复调的

The paper narrated the Lu Ling's novel's polyphonic factors from three aspects: the relation of the author and protagouist; the novel structure and the figure's relation structure; the protagonist's inner monologues. It pointed out the novel's generation reasons and essential features by describing the static phenomena, at the same time, it embodied the ego generation of the essay's art features by Dostoevsky, Fyodor's novel creation.

文章从作者与主人公在作品中的关系、小说结构与人物关系结构、主人公的内心独白三个方面入手分析路翎小说中的复调性因素；在对此进行静态的现象描述的基础上进一步指出其复调小说产生的原因和本质特征，同时以陀思妥耶夫斯基的小说创作作为参照，凸现出其文本艺术特征的自我生成性。

He set Beethoven to work on counterpoint, using the standard text book, Fux's Gradus ad Parnassum (1725), but Beethoven complained that he was not making any progress because Haydn was much too busy to correct the exercises properly and it seems that for that year the composer Johan Schenk secretly helped Beethoven with the exercises, even going so far as to get Beethoven to copy out any corrections in his own hand so that Haydn would not realize what was going on.

他让贝多芬学习复调音乐，采用标准的教材，弗克斯的《艺术津梁》（1725），但贝多芬抱怨自己没有取得任何进步，因为海顿太忙，不能恰当地纠正练习中的错误；在这一年，似乎是作曲家约翰·尚克暗中帮助贝多芬进行练习，甚至到了让贝多芬把修改的错误自己抄写出来的地步，这样海顿就不会意识到所发生的事情。

The thesis focus on Haydn's string quartets, start from its structure and texture, research its development based on the background of conversions of western music style from polyphony to homophony , carve up the phases according to the character of structure and texture.

本文以海顿的弦乐四重奏为研究对象，以作品的结构和织体为切入点，将海顿的弦乐四重奏放在西方音乐从复调到主调转变的历史背景中进行研究，根据结构和织体的特点对海顿弦乐四重奏的发展过程进行阶段划分，归纳各个阶段的特征。

Beginning in Florence, there was an attempt to revive the dramatic and musical forms of Ancient Greece, through the means of monody, a form of declaimed music over a simple accompaniment; a more extreme contrast with the preceding polyphonic style woule be hard to find; this was also ,at least at the outset, a secular trend.

向巴洛克时期的过渡最初发生在佛罗伦萨对一种对复兴戏剧和古希腊音乐形式的尝试，它是使用monody--一种建立在简单伴奏基础上朗诵音乐的形式。这种与之前的复调音乐形式形成鲜明的对比的形式很难再找到了。

Analyzing the characteristics of Bach's work, combining with application and general using law of pedal, the paper presents the reasons of debate and puts forward some suggestions: connecting two tunes, retouching psalterium tune and resonating chord need pedal when playing Bach's piano works; auditory is the key to decide whether to use pedal or not; using pedal should consider arrangement of harmony in Bach's polyphonic works.

依据巴赫作品的特点，结合踏板的使用与一般运用规律，弹奏巴赫的钢琴作品时，在连接两音、润色琴音及和弦共鸣时是需要使用踏板的，听觉是决定是否使用踏板的关键，使用踏板应特别考虑到巴赫复调作品中和声的安排与进行，即应做到"心耳相随，有机结合"。

The motive molody composition, using of polyphony techniques and penatretion of ternary form musical form laid a foundation for bach to create his own concertos style, which represented the n...

动机性的旋律写作、复调技法的大量运用以及三部性曲式结构的渗入，这些都为巴赫确立自己的协奏曲创作风格莫定了基础，代表着协奏曲发展的新趋势。

Many of the composers had a direct connection to the Vatican and the papal chapel, though they worked at several churches; stylistically they are often contrasted with the Venetian School of composers, a concurrent movement which was much more progressive. By far the most famous composer of the Roman School is Giovanni Pierluigi da Palestrina, whose name has been associated for four hundred years with smooth clear polyohonic perfection.

大多数作曲家与梵蒂冈和教皇教堂有着直接的联系，虽然他们在不同的教堂工作，在文体上他们与威尼斯乐派的作曲家形成鲜明对比，它比同时代的威尼斯乐派取得了更多的发展，至今最著名的罗马乐派作曲家是Giovanni Pierluigi da Palestrina，他的名字400年来都与平稳，清澈的完美复调音乐联系在一起。

The reason why that piano has the good name "king of the musical instrument" is not only because it has the wide sound areas, grandiose volume and the free inflexion. The most important is that it has various sound of harmonic with multi-tune and very abundant implication related to "temperament", which is also a symbolistic sign of the current tuning system.

钢琴之所以有&乐器之王&的美称，除了它有广阔的音区、宏大的音量、自由转调等因素之外，更重要的是它还具有变化无穷的和声复调音响以及与此相关的极其丰富的&律学&蕴涵，钢琴是当代律制的一种象征标示。

The piano music twenty-four preludes and fugues no.9 composed by shostakovich is one of his polyphony works written during the period from 1950 to 1951.the fugue in this work is characteristic in the fields of structural configuration, theme, counter-theme, episode and epilogue.

肖斯塔科维奇的钢琴曲《二十四首前奏曲与赋格》 no.9是作曲家于1950-1951年初创作的一部复调器乐作品中的其中一首，这首作品中的赋格在结构布局、主题、对题、间插段及尾声写作方面别具特色，本文就谈谈其赋格的写作特色。

From the micropolyphony in Atmospheres to the mechanical rhythm in Poeme Symphonique for 100 metronomes, from the complex crossing rhythmical structure in Etudes for piano, to the practice going beyond the 12 equal-temperament, all of them embody the typical "Ligetian Style".

从大型管弦乐作品《大气》（Atmosphères）中的微复调到为100只节拍器而作的《交响诗》（Pobmè symphonique）中的机械性节奏运动，从系列钢琴练习曲中复杂的交错节奏结构到《小提琴协奏曲》中超越平均律的实践，无一不体现出典型的&利盖蒂风格&。

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。