民间音乐

There are three features can be summed up from it: Firstly, all of the three chapters follow the tradition style. Secondly, the topic of each piece originates from the abundant folk music collection. Thirdly, concertina, the classic folk musical instrument, is used in the works.

作品在材料使用上具有一定的层次性与逻辑性，结构布局和创作细节上都比较详尽的体现出作曲家传统创作的特点：1、作品的三个乐章都具有传统结构的特征；2、每个音乐主题的创作，都呈现出俄罗斯丰富的传统民间音乐素材；3、作品的创作手法赋予了巴扬手风琴这一俄罗斯传统民间乐器发挥和表现的空间。

To relate the long history of Manchu folk music and introduce Manchu folk song and dance .

讲述了满族民间音乐的悠久历史，介绍了满族民间歌舞，音乐在中华民族音乐史上的地位。

Classical music, Western classical music generalized mean, those from the West since the Middle Ages, in the context of the European mainstream culture of music creation, mainly because of its complexity and diversity of creative technology and can carry a heavy connotation different from the popular music and folk Music, narrowly refers to classical music, is the 1750-1820 period in the European mainstream music, classical music, also known as the Vienna School.

别用翻译工具，意思大概差不多就可以了1。古典音乐，广义指西洋古典音乐，那些从西方中世纪开始至今的，在欧洲主流文化背景下创作的音乐，主要因其复杂多样的创作技术和所能承载的厚重内涵而有别于通俗音乐和民间音乐，狭义指的是古典主义音乐，是1750-1820年这一段时间的欧洲主流音乐，又称维也纳古典音乐派。

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。

Arising originally from the folk-influenced music of Bob Dylan and earlier musicians, the folk revivalist vocal combo, and the rock music of the British Invasion , it folk rock later incorporated elements of country music , drawing on Hank Williams and others.

因从原本的民间音乐影响的批判和更早的音乐家，民间revivalist声乐二合一和摇滚音乐的英国入侵，它的民间摇滚后来吸收乡村音乐，掏出hank威廉姆斯等。

On the basis of explanation of various categories and characteristics of the Salar folk music , the article further analyses the classification , rhythm and pitch of that .

本文在初步阐述撒拉族民间音乐种类和特点的基础上，更进一步地分析论述了撒拉族民间音乐的分类，旋律型态及调式。

In the long process of migration , influenced by the music culture of other nationalities , and absorbing the merits of their folk music , the Salar enriched its own music culture and produced colorful folk music .

青海撒拉族在长期迁徙的历史发展中，受诸民族音乐文化的影响，并吸收了诸民族民间音乐的因素，从而更加丰富了本民族民间音乐的音乐文化，创造了丰富多彩的撒拉族民间音乐。

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。

The thesis probes into Schoenberg' thinkings about music history, music nationalism, music education, music criticism, and music creation, respectively. There are some important viewpoints in Schoenberg's music thought: Firstly, Schoenberg's ideas of music history, he believes relationship of tradition and revolution in art is dialectical in nature, and argues that evolution in music was determined by natural law, obviously influenced by Hegel's philosophical history idea. Secondly, the thesis sums up his viewpoints of music nationalism, such as "lay stress on art music, look down on folk music","lay stress on western European music, look down on non- western European music" by Schoenberg's account about the reasons of the formation of national art, the dominant of national art and nationality in music; in fact, this viewpoint of western cultural centricity is one of his i mportant viewpoints throughout his life; Thirdly, Schoenberg's concept of music education: in his thought a composing teacher should teach the students how to master "the tool of art", train them for their ability of "one major and various kinds of techniques", try his best to nourish the student's personality; Fourthly, Schoenberg set forth some opinions about modern music critics and the method of music criticism: a music critic must be equipped with the quality of a music expert, and render composer's idea to the public by his art imagination, but not his personal opinion,and Schoenberg stress the areas of music criticism on style and idea ; Lastly, Schoenberg's concept of music creation: Expressionism and organism are two important issues in Schoenberg's thinking about music creation.

本文通过对勋伯格各类论文、书信、演讲、专著等文稿的评述，分别探讨了作为音乐思想家的勋柏格的音乐历史观、民族主义音乐观、音乐教育观、音乐批评观与音乐刨作观，并在此基础上总结了折射在勋柏格音乐思想中的几个重要观点：一，勋柏格对于音乐历史的认识：通过德奥音乐界前辈给予他的创作启示，以及勋伯格对自己几个创作阶段的发展历程的总结，阐述了他对于艺术中的传统与革新之间的关系的辩证认识，并通过这些问题总结出音乐的演进与黑格尔倡导的&历史发展必然性&哲学观念之间存在着必然联系；二，勋柏格的民族主义音乐观：通过勋柏格对于形成民族艺术特征的根本原因、民族艺术中的支配现象、民间音乐与艺术音乐之间的比较、音乐刨作中的&民族性&问题的意识等方面问题的剖析与认识，总结了他的&重艺术音乐，轻民间音乐&、&重西欧音乐，轻非西欧音乐&的观点，从而突出了他的精神领域中的根深蒂固的&德奥音乐中心论&，这是一个浸润着浓厚的西欧文化中心论色彩的观点，也是贯串他毕生的音乐思想的重要观点之一；三，勋柏格对音乐教育问题的见解：勋柏格认为作曲教师应该教会学生掌握&艺术的工具&、在教学中努力做到&一专多能&、注重个性培养；四，勋柏格对当代音乐批评家与音乐批评方法提出的要求：音乐批评家必须具备作为一名音乐家的专业修养，要以真实、客观的态度对待音乐批评这门神圣的职业，充分运用内心的艺术联想向公众再现作曲家的意图，而不是将个人见解强加于受众；同时，批评家需要对艺术的过去与未来拥有全面的了解与较准确的预测，在音乐批评的具体范畴中，应将重心角度置于探讨音乐作品的风格与思想之间的关系方面。

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。

They weren't aggressive, but I yelled and threw a rock in their direction to get them off the trail and away from me, just in case.

他们没有侵略性，但我大喊，并在他们的方向扔石头让他们过的线索，远离我，以防万一。

In slot 2 in your bag put wrapping paper, quantity does not matter in this case.

在你的书包里槽2把包装纸、数量无关紧要。