最后作品

The rhythmic proportion was an important precondition and foundation to the serialize rhythm and integral serialism later. The article analyzed Webern's two early compositions, the Six Orchestral Pieces, Op.6 (1909), and the Five Pieces for Orchestra, Op.10 (1913), both of them in the style of free atonality. From the relation principle of the rhythmic cell, the writer discussed Webern's way of organizing rhythm, technique of developing variate of rhythmic cell, as well as its score writing way, and summarized the Webern's early orchestral outputs rhythmic features and its impact on the rhythm style of the works in his later years.

文章以威伯恩早期自由无调性时期的两部管弦乐作品《六首管弦乐小品》Op.6和《五首管弦乐小品》Op.10为对象，从"节奏细胞"的形成以及关系原则着手进行剖析，挖掘、揭示作品中节奏的组织方式；并进一步用作品文本说明、论证节奏细胞的变值发展手法与节奏细胞的谱面组成方式；最后总结出威伯恩早期管弦乐作品中的节奏特征以及对作者晚期节奏风格产生的影响。

Treating the humanism spirit as the thread, this paper concludes the intension and extension of the humanism spirit by comparing the soul of humanism spirit in the China and foreign countries, and then explains them from three parts: the true, the selflessness and the beauty. First, the content of writings expounds the essence of human nature, human rights and humanism that are the intensions of humanism spirit. Second, the purpose of writings reflects intensively the special and active method of constructing the author's morality by analyzing the connection of humanism and religion in thewritings of Bajin, and obvious religious sensibilities of Bajin. Third, from the viewpoint of artistic style, we can get the conclusion that the buskin style of Bajin's writings has close relations with humanism spirit by the method of inducing the buskin style of his writings.

全文以"人文精神"为根基和线索，首先通过梳理和比较中西人文精神传统及精髓，确定了巴金作品人文精神的内涵和外延，然后以此为统领，从真、善、美三个方面展开论述：从巴金作品的内容上看，它对人性、人权、人道作出的真理性阐释，恰恰就构成其"人文精神"的具体内涵；从创作意图看，通过分析巴金作品人文与宗教的相互关系及其流露的鲜明的宗教情感，从而突显出其特别的、积极的理想道德建构方式；最后从艺术风格看，通过归纳其作品的悲剧范式，亦得出了巴金的悲剧风格与人文精神旨向密切统一的关系。

Finally, in the form of conceptualism, the idea behind the work, not the work itself, was emphasized. However, the course of creation was as important as a finished work that was merely an intermediary.

最后以观念艺术的形式，强调作品背后的观念，而不在於作品本身，但创作的过程与完成时的作品一样重要，作品只是媒介物。

During the 19th and 20th centuries there were huge achievements on philosophy literature art and music; a variety of activities were also booming at that time Richard Strauss(1864-1949) born at that era when the social phenomena influenced his music learning process combined the classical and romantic music styles and further developed his unique composing style There were 5 chapters in the dissertation The research motivation purposes methodology and the literature review were included in Chapter One Chapter 2 focused on understanding how the history background and personal attitude influenced Richard Strauss' composing style Through the study of the romantic musicians like Franz Schubert1797-1828 Robert Schumann(1810-1856 Johannes Brahms(1833-1897) Hugo Wolf(1860-1903) Gustav Mahler(1860-1911) and etc I attempted to get a complete picture of musical evolution in Chapter 3 In addition Richard's classic compositions were categorized and organized in order to gain a deep understanding of his music From the study and the analysis of Strauss'"Vier letzte Lieder" the features styles the format and the life of the two poets Hermann Hesse1877-1962）and Joseph von Eichendorff(1788-1857 were explored and the relationship between the music of this composition and the poetry were also discussed Chapter 5 summarized the main arguments to give a short account of Strauss' lifetime rich experiences and thinking in his eighties

横跨十九、二十世纪的理察·史特劳斯（Richard Strauss，1864-1949）正是欧洲人文发展空前灿烂的年代，无论在哲学思想、文学、美术以及音乐方面，都有辉煌的成就。在他音乐学习历程中，结合了古典时期及浪漫时期两种音乐风格，发展出独特的作曲风格。本论文分成五章：第一章绪论包括研究动机、研究目的、研究方法及步骤以及文献探讨；第二章则从对理查史特劳斯生平的详实记载中，了解他创作作品的时代背景和心情；第三章则就浪漫时期艺术歌曲作家舒伯特（Franz Schubert1797-1828）、舒曼（Robert Schumann1810-1856）、布拉姆斯（Johannes Brahms1833-1897）、沃尔夫（Hugo Wolf1860-1903）及马勒（Gustav Mahler1860-1911）等，以诗人、旋律、伴奏型态及曲式和声，稍加整理并说明，以便了解艺术歌曲在此时期之演变过程。并将理查史特劳斯艺术歌曲作品分类统整，藉此对他的艺术歌曲能有更深一步的了解。第四章《四首最后的歌》之音乐探究与分析，则探讨此部作品诗人赫塞（Hermann Hesse 1877 - 1962）及艾辛朵夫（Joseph von Eichendorff﹐1788-1857）的生平和作品特色，以及诗的结构与格式，和此部作品音乐与诗的关系。第五章结语说明史特劳斯一生丰富经历与晚年想法，创作出一组宁静感人又深刻的终曲。

This book is believed to be his swan song.

一般认为这本书是他的最后作品。

This book is his swan song .

这本书是他的最后作品。

Many of the final works contain fugal sections of a very personal nature within sonata forms.

许多最后作品在奏鸣曲表格里面非常个人自然包含遁走曲区段。

And certainly the fact that she doesn't have two doubles matches in between the semis and the final works to her advantage.

而且肯定的是，她没有两个双打半决赛之间和她的优势，比赛的最后作品。

Going to my flatmates end of architecture course showing, the amount of final works that looked like printouts of Mike Young's stuff was insane.

前往我同住者年底建筑学课程展示，数额最后作品相象打印迈克华的东西是疯子。

The novel is the writer's last work.

这本小说是那位作家的最后作品。

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。