复调的

Bakhtin concluded Alliteration thought stressed on studyingliterature genre, through studying the relationship of alliterative novel and dialogue theory, gostep further to apply Dialogue theory into the literature study.

复调是巴赫金对文学体裁的学术研究，通过分析复调小说与对话理论的关系，进一步"细化"对话理论在文学中的应用；狂欢是巴赫金对文学内容表现形式的学术研究，通过对狂欢性品格的来源分析，认证出狂欢文学与对话理论的内在联系。

In this foundation,Kundera constructes the modern Polyphonic Novel Theory,which is based on the counterpoint .

在此基础上，昆德拉建构了以对位为核心的现代复调小说理论。

In style, dialogism creates double-voice in discourse and polyphony in fiction.

它所产生的话语形式是双声语，小说形式是复调小说。

If China is a leitmotif, readers may also detect a second running theme—or a pervasive tension.

如果视中国为主基调，读者们也能发现复调，或者说是弥漫的紧张情绪。

People can find the historical path of the development of polyphony music from the Mass, motet and other forms of the sacred music.

我们可以从弥撒曲，经文歌等宗教音乐形式中清晰地看到复调发展的历史轨迹。

The primary principles what underlie the central symbols system are inconclusive and became polyphony.

主要原则是什么依据中央符号系统的定论，并成为复调音乐。

A less drastic modification of the older tonal system is polytonality.

复调对原音系的背离要小些。

As well known, Bachs works is the peak of Polyphony works with DSFBA becomes the main topic of this thesis.

众所周知，复调音乐的顶峰是巴赫，因而，如何用自由低音手风琴演奏巴赫的复调键盘作品就成为我们要研究的对象。

Because there are many specific researches on the relationship between polyphony tuning and sacred music before 19th century,but there are less on the relationship between the polyphony music and the sacred music a-fter 19th century.especially some researches on representative work,for example Bruck-kner's "Mass in f minor"on which never has the monograph elaboration in domestic till now.

虽然国内关于十九世纪之前的复调音乐和宗教音乐之关系的专题研究成果已有不少，但研究十九世纪之后复调音乐与宗教音乐之间关系却不多，特别是对一些具有代表性的作品的研究，例如布鲁克纳 f 小调弥撒曲，至今尚未见到国内有相关的专著论述。

The increasing reliance on the interval of the third as a consonance is one of the most pronounced features of early Renaissance European art music( in the Middle Ages, third had been considered dissonances), in use since the 12th century, became increasingly elaborate with highly independent voices throughout the 14th century: the beginning of the 15th century showed simplification, with the voices often striving for smoothness.

对于被当作协和音程的三度音程越来越多的依赖，是文艺复兴早期欧洲音乐艺术最为显著的特征之一（在中世纪，三度曾被当作不协和音程）。从12世纪之后使用的复调音乐，随着整个14世纪各声部的高度独立变得越来越复杂：15世纪初期的复调音乐的各声部常常趋于平滑，因而显示出其单一性。

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。