- 更多网络例句与音符相关的网络例句 [注：此内容来源于网络，仅供参考]
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It was in the opening decades of the next century that music felt in a tactus(think of the modern time signature) of two semibreves-to-a breve began to be as common as that with three semibreves-to-a-breve, as had prevailed prior to that time.
接下来的几十年是一个开放的年代，音乐开始在全音符-二全音符的tactus（对有现今拍子记号的观念了）技法运用运用普及上加快了步伐（开始是与三个全音符-二全音符取得同样普遍的要运用），这种运用在那段时期之前就占据了优势。
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In Franco's system, the relationship between a breve and a semibteves was equivalent to that between a breve and a long: and , since for him modus was always perfect, the temous of beat was also inherently perfect and therefore contained three semibreves.
这种新的风格清晰地体现在科隆的佛朗哥的研究中，在弗朗哥体系中，全音符与二全音符的关系等同于二全音符与longa的关系并且总是绝对的，节拍也是固有的，因此包含了3个全音符。
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By now, tactus was generally two semibreves per breve with three per breve used for special effects and climactic sections; this was a nearly exact reversal of the prevailing technique a century before.
直到现在，tactus技法都普遍用于每二全音符有2个全音符与每二全音符有3个全音符一起进行的为特殊效果和高潮段落的运用。
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It was in the opening decades of the next century that music felt in a tactus(think of the modern time signature) of two semibreves-to-a –breve began to be as common as that with three semibreves-to-a-breve, as had prevailed prior to that time.
$ J/ E l8 p# _8 }/ r《读者》杂志官方论坛，读者文章阅读交流——读者出版集团期刊论坛接下来的几十年是一个开放的年代，音乐开始在全音符-二全音符的tactus（对有现今拍子记号的观念了）技法运用运用普及上加快了步伐（开始是与三个全音符-二全音符取得同样普遍的要运用），这种运用在那段时期之前就占据了优势。
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Note values were generally larger than are in use today; the primary unit of beat was the semibreve, or whole note. As had been the case since the Ars Nova, there could be either two or three of these for each breve(a double-whole note), which may be looked on as equivalent to modern "measure", thought it was itself a note value and a measure is not.
音符时值通常都比当今我们使用的要大，节拍的主要单位是全音符，它从中世纪起就是节拍的主要单位，也许以现代节拍度量的标准来看，2个或者3个全音符构成一个二全音符，虽然它本身是一个音符时值和一个。
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It was in the opening decades of the next century that music felt in a tactus(think of the modern time signature) of two semibreves-to-a –breve began to be as common as that with three semibreves-to-a-breve, as had prevailed prior to that time.《读者》杂志官方论坛,读者文章阅读交流——读者出版集团期刊论坛1 f+ p;
接下来的几十年是一个开放的年代，音乐开始在全音符-二全音符的tactus（对有现今拍子记号的观念了）技法运用运用普及上加快了步伐（开始是与三个全音符-二全音符取得同样普遍的要运用），这种运用在那段时期之前就占据了优势。
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It was about 8 years ago. And we started from the notes. I thought the notes were too difficult to learn, because I couldn't make a difference of the minim and the crotchet.But my parents and my teacher were really great, they had patience to teach me how to partition them.
大约是在8年前，那节课讲的是音符，我当时觉得音符特别难学，因为我分不清二分音符和四分音符，但是我的父母和老师对我非常好，他们很耐心的教我如何分辨它们。
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B sign used to represent such a sound in a manuscript or in printed music音符: Quavers, crotchets and minims are three of the different lengths of note in written music.
八分音符、四分音符和二分音符在乐谱上是不同长度的三个音符。
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It is the subtle difference in the order of notes, an omission of a dissonant note, an emphasis on a particular note, the slide from one note to another, and the use of microtones together with other subtleties, that demarcate one raga from the other.
其微妙的差异在于放置音符的顺序，除去一个不和谐音符，或者强调一个特有音符，或从一个音符滑到另一个，和运用微分音等等的妙处，来划定一曲RAGA不同于另一曲。（按：偶看跟咱中国词牌和词律也差不多了。我有时候想想中国词曲也是依据格律即兴而为，词还保留了曲调已经不知道如何。
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The next development in musical notation were "heighted neumes", in which neumes were carefully placed at different heights in relation to each other. This allowed the neumes to roughly indicate the size of a given interval as well as the direction. This quickly led to one or two lines, each representing a particular note, being place on the music with all the neumes relating back to them. At first these lines had no particular meaning and instead had a letter placed at the beginning indicating which note was represented. However, slowly the lines indicating middle C, and the F a fifth below, became most common. Having at first been merely scratched on the parchment, the lines now were drawn in two different colorded ink: usually red for F, and yellow or green for C.
音乐记谱法的再一次新发展是heighted neumes，这种记谱法标识出音符之间的音高关系，这样就使得纽姆谱可以粗略并直接地标记出指定音程的增减，这样的标识方法导致了谱上一线或者二线的出现，每条线代表一个特定的音符，这个音符与纽姆谱中所有的音符的音程关系都能被标识出来，最初这些线并没有什么特殊的含义，反而会有一个字母被放在开始的位置表明代表哪个音符，渐渐的，线代表中央C或者比C低五度的F 变得最常用，这些一开始只不过在羊皮纸上刮出的线，开始用两种不同的颜色书写，红色代表F，黄线或者绿线代表C，以上的这些便是我们所知道的音乐记谱法发展的开端。
- 更多网络解释与音符相关的网络解释 [注：此内容来源于网络，仅供参考]
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La blanche：二分音符
La ronde 全音符 | La blanche 二分音符 | La noire 四分音符
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breve：二全音符
五线谱是当前国际上较通用的记谱法,二全音符(breve)是其中用来记录乐音及其时值长短的符号之一. 二全音符在古时西方乐谱中较为常用,现代已经比较少用.
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breve：短音符
杜飞是第一位使用假低音(Faux bourdon)技巧于经文歌中的作曲家:假低音是两象征主义(Symbolism)是杜飞经文歌的一大特色,例如他为佛罗伦斯主教座堂落成以七个短音符(Breve)或七个长音符(Long)而组成的乐句;此曲有两个没歌词的律出现四次,
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dotted crotchet：四分音符
minim 二分音符 | dotted crotchet 四分音符 | quaver 八分音符
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diaeresis：分音符
在比较古老的英语出版物里,也可代表含分音符(diaeresis)的字母O,例如:cordinate. 在这情况下,两者在读音上没有分别. 不过这种用法现时普遍已被连字号所取代,如:co-ordinate. 传统上,含分音符的O会在字母上加两点;
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whole note：全音符
1.可以制作出有八个谱表 (Staffs) 的乐谱, 乐谱的长度可达32768个小节 (measures),2.可以使用的音符种类包括全音符(whole note) 至1/32音符,3.可以使用的谱号种类有高音谱号 (Treble Clefs), 下中音谱号(Tenor Clefs),
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whole note：全音符,一个全音符的时值等于二个二分音符
Whistle 哨笛. 音色似口哨声的吹奏乐器. | Whole note 全音符,一个全音符的时值等于二个二分音符. | Whole rest 全休止符.
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Chatot：音符鸚鵡(音符鳥)
435 大毒鼬(瘴氣鼬) Skuntank | 441 音符鸚鵡(音符鳥) Chatot | 459 冰雪樹人(森林雪人) Snover#
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La triple croche：三十二分音符
La double croche 十六分音符 | La triple croche 三十二分音符 | La quadruple croche 六十四分音符
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La Ronde：全音符
La double ronde 二全音符,大音符 | La ronde 全音符 | La blanche 二分音符