叙事曲

The "Fantasia in F Minor," the "Barcarolle," the "Polonaise Fantasia,""Ballade in A Flat Major,""Ballade in F Minor," and "Sonata in B Minor" were all products of the relaxed time Chopin enjoyed in the country.

F小调幻想曲》，《威尼斯船歌》，《幻想波罗涅滋舞曲》，《降A大调叙事曲》，《F小调叙事曲》，《B小调奏鸣曲》等都是在南部疗养时创作的。

The "Fantasia in F Minor," the "Barcarolle," the "Polonaise Fantasia,""Ballade in A Flat Major,""Ballade in F Minor,""Sonata in B Minor" were all products of the relaxed time Chopin enjoyed in the country.

F小调幻想曲》，《威尼斯船歌》，《幻想波罗涅滋舞曲》，《降A大调叙事曲》，《F小调叙事曲》，《B小调奏鸣曲》等都是在南部疗养时创作的。

Just as a waltz, mazurka or barcarolle is liable to dance out of one of his Ballades, Scherzos or Polonaises, a Nocturnes can suddenly sprout a miniature mazurka ---- for example, the C sharp minor Nocturne, no 20 here---- and such unexpected juxtapositions, like the strategically placed washes of chromatic harmony or shifts between major and minor keys have much to do with the music's sense of inhabiting those fugitive realms between sleep and wakefulness. One of the most haunting examples is op.

正如华尔兹，玛祖卡舞曲，或者威尼斯的船歌都是除了叙事曲，谐谑曲或者波洛涅兹舞之外易于舞蹈的流派，夜曲却能够突然现露出玛祖卡舞曲的缩影——例如C小调夜曲，NO.20——这样意想不到的并置，就像是在大调和小调之间刻意放置的对半音和声或音律变化的一种冲击，它与存在于那些半梦半醒之间稍纵即逝领域中的乐感息息相关。

The ballads of Franz Schubert (1797-1828) and Carl Loewe (1796-1869) were both inherited from Johann Rudolf Zumsteeg (1760-1802). However, compared to Loewe's sustained ballad compositions and his leading position in this field, Schubert was nearly unknown. Were it not for the popularity and controversy of Erlk?nig (D 328), we might have difficulty in associating Schubert with ballads.

舒伯特(Franz Schubert， 1797-1828)与洛威(Carl Loewe， 1796-1869)之叙事曲虽皆传承於村史提克(Johann Rudolf Zumsteeg， 1760-1802)，但是相对於洛威的持续创作且於此领域中拥有重要地位，舒伯特在叙事曲的创作中却几近默默无名，若非《魔王》受到欢迎以及引发评论者对其的争议，时至今日，我们或许仍难以将舒伯特与叙事曲的创作联想在一起。

Meanwhile, the analysis of the creative characteristics of F Major Ballade showcases that it has the complete features and spirit of Chopin's

同时通过对《F大调叙事曲》创作特征的分析总结，表明该作品具有肖邦叙事曲的整体特征和肖邦作品的精神内

Through the analysis of F Major Ballade hereinbefore, the peculiar charming point is dug out, that is to figure two contradicted themes with very terse material in order to achieve strong dramatic conflicts, then use various creative skills to unify the two contradicted themes and safeguard the work's logic and completeness which contribute it to be the most programmatic and descriptive work in all Chopin's ballades.

论文通过对《F大调叙事曲》的上述研究分析，发掘出了这部作品的独特魅力，即以最简洁的素材塑造两个相互冲突的主题，形成强烈的戏剧冲突，而后又运用各种创作技法使两个主题由矛盾走向统一，从而保证了作品的逻辑性和完整性，使之成为肖邦叙事曲中最具标题性和描绘性的一首作品。

The special performance in his deep mining and enrich the prelude, etudes, such as scherzos, nocturnes, impromptus, XieXue music genres of music and so on a series of potential artistic expression, give them a new society.

这特别表现在他深入地挖掘和丰富了诸如前奏曲、练习曲、叙事曲、夜曲、即兴曲、谐谑曲等一系列音乐体裁的潜在的艺术表现力，赋予它们以新的社会内容。

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 article on Chopins life experiences and creative music start of the study the origin and narrative song on the basis of features along the time line, the control through social background, in terms of content, structure his narrative song explore the characteristics and creative innovation.

文章从介绍肖邦的生活经历与音乐创作入手，在研究叙事曲的起源与特征的基础上，沿着时间线路，通过社会背景的对照，在内容、结构上探究他在叙事曲创作上的特征及创新。

Were researched and performed by musicians in the whole world. In the past, some scholars and musicians mainly focused on g Minor Ballade Op.38 and f Minor Ballade Op.52, A Flat Major Ballade Op.47 came next. However, only a few general statements were given to F Major Ballade Op.38, of which the profound values were not dug out yet.

前人对肖邦叙事曲的研究多集中在《g小调叙事曲》Op.23和《f小调叙事曲》Op.52相关内容的研究上，《降A大调叙事曲》Op.47次之，而对《F大调叙事曲》Op.38的研究只出现一些概括性论述，没有能够全面深刻地发掘出这首作品的价值。

With Death guitarist Schuldiner adopting vocal duties, the band made a major impact on the scene.

随着死亡的吉他手Schuldiner接受主唱的职务，乐队在现实中树立了重要的影响。

But he could still end up breakfasting on Swiss-government issue muesli because all six are accused of nicking around 45 million pounds they should have paid to FIFA.

不过他最后仍有可能沦为瑞士政府&议事餐桌&上的一道早餐，因为这所有六个人都被指控把本应支付给国际足联的大约4500万英镑骗了个精光。