semibreves

semibreves的基本解释

n.

全音符( semibreve的名词复数 )

与semibreves相关的网络例句 [注：此内容来源于网络，仅供参考]

In Franco's system, the relationship between a breve and a semibteves was equivalent to that between a breve and a long: and , since for him modus was always perfect, the temous of beat was also inherently perfect and therefore contained three semibreves.

这种新的风格清晰地体现在科隆的佛朗哥的研究中，在弗朗哥体系中，全音符与二全音符的关系等同于二全音符与longa的关系并且总是绝对的，节拍也是固有的，因此包含了3个全音符。

By now, tactus was generally two semibreves per breve with three per breve used for special effects and climactic sections; this was a nearly exact reversal of the prevailing technique a century before.

直到现在，tactus技法都普遍用于每二全音符有2个全音符与每二全音符有3个全音符一起进行的为特殊效果和高潮段落的运用。

Sometimes the context of the mode would require a group of only two semibreves, however, these two semibreves would always be one of normal length and one of double length, thereby taking the same space of time, and thus preserving the perfect of the tempus. This ternary division held for all note values.

有时候根据实际情况的需要一组仅有2个全音符，但是这种2个全音符的模式也总是标准长度中的一种并且是这个长度的两倍，因此有着相同的时长，其结果是即使保留节拍的一部分，这种三分法包含了所有的音符价值。

By now, tactus was generally two semibreves per breve with three per breve used for special effects and climactic sections; this was a nearly exact reversal of the prevailing technique a century before.

这是一种与一个世纪前主流技术完全相反的一种技法。

In contrast, the Ars Nova period introduced two important changes, the first was an even smaller subdivision of notes(semibreves, could now be devided into minim) the second was the development of "mensuration". By the time of Ars Nova, the perfect division of the tempus was not the only option as duple divisions became more accepted.

而相比之下，新艺术时期则提出了2个重要的改变，第一个改变是，一个音符更小时值的细分（全音符，现在可以被分成二分音符）；第二个改变是，测定方法的发展，在新艺术时期，音符的绝对划分并不是当时唯一的选择因为二分法越来越为人们所接受。