- 更多网络例句与记谱法相关的网络例句 [注：此内容来源于网络，仅供参考]
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In his treatise Ars Cantus Mensurabilis,written around 1280,he describes a system of notation in which differently shaped notes have entirely different rhythmic values, this is a striking change from the early system of de Garlandia whereas before the length of the individual note could only be gatherd from the mode itself, this new inverted relationship made the mode dependent upon-and determined by- the individual notes or figurae that have incontrovertible durational values, an innovation which had a massive impact on the subsequent history of European music.
一书中，阐述了一个有着完全不同的节奏价值的、不同音符形状的记谱法体系，这是自早期Johannes de Garlandia的节奏体系以来的一个显著改变，在这之前一个音符的长度只能在它从属的节奏模式中找到答案，但是这个新的记谱体系却颠覆了这种两者间的联系使得节奏模式取得了独立，并由取得了绝对节奏价值的单独的音符或者连唱决定。
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It should be noted that while older sources attribute the development of the stall to Guido, some modem scholars suggest that he acted more as a codifier of a system that was already in development.
需要说明的是，虽然史料表明四线谱谱法的发明归功于规多，可是一些当代学者却认为他只是将已经得以发展的四线记谱法进行编纂。
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SectionI. Notation of China and Europe is enumerated. It's development and variation. Section II.
第一部分：把本人所了解到的中国和西方的记谱法作以罗列介绍，说明记谱法的发展与变化。
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"The other is in gongche notation , known from earlier Song sources and similar to Western sol-fa."
另一种是工尺谱，这种记谱法在宋代初期资料中有所记载，与西方的首调记谱法类似。
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"One is as yet undeciphered, but from appearance is clearly an intermediate step between Tibetan liturgical notation s and the notation of Japanese chant."
其中一种记谱至今未被破译，不过从外表看来介乎西藏宗教礼仪音乐的记谱法与日本佛教合唱音乐记谱法之间。
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"One is as yet undeciphered, but from appearance is clearly an intermediate step between Tibetan liturgical notations and the notation of Japanese chant."
其中一种记谱至今未被破译，不过从外表看来介乎西藏宗教礼仪音乐的记谱法与日本佛教合唱音乐记谱法之间。
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It should be noted that while many of these innovation are ascribed to Vitry, and somewhat present in the Ars Nova treatise, it was contemporary-and personal acquaintance of de Vitry, named Johannes de Muris who offered the most comprehensive and systematic treatment of the new mensural innovation of the Ars Nova(for a brief explanation of the mensural notation in general, see the article Renaissance music) many scholars, citing a lack of positive attributory evidence, now consider "vitry's" treatise to be anonymous, but this does not diminish its importance for the history of rhythmic notation.
需要指出的是虽然Vitry拥有如此之多的革新，并且有些都体现在《新艺术》这本专著中，但是他的同龄人和熟人--Johannes de Muris为他《新艺术》中新的度量记谱法提供了最为广泛和系统的论述，很多学者引证了有效归属的缺失，所以现在认为《新艺术》这本专著的作者是无名氏，但是这一点并不能减弱它在节奏记谱历史中的重要性。
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This treatise on music gave its name to the style of this entire era. Further more, his contributions to the notation of rhythm made possible the free and rhythmically complex music of the next hundred years. In somen ways the modern system of rhythmic notation began with Vitry. Who broke completely free from the older idea of the rhythmic modes. The notational predecessors of modern time meters also originate in the Ars Nova.
这本专著为整个这个时期的音乐风格冠名，此外，他对于节奏的记谱法的贡献使得接下来数百年自由和富有节奏的复杂音乐的发展成为可能，从某个层面来看，现代节奏记谱法体系就始于vitry，他完全打破了以往节奏模式的陈旧概念。
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Bartok created a special musical notation such as staffs,Bartok-devised key signatures, accidentals, 1/2pedal, harmonics. Some symbols are used to separate phrases, such as "│",",", fermata, etc., which is not common. Among all,"│" symbol is used most frequently to separate phrases.
