多声音乐

Heterophony widely exists in folk music, and it is a most common texture form of folk multipart music.

支声广泛存在于民间音乐中，是民间多声部音乐最常见的织体形式。

For good critics, they should have excellent ability of appreciating polyphony music as well as deeper and multi-dimension understanding of music meanings.

对优秀的批评家而言，他们理应具有良好多声音乐思维的能力，以便通过对作品多维度的透析，过滤出作品的深刻意义。

Chinese composers and theorists have conducted great deal of exploration and systematic research on the "evolution of chromaticalization", which has been frequently used in the composition, but are considered by the theorists as chromatic chords, polytonality and pentatonic twelve-tone sequence, etc.. Seldom were the usages accounted for "chromaticalization" to which, consequently, little attention has been paid.

中国作曲家及理论家在对于西方音乐"半音化演进"方面做过大量的探索和系统的研究，"五声性半音化"在中国作曲家的作品中被频繁地使用，但大量的创作实践大都被理论家们总结为变音和弦、多调重叠以及五声性十二音序列等的使用方法，并没有从"半音化"的角度说明它们的规律，致使一直以来未引起人们的重视。

In September 1981, he was invited by Center of U.S. China Arts Exchange to the United States, where he studied with Prof. Otto Muller of Yale University. In 1982, he successfully conducted at Aspen Festival in the United States. Commissioned by French Music Sound Records Corporation, he made the recording of Beethoven's Symphony No. 1 and No 4. From September 1983 to January 1985, he was involved in the production of the Song Cycle of Chinese Revolutions. Since 1985, he has toured Russia, Japan, Italy, the United States, Britain, Switzerland, South Korea, Democratic People's Republic of Korea, Thailand, Singapore, Australia and Germany, as well as such places as Hong Kong, Macao and Taiwan. In January 1998 and February 1999, Chen Xieyang visited Austria, Germany, and Denmark with Central Nationalities Orchestra of China. He gave concerts on the New Year's Eve of the lunar calendar in the Golden Hall in Vienna, Berlin Philharmonic Hall and so on. In August 2000, with the Central Nationalities Orchestra of China Chen Xieyang participated in the project 'Chinese Culture Touring in the United States', during which they presented concerts in Lincoln Center.

1981年9月，陈燮阳应邀赴美国考察，师从耶鲁大学奥托·缪勒教授进修指挥课并指挥多个美国乐团演出。1982年他在美国阿思本音乐节指挥音乐节乐团获得成功。1983年8月，他应法国"音乐之声"唱片公司之约，指挥中央乐团录制了贝多芬的第一、第四交响曲。1983年9月至1985年1月，陈燮阳参加大型音乐舞蹈史诗《中国革命之歌》的指挥工作。1985年以来，陈燮阳先后赴前苏联、日本、意大利、美国、英国、瑞士、韩国、朝鲜、泰国、新加坡、澳大利亚、德国等国家和港、澳、台地区举办音乐会，均受到欢迎和赞誉。1998年1月和1999年2年，陈燮阳率中央民族乐团赴奥地利、德国、丹麦等地，在世界著名的维也纳金色大厅和柏林爱乐大厅以及其他城市音乐厅举办中国新年音乐会。2000年8月，他又率中央民族乐团赴美国参加"中华文化美国行"的巡回演出，其中包括在纽约著名的林肯艺术中心举办音乐会。

Composers of the period alternated florid and discant organum (more note-against-note, as opposed to the succession of many-note melismas against long-held notes found in the florid type), and created several new musical forms: clausulate, which were melismatic sections of organa extracted and fitted with new words and further musical elaboration: which was a song for more voices to be sung rhythmically, most likely in a procession of some sort; and trops, which were rearrangements of older chants with new words and sometimes new music. All of these genres save one were based upon chant: that is ,one of the voice,(usually three, though sometime four) nearly always the lowest sung a chant melody, though with freely composed note-lengths, over which the other voice sang organum.

这个时期作曲家的作品中华丽的奥尔加农和迪斯康特交替出现note-against-note(应该是自由奥尔加农，与由许多连续的装饰音组成的旋律对抗，这些装饰音对应在华丽部分中出现的长音，他们还开创了几个新的音乐形式：clausulae，来自于奥尔加农的拖腔片段，并配以新的词和更富悦耳的细节；conductus，孔杜克图斯，一种基于圣咏之上的有节奏性的单声或者多声歌曲，很有可能是用于礼拜的行列。

Through the research of the String Quartet by Jia Daqun, the article pointed out resumptively the composer's technique features on the aspects of pitch materials, music structure, various-sound-language, rhythm, and timbre, as well as his successful experiment of combining the modern compositing technique with the Chinese traditional folk music materials.

