和声的

The fourth chapter is an analysis on the non-functional harmonic progress on eight aspects to dissertate. From lonely leading of melody composing to modal harmonic progress, the combine of bitonality and polytonality harmonic progress, the polyphonic harmonic progress and so on.

第四部分对斯特拉文斯基作品中非功能化的和声进行做了具体的分析与比较研究，从单线条的旋律构成到调式化的和声进行、双调性多调性的结合、复调化和声进行等八个方面予以分类论述。

The quality of note relation in semitone and chords sequence has been changed during the course of harmony chromaticism, and compared with the subordination status in classical harmony, they used more initiative in the modern music and contained more elements of chromatic tonality.

与在传统和声中次要位置相比，近现代音乐中的半音中音关系和弦连接的应用更为主动，也包含了更多的半音调性的因素，并且有了自己的概念与名称，不再是根音四、五度和声序进的附属，真正成为了一种独立的和声序进。

Secondly, in terms of the dynamic development of harmony in chorus, this paper expounds harmony in chorus in different periods in the history of music: harmony in the structure of contrapuntus in the Renaissance chorus, harmony in contra-structure in Baroque chorus, harmony in chorus of the classical period, harmony in chromaticism the expansion of modes in the romantic period. These dynamic features of harmony display the principle of formal beauty in western chorus.

从合唱音乐的语言形式上看，作为美学特征的"和谐"表现在音程、和声、对位结构之中：从合唱音乐的历史发展上看，"和谐"则表现为文艺复兴时期对位结构中的"和谐"、巴洛克时期的对位与和声相结合中的"和谐"、古典主义时期的旋律与和声相结合的主调音乐中的"和谐"、浪漫主义时期半音化和声与扩张的调式中的"和谐"。

The quality of note relation in semitone and chords sequence has been changed during the course of harmony chromaticism, and compared with the subordination status in classical harmony, they used more initiative in the modern music and contained more elements of chromatic tonality. With its own conception and titles, not the pertain to the roots fourth or fifth chords sequence, the chromatic turned into a individual harmonic sequence itself.

与在传统和声中次要位置相比，近现代音乐中的半音中音关系和弦连接的应用更为主动，也包含了更多的半音调性的因素，并且有了自己的概念与名称，不再是根音四、五度和声序进的附属，真正成为了一种独立的和声序进。

This paper argues that Bartók s use of harmony and his musical style are close to modal harmony featuring Chinese traditional music and that his music deserves serious study in an effort to promote the nationalization of Chinese music.

在和声运用方面，为了突出匈牙利民族音乐特征，巴托克力图摆脱严谨的传统和声条框的束缚，探索新的和声表现手法，他将匈牙利民族调式和大小调体系有机的结合起来，在和弦构成的三度叠置原则、和弦外音的观念、调关系的理解、转调及扩展半音的方法等方面进行了突破与创新。

It's about the analysis of technique of harmony of the work. It mainly discusses the technique of harmony of twenty-four preludes. It includes the analysis of chord form, terminal chord, half-step chord, sustained note and modulation method.

最和声技法的分析是本文的主体部分，针对二十四首前奏曲的和声技法展开论述，以和弦形态、终止式、半音化的和声语言、持续音的偏爱和转调手法五大部分为出发点，力求多角度、全方位地对音乐作品进行分析和研究。

This article is based on the research of Mr. Li Yinghai"s monograph the modes of Music of the Han nationality and their harmony, his music composition and a series of his vocal music works, piano works. From the structure of the chord, the harmonic progression, the modes and tonality, texture composition style, the style of dealing with the skill and technique of national music sound simulation, etc. the author expounds Mr. Li Yinghai"s great achievement and his precious experience on academic research and application on national mode harmony in detail.1. Music composition should regard nationalitys traditional music as foundation, and at the same time use European traditional skill and technique of music composition for reference, seek the harmony of traditional skill and technique, modern idea and national style. Only in this way could we promote research of the national music theory and creation of the national music.2. Theory stems from practice, guides practice again at the same time. And theory is developing, perfecting constantly in practice.

文章以黎英海先生的理论专著《汉族调式及其和声》以及他创作、改编的一系列声乐作品、钢琴作品为研究对象，从和弦结构、和声进行、调式调性、织体写法、间音处理手法、民族音乐音色模拟技法等方面详细论述了黎英海先生在民族调式和声理论的研究与应用上取得的丰硕成果与宝贵经验及其给我们的两点启示：1、音乐创作应以民族传统音乐为根基，以欧洲传统作曲技法为借鉴，努力探求音乐创作中传统技法、现代理念与民族风格的和谐统一，以此推动民族音乐理论的研究与民族音乐的创作。2、理论来源于实践，同时又指导实践，并在实践中不断发展、完善。

Furthermore, applying the deductive and comparative approach by the classification and organization of chord structure, harmonic progress and the tonality management in six chamber music. Stravinsky use pitches material on the basis of diatonic tone and pitch organizing principle on the basis of polytonality to form his unique harmonic language. Accordingly, we get the further understanding about Stravinskys precise and rational music creation style as well as his extraordinary arractive music language.

文章采用总结归纳和比较研究的方法，通过对六部室内乐作品在和弦结构、和声进行、调性处理等方面和声应用技术的梳理和分类，探讨斯特拉文斯基以自然音为音高基本材料，以多调性为音高组织原则而形成的独特和声语言，从而进一步理解斯特拉文斯基严谨、理性的创作风格以及个性化和极富魅力的音乐语言表达。

This text proceeded completely type the ratio distincts about the characteristic of photon and phnon, the mechanism of the creation of them, interaction regulation photon between electronics inside crystal and these of between phnon and photon , clarified the close contact of photon and phnon by using the interation regulation of photon and phnon incide crystal also.

对光子和声子的特点、光子和声子产生的机制、晶体中光子和电子相互作用规律及声子与电子相互作用规律，进行了全面的类比区别。并且利用晶体中光子和声子相互作用的规律，阐明了光子和声子的联系

It inherits the mode harmony in the floruit of Renaissance, and links the tonality harmony in the period of classicism, so it is the bridge between the two periods.

巴洛克音乐时期的一大贡献是拉莫的和声理论，它前承文艺复兴盛期的调式和声，后接古典主义时期的调性和声，成为连接这两个阶段的桥梁。

What are your goals and strategies for growth?

你的成长目标和策略是什么？

And unto the angel of the church in Sardis write; These things saith he that hath the seven irits of God, and the seven star I know thy works, that thou hast a name that thou livest, and art dead.

3：1 你要写信给撒狄教会的使者，说，那有神的七灵和七星的，说，我知道你的行为，按名你是活的，其实是死的。