名作曲家

Love like a free bird, and no one can tame it, no one can catch it, no way to turn your ......"Whenever people who like opera, a famous French composer Bian Zhi is more than just the opera "Carmen" in the selections,"Habanera" Dance, also known as "Love is like a free bird.

"爱情像一只自由的鸟儿，谁也不能够驯服它，没有人能够捉住它，要拒绝你就没办法……"但凡喜欢歌剧的人，一听便知这是法国著名作曲家比才的歌剧《卡门》中的选曲《哈巴涅拉》舞曲，又名《爱情像只自由鸟》。

She's got a life story that publicists dream about, and she's got the silliest name since the pop music singer Engelbert Humperdinck (who named himself after the 19th-century German composer of that name).

她有新闻广告员们梦寐以求的生活经历，而且还起了个继流行歌手恩格尔贝特·洪佩尔丁克（他根据19世纪那个同名的德国作曲家给自己取的名）之后的最愚蠢的名字。

With Caccini's abilities as a singer, instrumentalist, and composer added to the mix of intellects and talents, the Camerata developed the concept of monody —an emotionally affective solo vocal line, accompanied by relatively simple chordal harmony on one or more instruments—which was a revolutionary departure from the polyphonic practice of the late Renaissance.

作为一名歌手，乐器卡奇尼的能力，和作曲家增加了智力和人才结构，在萨尔斯堡发展了 monody 概念，情绪情感的独唱歌手的，相对简单的一个或多个文书，这是一个弦和谐的陪同下革命背离了文艺复兴晚期和弦的做法。

He does not deny that music has gone on to be sexually selected (indeed, one of his students, Konstantinos Kaskatis, has shown that Dr Miller's observation about jazz musicians also applies to 19th-century classical composers and contemporary pop singers). But he does not think it started that way.

他并不否认音乐已经成进而处于受到性选择下（事实上，他的一名学生Konstantinos Kaskatis展现出Miller博士对爵士乐音乐家的发现对于19世纪古典作曲家、现代流行歌手也符合）但是，他并不认为音乐是因为这原因而产生。

Here she falls in love with a charismatic drug-addicted musician, for whom she writes a song about the ghost haunting one of the hotel's bedrooms.

在这儿，她和一名磕药成瘾但是极具魅力的作曲家共坠爱河，他为她写了一首歌，讲的是一个游荡于旅馆某间客房的幽灵的故事。

The thesis probes into Schoenberg' thinkings about music history, music nationalism, music education, music criticism, and music creation, respectively. There are some important viewpoints in Schoenberg's music thought: Firstly, Schoenberg's ideas of music history, he believes relationship of tradition and revolution in art is dialectical in nature, and argues that evolution in music was determined by natural law, obviously influenced by Hegel's philosophical history idea. Secondly, the thesis sums up his viewpoints of music nationalism, such as "lay stress on art music, look down on folk music","lay stress on western European music, look down on non- western European music" by Schoenberg's account about the reasons of the formation of national art, the dominant of national art and nationality in music; in fact, this viewpoint of western cultural centricity is one of his i mportant viewpoints throughout his life; Thirdly, Schoenberg's concept of music education: in his thought a composing teacher should teach the students how to master "the tool of art", train them for their ability of "one major and various kinds of techniques", try his best to nourish the student's personality; Fourthly, Schoenberg set forth some opinions about modern music critics and the method of music criticism: a music critic must be equipped with the quality of a music expert, and render composer's idea to the public by his art imagination, but not his personal opinion,and Schoenberg stress the areas of music criticism on style and idea ; Lastly, Schoenberg's concept of music creation: Expressionism and organism are two important issues in Schoenberg's thinking about music creation.

本文通过对勋伯格各类论文、书信、演讲、专著等文稿的评述，分别探讨了作为音乐思想家的勋柏格的音乐历史观、民族主义音乐观、音乐教育观、音乐批评观与音乐刨作观，并在此基础上总结了折射在勋柏格音乐思想中的几个重要观点：一，勋柏格对于音乐历史的认识：通过德奥音乐界前辈给予他的创作启示，以及勋伯格对自己几个创作阶段的发展历程的总结，阐述了他对于艺术中的传统与革新之间的关系的辩证认识，并通过这些问题总结出音乐的演进与黑格尔倡导的&历史发展必然性&哲学观念之间存在着必然联系；二，勋柏格的民族主义音乐观：通过勋柏格对于形成民族艺术特征的根本原因、民族艺术中的支配现象、民间音乐与艺术音乐之间的比较、音乐刨作中的&民族性&问题的意识等方面问题的剖析与认识，总结了他的&重艺术音乐，轻民间音乐&、&重西欧音乐，轻非西欧音乐&的观点，从而突出了他的精神领域中的根深蒂固的&德奥音乐中心论&，这是一个浸润着浓厚的西欧文化中心论色彩的观点，也是贯串他毕生的音乐思想的重要观点之一；三，勋柏格对音乐教育问题的见解：勋柏格认为作曲教师应该教会学生掌握&艺术的工具&、在教学中努力做到&一专多能&、注重个性培养；四，勋柏格对当代音乐批评家与音乐批评方法提出的要求：音乐批评家必须具备作为一名音乐家的专业修养，要以真实、客观的态度对待音乐批评这门神圣的职业，充分运用内心的艺术联想向公众再现作曲家的意图，而不是将个人见解强加于受众；同时，批评家需要对艺术的过去与未来拥有全面的了解与较准确的预测，在音乐批评的具体范畴中，应将重心角度置于探讨音乐作品的风格与思想之间的关系方面。

Electronic music, interactive media and visual arts installations come together in this special project conceptualised by leading Taiwanese electronic music artist and Golden Horse award-winning composer/musician Lim Giong, in collaboration with three young and talented Singaporean artists Jeffrey Yue, Wen Lei and Lim Wei Ling.

这场融合电子音乐、互动媒体及视觉艺术的特殊活动是由台湾首屈一指的台湾电音艺术家和曾经荣获金马奖的作曲家/音乐家林强和三名年轻有为的新加坡艺术家余思行、黄雯蕾与林玮翷所构思。

This fascinating disc presents three masterworks of our time written by three composers and performed by three orchestras.

这迷人的光盘提供了三个由三个作曲家的作品我们时代的杰作，由3名乐团合作演出。

The seeds of the Classical age were sown by a number of composers whose names are now largely forgotten such as Schobert and Honnauer (both Germans largely active in Paris), as well as more historically respected names, including Gluck, Boccherini and at least three of Johann Sebastian Bach's sons: Carl Phillip Emmanuel, Wilhelm Friedmann and Johann Christian (the so-called 'London' Bach).

种子的古典时代播下了由多个作曲家的名字，现在基本上被遗忘，如朔贝特和honnauer （均德国人，主要活跃于巴黎），以及更尊重历史地名，包括格鲁克， boccherini和至少3名约翰塞巴斯蒂安巴赫的儿子：卡尔菲利普灵光，威廉弗里德曼和约翰基督教。

Vitas got an invitation from Lucio Dalla, the composer, who created "In Memory of Caruso", to perform this famous song together with the author at the concert "San Remo in Moscow" held in the State Kremlin Palace.

维塔斯得到一个邀请，由卢西奥dalla ，作曲家，世卫组织创建&在记忆的卡鲁索&，执行此著名的宋连同作者在音乐会&圣雷莫在莫斯科举行的&国家克姆林宫。

But we don't care about Battlegrounds.

但我们并不在乎沙场中的显露。

Ah! don't mention it, the butcher's shop is a horror.

啊！不用提了。提到肉，真是糟透了。