内容提要：本文通过对贾达群《弦乐四重奏》的分析研究，概括地指出了作曲家在音高材料、乐曲结构、多声语言、节奏、音色等方面的技法运用特点，以及在运用现代作曲技法处理传统民族民间音乐素材方面的成功尝试，以期揭示出作曲家在创作思维、技法创新、音乐构造和音乐内涵方面的逻辑关系。

Transcription, and analyzes Wangs inheritance, reproduction and development of Chinese ethical folk music. She also makes transverse comparisons between the musical forms of piano works by composers of both China and abroad, and illustrates that Wang uses for inference but not copies the western musical forms, that he attaches importance but not stickles to the framework of traditional Chinese music, and also that he demonstrates a characteristic of not sticking to one pattern. She makes contrastive comparisons as well of the melodies and harmonies of piano works by composers of both China and abroad, and indicates that in inquiries into the folk style of counterpoint, Wang is flexible and creative in harmonies by inheriting the character of a clear melody and the method of multi-voice in Chinese traditional music and also by absorbing the character of emphasizing the layers of texture in western piano music.

拿民族民间音乐与钢琴改编曲作纵向比较，分析其对中国民族民间音乐的继承再现与发展；拿中外钢琴作品的曲式原则作横向比较，说明他借鉴但不照搬西方音乐曲式规范，重视但不拘泥于传统中国音乐结构方法，在作品的结构上，呈现出不拘一格的特点；拿中外钢琴作品在旋律、和声等方面作相异比较，指出了在探索多声部音乐的民族风格过程中，王建中一方面继承了传统音乐中旋律线条十分突出的特点，另一方面又吸收了西方钢琴音乐注重织体的网状结构的特点，有意识地运用了我国民间多声手法，在和声的运用方面表现出灵活多样而又富于创新的特点。

There is in folk music melody a phenomenon of "Five-Tone Multi-Gong Synthesis", in which the diao seems turning but really not so.

民间音乐旋律中存在着一种调似转非转的&五声性多宫综合&现象，这一现象的特点是在旋律发展过程中将不同宫的五声进行综合运用，使偏音具有它宫正声的意义。

Hengyiyuan has three departments: sales department, engineering department and performance tenancy department. Insisting on "quality first and service primary", Hengyiyuan gets clients' trust and recognition with its exquisite technology and considerate service. During the past ten years, Hengyiyuan took part in kinds of important projects construction such as Music Plaza of Beijing Wangfujing Building, Music and Culture Plaza of Beijing Friendly World, Activity Center of Renmin University, Audio System of China Grand Theatre, Multi-function Hall's Lighting and Audio System of Kuangou Holiday Village and Construction Engineering Institute, Conference System of Beijing Nuclear Industry Research Institute, Multi-function Hall's Sound Reinforce System and Simultaneous Interpretation System of China National Coal Group, Multi-function Hall's Lighting and Audio System of Beijing University of Aeronautics and Astronautics, Lighting System of Beijing Conservatory of Music, Lighting System of Beijing Lvdejin Oriental Hollywood Performance Plaza and Multi-function Hall's Lighting and Audio System of Shahe Station and so on. In addition, the performance tenancy department offer sets of lighting, audio and other necessary equipment for the performance program like CCTV Art and Talk Show and Super Voice Girl, and even for the vocal concert by Lunhui Band, Yuquan, Man Wenjun, Han Hong, Liu Suola, Gu Juji, Lin Junjie and Chen Lin etc.

恒艺苑配有销售部、工程部、演艺租赁部这三大部门，始终坚持质量第一，服务至上的宗旨，把先进的技术和产品与客户的实际需要结合起来，把提供富有创意的专业化设计和精品工程与客户的投资回报效益结合起来，用精湛的技术和体贴的服务赢取客户的信任和赞誉，十几年来公司先后承接了北京王府井大楼音乐广场系统工程、北京友好世界音乐文化广场系统工程、北京人民大学活动中心系统工程、中国剧院音响系统工程、宽沟度假村多功能厅灯光、音响系统工程、建筑工程学院多功能厅灯光、音响系统工程、北京市核工业研究员会议系统、中国煤炭进出口集团多功能厅会议扩声、同声传译系统、北京航天航空大学多功能厅灯光、音响系统工程、北京音乐学院灯光系统工程、北京绿德金东方好莱坞演艺广场灯光系统工程、沙河站多功能厅灯光、音响系统工程等众多数不胜举倍受业内瞩目的重点工程，此外演艺租赁部还为CCTV《艺苑风景线》、超级女声、轮回乐队、羽泉、满文军、韩红、刘索拉、古巨基、林俊杰、陈琳等演唱会的文艺演出提供了成套灯光、音响及周边设备。

In the chapter "The phenomenon of heterophony in folk music", a detailed review and analysis is made to the heterophony in the folk multipart music of China and a deep digging is conducted to the heterophony in foreign folk music according to the existing literature.

在&民间音乐中的支声现象&一章中，对中国民间多声部音乐中的支声进行了细致的考察、分析，对外国民间音乐中的支声在现有资料的情况下进行了深入的挖掘。

By the time of its fall, most of the prisoners were writers who had written against the corruptions of the government.

到它被攻陷的时候，里面多数的犯人是写了反对政府贪污文章的作家。

The most obvious variation to ovum morphological character was that the color was changed from light green to sepiaceous in embryonic development, and all the ovums were almost hatched after 96h.

在胚胎发育过程中卵的形态特征最明显的变化是颜色从淡绿到深褐色，卵在发育96h后卵基本全部孵化。