巴赫

Russell, who won the first of his 11 World Championships with Auerbach 50 years ago in 1957, spent the afternoon telling stories about Auerbach and the old Celtics, whether it was recounting playing gin rummy against Red or the lifelong friendship he developed with teammate Frank Ramsey, largely due to the environment fostered by Auerbach.

拉塞尔永远不会忘记：50年前在奥尔巴赫的率领下他拿到了自己11枚冠军戒指中的第一枚（1957年），在那个午后和红衣主教以及队友们一边聊着天一边玩着风靡一时的斗酒纸牌游戏，与奥尔巴赫结下了长久不渝的友情，在奥尔巴赫的调教下拉塞尔成就了难以想象的伟业。

Conductors she has worked with include Claudio Abbado, Herbert Blomstedt, Christoph von Dohnanyi, Charles Dutoit, Christoph Eschenbach, Yakov Kreizberg, Sir Neville Marriner, Kurt Masur, Ingo Metzmacher and Franz Welser-M?

与她合作的指挥有克劳迪奥·阿巴多、赫伯特·布洛姆施泰特、克里斯托夫·冯·多纳伊、夏尔·迪图瓦、克里斯托夫·艾森巴赫、雅科夫·克莱兹伯格、内维尔·马里纳爵士、库特·马祖尔、英戈尔·梅兹马赫尔和弗朗兹·韦尔泽-默斯特。

Conductors she has worked with include Claudio Abbado, Herbert Blomstedt, Christoph von Dohnanyi, Charles Dutoit, Christoph Eschenbach, Yakov Kreizberg, Sir Neville Marriner, Kurt Masur, Ingo Metzmacher and Franz Welser-M st.

与她合作的指挥有克劳迪奥·阿巴多、赫伯特·布洛姆施泰特、克里斯托夫·冯·多纳伊、夏尔·迪图瓦、克里斯托夫·艾森巴赫、雅科夫·克莱兹伯格、内维尔·马里纳爵士、库特·马祖尔、英戈尔·梅兹马赫尔和弗朗兹·韦尔泽-默斯特。

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"。

On the one side, Bakhtin borrows resources from the mythological world, and permutes"Dionysus"with the"Carnival"by way of"displacement"in discourse, and at last, develops Nietzsche's Dionysian spirit into his unique carnival spirit; on the other side, Bakhtin apparently leads a different way from Nietzsche ranging from interpreting contexts to religious attitudes and spiritual orientations in the following souls of the Dionysiac Theory. He eventually transforms Nietzsche's aesthetically artistic ideal of"Traum und Rausch"("Dream and Drunk") into a religious spiritual demand of"leading two lives", and fulfills"a transcendental journey from the God to the man".

尼采的酒神理论和巴赫金的狂欢理论之间，存在着无比亲密的&对话关系&：一方面巴赫金从神话世界中索取理论资源，通过话语的置换，用&狂欢&取代了&酒神&，将尼采倡导的酒神精神发展成自己独特的狂欢精神；另一方面巴赫金又在遵循酒神理论精髓的同时，在阐释语境、宗教态度、精神所指上，与尼采存在明显的不同，并最终将尼采&梦与醉&的审美艺术理想转换为走向&两种生活&的宗教精神诉求，实现了一种&从神到人的超越之路&。

On the one side, Bakhtin borrows resources from the mythological world, and permutes"Dionysus"with the"Carnival"by way of"displacement"in discourse, and at last, develops Nietzsche's Dionysian spirit into his unique carnival spirit; on the other side, Bakhtin apparently leads a different way from Nietzsche ranging from interpreting contexts to religious attitudes and spiritual orientations in the following souls of the Dionysiac Theory. He eventually transforms Nietzsche's aesthetically artistic ideal of"Traum und Rausch"("Dream and Drunk") into a religious spiritual demand of"leading two lives", and fulfills"a transcendental journey from the God to the man".

尼采的酒神理论和巴赫金(来源：A4eBC论文网www.abclunwen.com)的狂欢理论之间，存在着无比亲密的&对话关系&：一方面巴赫金从神话世界中索取理论资源，通过话语的置换，用&狂欢&取代了&酒神&，将尼采倡导的酒神精神发展成自己独特的狂欢精神；另一方面巴赫金又在遵循酒神理论精髓的同时，在阐释语境、宗教态度、精神所指上，与尼采存在明显的不同，并最终将尼采&梦与醉&的审美艺术理想转换为走向&两种生活&的宗教精神诉求，实现了一种&从神到人的超越之路&。

Second, a dialogical approach is applied to analyzing the dialogic relationship in the teachers" stories, including both the dialogue between different consciousnesses ("great dialogue"), and the double-voiced discourse within the two teachers" minds ("microdialogue").

其次，运用巴赫金的对话理论分析教师故事中的各种对话关系，包括不同意识和思想的对话(即巴赫金所谓的&大型对话&)，也包括教师内心两种声音和思想的交锋(即巴赫金所谓的&微型对话&)。

We should first know what is clavichord—the musical instrument in Bach"s time, before we begin the study of Bach"s Polyphony keyboard works. Then can we start the study of how to perform Bach"s clavichord works with modern accordion, how to keep Bach"s style in the performance, how to revive Bachs spirit, etc.

要研究巴赫的复调键盘作品，首先要了解巴赫时代的乐器——古钢琴，我们如何用现代的手风琴去演奏巴赫的古钢琴作品，如何在演奏中把握巴赫的风格，如何再现巴赫的精神，这就是摆在我们面前，急待我们去解决的课题。

Baroques period cans not get away from Bach, the flute work cans not get away from the flute work of the Bach more.

巴洛克时期离不开巴赫，长笛作品更离不开巴赫的长笛作品。

There are plentiful and grazioso ornamentations in Bach's keyboard works.

巴赫的键盘作品中装饰音使用十分丰富，但是由于巴赫所处的巴洛克时期时代的久远，而且当时的记谱并未标明奏法，只有装饰音符号，一直以来不同时期作曲家和同一时期不同作曲家对巴赫的装饰音演绎存在许多差异，引起不同的争论，为钢琴学习者带来困难。

With Death guitarist Schuldiner adopting vocal duties, the band made a major impact on the scene.

随着死亡的吉他手Schuldiner接受主唱的职务，乐队在现实中树立了重要的影响。

But he could still end up breakfasting on Swiss-government issue muesli because all six are accused of nicking around 45 million pounds they should have paid to FIFA.

不过他最后仍有可能沦为瑞士政府&议事餐桌&上的一道早餐，因为这所有六个人都被指控把本应支付给国际足联的大约4500万英镑骗了个精光。