复调的

The fourth chapter is an analysis on the non-functional harmonic progress on eight aspects to dissertate. From lonely leading of melody composing to modal harmonic progress, the combine of bitonality and polytonality harmonic progress, the polyphonic harmonic progress and so on.

第四部分对斯特拉文斯基作品中非功能化的和声进行做了具体的分析与比较研究，从单线条的旋律构成到调式化的和声进行、双调性多调性的结合、复调化和声进行等八个方面予以分类论述。

He not only opened up new the keyboard's potenfials for polyphonic, polyrhythmic and polydynamic expressivity, but he also widened its range of coloristic effects enormously.

他不仅开创了一种结合力度、技巧与华丽度的新的演奏方式，成功地延展了键盘对复调音符的表现力，还使音乐的色彩表现力得到了莫大的拓宽。

The sing style was refrain and austere, In the Antque(12-13Century), vocal musical genre include conductus, clausuia, motet.

古艺术时期(12-13世纪)的宗教声乐体裁有劳达赞歌、孔杜克图斯、经文歌等，虽然这一时期已出现了复调声乐艺术的萌芽，但基本都是建立在人的自然发声基础上的群众性的集体合唱。

We can find the "compound sound"structure in Castle,the lenthy dialogue between the main character and the other characters makes up more than one half of the whole lenth.

在《城堡》里我们发现类似陀思妥耶夫斯基小说的&复调&结构特征，主人公与其他人物之间的冗长的对话约占小说整个篇幅的一半以上。

According to Bakhtin, in Dostoevsky\'s novels, there are many independent and unmerged voices and consciousnesses which make up the true polyphony.

巴赫金认为有着众多的各自独立而不相融合的声音和意识，由具有充分价值的不同声音组成真正的复调。

It indicates every literary work is a matter of convention and a reworking of old works.

6？1克丽斯蒂娃根据巴赫金的&对话性&和&复调&理论推演而来的，指文学本身存在着互涉关系，任何作品都存在着对传统文化的承袭和对以往作品的模仿。

Musically, the adoption of the figured bass represents a larger change in musical thinking- namely that harmony, that is "taking all of the parts together" was as important as the linear part of polyphony.

在音乐上，数字低音的使用代表着一个在音乐理念上的更大改变，这个理念被称为和声，这种&将所有部分合在一起&的想法与复调音乐的线性思维部分同样重要。

Then, it makes an analysis about monologue and dialogue conveyed in this novel, according to Bakhtin's polyphony theory. Multiple narrating voices help to widen this epistolary novel's perspectives by shifting from the limited to the omniscient.

然后，本论文借鉴巴赫金的复调小说理论，通过分析该小说中&独白性&与&对话性&的交互特征，指出沃克在该小说中运用多重叙述声音将书信体小说由传统的限知视角转为全知视角，拓展了书信体小说的视角。

Towards the end of the 15th century, polyphonic sacred music(as exemplified in the masses of Johannes Ockeghem and Jacob Obrecht) had once again become more complex, in a manner that can perhaps be seen as correlating to the stunning detail in the painting at the time.

接近15世纪晚期的时候，复调宗教音乐（比如说Johannes Ockeghem和 Jacob Obrecht所作的弥撒曲）又再一次变得复杂，某种程度上来说有可能是因为它在当时，被看成是与表现出令人惊奇细节的绘画艺术的一种关联艺术。

Towards the end of the 15th century, polyphonic sacred music(as exemplified in the masses of Johannes Ockeghem and Jacob Obrecht) had once again become more complex, in a manner that can perhaps be seen as correlating to the stunning detail in the painting at the time.

I4 j《读者》杂志官方论坛，读者文章阅读交流——读者出版集团期刊论坛接近15世纪晚期的时候，复调宗教音乐（比如说Johannes Ockeghem和 Jacob Obrecht所作的弥撒曲）又再一次变得复杂，某种程度上来说有可能是因为它在当时，被看成是与表现出令人惊奇细节的绘画艺术的一种关联艺术。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。