和声的

During the 19th and 20th centuries there were huge achievements on philosophy literature art and music; a variety of activities were also booming at that time Richard Strauss(1864-1949) born at that era when the social phenomena influenced his music learning process combined the classical and romantic music styles and further developed his unique composing style There were 5 chapters in the dissertation The research motivation purposes methodology and the literature review were included in Chapter One Chapter 2 focused on understanding how the history background and personal attitude influenced Richard Strauss' composing style Through the study of the romantic musicians like Franz Schubert1797-1828 Robert Schumann(1810-1856 Johannes Brahms(1833-1897) Hugo Wolf(1860-1903) Gustav Mahler(1860-1911) and etc I attempted to get a complete picture of musical evolution in Chapter 3 In addition Richard's classic compositions were categorized and organized in order to gain a deep understanding of his music From the study and the analysis of Strauss'"Vier letzte Lieder" the features styles the format and the life of the two poets Hermann Hesse1877-1962）and Joseph von Eichendorff(1788-1857 were explored and the relationship between the music of this composition and the poetry were also discussed Chapter 5 summarized the main arguments to give a short account of Strauss' lifetime rich experiences and thinking in his eighties

横跨十九、二十世纪的理察·史特劳斯（Richard Strauss，1864-1949）正是欧洲人文发展空前灿烂的年代，无论在哲学思想、文学、美术以及音乐方面，都有辉煌的成就。在他音乐学习历程中，结合了古典时期及浪漫时期两种音乐风格，发展出独特的作曲风格。本论文分成五章：第一章绪论包括研究动机、研究目的、研究方法及步骤以及文献探讨；第二章则从对理查史特劳斯生平的详实记载中，了解他创作作品的时代背景和心情；第三章则就浪漫时期艺术歌曲作家舒伯特（Franz Schubert1797-1828）、舒曼（Robert Schumann1810-1856）、布拉姆斯（Johannes Brahms1833-1897）、沃尔夫（Hugo Wolf1860-1903）及马勒（Gustav Mahler1860-1911）等，以诗人、旋律、伴奏型态及曲式和声，稍加整理并说明，以便了解艺术歌曲在此时期之演变过程。并将理查史特劳斯艺术歌曲作品分类统整，藉此对他的艺术歌曲能有更深一步的了解。第四章《四首最后的歌》之音乐探究与分析，则探讨此部作品诗人赫塞（Hermann Hesse 1877 - 1962）及艾辛朵夫（Joseph von Eichendorff﹐1788-1857）的生平和作品特色，以及诗的结构与格式，和此部作品音乐与诗的关系。第五章结语说明史特劳斯一生丰富经历与晚年想法，创作出一组宁静感人又深刻的终曲。

Chapter one is "Introduction". On the basis of summarizing the history of the study of the pictophonetic characters, we suppose some theoretical principle, such as the principle of the correspondence between the form and the meaning of the individual graph of Chinese characters, the principle of the total graphs of Chinese characters being a character-formation system, and the principle of the optimum development of the character -formation system in the history, and som analytic methods, such as the methods of structrue-function analysis, form-position analysis and meaning factor analysis, in the study of the pictophonetic characters. Chapter two is titled"General knwledge of the pictophonetic character." We discuss their origins, nature and some standards of distingnishing them, introduce the knowledge about the editions of SHUO WEN JIE ZI, analyse the functions of the modules of pictophonetic characters in detail, discuss concretely the function of phonetic graphs showing origins and pronunciations, the function of meaning graphs showing meanings and analogies, and the function of distinguishment when the two kinds of graphs are conbined. Chapter three is"The system of meaning graphs of Xiao Zhuan system."After we describe the structure of the meaning graph system, the relations between meaning graphs, the distributions of the function of meaning graphs showing meanings, and the frequency of all this kind of graphs, we get a table of all meaning graphs, a table of the frequency. Chapter four is"The system of phonetic graphs of Xiao Zhuan system."We describe the structure of the phonetic graph system, the relations between phonetic graphs, and between their function showing origins and their function showing pronunciations, and their frequency, then we get ageneral table of phonetic graphs and table of their frequency. Chapter five is "conclusion". We think that systematical methodology is useful in describing and analysing the formation system of Chinese characters. The methodology is adaptable in describing the formation system of modern Chinese characters as well as the historical character systems, adaptable in describing horizontally as well as comparing vertically. Only when we finish the systematical vertical compare on the base of systematical horizontal decription, could we know the true history of the system of Chinese characters, recover the rule of the system's development, and supply the theoretical supports for the scientifical arrangement of modern Chinese characters.

