和声的

The main origins of its theoretical basis are Schoenberg's Monotonality, Bartok's Chromaticism and Hindemith's Tonal Centre.

其方法的理论基础主要来源于：勋伯格的单一调性理论、巴托克调式综合理论、兴德米特的调中心理论，这三种理论对中国近代和声技法中出现的调性、调式及调中心的和声现象具有重要的参考价值。

Increasingly, polyphony and harmony were seen as two sides of the same idea, with harmonic progression entering the notion of composing, as well as the use of the tritone as a dissonance.

复调和和声逐渐被认为是同一个概念的两个方面，随着和声级数进入到作曲记谱的概念中，以及作为不和谐音的三全音的运用。

This paper analyzes such problems as the lack deficiency of the harmony sense of hearing training contents,the inappropriateness of the teaching methods,the breaking away of the harmony sense of hearing training from the musical works and the backward teaching measures,along with that,this paper also put forward the specific measures to solve these problems.

本文对高师和声听觉训练内容的欠缺、教学方法的不得当、和声听觉训练严重脱离音乐作品、教学手段的落后等问题，进行了多方面的分析，并提出了如何解决这些问题的具体方法。

But it isn't simple to "Return to the acients". According to his technique of traditional music, he was actually Brahms-Lohannes's follower. Melting the semitone and harmonic in his work each quoin, he inherited Wagner's harmonic style.

对传统音乐手法的使用，使得雷格尔不折不扣地成为勃拉姆斯的追随者；将半音化的和声语言融化在其作品的每一个角落，又使其不遗余力的成为瓦格纳和声风格的继承者。

It has been four hundred years since the note relation in semitone music been appeared, and it become a chords sequence favored by modern composers from subordination status in classical harmony.

内容提要：半音中音关系和弦连接从出现至今已有四百多年，从传统和声中的次要地位，到近现代成为一种作曲家喜爱的和弦序进，半音中音关系和弦连接是随着和声半音化的进程逐渐得到重视和运用的。

In this article, six pieces of typical chamber music are selected, named Trois pieces String Quartet, The Soldier Tale, Ragtime, Octet for wind instruments, Dumbarton Oaks and Septet of three periods, so as to analyze his style and technique character used in harmony.

本文选取了三个不同时期的6首代表性室内乐作品《三首弦乐四重奏小品》、《一个士兵的故事》、《为十一件乐器而作的拉格泰姆》、《管乐八重奏》、《敦巴顿橡树园》和《七重奏》进行和声方面的分析研究，试图探索斯特拉文斯基作品中和声运用的技术特点和风格特征。

The vibrational frequency and the mean number of phonons of surface polaron are derived by using improved linear combination operator and unitary transformation method.

采用Tokuda改进的线性组合算符和幺正变换方法导出了表面极化子的振动频率和声子平均数，讨论了多原子晶体中强耦合表面极化子的振动频率和声子平均数与拉格朗日乘子u和电子—声子耦合参数α的关系。

But the way she used Neapolitan sixth、augmented sixth、ostinato bass、and consecutive unresolved diminished-seventh chords is unique.

Amy Beach的和声语法一直是以十九世纪的和声为基础，而她具个人特色的用法是常使用拿坡里和弦、增六和弦、顽固低音、各音级上的七和弦、和连续不解决的减七和弦。

Among these, the form is the important part, which includes scale mode, melody, construction, and three-bar meter. In such a way, the writer concludes the traits of Mongolian folk songs and gives us a deeper understanding of it. The piano accompaniment embodies the principle of combining minority mode and scientific harmony, which reflects functional power and the harmony color.

赵宋光先生为《99首蒙古民歌精选》编配的钢琴伴奏，充分体现了把民族文化所特有的调式特点与科学的调式功能和声相结合的原则，既充满了功能上的动力性，又有着极其丰富的和声色彩，并准确的表达了民歌的意境和音乐审美风格，在多声部织体与蒙古族音乐风格相融合方面做了大胆的尝试和有益的探索。

Igor Sposobin ? book " the harmony Guide", Paul Hindemith ? book "A Concise Course of traditional and acoustic",Rimsky Korsakov ? book "Practical Guide and acoustic",Percy ? The Stankevicius book and acoustic, Theodore Dubois ? a "theory and practice and acoustic Guide", Walter ?

伊·斯波索宾等人合著的《和声学教程》、保罗·兴德米特著《传统和声学简明教程》、里姆斯基·科萨科夫著《和声学实用教程》、柏西·该丘斯著《和声学》、泰奥多尔·杜布瓦著《理论与实践和声学教程》、瓦尔特·辟斯顿著《辟斯顿和声学》这六本和声教科书，是多年来沿用至今的六本较好的和声教材。

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