有旋律的

Nevertheless,or exactly for that reason,it is the place that is still full of extreme neglect and even hostility toward the noise's aesthetic and political possibilities ,only the lives of every samll and minor activity that has its own aural qualities could not be accumulated and sustained here;the condition for listening to the sound of the collectives of the 'small poeple' and the 'tiny machines',under or maybe beyond the threshold of audibility ,dosesn't seem to be secured sufficiently.surely,this kind of problem is not confined in the particular locality like seoul,or south korea.anyway,this tension and the sense of the absence of condition,together,have been the main source of the two koren resident noise-making.

然而，或许更是因为，这是一个对噪音美学与政治的可能性充满轻蔑与敌视的地方，在这里，那些有自身听感氛围与质量的小众活动不能够集聚起来并很好的持续下去；对於那些倾心于此类音乐并集合在一起的"弱小个体"们和那些"微型机器"，必然是早就远离或超越了肤浅的旋律性和可听性的门槛，看起来并不能稳定地被安置，当然，此类问题不只被局限在一个小的局部，首尔，韩国，无论在哪，这一切产生的张力连同其状况本身，反复地显现在我们眼前，交织在一起，构成了两个韩国人创作原生噪音的来源。

With John Dunstable and other English composers, partly through the local technique of fabutden(an improvisatory process in which a chant melody and a written part predominantly in parallel sixths above it are ornamented by one sung in perfect fourths below the latter, and which later took hold on the continent as "fauxbordon"), the interval of the third emerges as an important musical development; because of the Contenance Angloise("English countenance"), English composers' music is often regarded as the first to sound less truly bizarre to modern, unschooled audiences.

随着John Dunstable和其他英国作曲家在一定程度上通过当地一种叫faburden的技法的运用（这是一种即兴的技法，运用于圣咏的旋律中，下方有一个主要是平行六度的部分，而它们又由一个低于下方的纯四度演唱装饰，这种后来影响了整个欧洲大陆的技法被称为fauxbordon），三度音程的出现成为一种重要的音乐发展，这是因为Contenance Angloise ("English countenance")--这种英国作曲家的音乐常常被未经教育的听众认为是一听上去就不古怪的音乐。

Even in his earlier works, such as Comus (1738), there is a distinction between his own melodic folk like style and the numbers in a more elevated Handelian expression, such as the exquisite air "Nor on beds of fading flowrs".

即使在他的早期作品，如灯台（1738），有一个从更高的Handelian表达自己的区别一样的风格和民间的数字旋律，如精美的空气&也对褪色flowrs床&。

Even in his earlier works, such as Comus (1738), there is a distinction between his own melodic folk like style and the numbers in a more elevated Handelian expression, such as the exquisite air "Nor on beds of fading flow'rs".

即使在他的早期作品，如灯台（1738），有一个从更高的Handelian表达自己的区别一样的风格和民间的数字旋律，如精美的空气&也对褪色flow'rs床&。

With John Dunstable and other English composers, partly through the local technique of fabutden(an improvisatory process in which a chant melody and a written part predominantly in parallel sixths above it are ornamented by one sung in perfect fourths below the latter, and which later took hold on the continent as "fauxbordon"), the interval of the third emerges as an important musical development; because of the Contenance Angloise("English countenance"), English composers' music is often regarded as the first to sound less truly bizarre to modern, unschooled audiences.

随着John Dunstable和其他英国作曲家在一定程度上通过当地一种叫faburden的技法的运用（这是一种即兴的技法，运用于圣咏的旋律中，下方有一个主要是平行六度的部分，而它们又由一个低于下方的纯四度演唱装饰，这种后来影响了整个欧洲大陆的技法被称为fauxbordon），三度音程的出现成为一种重要的音乐发展，这是因为Contenance Angloise (&English countenance&)--这种英国作曲家的音乐常常被未经教育的听众认为是一听上去就不古怪的音乐。

The first one and the eleventh one are concentrate to the tensibility of finger, the second one is famous of it"s fingering technique which is the typical fingering of Chopin, the third and six one are experience the layer of mufti voice parts, the fourth one is keenness which carries on by its speed and music the alone difficulty , the fifth one is the"black keyetude , harmonic innovate are visibly reflected at the seventh, the tenth and the eleventh one, humorousness is performance in the bass field in the eighth one, the ninth and the twelfth one are training stretching and running technique of left hand.

第一首与第十一首是针对手指的伸张技术；第二首是赋予了肖邦典型技术特征的指法；第三首与第六首是多声部织体的演奏；第四首是以其速度和音乐进行的尖锐性而独具难度；第五首是&黑键&练习曲；和声的创新手法在第七、第十以及第十一首里都有明显地体现；第八首最大的特点在于它用左手在低音区表现出谐谑式的旋律；第九首与第十二首在单纯手指技术上是分别训练左手的伸张及快速均匀的跑动。

Long hair, leather jacket, hole of jeans ……BE also, also not BE; Guitar, the shell department, drum ……BE also, also not BE; Elvis Presley, The Beatles, Bob Dylan, Nirvana ……BE also, also not BE;The impulse of young freedom, hormone, leave through the Pan way ……BE also, also not BE;Rhythm, lyrics, melody, dream, reality, felling, wild, believe in, strength, cut up rough ……BE also, also not BE;…… In fact these related association of thoughts be mutually just some forms, for the real rock'n roll culture, for hide to hide under these"external appearance"s of"pit", whether you has interest to understand or not?

长头发、皮夹克、破了洞的牛仔裤……也是，也不是；吉他、贝司、鼓……也是，也不是； Elvis Presley、The Beatles、Bob Dylan、Nirvana……也是，也不是；年轻的自由、荷尔蒙的冲动、离经叛道……也是，也不是；节奏、歌词、旋律、梦想、真实、感觉、狂野、信仰、力量、愤怒……也是，也不是；……其实这些相关的联想只是一些表相，对于真正的摇滚文化，对于遮藏在这些&皮相&之下的&核&，你是否有兴趣去了解呢？

Civility seems suddenly to assume the garb and the air, and to use the gutturals of barbarism ; legal processes are gone through with the frantic howls and gesticulations of armed Ojibeways ; and while all this, to those who are ignorant of primitive times, seems mere idle pantomime, sometimes silly, sometimes odd, sometimes puzzling by its17 intricacy, to those who are prepared to receive their suggestions, the forms employed are pregnant with meaning and instruction.

文明似乎突然成了装演和旋律，而用着未开化的喉音；法律过程伴着武装的Ojibeways狂乱的吼叫和姿势贯彻；虽然这对那些不了解各原始时代的人，似乎完全只是无聊的哑剧，有时愚蠢，有时怪异，有时由于它的错综复杂而迷惑，而对那些有准备接受它们的暗示的人，所使用的诸形式却蕴藏含义和指示意义。

I'm strongly against the death penalty — it's an eye for an eye.

我不赞成死刑——这是以牙还牙的报复行为。

And to get you the support you need, we're enlisting all elements of our national power: our diplomacy and development, our economic might and our moral suasion, so that you and the rest of our military do not bear the burden of our security alone.

并给你们所须的支援，我们正徵召国家所有各种的力量：我们的外交及发展，我们的经济力量与道德劝说，所以你们与其他军人不须要孤独地负起国家安全的责任。