- 更多网络例句与终曲相关的网络例句 [注：此内容来源于网络，仅供参考]
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General sonata, the first movement is all used to beginning from the sonata form of the allegro, but Beethoven is here destroys this kind of convention completely on one, begin from the adagio movement directly, after second movement in the allegretto , advance by leaps and bounds get urgent finale of board.
一般的奏鸣曲，第一乐章都习惯从快板的奏鸣曲式开始，但是贝多芬在此曲上彻底破坏了这种惯例，直接从慢板乐章开始，经过稍快板的第二乐章后，突进到急板的终曲。
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If there is only one day more, oh what a mad finale it is going to be.
如果未来只有一天，哦那将是一个多么疯狂的终曲。
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During the 19th and 20th centuries there were huge achievements on philosophy literature art and music; a variety of activities were also booming at that time Richard Strauss(1864-1949) born at that era when the social phenomena influenced his music learning process combined the classical and romantic music styles and further developed his unique composing style There were 5 chapters in the dissertation The research motivation purposes methodology and the literature review were included in Chapter One Chapter 2 focused on understanding how the history background and personal attitude influenced Richard Strauss' composing style Through the study of the romantic musicians like Franz Schubert1797-1828 Robert Schumann(1810-1856 Johannes Brahms(1833-1897) Hugo Wolf(1860-1903) Gustav Mahler(1860-1911) and etc I attempted to get a complete picture of musical evolution in Chapter 3 In addition Richard's classic compositions were categorized and organized in order to gain a deep understanding of his music From the study and the analysis of Strauss'"Vier letzte Lieder" the features styles the format and the life of the two poets Hermann Hesse1877-1962）and Joseph von Eichendorff(1788-1857 were explored and the relationship between the music of this composition and the poetry were also discussed Chapter 5 summarized the main arguments to give a short account of Strauss' lifetime rich experiences and thinking in his eighties
横跨十九、二十世纪的理察·史特劳斯（Richard Strauss，1864-1949）正是欧洲人文发展空前灿烂的年代，无论在哲学思想、文学、美术以及音乐方面，都有辉煌的成就。在他音乐学习历程中，结合了古典时期及浪漫时期两种音乐风格，发展出独特的作曲风格。本论文分成五章：第一章绪论包括研究动机、研究目的、研究方法及步骤以及文献探讨；第二章则从对理查史特劳斯生平的详实记载中，了解他创作作品的时代背景和心情；第三章则就浪漫时期艺术歌曲作家舒伯特（Franz Schubert1797-1828）、舒曼（Robert Schumann1810-1856）、布拉姆斯（Johannes Brahms1833-1897）、沃尔夫（Hugo Wolf1860-1903）及马勒（Gustav Mahler1860-1911）等，以诗人、旋律、伴奏型态及曲式和声，稍加整理并说明，以便了解艺术歌曲在此时期之演变过程。并将理查史特劳斯艺术歌曲作品分类统整，藉此对他的艺术歌曲能有更深一步的了解。第四章《四首最后的歌》之音乐探究与分析，则探讨此部作品诗人赫塞（Hermann Hesse 1877 - 1962）及艾辛朵夫（Joseph von Eichendorff﹐1788-1857）的生平和作品特色，以及诗的结构与格式，和此部作品音乐与诗的关系。第五章结语说明史特劳斯一生丰富经历与晚年想法，创作出一组宁静感人又深刻的终曲。
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The ending is open enough to suggest that it will probably be seen best, in retrospect, as an intermezzo between the formally brilliant original and the saga's presumably upcoming grand finale.
结尾处的大胆直率大可视做全片亮点。在回顾过程中，结尾作为一段间奏，穿插于规范明快的前奏以及英雄传奇可能永远不会到来的恢弘悲壮的终曲之间。
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Among the first serious movement and excited finale, Beethoven has assigned a section of refined , lyrical , lovely short and small music, he only writes down the speed mark here, it is not that the scherzo is not the minuet on the personality .
