音乐技巧

Arcangelo Corelli is remembered as influential for his achievements on the other side of musical technique- as a violinist who organized violin technique and pedagogy-and in purely instrumental music, particularly his advocacy and development of the concerto grosso.

克莱里则因为他在音乐技法上另一方面成就的影响力而被人们记得--他是一位将小提琴技巧与教学法组织起来的小提琴音乐家；而在纯器乐音乐方面，则尤其是他对于他对大协奏曲的支持和发展。

The author began systematic study on Copland's"Practical Music"and drama music, and then completed the Master dissertation under the guidance of Professor Xu Yongsan. This at that time had been the first article in our country describing his creative technique in detail, especially his skill expressing complex modern artistry through simple technique.

笔者于1988年开始对科普兰部分"实用音乐"和戏剧音乐作品进行较为系统的研究，并在许勇三教授指导下完成了相关的硕士论文，这是当时国内第一篇较为详细地讨论科普兰作品的创作技法特征，特别是他如何用简洁朴素的手法表现复杂的现代作曲技巧的文章。

Piano etude teaching materiel is very important for the piano music development; it is not only training the piano performance skills, but also using to understand the different music taste of different time, genre and style.

钢琴练习曲教材在钢琴音乐的发展历史中起着至关重要的作用，它不仅能对钢琴演奏的技术、技巧进行全面的训练，而且便于了解并掌握不同时代、流派、风格的钢琴作品中所体现出的不同音乐审美观念。

La Mer' reflected China classical aesthetic ideology, especially the aesthetic ideology consistency that China ancient scholars and painters reflected on the performance of natural landscape ,which was 'harmony between the heaven and human ','Sound outside what the string is making between the lines ' and 'approach determined by figure'. Its music reflected gamelan creative skills in many aspects,...更多 for example, the use of continuous tone and fixed voice type, the texture counterpoint imitation, the similarity of pitch and the harmony, etc. It could be seen that Debussy once studied Javanese gamelan music thoroughly on the analysis of 'La Mer' music ontology. Debussy choosed Japanese printer—Katsushika Hokusai's 'surfing in Kanagawa' as cover on the publication of 'La Mer', it was reflected that on the one hand he liked Japan Ukiyoe, on the other hand his work had painting factors.

大海》中体现了东方文化中的中国古典美学思想，尤其是与中国古代文人画家们在表现自然景观上所体现山的美学思想的一致性，即"天人和一"、"弦外之音"以及"以象立意"等；它在众多方面都体现山了加美兰的创作技巧，如持续音、固定音型的使用，织体对位的模仿，调式、和声的相似性等，在对《大海》音乐本体的分析中可以看出，德彪西对爪哇加美兰的音乐曾进行过深入的研究：作品出版时德彪西选择了日本版画家葛饰北斋的《神奈川冲浪里》作为封面，一是表现出他对日本浮世绘的浓厚兴趣，二是表达了他作品中具有的绘画性因素。

This thesis focuses on the structural form, harmonic vocabularies, and contrapunctal techniques used in Haydn's "Missa in Tempore Belli" and also provides information and suggestions on the performing aspects for the director and members of the choir. The analysis and comparisons of six recordings of this Mass are included as well for further use of performers, educators, and listeners.

以海顿《战争弥撒曲》中「垂怜曲」、「光荣颂」、「信经」、「欢呼歌」、「降福经」与「羔羊赞」等六曲之曲式结构、和声语法、对位技巧等音乐表现为理论依据，提出合宜的演唱教学方法，并从比较分析六个不同演唱版本之表现，寻求符合音乐结构的最佳诠释，以作为教学、演出、研究及欣赏之参考。

Presented by the Musician's Association of Moscow on December 9,1996, this cantata made its Russian premiere at the Great Hall ofthe Moscow Tchaikovsky Conservatory of Music. It was the firstconcert by a Canadian-Chinese composer at this world famous musichall. The CD was recorded in the hall right after theconcert.

作为华人所作的最大规模之合唱音乐，这部九个乐章﹝外加一首序曲﹞的巨构，无论在宏大的结构和精湛的作曲技巧上，都达到一个空前的高度；特别在二十世纪音乐以反叛为特徵的背景下，这部力作再次雄辩地证明了先辈大师的传统之永恒的生命力。

They began playing professionally in 1974, which became renowned for this beautiful harmony, outstanding musicianship and excellent showmanship.

