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composers相关的网络例句

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与 composers 相关的网络例句 [注:此内容来源于网络,仅供参考]

At this time, the music composers of China started to explore the brand-new sense "Chinese music style". Besides of the continuation of the "nationality" style and the "populace" style, some modern compose techniques,such as "dodecaphonic","atonality" and "sound block" have been used into the Chinese composers piano works.

从困惑中走出来的中国作曲家们开始探索全新意义上的"中国音乐风格",除了延续"民族化"、"群众化"的传统创作风格的作品之外,十二音、无调性、音块等现代创作技法开始出现在中国钢琴音乐作品中,这些有益的尝试与创作实践都为进入新世纪的中国钢琴音乐创作奠定了发展的基础。

Purcell was one of the greatest composers of the Baroque period and one of the greatest of all English composers.

普塞尔是巴洛克时期最伟大的作曲家之一,他也是所有最伟大的英国作曲家之一。

The establishment of this repertoire from 'scratch' exceeded the capabilities of the composers JD Heinichen and Jan Dismas Zelenka and in consequence it became necessary for works by 'outside' composers to be incorporated into the repertoire.

这一剧目的'从头开始建立'超越了联合声明海尼兴作曲家能力和2008年1月Dismas泽伦卡及由此成为必要的工程'外部'作曲家纳入曲目中。

With John Dunstable and other English composers, partly through the local technique of fabutden(an improvisatory process in which a chant melody and a written part predominantly in parallel sixths above it are ornamented by one sung in perfect fourths below the latter, and which later took hold on the continent as "fauxbordon"), the interval of the third emerges as an important musical development; because of the Contenance Angloise("English countenance"), English composers' music is often regarded as the first to sound less truly bizarre to modern, unschooled audiences.

随着John Dunstable和其他英国作曲家在一定程度上通过当地一种叫faburden的技法的运用(这是一种即兴的技法,运用于圣咏的旋律中,下方有一个主要是平行六度的部分,而它们又由一个低于下方的纯四度演唱装饰,这种后来影响了整个欧洲大陆的技法被称为fauxbordon),三度音程的出现成为一种重要的音乐发展,这是因为Contenance Angloise ("English countenance")--这种英国作曲家的音乐常常被未经教育的听众认为是一听上去就不古怪的音乐。

Leslie commented that when people begin to learn and study opera, they begin with basic works by composers such as Giuseppe Verdi and Giacomo Puccini before moving on to more complex works by composers such as Richard Wagner.

莱斯丽评论,当人们开始学习歌剧的时候都从最基本的作品开始,比如那些由朱塞佩·威尔第和贾科莫·普契尼创作的,然后再转向诸如由理查德·瓦格纳创作的较复杂的作品。

The literature movement is reflected in the music of contemporary composers, including Mozart's operas, Haydn's so-called Stum and Drang symphonies,, the lyrics that composers chose for their lieder , and a gradual increase in the violence of emotion that music expressed.

狂飙运动在同时期音乐家的音乐中反映出来,包括莫扎特的歌剧,海顿所谓的狂飙交响乐,作曲家为他们的艺术歌曲选择的诗歌以及在音乐表现中越来越多的强烈情感。

Composers from England have not achieved recognition as broad as that earned by their literary counterparts, and, particularly during the 19th century, were overshadowed in international reputation by other European composers; however, many works of earlier composers such as Thomas Tallis, William Byrd, and Henry Purcell are still frequently performed throughout the world today.

作曲家从英格兰还没有取得广泛的认可,赢得了他们的文学同行,和,特别是在19世纪,是在国际声誉蒙上阴影的其他欧洲作曲家的;然而,许多作曲家的作品,如早些时候托马斯塔利斯,威廉伯德,和亨利浦塞尔仍然经常在世界各地演出今天。

Many of the composers had a direct connection to the Vatican and the papal chapel, though they worked at several churches; stylistically they are often contrasted with the Venetian School of composers, a concurrent movement which was much more progressive. By far the most famous composer of the Roman School is Giovanni Pierluigi da Palestrina, whose name has been associated for four hundred years with smooth clear polyohonic perfection.

大多数作曲家与梵蒂冈和教皇教堂有着直接的联系,虽然他们在不同的教堂工作,在文体上他们与威尼斯乐派的作曲家形成鲜明对比,它比同时代的威尼斯乐派取得了更多的发展,至今最著名的罗马乐派作曲家是Giovanni Pierluigi da Palestrina,他的名字400年来都与平稳,清澈的完美复调音乐联系在一起。

With John Dunstable and other English composers, partly through the local technique of fabutden(an improvisatory process in which a chant melody and a written part predominantly in parallel sixths above it are ornamented by one sung in perfect fourths below the latter, and which later took hold on the continent as "fauxbordon"), the interval of the third emerges as an important musical development; because of the Contenance Angloise("English countenance"), English composers' music is often regarded as the first to sound less truly bizarre to modern, unschooled audiences.

随着John Dunstable和其他英国作曲家在一定程度上通过当地一种叫faburden的技法的运用(这是一种即兴的技法,运用于圣咏的旋律中,下方有一个主要是平行六度的部分,而它们又由一个低于下方的纯四度演唱装饰,这种后来影响了整个欧洲大陆的技法被称为fauxbordon),三度音程的出现成为一种重要的音乐发展,这是因为Contenance Angloise (&English countenance&)--这种英国作曲家的音乐常常被未经教育的听众认为是一听上去就不古怪的音乐。

Transcription, and analyzes Wangs inheritance, reproduction and development of Chinese ethical folk music. She also makes transverse comparisons between the musical forms of piano works by composers of both China and abroad, and illustrates that Wang uses for inference but not copies the western musical forms, that he attaches importance but not stickles to the framework of traditional Chinese music, and also that he demonstrates a characteristic of not sticking to one pattern. She makes contrastive comparisons as well of the melodies and harmonies of piano works by composers of both China and abroad, and indicates that in inquiries into the folk style of counterpoint, Wang is flexible and creative in harmonies by inheriting the character of a clear melody and the method of multi-voice in Chinese traditional music and also by absorbing the character of emphasizing the layers of texture in western piano music.

拿民族民间音乐与钢琴改编曲作纵向比较,分析其对中国民族民间音乐的继承再现与发展;拿中外钢琴作品的曲式原则作横向比较,说明他借鉴但不照搬西方音乐曲式规范,重视但不拘泥于传统中国音乐结构方法,在作品的结构上,呈现出不拘一格的特点;拿中外钢琴作品在旋律、和声等方面作相异比较,指出了在探索多声部音乐的民族风格过程中,王建中一方面继承了传统音乐中旋律线条十分突出的特点,另一方面又吸收了西方钢琴音乐注重织体的网状结构的特点,有意识地运用了我国民间多声手法,在和声的运用方面表现出灵活多样而又富于创新的特点。

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