在严肃的第一乐章和激动的终曲之间，贝多芬安插了一段典雅，抒情，可爱的短小音乐，他在这里只记下速度记号，在性格上既非谐谑曲也不是小步舞曲。
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The third movement is one of Borodin's most brilliant gossamer scherzos, making effective use of harmonics and left-hand pizzicato, and the finale is rhythmically energetic.
第三乐章是鲍罗丁最华丽和轻柔的谐谑曲，充分的运用了和声学和左手的拨奏。终乐章在节奏上充满活力。
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Although the 19th Century was dominated by German symphonies, César Franck's Symphony in D minor, written in Paris in the 1880s, stands almost entirely alone in French composition of the same period, and offers a dramatic traversal of human experience from its broodingly mysterious opening to a blazing finale.
法朗克於 1 8 8 0 年代的巴黎写成 D 小调交响曲，而十九世纪的乐坛，可说是德国交响曲的天下，但该曲仍能脱颖而出，成为少数传颂至今的十九世纪法国作品。乐曲的开端异常神秘，终曲极尽辉煌，是一次极具戏剧性的生命探讨。
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XIV."Finale"--is a merry closer, which recapitulates snippets from many
第十四部分&终曲&情绪愉快，总结了前面的数部分中的许多片断。
- 更多网络解释与终曲相关的网络解释 [注：此内容来源于网络，仅供参考]
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4th mov.Finale:Allegro molto：第四乐章 终曲:非常缓的快板
03 第三乐章 诙谐曲:活泼的快板 3rd mov.Scherzo:Allegro vivace | 04 第四乐章 终曲:非常缓的快板 4th mov.Finale:Allegro molto | CD:贝多芬交响乐(四)
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Give the player a drachm (finale)：(敬小提琴手(终曲)
13. Katie fuck (凯蒂我爱) | 14. Give the player a drachm (finale) (敬小提琴手(终曲)) | 01. Mo ghile mear-"Our hero" (我们的英雄)
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Echoing Wall：回音壁--终曲
11 逃亡/Ching-ling Escapes | 12 宋氏三姐妹~片尾曲~/Parachutes | 13 回音壁--终曲/Echoing Wall
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finale：终曲
随后只有一个610小节需演约 16分钟的长长的所谓"终曲 "(Finale)中间插入合唱,这种形式是独一无二的. 曾经,基辛与阿巴多将此作品演绎得非常成功,今天,郎朗与小泽征尔合作,我们期待又一个经典的诞生. (多说一句,今年北京音乐节中,
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Finale:Presto：终曲:急板
04 中断的间奏曲:小快板 Infermezzo Interrotto:Allearetto | 05 终曲:急板 Finale:Presto | 为弦乐、打击乐器和钢琴所写的音乐 Music for Strings,Percussion and Celesta
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Finale:Presto：第四乐章:终曲:急板
Menuetto: Allegretto 第二乐章:小步舞曲:稍快板 3:36 | Adagio-Cantabie e sostenuto 第三乐章:慢板 6:08 | Finale: Presto 第四乐章:终曲:急板 4:32
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postlude：后奏曲/终曲
postliminy /战后恢复原状/ | postlude /后奏曲/终曲/ | postman /邮差/
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Finale.Allegro vivace：终曲,活泼的快板
08 流畅的行板 Andante con moto | 09 谐谑曲,活泼的快板 Scherzo.Allegro Vivace | 10 终曲,活泼的快板 Finale.Allegro vivace
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finale:allegro con spirito：第四乐章:终曲:有精神的快板
06 scherzo:fumt:presto 第三乐章:诙谐曲:愤怒的:急板 | 07 finale:allegro con spirito 第四乐章:终曲:有精神的快板 | 01 allegro 第一乐章:快板
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Finale, Allegro Con Fuoco：终曲,火热的快板
08 Iii 谐谑曲,十分活跃的 Scherzo,Molto Vivace | 09 Vi 终曲,火热的快板 Finale,Allegro Con Fuoco | 朱塞佩.威尔第 Giuseppe Verdi