第一部分—绪论，在总结形声字研究历史状况的基础上，提出了研究形声系统的理论原则和分析方法，即汉字个体字符形义统一的思想，汉字字符集合构形系统的思想，汉字构形系统历史演变系统优化的思想等三项理论原则和结构功能分析法，形位分析法，义素分析法等三种分析方法，还扼要地介绍了具体的工作程序和论文的主要内容；第二部分—形声字概述，论述了形声字的来源、性质和鉴别标准，介绍了对《说文解字》正篆形声字说解中的传抄讹误，版本异文，说解错误校勘和考证的经过，详细分析了形声字构件的功能，具体讨论了声符的示源功能与示音功能，义符的示意功能与类化功能以及声符与义符组合中的相互区别功能；第三部分—小篆字系的义符系统，从义符系统的构成、义符间的相互关系，义符示意功能的分布及义符的构字频度等不同侧面，对义符系统进行了全面的描写，产生了义符总表、义符间意义关系总表和义符构字频度总表；第四部分—小篆字系形声字的声符系统，从声符系统的构成、声符间的相互关系，声符的示源功能与示音功能的关系以及声符的构字频度等不同侧面，对声符系统进行了全面描写，产生了声符总表和声符构字频度总表；第五部分—结束语，在全面测查小篆字系形声字的基础上，对研究汉字的方法和现代汉字发展方向的问题提出了一些看法，认为系统论的方法是描写和分析汉字构形系统行之有效的方法，系统论方法，不仅适用于历史上文字系统的描写，也适用于现代汉字构形系统的描写，不仅适用了断代描写，也适用于历史比较，只有在对汉字断代系统描写的基础上进行系统的历史比较，才能认清汉字系统历史演变的真相，揭示汉字系统发展的客观规律，为科学地整理现代汉字提供理论上的依据。

To bring the charm of Debussy's music, people often think of the piano song "Moonlight" It's a transparent floating slowly down the soft light;"Night in Granada," which is slightly lost in the guitar and pizzicato sound of distant ring sound board decorated by the Spanish style;"water reflection" in the reverse position to carry out the chords to the music mode constitutes a symbol of water ripple, ripple the surface, the dynamics of continuous proliferation; symphonic sketch "spray games" are short motive , the phrase cheerful, bright colors and sound, the playing of the background chatter String outlined noisy waves, wave jumping, laughing water, sunlight flashing screen play.

提起德彪西音乐的魅力，人们常常会想起钢琴曲《月光》那缓缓向下漂浮的透明的柔和光芒；《格拉纳达之夜》中稍现即逝的吉他拨奏与远方响起的响板声所点缀的西班牙情调；《水中倒影》中反向进行的和弦对位构成的音乐模式象征水波荡漾、涟漪泛起，不断扩散的动态；交响素描《浪花游戏》则以短小动机、欢快的乐句，色彩明朗的和声，弦乐颤奏的背景勾勒出波涛喧闹、浪花跳跃、水珠欢笑、阳光闪烁的嬉戏画面。

Stayed; meanwhile, the romantic and imaginary style reflects the spirit of Romanticism; brilliant and gorgeous music shows the trend of technicalism; the use of metaphoric wordpuzzle hints to the people Schumann had encountered; furthermore, harmony with mysterious nature reflects the philosophic thinking trend of Naturalism; his musical composition is always associated with things surrounded him, and this tells the source of his endless inspiration for the creation.

经本研究发现，《阿贝格变奏曲》虽是舒曼初期的创作，但是，此作真实的反映他所身处的环境与时代背景，浪漫、幻想的风格反映浪漫主义的精神；灿烂、华丽的音乐显示炫技派的风潮；隐喻性字谜的使用暗示他所邂逅的人物；具神秘特质的和声则反映出自然主义的哲学思潮，他的音乐创作总是与周遭的事物互相结合，而这也透露了他源源不绝创作灵感的来源。

The phylogeny and applied prospect of MES are summarized in the paper. The principle of this system is analyzed from the point of view of acoustics. The surveying and filtering technology of auxiliary parameters, sounding data and the theory of image form, backscatter strength data processing, are researched deeply in the paper. The optimal model of velocity of sound is given. For sound ray tracing, some methods of correction of sound ray curve are developed. At the same time, an ideal model of sound ray tracing is proved and given. The GPS technology is applied for the determination of tide, attitude of vessel. Moreover, some methods are given. As an important topic, the systematic error is discussed in the paper. Some filtering methods are researched in this paper. Based on the current methods of image processing, the procedure and methods are tested and given that adapt to sonar image processing.

