筝

The song is one of the representative works debuted by Wu Li, which required high perfoming skills and is full of tension and rhythm. It depicts the chase, hiding, stalemate and contest between the hunter and the quarry, with wind blowing fiercely, horse nickering nervously, everything around blurry and soul-stirring.

Composed by 陶一陌Tao Yi Mo GuZheng by 吴莉Wu LI（www.wulimusic.com）此曲是吴莉首演的代表筝曲之一，乐曲技术难度高，音乐极富张力，描写了猎人与猎物间追逐、躲藏、相持、较量，一派狂风猎猎、马嘶弩张、琢磨不定、动人心魄的狩猎场面。

Participating from Japan were Mizuyo Komiya, asou player and Yukihiko Mitsuka, a shakuhachi players who are top artists in their own fields as well.

此外来自日本方面的演奏者有：日本筝的演奏者小宫瑞代和尺八演奏者三塚幸彦，他们都是各自领域里的顶级艺术家。

On this album the Shakuhachi, Koto (a long Japanese zither with thirteen strings), other traditional folk instruments and traditional Japanese folk songs are featured in various pieces.

此次在这张专辑中，尺八，古筝（日本一种13弦长筝）以及其他一些民间乐器和民歌出现在许多乐曲中。

The first edition of the melody is played by the lute, and its present form of performance includes two-stringed Chinese fiddle, lute, koto, Si Zhu of Jiang Nan and so on.

汉宫秋月》最开始是一首琵琶曲，现流传的演奏形式有二胡曲、琵琶曲、筝曲、江南丝竹等。

The form of performance of《The autumn moon over the Han Palace》now has into two-stringed Chinese fiddle, lute, koto, Si Zhu of Jiang Nan and so on.

汉宫秋月》现流传的演奏形式有二胡曲、琵琶曲、筝曲、江南丝竹等。

In the wooden boarded system can be divided into spoon-shaped soundbox with liuqin and pipa. Round-shaped soundbox with zhongruan and daruan.

在板面系统当中，又可以分成瓢形音箱系统的柳琴、琵琶，圆形音箱系统的中阮、大阮，匣形音箱系统的筝，梯形音箱系统的扬琴。

He was inspired by the scene and ran outside to play a tune for the cow.

他的筝弹得非常好，但有时会作些傻事。

Chaozhou zheng music its unique 24 spectral, Anxian transfer and unique playing technique, sui generis, and his skills.

潮州筝乐其独特的24谱、按弦转调以及特有的演奏技法，都自成1格，堪称绝技。

He was very successful with this concert people were all admired to his well cultivations at both arts of zheng music and philosophy of Buddhism.

乐界咸认由於其艺术修养的广博，更因其筝音中融入深厚的禅学修养，使他的音乐能超脱一般俗世音乐的审美观，达到静心、开智、增慧的作用。

His major works and commissions include: ' Three Temperaments , for Big Choir ' (1986), ' Counterpoint of Times , for woodwind septet ' (1989), ' Wild Children , for mixed Chamber Ensemble ' (1993), ' Overture , for solo Chinese bass drum and Chinese winds and percussion band ' (1994), ' Intonation , for chamber orchestra ' (1990-1994), ' Flavour of Bashu , for two violins, piano and percussion ' (1995), ' Pole , for solo Chinese Yun-luo, Chinese pai-gu and Chinese bass drum with six percussionists ' (1996),commissioned by Japan Asian Percussion Ensemble, ' Symphonic Prelude --- Bashu Capriccio' (1996), 'The Song Without Words , for solo percussion ' (1997), commissioned by the Ministry of Culture of Japan, Japanese Contemporary Music Association, and Japanese Embassy in China,'Illusions of the Symphonic Stage of Tang Dynast y , for orchestra of Tang Dynasty, percussion, voices and a big choir '(1999), commissioned by Japanese No Music Guanshiliu Green Spring Association, Chinese Music Research Center in Japan, Japanese Asian Percussion Ensemble and Japanese-Chinese Cultural Exchange Association,'The Prospect of Colored Desert , for violin, cello, sheng, pipa and percussion '(2000),commissioned by Yo-Yo Ma, Silk Road Project Inc. of the U.S., Sony Record,'Three Movements of Autumn , for small Chinese instruments ensembl e'(2000) and ' Sound Games , for 5 Chinese Percussion Instruments Players ' (2000-01), commissioned by La Cité de la Musique, Paris "2000 Chinese Classical Music Series", ' Fusion I , for Mixed Chamber Ensemble ' (2002), commissioned by Holland New Ensemble and Atlas Ensemble, ' Fusion II , Concerto for Solo Chinese Percussion and Orch.' (2002), commissioned by Japanese–Chinese Committee of Friendship and Public Music Performance, and ' Fusion III , for Irish flute, accordion, bodhran, Chinese sheng, zheng, Percussion and 13 Strings with Chamber Choir.' (2003-04), commissioned by China-Ireland Exchange Program, ' The Three Images from Washing Painting , for chamber ensemble of 17 players '(2005) commissioned by the New Juilliard Ensemble for the special concert of the Juilliard Centennial and sponsored by Asian Cultural Council and the Guggenheim Partnership and 'The Butterfly Dream', new 7 scenes Opera inspired by KUN QU' (2007) commissioned by the Contemporary Legend Theatre, Taiwan etc.

