第五

The fifth sardonyx, the sixth carnelian, the seventh chrysolite, the eighth beryl, the ninth topaz, the tenth chrysoprase, the eleventh hyacinth, and the twelfth amethyst.

第五座是赤玛瑙，第六座是斑玛瑙，第七座是橄榄石，第八座是绿柱石，第九座是黄玉，第十座是绿玉，第十一座是紫玉，第十二座是紫晶。

The first one and the eleventh one are concentrate to the tensibility of finger, the second one is famous of it"s fingering technique which is the typical fingering of Chopin, the third and six one are experience the layer of mufti voice parts, the fourth one is keenness which carries on by its speed and music the alone difficulty , the fifth one is the"black keyetude , harmonic innovate are visibly reflected at the seventh, the tenth and the eleventh one, humorousness is performance in the bass field in the eighth one, the ninth and the twelfth one are training stretching and running technique of left hand.

第一首与第十一首是针对手指的伸张技术；第二首是赋予了肖邦典型技术特征的指法；第三首与第六首是多声部织体的演奏；第四首是以其速度和音乐进行的尖锐性而独具难度；第五首是"黑键"练习曲；和声的创新手法在第七、第十以及第十一首里都有明显地体现；第八首最大的特点在于它用左手在低音区表现出谐谑式的旋律；第九首与第十二首在单纯手指技术上是分别训练左手的伸张及快速均匀的跑动。

The fifth, sardonyx; the sixth, sardius; the seventh, chrysolite; the eighth, beryl; the ninth, a topaz; the tenth, a chrysoprasus; the eleventh, a jacinth; the twelfth, an amethyst.

恢复本 第五是红玛瑙，第六是红宝石，第七是黄璧玺，第八是水苍玉，第九是黄玉，第十是翡翠，第十一是紫玛瑙，第十二是紫晶。

The fifth onyx, the sixth carnelian, the seventh chrysolite, the eighth beryl, the ninth topaz, the tenth chrysoprase, the eleventh jacinth, the twelfth amethyst.

第五是红玛瑙；第六是红宝石；第七是黄璧玺；第八是水苍玉；第九是红璧玺；第十是翡翠；第十一是紫玛瑙；第十二是紫晶。

The fifth, sardonyx; the sixth, sardiu the seventh, chrysolyte; the eighth, beryl; the ninth, a topaz; the tenth, a chrysoprasu the eleventh, a jacinth; the twelfth, an amethyst.

21：20 第五是红玛瑙。第六是红宝石。第七是黄璧玺。第八是水苍玉。第九是红璧玺。第十是翡翠。第十一是紫玛瑙。第十二是紫晶。

The fifth sardonyx, the sixth carnelian, the seventh chrysolite, the eighth beryl, the ninth topaz, the tenth chrysoprase, the eleventh jacinth, and the twelfth amethyst.

第五是红玛瑙。第六是红宝石。第七是黄璧玺。第八是水苍玉。第九是红璧玺。第十是翡翠。第十一是紫玛瑙。第十二是紫晶。

The fifth, sardonyx; the sixth, ruby; the seventh, chrysolyte; the eighth, beryl; the ninth, a topaz; the tenth, a chrysoprasus; the eleventh, a jacinth; the twelfth, an amethyst.

第五是红玛瑙；第六是红宝石；第七是橄榄石；第八是水苍玉；第九是黄宝石；第十是翡翠；第十一是紫玛瑙；第十二是紫晶。

The fifth, sardonyx; the sixth, sardius; the seventh, chrysolite; the eighth, beryl; the ninth, topaz; the tenth, chrysoprase; the eleventh, jacinth; the twelfth, amethyst.

21：20 第五是红玛瑙，第六是红宝石，第七是黄璧玺，第八是水苍玉，第九是黄玉，第十是翡翠，第十一是紫玛瑙，第十二是紫晶。

The first one and the eleventh one are concentrate to the tensibility of finger, the second one is famous of it"s fingering technique which is the typical fingering of Chopin, the third and six one are experience the layer of mufti voice parts, the fourth one is keenness which carries on by its speed and music the alone difficulty , the fifth one is the"black keyetude , harmonic innovate are visibly reflected at the seventh, the tenth and the eleventh one, humorousness is performance in the bass field in the eighth one, the ninth and the twelfth one are training stretching and running technique of left hand.

第一首与第十一首是针对手指的伸张技术；第二首是赋予了肖邦典型技术特征的指法；第三首与第六首是多声部织体的演奏；第四首是以其速度和音乐进行的尖锐性而独具难度；第五首是&黑键&练习曲；和声的创新手法在第七、第十以及第十一首里都有明显地体现；第八首最大的特点在于它用左手在低音区表现出谐谑式的旋律；第九首与第十二首在单纯手指技术上是分别训练左手的伸张及快速均匀的跑动。

The thesis consists of five chapters. The first chapter is this thesis"s introduction presenting the purpose, significance and method of the study; The second chapter analyses the architectural design"s characteristic and its differences between Gropius and wright through the respective typical achievement of the two; The third chapter is the core of the thesis. This chapter comprehensively compares the architectural thought between Gropius and Wright which is reflected in several aspects, such as the basic thought of architectural design, space conception, architectural aesthetic inclination and the methodology of architectural design and so on; the fourth chapter is the comparison of the cause resulting in different architectural thought of the two; The fifth chapter is the concluding remarks of the thesis. This chapter mainly elaborates respective different ideological enlightenment which the two architects have respectively left us.

论文共分五章：第一章是绪论，介绍本文的研究目的和意义，以及研究方法；第二章是由典型作品入手来剖析格罗皮乌斯与赖特的建筑创作特点与差异；第三章是本文的重心部分，通过在建筑创作的基本思想、空间观、建筑美学观、创作方法论等几个方面，对格罗皮乌斯与赖特的建筑观作较系统的比较；第四章是两建筑大师建筑观形成的原因之比较；第五章是本文的结束语，主要阐述两大师各自给我们的不同的思想启示。

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。