值发展手法与节奏细胞的谱面组成方式；最后总结出威伯恩早期管弦乐作品中的节奏特征以及对作者晚期节奏风格产生的影响。

More than three years passed before he produced something he thought worthy of sending to Toscanini. Early in 1938 Barber reported to a friend that he was working day and night to finish an orchestral piece, probably his Essay for Orchestra, which he sent to Toscanini.

三年多后，他认为自己创作出了值得寄给托斯卡尼尼的作品。1938年初，巴伯告诉他的一位朋友，他正在夜以继日创作一部管弦乐作品，他指的可能就是他后来寄给托斯卡尼尼的《管弦乐随笔》。

与管弦乐相关的网络解释 [注：此内容来源于网络，仅供参考]

While the orchestra breathes fitfully：管弦乐时断时续,奏响

A play of hopes and fears, 一场希望和恐惧的表演, | While the orchestra breathes fitfully 管弦乐时断时续,奏响 | The music of the spheres. 天国的声音.

Bruce Fowler：管弦乐智慧

Trevor Morris : 音频工作站 程序员、技术顾问 | Bruce Fowler : 管弦乐智慧 | Alan Meyerson : 配乐录音师

Orchestral Harp：管弦乐的竖琴

Pizzicato Strings Pizzicato 串 | Orchestral Harp 管弦乐的竖琴 | String Ensemble 1 串全体 1

Honours Orchestra：管弦乐荣誉课程

Senior Orchestra 高级管弦乐 | Honours Orchestra 管弦乐荣誉课程 | Symphony Orchestra 交响乐团

Ladd McIntosh：管弦乐

Slamm Andrews : 音乐编辑 乐谱录制工程师 | Ladd McIntosh : 管弦乐 | Suzette Moriarty :管弦乐

orchestra：管弦乐

"交响乐"是一个有更广泛含义的概念,它包含了交响曲、协奏曲、交响诗、交响序曲等等由管弦乐队参与的音乐,它更接近于"管弦乐"(orchestra)这个概念. 而"交响曲"是交响乐之一种,它专指除协奏曲之外的多乐章大型套曲结构的管弦乐曲.

Orchestra Hit：管弦乐敲击齐奏

54 Synth Voice 合成人声 | 55 Orchestra Hit 管弦乐敲击齐奏 | 56 Trumpet 小号

Orchestra Hit：管弦乐敲击齐奏 铜管

54 Synth Voice 合成人声 | 55 Orchestra Hit 管弦乐敲击齐奏 铜管 | 56 Trumpet 小号

East West Quantum Leap：白金管弦乐 扩展

East West Quantum Leap 白金管弦乐 (19DVD) | East West Quantum Leap 白金管弦乐 扩展 (18DVD) | East West Symphonic Orchest 管弦乐黄金版 (4DVD)

East West Quantum Leap：白金管弦乐

East West Quantum Leap 白金管弦乐 (19DVD) | East West Quantum Leap 白金管弦乐 扩展 (18DVD) | East West Symphonic Orchest 管弦乐黄金版 (4DVD)