查询词典 Chopin

From Paris, Chopin made various visits and tours. In 1834, with Hiller, he visited a Rhenish Music Festival at Aachen organized by Ferdinand Ries.

从巴黎出发，肖邦做了许多访问和旅行。1834年，他和希勒一起参加了由Ferdinand Ries举办的位于Aachen的Rhenish音乐节。

Chopin's music often employs tempo rubato and other devices that require exquisite control and coordination of the two hands.

萧邦的音乐常常使用节奏的不同步以及其它需要双手优雅控制与协调的元素。

The second chapter gives a general analysis of Chopin's scherzo creation.

一、对于作品结构的把握。二、作品风格的把握。

Chopin's scherzo is a single-chapter piano solo which has distinctive contrast and enormous structure.

肖邦的谐谑曲是音乐形象对比鲜明结构庞大的一种单乐章的钢琴独奏曲。

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。

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。

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。

Words spoken by Vladimir Horowitz after he performed - badly - Chopin's 1st Scherzo.

引自霍洛维兹，在他弹砸「萧邦第一号谐谑曲」后讲的话。

In the fourth chapter, the author utilizes the theory of Musical apperceive analysis , which is established by Leonard B. Meyer, a famous American musical esthetician and theoretician, and then, from the angle of music apperceive, analyzes the third scherzo of Chopin more particularly.

在第四章中，运用了美国著名音乐美学家、理论家伦纳德·迈尔所创立的音乐感知分析的理论，从音乐感知角度入手，对肖邦创作的第三首谐谑曲进行了较为细致的音乐分析。

"I admire people who just play great Chopin or great Schubert," he says, but that's not me.

"我羡慕那些就是能够弹奏非常出色的肖邦或者非常出色的舒伯特的人，"他说，但我不是那样的人。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。