bow to necessity

bow to necessity的基本解释

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屈服于需要, 做不得不做的事, 为生活所迫, 出于无奈, 迫不得已

与bow to necessity相关的网络例句 [注：此内容来源于网络，仅供参考]

When the mind apprehends the essence of a thing (quod quid est; tò tí en enai), the external object is perceived without the particular notes which attach to it in nature, and it is not yet marked with the attribute of generality which reflection will bestow on it.

当铭记apprehends的本质的东西（狱吏嚼1-5 ；德州仪器恩enai ），外部对象被认为没有特别注意到它重视它的性质（中存在singularibus ），这是没有标明属性一般性的反映将赋予它

Only two strings of the erhu playing is highly rich in the left hand there Vibrato, harmonics, vibrato, portamento, pizzicato, wheel means; right hand, even the bow, sub-bow, Dayton bow, jumping bow, trembling bow, flying bow, broken bow and so on.

只有两根琴弦的二胡的演奏手法十分丰富，左手有揉弦、泛音、颤音、滑音、拨弦、轮指；右手有连弓、分弓、顿弓、跳弓、颤弓、飞弓、碎弓等。

Holding the bow is like a teeterboard supported by thumb as the pivot and the cooperated forcing of forefinger and little finger produces a moment M. The "P-x-M Line Method" shows when playing a down bow, M increases with x and gradually changes its direction and this process is determined by P, the gravity and barycenter of bow. The "P-x-F Plane Method" shows that the most force-saving bowing path should locate in the lower part of this plane. The analyses of "Helmholtz Motion" and "Schelleng Diagram" indicate P and its range is in direct ratio with volume, velocity of bow, the approaching degree of the bow to the bridge and has some relationship with the quality of string and bow.

国内近期出现了用物理模型来研究小提琴运弓问题的尝试本文第一部分首先指出握弓类似于一个以***(F3)为支点的跷跷板，主要以食指(F1)和小指(F2)的施力配合，产生握弓力矩M；随后用"P-x-M直线法"证实：演奏下弓是M随的***而逐渐增大并转换方向的***，此***取决于P、弓的重力和重心；并首创"P-x-F平面法"，在x，F1，F2空间中证实：省力的运弓路径应在该平面中处于较低的位置第二部分通过分析"赫尔姆霍茨运动"和"Schelleng图表"指出：P及其变化范围和音量、弓速、弓与琴码的接近程度成正比，并与琴弦和弓自身的性质有关

与bow to necessity相关的网络解释 [注：此内容来源于网络，仅供参考]

bow to necessity：屈服于需要

bow tie 领结 | bow to necessity 屈服于需要 | bow wave 冲击波