查询词典 Chopin

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。

Alexander Scriabin was also strongly influenced by Chopin; for example, his 24 Preludes, Op. 11 are inspired by Chopin's Op.

Alexander Scriabin也深受肖邦的影响，比如他的24首前奏曲作品11就是受肖邦的作品28的启发。

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。

Chopin Etudes have always been a challange to pianists. For those virtuosos made in USSR/Russia, the Chopin Etudes would be one of the perfect touchstone.

肖练一直是考验钢琴家演奏技术的一个挑战，以精准高超演奏技术著称的前苏联/俄罗斯钢琴家们，又怎么不会接受这个考验呢？

One has only to think of the reputation of Chopin, whose nocturnes and ballades provide as much substance and originality as many a celebrated symphony; yet Chopin is not held in such high esteem as the great orchestral composers.

只要想想肖邦的声誉就不难得知，他的小夜曲和叙事曲同许多著名交响乐一样富有思想性和独创性，但他并未获得像伟大的交响乐作曲家那样高的尊敬。

One has only to think of the reputation of Chopin, whose nocturne s and ballades provide as much substance and originality as many a celebrated symphony; yet Chopin is not held in such high esteem as the great orchestral composers.

只要想想肖邦的声誉就不难得知，他的小夜曲和叙事曲同许多著名交响乐一样富有思想性和独创性，但他并未获得像伟大的交响乐作曲家那样高的尊敬。

In addition, we'll discuss these four ballades from theme, motive, ways of creation and harmony, compare four different editions, then try to realize the intention of Chopin's creation and melody. Finally, we hope that we can find out whether revolution and unity in Chopin's writing from these four ballades.

另外，藉由主题、动机、创作手法、和声等四个向度来探讨这四首叙事曲，并比较四种不同的乐谱版本，推论出萧邦当时创作上的意图与如何适合於乐曲的个人诠释之浅见，最后，期望可从这四首叙事曲发现萧邦在乐曲创作上有无创新性与统一性。

The second part of the paper introduces "the background of Chopin"s creation of piano Etude. Then through the comparison of his and the people of his time or before on Etudes, the paper concludes that Chopins" has broken the traditional meaning on this genre. In the end, the paper analyses how Chopin"s Etudes combine art with technique, through three aspects: synthetical melody and technique, colorful harmony and technique, and singular piano and technique.

第二部分首先简要介绍肖邦钢琴练习曲的创作背景；接着通过肖邦练习曲与他之前和同时代的作曲家的练习曲的比较，说明肖邦的练习曲已突破了这一体裁的传统意义；最后从三个方面：综合的旋律特征和技术的结合、丰富的和声风格和技术的结合、独特的钢琴织体和技术的结合，来阐述肖邦练习曲是艺术性和技术性的有机结合。

This article takes Chopins as the object to study, carrying on the elaboration in 4 chapters. The first chapter mainly introduced Chopin and his concerto. It induced and discussed the origination of Chopin's creative inspiration as well as different styles of piano music in different times by elaborating his biography and his creations. Furthermore, this paper analyzes the background of from the society, the culture and the reality three aspects separately.

本文以肖邦《f小调第二钢琴协奏曲》作为研究对象，分四章进行论述：第一章主要是对肖邦本人和肖邦的协奏曲进行了概括式的介绍，通过对肖邦生平及创作的阐述，归纳和探索了肖邦创作灵感的来源以及不同时期钢琴音乐的不同风格；另外，论文分别从社会、文化和现实三个方面分析了《f小调第二钢琴协奏曲》的创作背景。

Frederic Francois Chopin Frederic Francois Chopin, Polish-born composer and renowned pianist, was the creator of 55 mazurkas, 13 polonaises, 24 prelud

二。我认为我们发贴也应该想到我们的小辈，所以大家应该鼓励和支持发基础英

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。