aria da capo

与aria da capo相关的网络例句 [注：此内容来源于网络，仅供参考]

La Bouche 专辑:Best Of La Bouche - Be My Lover La da da dee da da da da La da da dee da da da da La da da dee da La da da da dee da La da da dee da da da da da Be my lover Wanna be me lover Looking back on all the time we spent together You oughta know right now if you wanna be my lover Wanna be my lover Go ahead and take your time, boy you gotta feel secure Before I make you mine, baby, you have to be sure You wanna be my lover, wanna be my lover, wanna be my lover A ha ye heyee wanna be my lover I must confess Girl, yes, I wanna be your lover Take a chance, my love is like no other On the dancefloor getting down Hold tight, I'll never let you down My love is definitely the key Like Boys II Men I'm on bended knee Loving you, not like your brother, aw yeah I wanna be your lover I hear what you say, I see what you do I know everything I need to know about you And I want you to know that it's telling me You wanna be my lover I know you wanna be my lover I know you wanna be my

那个滴答忽略……做我的爱人我要你做我的爱人回头看看我们共同走过的时光你应该很了解现在我想要你做我的爱人要你做我的爱人往前走和我在一起，男孩你会获得安全感在我把你变成我的爱人之前，宝贝，你得先确定你愿意做我的爱人，愿意做我的爱人，愿意做我的爱人……阿呀伊耶~嘿耶~~做我的爱人我必须坦白女孩，是的，我要做你的恋人抓住机会，我的爱独一无二在舞会上我变得沮丧抱紧你，我不会再让你伤心我的爱完全是关键像男孩变成男人那样，我屈膝跪下爱你，不是像兄长那样的，我要做你的恋人我听到你的话语，我看到的你所为我知道我需要知道的关于你的每一件事我想让你知道，那些事告诉我你想成为我的恋人我知道你想做我的恋人我知道你想做我的恋人

Lemon Tree--Fools Garden I'm sitting here in a boring room It's just another rainy Sunday afternoon I'm wasting my time, I got nothing to do I'm hanging around, I'm waiting for you But nothing ever happens -- and I wonder I'm driving around in my car I'm driving too fast, I'm driving too far I'd like to change my point of view I feel so lonely, I'm waiting for you But nothing ever happens, and I wonder I wonder how, I wonder why Yesterday you told me 'bout the blue blue sky And all that I can see is just a yellow lemon tree I'm turning my head up and down I'm turning, turning, turning, turning, turning around And all that I can see is just a another lemon tree sing da da da da da, de da da da da da da, de da da da de de da I'm sitting here, I miss the power I'd like to go out taking a shower But there's a heavy cloud inside my head I feel so tired, put myself into bed Where nothing ever happens -- and I wonder I so lation is not good for me I so lation -- I don't want to sit on a lemon tree I'm stepping around in a dessert of joy Baby anyhow I'll get another toy And everything will happen -- and you'll wonder I wonder how I wonder why Yesterday you told me 'bout the blue, blue sky And all that I can see is just another lemon tree I'm turning my head up and down I'm turning turning turning turning turning around And all that I can see is just a yellow lemon tree and I wonder, wonder I wonder how I wonder why Yesterday you told me 'bout the blue blue sky and all that I can see and all that I can see and all that I can see Is just a yellow lemon tree

柠檬树-愚人花园我坐在这里，在一个无聊的房间这是周日下午又下雨我浪费时间，我没有任何关系我游逛，我等着你但是，没有什么发生-我不知道我驾驶我的赛车我的驾驶速度太快，我驾驶太远我想改变我的观点我感到非常孤独，我等着你但是，没有什么发生，我不知道我不知道，我不知道为什么昨天你告诉我'回合蓝蓝天和所有我能看到的只是一个**柠檬树车削我我的脑袋向上和向下我转过身来，转过身来，转过身来，转过身来，扭转和所有我能看到的只是另一个柠檬树唱大大达大达，德大达大达大达，德大达达日德大我坐在这里，我想念的权力我想出去洗淋浴但是，有一个沉重的云我的脑袋里我感到非常疲惫，把自己变成床如果没有什么发生-我不知道我谨此刺激不适合我我谨此化-我不想坐在一个柠檬树我加紧四处甜品的喜悦婴儿反正我要去另一个玩具一切会发生-你会怀疑我不知道我想知道为什么昨天你告诉我'回合蓝，蓝天和所有我能看到的只是一个柠檬树车削我我的脑袋向上和向下我谈到转折点转折点转折点脱困和所有的，我可以看到仅仅是一个**柠檬树我不知道，不知道我不知道我想知道为什么昨天你告诉我'回合蓝蓝天和所有的，我可以看到和所有的，我可以看到和所有的，我可以看到仅仅是一个**柠檬树

