旋律

基本解释 (translations)

air  ·  canto  ·  cantus  ·  melody  ·  rhythm  ·  tune  ·  aired  ·  cantos  ·  melodies  ·  tunes

与旋律相关的网络例句 [注：此内容来源于网络，仅供参考]

There is usually a 3rd -key added in the opening of the second theme, and sometimes a new theme is composed. Then, the subordinate key is reached before the end of exposition. 5 Silence of one whole bar is frequently utilized, which not only brings profound expressive significance, but also is important to the architectonics of these sonatas. 6 The harmonization in the variation, which is the method of applying different keys to the same melody, is handled in those Andante movements. By this way, the same melody appears in variable colors of harmony, which can not only avoid dull repetition, but also keep the lyrical nature and the completeness of melody. 7 Chromatic method is applied in the periods of development, and chromatic深层线条becomes the provident feature in some periods of development. 8 Atlas motive is put to use in c minor and A major sonatas, and a lot of "sigh" tones and c sharp minor are both preferred in those three sonatas. 9 The emotional factor of "wanderer" is the roots of thoughts for the intense conflict of music.

他通常在副部的开始加入一个三度的调性，有时再加入一个新主题，最后在呈示部结束之前到达属调； 5、较多地运用整小节的休止，使其不仅具有深刻的表情意义，而且在结构乐曲中起到了不可或缺的作用； 6、舒伯特在慢板乐章中运用同一旋律异调配置的和声变奏方式来构成音乐的段落，使同一个旋律在不同的和声色彩里闪现，既避免了单调的重复，又保持了旋律的抒情性和完整性； 7、展开的段落中习惯运用半音化的发展手法，半音阶式的深层线条成为某些展开段落的显著特点； 8、c小调和A大调奏鸣曲中都运用了"阿特拉斯"动机，三首奏鸣曲中运用了大量叹息的音调，并倾向于~#c小调的运用； 9、"流浪者"的情感因素是音乐强烈冲突的深刻思想根源。

In the technique of composing music , changing the movie and TV music which has features of the original unitary accent and simple smooth melody into the symphony and the chamber music which has polytonality or atonality with numerous and diverse melody .

在作曲技法上，由原来的调性比较单一、旋律比较简朴流畅的影视音乐到多调性或无调性、旋律繁杂的交响乐、室内乐。

The Classicist used lyric and expressive melody, inventing a musical form predicated on the idea of one melody being contrasted with a second.

古典主义者用抒情的和富有表情的旋律，以一个旋律与另一个旋律相对比的思维为基础来创造音乐的形式。

In music structure, through the contract of the musical form structure of this work and the typical classical concerto musical form structure, it summarized the inheritance of classicism concerto structure and the personalized innovation of national style of this work, and emerged Chopin"s inheritance in concerto creation and his innovative spirit in this area. In melody, by centering the elaboration on the vocal and colorful melody, it fully displayed Chopin"s unique artistic style and distinct romanticized characteristic in melody creation. In rhythm, with the analysis of the third music movement"s rhythm, we could learn the rhythm of mazurka which penetrated the entire music movement and which had typical Poland national characteristics, the national characteristics of the work, and the primary form of characteristic rhythm. Furthermore, it revealed the national essence and the origin material in Chopin"s works. At last, in harmony, from the aspects of linearity and the sound thought of semitone, the counter-function harmony proceeding in breaking traditions, the harmony technique in function-extended, the charm in detuned chord, the blending of sound rhythm and music situation, it analyzed and summarized the distinct romanticism in harmony arranging in the work.

音乐结构上，通过作品曲式结构与古典协奏曲典型曲式结构的对比，总结作品对古典主义协奏曲结构的沿袭和民族风格的个性化创新，展现了肖邦在协奏曲创作的继承和创新精神；旋律上，主要围绕作品旋律的歌唱性和色彩性进行论述，充分展现肖邦在旋律创作上独特的艺术风格和鲜明的浪漫主义特征；节奏上，通过对第三乐章的节奏分析，展现了贯穿整个乐章的具有典型波兰民族特色的玛祖卡节奏，阐述作品的民族特色，并追溯特征节奏的原形，进一步揭示肖邦创作的民族本质和素材来源；和声上，从半音化的线性和声思维、突破传统的反功能和声进行、功能延伸式的和声手法、音阶化的转调模进手法、离调和弦的色彩魅力等几个方面入手，分析和总结了作品在和声运用上新颖、鲜明的浪漫主义特色。

Sousa and his wife were enjoying a European vacation in 1896, when they saw a startling newspaper article. Sousa's band manager, David Blakely, had died a few days earlier. Soon Sousa and his wife were on a ship heading home to New York. On the journey home, Sousa started hearing "the rhythmic beat of a band playing within my brain. It kept on ceaselessly, playing, playing, playing. Throughout the whole tense voyage, that imaginary band continued to unfold the same themes, echoing and re-echoing the most distinct melody." When he got home he wrote down the music for what would become "The Stars and Stripes Forever."

苏沙和他的太太在1896年一次愉悦的欧洲之旅途中，看到一篇令人吃惊的报导，苏沙的乐团经理大卫布雷克在几天前突然去世，他们在知道这个消息后立刻搭船回到纽约，在返航途中，苏沙开始听见「乐团在我脑中演奏的节拍、不停地演奏、演奏、演奏，整个回程中那个想像中的乐团一直重复著同样的旋律、并重复演奏最特别的一段旋律」，在他回到家写下整首旋律后、就完成了「永恒的星条旗」的初稿。

Sousa and his wife were enjoying a European vacation in 1896, when they saw a startling newspaper article. Sousa's band manager, David Blakely, had died a few days earlier. Soon Sousa and his wife were on a ship heading home to New York. On the journey home, Sousa started hearing "the rhythmic beat of a band playing within my brain. It kept on ceaselessly, playing, playing, playing. Throughout the whole tense voyage, that imaginary band continued to unfold the same themes, echoing and re-echoing the most distinct melody." When he got home he wrote down the music for what would become "The Stars and Stripes Forever."

