- 更多网络例句与谐谑相关的网络例句 [注：此内容来源于网络，仅供参考]
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In the first chapter, Introduction, the author introduces the historical development of scherzo, reviews the evolutionary process of the style of scherzo.
在第一章绪论中，首先介绍了谐谑曲的历史发展脉络，考察了谐谑曲的风格演变过程。
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The scherzo genre was a summit in his creation as well as an indispensable part in Chopin's piano composition.
第一章，第一节首先介绍了谐谑曲这一体裁的发展历史，简单介绍谐谑曲风格的演变过程。
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There are differences between this kind of scherzo and its previous styles.
这些谐谑曲已不同于以往的谐谑曲体裁，不再限于嬉戏、玩闹而是隐含了深刻而复杂的思想内容。
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In conclusion, on the basis of predecessor"s works, Chopin"s scherzos have created its unique style and characteristic of its musical language, and made an important contribution to the development of scherzo.
总之，肖邦谐谑曲在前人的基础上，创立了自己独特的谐谑曲音乐语言风格特征，为谐谑曲体裁的发展作出了重要贡献。
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Meanwhile, scherzo can be regarded as one important and special side of Chopin"s works. By reviewing the style and characteristics of scherzo, the overall style of Chopin"s language of music could be understood more integrality.
同时谐谑曲是肖邦音乐创作中非常重要也非常特殊的一个侧面，通过考察谐谑曲的风格特征可以更为完整地理解肖邦音乐语言的总体风格特征。
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Chopins contribution to the music genre is unique. His four independent scherzos are the development and innovation on the genre of traditional scherzo. Among them, very few are jocosity-character work, and all of the scherzos are large-scale dramatic works. It can be said that scherzo reached the peak by Chopin.
肖邦对音乐体裁的贡献是独一无二的，他所创作的四首独立的谐谑曲是对谐谑曲体裁的发展和革新，它们已很少诙谐性格留下，而都是大型的戏剧性作品，可以说，谐谑曲在肖邦的手上达到了顶峰。
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This paper tries to grasp Chopin"s creation methods of his four works from macroscopic angle, and discuss his creation thoughts concretizing scherzo"s creation characteristic from microscopic angle, and last hold the profound contents of these works from performance, based on the analysis of the following aspects: expanding of scherzo by Chopin, works creation and performance.
本文从肖邦对谐谑益的拓展、作品的创作和演奏三方面，尝试先从宏观角度去把握肖邦这四首作品的创作思路，继而从微观角度具体到谐谑曲的创作特征来展开论述肖邦创作思维，最后从演奏实践去进一步把握这些作品的深刻内涵。
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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。
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In the third chapter, Structural analysis, the author starts with " the ternary quality " and "the non-ternary quality", and specifically analyzes the form of the four scherzos, and then analyzes the function of each paragraph from the main theme section to the coda of the four scherzos. Finally the author analyzes the overall structural arrangement of the scherzos.
在第三章结构分析中，首先从&三部性&与&非三部性&入手，具体分析了四首谐谑曲的曲式结构，然后分析了四首谐谑曲从主部到尾声的各个段落的具体功能，最后分析了谐谑曲的总体结构布局。
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There are differences between this kind of scherzo and its previous styles. Chopins scherzo is no longer defined to frolic and amusement. On the contrary, it implies deep and complex content.
这些谐谑曲已不同于以往的谐谑曲体裁，不再限于嬉戏、玩闹而是隐含了深刻而复杂的思想内容。
- 更多网络解释与谐谑相关的网络解释 [注：此内容来源于网络，仅供参考]
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sarcastic humor：诙诡谐谑
英语幽默:English humor | 诙诡谐谑:sarcastic humor | 会话幽默:Utterance humor
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b.Allegro Scherzando：谐谑小快板
a.Allegro Vivace e con amore热情而活泼的快板 | b.Allegro Scherzando谐谑小快板 | c.Tempo d menuetto小步舞曲
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poco scherzando：稍带谐谑地
Andantion小行板 | poco scherzando稍带谐谑地 | molto espressivo e ben tenuto很有表情同时充分保持时值
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Allegro scherzando：谐谑的快板
Allegro risoluto 坚决的快板 | Allegro scherzando 谐谑的快板 | Allegro vivace 活泼的快板
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scherzo：谐谑曲
>呈现出崭新的面貌,规模庞大、形式匀称、主题丰富而个性鲜明,贝多芬成熟风格交响曲的雏形业已形成,第三乐章首次在交响套曲中用"谐谑曲"(Scherzo)取代了小步舞曲.
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scherzo：谐谑圆舞曲
第二乐章:赋格 Allegro Fuga | 04 [俄]柴科夫斯基 P.Tchaikovsky | 谐谑圆舞曲 Scherzo
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Allero Scherzo：快板、谐谑曲
02 Andante con moto稍板的行板 | 03 Allero Scherzo快板、谐谑曲 | 04 Allero-Presto快板-急板
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Scherzo: Vivace：谐谑曲:活泼的
8: 慢板Lento 06:42 | 9: 谐谑曲:活泼的Scherzo: Vivace 06:06 | 10: 近乎快板Quasi allegro 06:37
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travesty：歪曲,谐谑化
traverse 横越; 妨碍,反对 | travesty 歪曲,谐谑化 | trespass 侵入,侵犯
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Ballet of the unhatched chicks：稚鸡在蛋壳里的芭蕾 谐谑而轻快活泼地F大调
08 Promenade 漫步 沉静地D小调 | 09 Ballet Of the Unhatched Chicks 稚鸡在蛋壳里的芭蕾 谐谑而轻快活泼地F大调 | 10 Samuel Goldenberg And Schmuyie 两个一穷一富的犹太人 行板 降b小调