查询词典 folksong

The folksong "Huar" is closely connected with the Hui ethnic group and its history.

"花儿"歌谣与回回民族及其历史有密切的关系。

Now our lovely teacher Sybil will perform a lovely Chinese folksong titled:"Love Song On Grasslands".

我们可爱的英语教师，Sybil 将表演1首可爱的中国民歌，名为"草原情歌"。

Richard Taruskin has identified two contrasting idioms in the opera, one based largely in Russian folksong and used to portray the Russian characters, the other an exotic 'oriental' idiom, featuring melismatic vocal lines, melodic augmented 2nds, chromatic passing notes, and double-reed wind timbre, used to portray the Polovtsians.

在这部歌剧中理查德塔鲁斯金找到了两个对比的风格特色，一个主要根据俄罗斯民歌，用来塑造俄罗斯的人物形象，另外一个是具有异国特色的&装饰性&特色，以花唱的声乐表现，增二度的旋律，半音的经过音，双簧片的风声音色为特征，用来描绘波罗维茨人。

In general, Miao"s folksong has inherited and maintained more ethnic characteristics vertically, thus, the development of its music is sure to be constrained, being in the state of isolation for a long time; Tujia"s folksong is active in absorbing, merging and developing the music of Han and other ethnic groups horizontally, but comparatively speaking, the ethnic characteristics of its folk song is obviously desalinized.

总的看来：苗族民歌更多地在纵向继承方面继承与保持了本民族特色，但却使其音乐长期处于封闭状态，发展受到一定限制；土家族民歌侧重在横向借鉴方面对汉族和其它兄弟民族音乐予以灵活吸收、融合与发展，但相对来说，其民歌的民族特征却明显淡化。

The scherzo's main section suggests Berlioz's 'Queen Mab' from Roméo et Juliette , and its trio is redolent of folksong (alternating triple and duple metre, a repetitive melodic pattern, frequent rising or falling 4ths, a drone bass).

谐谑曲部分的主题让人想起柏辽兹《罗密欧与朱丽叶》中的《玛布皇后》，而三重唱具有民间音乐的意味（三拍子和二拍子的交替，重复的旋律型，频繁的上下四度和雄浑的低音）。

The scherzo's main section suggests Berlioz's 'Queen Mab' from Roméo et Juliette , and its trio is redolent of folksong (alternating triple and duple metre, a repetitive melodic pattern, frequent rising or falling 4ths, a drone bass).

谐谑曲部分的主题让然想起柏辽兹《罗密欧与朱丽叶》中的&玛布皇后&，而三重唱具有民间音乐的意味（三拍子和二拍子的交替，重复的旋律型，频繁的起伏和雄浑的低音）。

Folk Poetry is a term that has been very broadly applied, ranging from a description of the proverb as "a one-line folk poem" to consideration of lengthy folksong texts as poems.

民间诗歌这一术语应用甚广，人们既可以把谚语称为&单行体民歌&，也可以用它来指称长篇民间诗歌文本。

Based on the presence of the two kinds of different basic modes that are being/have formed in the development of these two clan folksong-the keeping mode and the changing one, the dissertation intends to find out the origin of the generation of these two modes veiled behind its music form, to master the characteristics of different folk music deeply, and make some preliminary interpretation about the development of these two clan folksong.

在揭示两族民歌发展变化所形成的两种不同基本模式——保持型模式与变化型模式的基础上，力图发掘其音乐形态背后的内在成因，籍以深入地把握不同民族音乐的自身特征，并对两族民歌发展的过程作出初步阐释。

The folksong's learning is focus on oral teaching which is a direct and fast learning model. There are three reproduction ways of their folksong and those are also their current reproduction ways---impromptu reproduction, patterns of composition, patterns of addendum.

东赛德克群在歌谣的学习以口传心授为主，因此是一种直接以及快速的学习模式，在生产上则是以即兴、程式性填词生产、程式性补遗生产为主要三种生产方式，也是东赛德克现今主要的歌谣生产方式。

The main purpose of this research is to explore the relationship between East Seediq Tribe's folksong and life after the battle of Truku. The study time is during 1914 to 1945. In this study researcher conducted the perspectives of ethnic musicology, social musicology and qualitative research method. The findings of this research can be presented in 3 parts, the first part is the process of community transition, the second part is folksong's style, and the last part is the learning and reproduction of folksong.

本研究主要在探讨东赛德克群在太鲁阁战役后，歌谣与生活的关系，因此将研究的时间锁定在19141945年间，也就是太鲁阁战役后至光复为止，以民族音乐学、音乐社会学之观点并采用质化之研究方式，以东赛德克人为访问对象，经过搜集、分析、归纳后在研究结果的呈现上分成为三大部分，其一为社群变迁历程，其二为歌谣风格的呈现，其三为歌谣学习与生产。

Plunder melds and run with this jewel!

掠夺melds和运行与此宝石！

My dream is to be a crazy growing tree and extend at the edge between the city and the forest.

此刻，也许正是在通往天国的路上，我体验着这白色的晕旋。