在1974年，他们开始了他们的团队音乐生涯，表现了他们的音乐才华和优秀的演出技巧。

They are:1 Max-Reger's biography and creation synopsis2 A summary of the structure of Partita and Fuga3 Synopsis of Chromatische Polyphonie4 Creation background of(op 132)5 Linearity writing technique of(op 132)6 Partita inheriting with innovation and Parts analysis7 Fuga melody analysis

本文将分七个部分予以陈述，分别为：一马克思-雷格尔生平及创作简介二简述变奏曲与赋格及其它赋格音乐套曲结构三半音复音音乐简介四《莫扎特主题变奏与赋格》(op 132)的创作背景五《莫扎特主题变奏与赋格》(op 132)线性写作技巧六变奏手法的继承与创新及各变奏乐章分析七赋格曲分析

The piano accompaniment is music work organic structure part, only then causes the accompaniment with to sing the part the melody to merge into one organic whole, music work content only then possibly obtains the perfect performance, it requests the sideman the pianism, the keyboard and the sound technique, the composition theoretical knowledge unifies, under the melody condition's limit, in the situation which does not prepare beforehand carries on the instantaneous art to create again.

钢琴伴奏是音乐作品的有机构成部分，只有使伴奏与歌唱部分的旋律融为一体，音乐作品内容才可能得到完美的表现，它要求伴奏者将钢琴演奏技巧、键盘和声手法、作曲理论知识结合起来，在旋律条件的限制下，在事先毫无准备的情况下进行瞬间的艺术再创作。

So when we felt another kind of tetra-dimensional, extreme, music-like art made up of colors and lines in Malevich and Tatlin's experiment in the early of last century, people had to get used to the visional format from Kandinsky, Pollock, Mondrian and Roscoe. The brand-new artistic experiment is further rooted into experience of our religion, music, philosophy, life and other staffs not only from format to content, but also from theory to techniques. And the traditional plane paintings are used to annotate the art meaning of non-representation. But Chinese are unwilling. It is only the format product of powerful culture in expanding, rather that there are lots of differences between the western abstract and oriental "image".

所以当我们从上个世纪初在马列维奇、塔特林的实验中，体验到一种被称为四度的、极致的、音乐似的、或者说将色彩和线编制成为另一种艺术自由的端倪时，人们就不得不习惯由康定斯基、波洛克、蒙德里安和罗斯科所带给我们的视觉图式，它们从形式到内容、从理论到技巧，无不变本加厉地把这种全新的艺术实验根植于我们对宗教、音乐、哲学、生活以及诸多问题的体验中，并用传统的二维平面绘画来诠释出非具象的艺术意义，不过这些对中国人来说，很可能是不情愿的，它只是强势文化在扩张中的样式产物，更何况这些西方式的抽象与东方式的"意象"仍然有着极大的差异。

Cynanchum Lingtai apricot production in the average weight 65 grams, the brightly-colored fruit, juicy rich, sweet-sour taste, sweet from the nucleolus, when the late Qing Dynasty famous Shaanxi, Gansu provinces, the Qing imperial court Tongzhi tribute for years.

灵台生产的牛心杏平均单果重65克，果实色泽鲜艳，汁多味浓，甜酸适口，离核仁甜，清末时就驰名陕、甘两省，清同治年间曾为朝廷贡品。

Chenopodium album,Solanum nigrum, and Amaranthus retroflexus were very susceptible to the herbicides. Polygonum persicaria and Abutilon theophrasti were relatively less susceptible to the herbicides, and Lycopersicon esculentum was not susceptible to it. The relationship between reduction rates of weed biomass and PPM values of weed leaves 2,4, and 6 days after treatment was established.

供试的6种杂草对该混剂的敏感性存在显著差异：红心藜Chenopodium album、龙葵Solanum nigrum和反枝苋Amaranthus retroflexus对该混剂最敏感，ED90值分别为47.65、71.67和29.17g/hm2；春蓼Polygonum persicaria和苘麻Abutilon theophrasti敏感，ED90值分别为96.91、114.20g/hm2；而番茄不敏感。