本文研究的工作是在总结多波束声纳测深系统的发展历史、应用前景的基础上，从声学角度分析了多波束系统的工作原理；对多波束辅助参数的测定和滤波方法、测深数据的滤波方法、多波束声纳图像的形成机理、图像处理以及最终应用等作了比较深入的研究；得出了适合于多波束精密深度计算的最优声速模型和声线改正模型；提出了 GPS 载波相位定位技术用于多波束辅助参数测量的思想、算法，改善了多波束系统的作业模式；系统地分析了深度数据的误差来源和类型，首次将系统误差作为影响测深精度的主要因素给以研究，并给出了削弱系统误差的方法，提高了深度数据的质量；对多波束声纳图像的形成、处理方法进行了细致的研究，给出了适合多波束图像处理的算法和流程，并从理论和实践上对声纳图像的应用进行了比较全面的研究。

Firstly,we particularly explained the algorithmic of themusic recognition.Then,we made a study of the music characteristic and the musicrecognition methods.As for the burrs of the music signal,we put forward a curveplastic method to eliminate the burrs.Considering the difficulties of detecting thepoint of the music speech,we made use of the multi-frequency energy curve to detectthe end-point of the music signal with the crossing zeros rate.As for thedisadvantages of the large operation and influence of the formant,we improved theAMDF theory with the linear prediction algorithmic to detect the error.In order toobtain the characteristic parameter of the music signal,wo calculate the MFCCparameter to obtain the template and the pending signal characteristic parameter.Inorder to improve the rate of the recognition,considering the disadvantages of theDTW algorithmic,we find a new method to improved the DTW algorithmic bybroadening the point of the music signal and made simulation experimentation;As forthe disadvantages of the contraposition grade to the pitch,cadent and sing name,wefind a method to dynaic adjust the results of the recognition to improve the accuracyof the grade.

详细阐述了嵌入式音乐识别算法的详细设计与实现，研究了音乐语言的特点和音乐识别的侧重点，并阐述了基于音乐信号特色的语音处理及识别方法；针对音乐信号中的毛刺干扰，提出了曲线整形的思想，消除了音乐信号中的毛刺；针对音乐信号端点检测困难的特点，利用多频段能量曲线分割结合过零率来实现端点准确检测；针对音高提取运算量大且容易受共振峰影响的特点，利用线性预测残差的方法对传统的AMDF算法进行了改进并提取出了音高，在实际实现时，优化了AMDF算法，减少了计算量；为了得到较好的特征参数，通过求取梅尔频标倒谱系数的方法，分别提取了模板信号特征参数和待测信号特征参数；为了提高识别率，针对传统DTW算法的缺陷，采用了放宽端点和声刺激法改进了传统的DTW算法的性能并进行了仿真试验，使音乐识别率得到明显提高；在音高、节奏评分时，针对对位评分的缺点，采取了动态调整的方法提高了评分的准确度。

His Song of the Dark Forest artfully evokes a folk idiom through its poetic metre (a modified kol'tsovskiy stikh ), word repetition, and spare harmony which avoids the leading note. The seven songs composed between 1867 and 1871 conclude with Borodin's second Heine setting, Iz slyoz moikh ('From my Tears'), which is noteworthy for still further effects derived from 2nds.

他的《黑暗森林之歌》以诗般的韵律（ a modified kol'tsovskiy stikh ），歌词的重复以及避开导音的和声等艺术化的塑造了民歌的风格。1867年和1871年创作的七首歌中包括了鲍罗丁的第二首海涅组曲《从我的眼泪中》，其对于二度音程的进一步作用有显著的影响。

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 paper studies the works of Vivaldi, Op.3 Lestro armonico.By the way musical form analysis of musical analytics, tries to analyze the structure, musical form, harmony, key relationship, stylistic evolvement of the works . It reveals the status of the works and the impact to the autumn period solo-concerto Four Seasons in the course from grand concerto to solo concerto . Vivaldi contributes the foundation of the solo concerto and his works get a further reference to learners.

本文以维瓦尔第的作品Op.3《和谐的灵感》为研究对象，运用音乐分析学中曲式分析的方法，试图通过对作品的结构形式、曲式、和声、调关系、风格演变等方面的分析，揭示出在从大协奏曲到独奏协奏曲的演变过程中，这套作品有着怎样的地位，对成熟时期的独奏协奏曲有着怎样的影响以及作曲家在独奏协奏曲的最终确立方面都有哪些探索，做出了怎样的贡献，对人们进一步了解维瓦尔第的其它优秀作品提出一些参考。

As she looked at Warrington's manly face, and dark, melancholy eyes, she had settled in her mind that he must have been the victim of an unhappy attachment.

每逢看到沃林顿那刚毅的脸，那乌黑、忧郁的眼睛，她便会相信，他一定作过不幸的爱情的受害者。

Maybe they'll disappear into a pothole.

也许他们将在壶穴里消失