查询词典 musical

The four movement bends are all basedon the classical formal structure, and fuse more than two principles of musical formwhich make out the commixture musical form of Prokofievs characteristic.

全曲四个乐章均以古典曲式的结构框架为基础，并将两种以上的结构原则加以结合，从而形成具有普罗科菲耶夫特色的混合曲式。

A musical composition consisting of a series of songs or other musical pieces from various sources.

一个音乐作品由一系列歌或者各种各样来源的其他音乐片段组成。

The motet, one of the most important musical form of the high Middle Ages and Renaissance, developed initially during the Notre Dame period out of the clausula , especially the forms: clausulae, which were melismatic sections of organa extracted and fitted with new words and further musical elaboration; conductus , which was a song for one or more voices to be sung rhythmically, most likely in a procession of some sort; and tropes, which were rearrangements of older chants with new words and sometimes new music. All of these genres save one were based upon chant; that is, one of the voies,(usually three, though sometimes four) nearly always the lowest sung a chant melody, though with freely composed note-lengths, over which the other voices sang organum.

所有这些形式都保留一个共同点，那就是它们的发展都基于圣咏，也就是说，几乎总是在最低声部的男高音（通常是3到4个人）演唱圣咏，伴随着这自由沉着的长音，其他人在高声部演唱奥尔加农。

Laurence Cummings, the musical director of the London Handel Festival, suggests multiple causes: more research into period performance that has led to more historically informed playing with smaller musical forces and a clearer, purer sound; the rise of the countertenor, the modern equivalent of the castrato without the unacceptable job requirements; even the growth of the recording industry, always on the lookout for new gems.

劳伦斯·卡名斯，伦敦韩德尔音乐节的音乐总监，道出了其中多方面的原因：对不同时期表演的深入研究导致了更多虽然音乐表现力较弱，但有着更纯粹声音的兼具历史特征的作品的出现；上男高音的崛起代替了原来的阉唱男高音，而且上男高音还不必接受阉唱男高音所必须的令人难以忍受的职业要求；甚至不断成长的音像工业也在一直寻求着新的音乐珍宝。

This paper takes the musical practitioners in modern China as an object of research, tries to analyze the social roles of three kinds of musical practitioners that appear in different periods and different cultural context in Chinese society, with the theory from sociology and ethnomusicology.

本论文以近现代中国音乐从业者为研究对象，尝试从社会学关于"社会角色"研究的角度，对中国社会不同历史时期、不同文化语境下出现的三种音乐从业者的社会角色进行研究。

With the viewpoint of musical ethnomusicology to study the musical symbol, it is proved to possess the features of symbolism, thinking and founctions.

从音乐人类学视角去研究音乐符号，音乐符号被证明具有象征、思维、功能等特征。

The five-year old toddler who made his first appearance in public playing four-hand piano marches together with his father, has grown into a musical centipede and a musical globetrotter.

一个和父亲一起，首次公开演出四手联奏钢琴进行曲的5岁孩童，已经成长成一名音乐多面手和音乐世界旅行家。

The duty of the drame and the music which was give by the subject was accomplished by three elements used in this dissertation as following:the musical theme"La Roi S'amuse"(from the opera"Rigoletto")was the center clue;the forming precess of the three main characters (Rigoletto、Duke and Gilda)was the major may to interprete the drama subject; meanwhile, their own Arias were used to rebuild the musical figures; and the chorus between each of them was the main means to put forward the plot of the drama.

本论文以歌剧《黎戈莱托》的主题"诅咒"作为主轴线，以歌剧中三个主人公(黎戈莱托、曼图阿公爵、黎戈莱托的女儿吉尔达)在歌剧中各自音乐形象的塑造过程作为对歌剧主题诠译的主要手段，同时又以他们各自在歌剧中的咏叹调作为塑造音乐形象的主要方式，以他们相互之间的合唱作为歌剧情节向前发展的重要方式，从而完成歌剧主题所赋予的戏剧任务和音乐任务。

The dramatist and musical characters and the perfect combine between music and drama are the purports. The thesis is divided into three parts: the preface, four chapters and the conclusion. In the preface it is explained that what in this thesis is expounded and what kinds of study about the opera there are in Chinese and in the other area of the world. The first chapter is a summary about Gounod and his"Faust", which is the typical work in lyric operas. In the second chapter analysis on drama, the character and figures of the roles in the opera is made, and the characteristic of the plot ,the creation of opera and framework is put together. In the third chapter the music in the opera is studied, and the characteristics are put together on the base of particular analysis on typical passage of aria chorus ensemble. In the last chapter, perfect combine between drama and music is presented by study on Faust's character and psychology,and it is discussed that music implied the plot. And the conclusion is a whole comment of the opera and it's musical characteristics

更多论述。全文由引言、四个章节、结论等几个部分组成：引言是关于论文的选题、国内外研究现状的陈述，指明笔者选题的意义以及国内外学者对此课题的研究程度；第一章是对抒情歌剧作曲家古诺以及抒情歌剧的典范之作《浮士德》的一个总体上的概述；第二章从人物性格与戏剧情节、戏剧结构、戏剧创作等方面对歌剧《浮士德》进行分析，归纳其戏剧特点；第三章是对歌剧《浮士德》音乐特点的研究，通过对咏叹调类、重唱类、合唱类唱段中有代表性唱段的具体分析，总结其在音乐创作方面的主要特点；第四章从音乐刻画人物的性格与心理、音乐暗示戏剧情节的发展等方面，论述了歌剧《浮士德》在戏剧与音乐方面的完美结合；结论是对歌剧《浮士德》的整体论析。

As the form of musical diary, Grieg' s "Lyric Pieces" recorded his composing career during the 37 years and revealed the basic clue of the changes in the style of his musical works.

格里格的《钢琴抒情小品》是以音乐日记的形式，记录了他37年间的创作生涯，反映出作曲家音乐创作风格的发展变化过程的基本线索。

But in the course of internationalization, they meet with misunderstanding and puzzlement.

许多企业已经意识到了这一点，但在国际化的进程中，仍存在一些误区与困惑。

Inorder toaccomplish this goal as quickly as possible, we'll beteamingup with anexperienced group of modelers, skinners, and animatorswhosenames willbe announced in the coming weeks.

为了尽快实现这个目标，我们在未来数周内将公布与一些有经验的模型、皮肤、动画制作小组合作。