苏沙和他的太太在1896年一次愉悦的欧洲之旅途中，看到一篇令人吃惊的报导，苏沙的乐团经理大卫布雷克在几天前突然去世，他们在知道这个消息后立刻搭船回到纽约，在返航途中，苏沙开始听见「乐团在我脑中演奏的节拍、不停地演奏、演奏、演奏，整个回程中那个想像中的乐团一直重复着同样的旋律、并重复演奏最特别的一段旋律」，在他回到家写下整首旋律后、就完成了「永恒的星条旗」的初稿。

In the second chapter, Musical element analysis, the author starts with melody. On the one hand, the author analyzes the overall characteristic of the melody of Chopin"s scherzos; On the other hand, the author analyzes development technique of the melodic in Chopin"s scherzos.

在第二章音乐要素分析中，首先从旋律入手，一方面分析了肖邦谐谑曲旋律的总体特征，另一方面分析了肖邦谐谑曲旋律的发展手法。

Japanese folk melody usually have two categories is quiet simple, like "cherry" and "Four Seasons", a simple melody to the extreme, the range is limited to one octave, with a flat in the United States and sad ; The other is just the opposite of melody turbulent ups and downs, a large range span, shallow Diyin to sing in the climax of the potential for sudden, the sound is the heart Dang Shen Yao, the highest Chang Dao, often an issue of the Songran Vibrato, the movie "Station" theme song is a case in point,"Beiguozhichun" has the taste of this, the singers sang songs of this kind from time to time to stir up the audience fanatical passion.

日本民歌的旋律通常有两类，一类是宁静单纯的，像《樱花》、《四季》那样，旋律简单到了极点，音域只限于一个八度，平淡中带着一股伤感的美；另一类刚好相反，旋律动荡起伏，音域跨度很大，浅唱低吟中潜伏着突发的高潮，听来令人心荡神摇，唱到最高处，往往会发出一种令人悚然的颤音，电影《车站》的主题歌就是典型的例子，《北国之春》也有这种味道，歌手在演唱这一类歌曲时常能煽起听众狂热的激情。

I would sit back and listen to the violins get lovely melodies, the violas would get lovely melodies, the second violins would get lovely melodies

我就闲闲地坐在那，听小提琴拉着美妙的旋律，中提琴也将有好听的旋律，第二小提琴也会有动人的旋律。。。

While the ascending melodic minor follows the natural minor, with the sixth and seventh degrees of the scale sharpened as in the major scale, the descending melodic minor scale follows the natural minor. The descending melodic minor scale of A minor can, therefore, be played on the white notes of the piano, starting on A, and would be:

上行旋律小调与自然小音阶的模式相同，大音阶的第六级和第七级音阶仍为升，下行旋律小调遵循自然小调模式。A小调下行旋律小调为在钢琴的白键上演奏，开始于A调，为

与旋律相关的网络解释 [注：此内容来源于网络，仅供参考]

arsis：[美国]技术旋律死亡金属

Archeon [波兰]力量速度旋律死亡金属 | Arsis [美国]技术旋律死亡金属 | As Hope Dies [美国]旋律死亡金属

cantus firmus：定旋律、在固定旋律上,加上对位旋律

29. canto primo 首席女高音 | 30. cantus firmus 定旋律、在固定旋律上,加上对位旋律 | 50. chaconne 恰空舞曲,慢三拍子舞曲

melodia marcata：(意)强调旋律声部

melodia(意)同上. | melodia marcata(意)强调旋律声部. | melodic(英)旋律的;富于旋律性的.

melodic sequence：旋律反复进行 ,旋律在音阶的不同音级上的反复

47. melodic progression 旋律进行 | 48. melodic sequence 旋律反复进行 ,旋律在音阶的不同音级上的反复 | 49. melody 旋律,曲调

melodics：旋律学

melodic 有旋律的 | melodics 旋律学 | melodious 旋律美妙的

melodious: a.1：旋律优美的,悦耳的 2.(有)旋律的,有乐曲的

tedious: a.单调乏味的,令人生厌的,冗长罗唆的 | melodious: a.1.旋律优美的,悦耳的 2.(有)旋律的,有乐曲的 | capricious: a.变化无常的,变幻莫测的,任性的,刚愎自用的,忽发奇想的

melodiously：旋律美妙地

旋律美妙的作曲家melodist | 旋律美妙地melodiously | 旋律配合counterpoint

melodist：旋律美妙的作曲家

旋律的rhythmicrhythmical | 旋律美妙的作曲家melodist | 旋律美妙地melodiously

Melodist Maker：旋律创作器

Using the Melodist 运用旋律器 | Melodist Maker 旋律创作器 | Melodist Tutorial 旋律器指导

melody：旋律

10.>(上海音乐出版社,1988年第一版)只收录"旋律"(Melody)条目,解释为:一连串音的有组织的进行. 旋律的性格和效果决定于其调式、节奏及音高布局. 通过以上各种辞典对"旋律学"和"旋律法"的解释,我们可以看出,