This paper therefore examines the development of "the folklore Pai-Chang of Peking opera aria in Tainan city" through literature review depth-interview oral history and participant observation The concept frame is culture organism as the vertical axle and elements of a folklore activity as the transverse axle There are several significant findings about the general picture of this subject: During the late period of Japanese colonial era Tainan local people who played Peguan music learned Peking opera aria and tried to bring Peking opera aria into the folklore Pai-Chang which was one kind performance and traditional custom of Peguan music Some people who came from other places and played Peking opera aria had also known or learned "Pai-Chang" with touching Tainan local amateurs "Pai-Chang" used to be performed by amateurs for worship of god or goddess or for seasoning and wedding celebration without rewards Amateurs volunteered to perform "Pai-Chang" only for their duty temples and fraternity of Peking opera aria The majority of the audience is people who perform or like "Pai-Chang" or who live nearby There is a fixed pattern of the performance including the repertoire and the arrangement of the band The main meaning of this performace is to pray God's blessings therefore the procedure of "Ban-Hsian" is the most essential and ahead of Peking opera aria singing With time goes by the number of the amateurs has dropped; yet the demand for the worship ceremony remains; hence some of the amateurs have been trained to become professional performers Besides although the idea and the meaning of "Pai-Chang" remains the pattern of the performance has become simplified and rigid which is because of the performers' number decreasing and market adapting Nowadays the whole ecosystem of the folklore Pai-Chang of Peking opera aria in Tainan city keep changing which is mainly influenced by the transition of the society(such as the time and space of the industrial and commercial society being compressed and most people's pursuing of specialization and utilitarianism etc ) According to the findings in this paper the phenomenon can be regarded as the subject matter both of Peking opera and folklore studies For the studies of the Taiwanese culture however the subject not only enriches the subject matters of the Taiwanese culture(signifies the localization of Peking opera and a new pattern of Taiwanese folklore) but also reflects the characters of diversification integration adaptation and compromise of Taiwanese culture which used to be influenced by different regimes and the historical contexts Facing such a multicultural context this paper thus suggests researchers should show an open-minded attitude toward the complex of the Taiwanese culture studies and then important phenomenon would not be ignored or misunderstood

代表了什麼意义？对於上述疑惑，查既有研究成果，不消没有论述者，具体提即「京调排场」现象的可说没有，基於此，有必要对台南市及其周边之民俗性京调排场，不管是语汇来由或者其现象本身，做一番研究。本研究透过文献、访谈、口述史、参与观察等方法，以文化有机体之纵的发展概念为经，以民俗表演之横切面各主客要素为纬，试图先对此文化现象调查并推论出一概貌：台南市民俗性京调排场的形成，是在京调传入台南，台南本地北管子弟改习或兼习京调后，结合北管音乐文化所固有的排场表演型态及民俗演出传统，融合而成，形成时间至迟在日治晚期。而一些不同时期的外来京调人士(如原本生长於其他地区、后移住台湾的票友，和中国大陆琴师等等)，也曾透过与当地子弟的接触，而习得或知晓「排场」语汇以及本地京调排场习俗者。此项音乐民俗表演在过往多由业余子弟於神诞或民众婚俗做寿时，对其有义务或交陪的庙宇及子弟间做酬酢性的演出，不收报酬；聆赏者多是京调同好与邻近民众，也有少数路过者；演出模式包括节目安排、乐队编制皆有一定；表演意涵上以「扮仙」祈求神明赐福人间最为重要，因此排仙必不可少，且一定先於京调演唱。随著时间推移，京调排场表演活动的各要素都有变动，惟变迁速度不一，大体而言，业余表演者锐减，人们对酬神娱神节目的需求仍在，因此一些过往的业余表演者遂逐渐转型为职业表演者。此外，虽然表演意涵不变，但在职业表演人员少、又要适应市场的情况下，表演模式亦逐渐流於简化、僵化。目前京调排场整体生态仍在转变的过程中，而这种变化应与工商社会时间空间的被压缩、事事追求专业化与尼Q化等因素有关。再者，据此概貌，在结论部分厘清其意义、定位以及其对台湾文化研究之启示。台南市及其周边之民俗性京调排场现象，可视为京剧研究与民俗研究的一环，然而对於台湾文化研究，除了其题材本身标志了京剧的本土化与台湾民俗活动之新类型，进一步扩充整体台湾文化研究的内容外，更重要的是现象背后所反映的台湾文化的多元融合与妥协适应取向。台湾的海岛地理位置与长期被不同文化背景政权所殖民的历史，其文化自然容易随社会环境改变而弹性适应变迁，呈现多元纷呈、多重覆叠的特色，因此展望未来，从事台湾文化研究应秉除单一观点，保持一定程度之开放与客观胸襟，方不忽视或误识更多重要的文化现象。

与aria da capo相关的网络解释 [注：此内容来源于网络，仅供参考]

da capo aria：反始咏叹调

3. da capo al fine 从头开始到结尾. 从开始处重复唱奏,直到完结或有fine处. | 4. da capo aria 反始咏叹调 | 5. da capo al segno 从记号处起反复