玛祖卡舞曲

Just as a waltz, mazurka or barcarolle is liable to dance out of one of his Ballades, Scherzos or Polonaises, a Nocturnes can suddenly sprout a miniature mazurka ---- for example, the C sharp minor Nocturne, no 20 here---- and such unexpected juxtapositions, like the strategically placed washes of chromatic harmony or shifts between major and minor keys have much to do with the music's sense of inhabiting those fugitive realms between sleep and wakefulness. One of the most haunting examples is op.

正如华尔兹，玛祖卡舞曲，或者威尼斯的船歌都是除了叙事曲，谐谑曲或者波洛涅兹舞之外易于舞蹈的流派，夜曲却能够突然现露出玛祖卡舞曲的缩影——例如C小调夜曲，NO.20——这样意想不到的并置，就像是在大调和小调之间刻意放置的对半音和声或音律变化的一种冲击，它与存在于那些半梦半醒之间稍纵即逝领域中的乐感息息相关。

Just as a waltz, mazurka or barcarolle is liable to dance out of one of his Ballades, Scherzos or Polonaises, a Nocturnes can suddenly sprout a miniature mazurka ---- for example, the C sharp minor Nocturne, no 20 here---- and such unexpected juxtapositions, like the strategically placed washes of chromatic harmony or shifts between major and minor keys have much to do with the music's sense of inhabiting those fugitive realms between sleep and wakefulness.One of t he most haunting examples is op.

正如华尔兹，玛祖卡舞曲，或者威尼斯的船歌都是除了叙事曲，谐谑曲或者波洛涅兹舞之外易于舞蹈的流派，夜曲却能够突然现露出玛祖卡舞曲的缩影——例如 C 小调夜曲， NO.20——这样意想不到的并置，就像是在大调和小调之间刻意放置的对半音和声或音律变化的一种冲击，它与存在于那些半梦半醒之间稍纵即逝领域中的乐感息息相关。

Chopin wrote a lot of Dance and the Mazurka Polonaise, Liszt was like in their own works in accordance with the Csardas Hungarian folk dance styles to create.

肖邦写过很多玛祖卡舞曲和波兰舞曲，李斯特则喜欢在自己的作品里按照匈牙利民间的查尔达斯舞曲的样式来创作。

He in Masurium Zuka in the dance music this kind of literature style music creation, had demonstrated he absorbs and processes the national folk music source material the deep skill.

他在玛祖卡舞曲这类体裁的音乐创作中，显示了他吸收和处理民族民间音乐素材的深厚功力。

As a matter of fact, in the mazurka the metric length of some notes must vary too, not only their volume.

事实上，玛祖卡舞曲的音符的度量长度也一定是变化着的，并非只是他们的音量在变。

Mazurka former Polish traditional folk dance music of peasants.

玛祖卡舞曲原为波兰民间传统的农民舞蹈音乐。

Contrary to popular belief the mazurka does not always have an accent on the second beat; although the second beat is often important, there is no hard-and-fast rule for its accentuation, and many mazurkas don't even have a note on the second beat!

与通行的观念相反的做法是玛祖卡舞曲并不总是在第二拍上标有加重音符号；尽管第二拍通常来说很重要，但为了加强它，仍没有硬性规则，而且许多玛祖卡舞曲甚至在第二拍上没有符号！

No. 3, with its glimpses of mazurka, followed by a solemn chorale section that suddenly curtails the piece without the expected return to the opening material ---- evidently a late inspiration, since an early manuSCRIPT fragment of the piece assumes the conventional da capo return.(the other side of the same manuSCRIPT contains the study op. 10 no. 9, suggesting that this nocturne was at least partly composed well before the date of 1833 usually ascribed to it.) chopin is said to have associated the piece with hamlet ---- one of many literary images prompted by his music.

最为典型的例子是op.15no.3，在它中间有着玛祖卡舞曲的惊鸿一瞥，之后是肃穆的赞美诗部分，这一部分突然缩减了这一篇章，而不是象预期的那样回到开始之处，而早期的手稿中这里是采用了传统的da capo返回（这篇手稿的另一面还写有op.10no.9，这表明这部夜曲至少有一部分是在1833年以前创作的）据说肖邦把这个乐章和哈姆雷特——在他的音乐中提及的众多文学映像之一——联系在了一起。

When they listen to his mazurkas and polonaises, they hear not only the strains of Polish folk music, but also nostalgia and patriotism for his homeland.

当人们听他创作的玛祖卡舞曲和波兰舞曲时，感受到得不仅是对波兰民族音乐的振奋，更有一种对故乡深深的眷恋和热爱。

Among these articles, Mazurken and Polonaises can show his nation-style mostly, it could be read from articles that the image of Poland Folk Art which has not ruled articles by return, Chopin not only made use of Folk Music theme but also invented one brand new and particular 'Chopin Style' out of them.

当中最能体现其民族风格的作品是玛祖卡舞曲和波罗乃兹舞曲，作品里可以看到波兰民间艺术的影子却不被它所束缚，肖邦既运用了民间音乐的体裁又从中创作了一种新颖独特的&肖邦风格&。

On closer examination, though, this is not a vote for multilateralism but just the opposite.

仔细审视后我们发现，这并非是对多边主义投出的赞成票，而是恰好相反。

Uncovering their weak spots, so I can defeat them.

揭露出他们的弱点，这样我就可以打败他们了。