巴尔托克独特的记谱法，在《小宇宙》中表露无遗，多元的谱表应用、方便弹奏者视谱的巴尔托克式调号记谱法、临时记号的普遍使用，以及其他特殊记谱方式如1/2踏板记号、泛音音符与分句记号的标示如「|」、「，」与「」等，为二十世纪音乐创作带来丰富的泉源。
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The next development in musical notation were "heighted neumes", in which neumes were carefully placed at different heights in relation to each other. This allowed the neumes to roughly indicate the size of a given interval as well as the direction. This quickly led to one or two lines, each representing a particular note, being place on the music with all the neumes relating back to them. At first these lines had no particular meaning and instead had a letter placed at the beginning indicating which note was represented. However, slowly the lines indicating middle C, and the F a fifth below, became most common. Having at first been merely scratched on the parchment, the lines now were drawn in two different colorded ink: usually red for F, and yellow or green for C.
音乐记谱法的再一次新发展是heighted neumes，这种记谱法标识出音符之间的音高关系，这样就使得纽姆谱可以粗略并直接地标记出指定音程的增减，这样的标识方法导致了谱上一线或者二线的出现，每条线代表一个特定的音符，这个音符与纽姆谱中所有的音符的音程关系都能被标识出来，最初这些线并没有什么特殊的含义，反而会有一个字母被放在开始的位置表明代表哪个音符，渐渐的，线代表中央C或者比C低五度的F 变得最常用，这些一开始只不过在羊皮纸上刮出的线，开始用两种不同的颜色书写，红色代表F，黄线或者绿线代表C，以上的这些便是我们所知道的音乐记谱法发展的开端。
- 更多网络解释与记谱法相关的网络解释 [注：此内容来源于网络，仅供参考]
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KINETOGRAPHY LABAN：拉邦记谱法
"KINETICS OF RIGID BODY","刚体动力学" | "KINETOGRAPHY LABAN","拉邦记谱法" | "KSCHESSINSKA,MATHILDA,MARIA-FELIXOVNA (1872-1971)","柴辛丝卡,玛迪妲"
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Monophonic notation：单曲调音乐记谱法
"单曲调音乐","Monophonic music" | "单曲调音乐记谱法","Monophonic notation" | "单曲调乐曲","Monophony"
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musical notation：音乐记谱法
在西方文化中,音乐创作是指那些已印刷成乐谱(参阅音乐记谱法(musical notation)条)的出版物或近代的录音复制品. 根据不同的文化水平,或在许多非西方民族中,演奏风格似乎比作品本身更为重要. 例如印度的拉格(raga),演奏家
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Musicography：记谱法
"乐语法","Music idiom" | "记谱法","Musicography" | "音乐学家","Musicologist"
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notation：记谱法
...以及文化研究和后殖民主义批评的先声,比如杂交(hybridity),大众媒介,少数群体文化和城市民族音乐学等. "31个论题"索引词条则删除和更改了一些词条,如部落音乐-原始音乐改为土著音乐,"记谱法"(notation)修改成为"音乐书写"(music writing), ...
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Musical orthography：记谱法
"音乐词语学","Musical nomenclature" | "记谱法","Musical orthography" | "音乐剧","Musical play"
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tablature：记谱法
这一切最终导致了琉特音乐符号记谱法(tablature)的发明. 正如廷克托里.若阿内(Tinctoris Joannes,约1435-1511)所言,文艺复兴时期的琉特琴音乐风格演进路线是从对位化的创作和演奏风格逐渐发展到以即兴化的创作和演奏的.
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tablature：古记谱法
到十八世纪为止,吉他的记谱法与鲁特琴相同,都是使用古记谱法(Tablature)--即用单行线代表弦,在上面记上数字或文字指定音高(与今天的吉他六线谱相若).
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tablature：指法记谱法
syncopation 切分法;切分音 | tablature 指法记谱法 | tambour 手鼓
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Organ tablature：风琴记谱法
"风琴奏鸣曲","Organ sonata" | "风琴记谱法","Organ tablature" | "平行复音","Organum"