复调的

The combination of modal counterpoint with tonal logic of cadences created the sense that there were two style of composition- the homophonic dominated by vertical considerations and the polyphonic dominated by imitation and contrapuntal considerations.

模式对位法和调性逻辑的结合创造了作曲的两种风格--纵向思维主导的合唱音乐和对位思维主导的复调音乐。

The term intertextuality was first coined by Julia Kristeva in 1967, based on Bakhtin's theory of "dialogism" and "polyphony". It indicates every literary work is a matter of convention and a reworking of old works.

内容提要"互文性"这一术语最早是由法国文学批评家和女性主义学者朱丽娅·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。

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。

Of equal important to the overall history of western music theory were the textural change that came with the advent of polyphony.

与整个西方音乐理论同等重要的是复调音乐的出现所带来的音乐结构上的变化。

Through analysing and researching the usage of subminiature counterpoint in the typical composers' works in the late of 20th century, the article discussed its attribute features, style innovation, and composition technique.

文章的作者通过分析和研究二十世纪后半叶最有代表性的作曲家及其作品中的微型复调，对其属性特征、风格创新以及写作技术等做了进一步的探讨。

Part one studies the sequence techniques, including the original sequence and its magic cube table, the sequence distribution in each movement and the sequence application techniques in different parts; Part two is a study of chord structure, consisting of fourth-fifth chords that are comprised of tritone, polychords, tall chords, note-cluster chords, as well as whole-tone scale chords; Part three is to analyze the techniques of polyphony, involving the counterpoint of melody and that of rhythm; Part four examines techniques of orchestration, such as those of conventional orchestration and of unconventional orchestration, and the figure of changing track of orchestration acoustics; Part five is a research of musical form structure, including illustrations of musical form structures in all movements, in addition to the effects of timbre, performing methods, dynamics, and density on musical form structural force.

本文将从五个方面来分析研究王西麟《第三交响曲》：第一，序列技术研究，其中包括原始序列及其魔方表、序列在各乐章的分布、多声织体中的序列应用手法；第二，和弦结构研究，其中包括三整音叠置的四五度和弦、复合和弦、高叠和弦、音块式和弦、全音音阶纵合化和弦；第三，复调技法研究，其中包括旋律对位、节奏对位；第四，配器手法研究，其中包括常规配器手法、非常规配器手法、配器音响效果变化轨迹图；第五，曲式结构研究，其中包括各乐章曲式结构图示，以及音色、演奏法、力度、织体密度对曲式结构力的影响。

Ballade is European musical style with long history, which is a kind of song based on a certain fixed form of poetry, and its characteristic is narrative content and a writing skill of the polyphonic music.

叙事曲是欧洲一种古老的音乐体裁，是根据诗歌的某种固定格式作成的一种歌曲，以内容的叙事性和复调音乐写法为特色。

This type of playing is characterized by an ostinato bass figure, usually harply rhythmic, against which the right-hand rhapsodizes eely, the sections usually comprising 12 measures and the eatment often being contrapuntal {sometimes in only two dely-spaced parts, with repeated tones, broken-octave emolos, and short figures reiterated in great rhythmic variety.

这种类型的比赛是瀡特点是固定低音低音数字，通常harply节奏，对其中右手rhapsodizes ，通常由12人组成的部分措施，并经常被对位的eatment（部分有时只有两个德利行距），反复调，破八度emolos，并重申了很大的短数字艺术品种。

To better account those features, the early part of the thesis will make an introduction on Bakhtinian double-voiced discourse and its theoretical basis metalinguistics, the concepts of polyphony and chronotope.

本文的第二章将简要地提出巴赫金对话论中&双声言说&即其理论基石超语言学的理论框架，复调和时空型理论的要点。

In Chapter Two,we make more effort on portraying the revolution of prose literature style of the 90s.At the lay of genre,polyphonic prose,long prose and a lot of essays have appeared in the 90s' prose.Cross-style writing became the general tendency and tide in this period.

第二章，有重点地描述了90年代散文的文体变革。90年代的散文，在文类层面，出现了复调散文、长篇散文及大量的随笔，跨文体写作成为这一时期散文总的趋势和潮流。

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。