主要作品及委约包括：《三种气质，无伴奏合唱》(1986)、《时间的对位，木管七重奏》（1989）、《野娃子，混合室内乐队与童声》(1993)、《对话，男声独唱，女高音，童声合唱团，混声合唱团与混合乐队》(1993-94)、《序鼓，独奏中国大鼓、排鼓、云锣与中国民间吹打乐队》（1994）、《吟，室内交响乐》（1990-1994）、《蜀韵，两支小提琴、钢琴与打击乐》（1995）、《极，独奏中国云锣、大鼓、排鼓与六位打击乐演奏家》（1996）、《巴蜀随想，交响序曲》（1996）、《无词歌，打击乐独奏》（1997）（日本国文化厅、日本现代音乐协会、日本国驻中国领事馆等联合委约）、《梦的交响舞台，唐代乐队，打击乐，人声与合唱团》（1999）（日本能乐观世流绿泉会、日本中国音乐勉强会、日本亚洲打击乐团、日中文化交流协会等联合委约）、《舞蹈组曲，大型管弦乐队》(1999)、《漠墨图，小提琴、大提琴、笙、琵琶与打击乐》（2000）（马友友、美国丝绸之路文化发展公司、日本Sony唱片等联合委约）、《秋三阕，9位中国乐器演奏家》（2000）、《响趣，5位中国打击乐器演奏家》（2000）（法国巴黎音乐城&2000中国古典音乐系列音乐会&委约）、《融I ，混合室内乐团》（2002）（荷兰 New Ensemble， Atlas Ensemble联合委约）、《融II ，打击乐协奏曲》（2002）（日本日中友好音乐公演委员会委约）、《融III ，爱尔兰笛子、手风琴、巴朗鼓，中国笙、筝，打击乐，13件弦乐器以及室内合唱团》（2003-04）（爱尔兰国家文化委员会、爱中2004文化交流年组委会委约）、《水墨画意三则，为17位演奏家的室内乐团》（2005）（美国朱丽亚音乐学院新室内乐团委约，美国亚洲文化基金会和美国古根海姆基金支助）及《梦蝶，七场新昆剧》（2007）等。

The absorption and distribution of chromium were studied in ryeusing nutrient culture technique and pot experiment.

采用不同浓度K2CrO4(0，0.4，0.8和1.2 mmol/L)的Hoagland营养液处理黑麦幼苗，测定铬在黑麦体内的亚细胞分布、铬化学形态及不同部位的积累。

By analyzing theory foundation of mathematical morphology in the digital image processing, researching morphology arithmetic of the binary Image, discussing two basic forms for the least structure element: dilation and erosion.

通过分析数学形态学在图像中的理论基础，研究二值图像的形态分析算法，探讨最小结构元素的两种基本形态：膨胀和腐蚀；分析了数学形态学复杂算法的基本原理，把数学形态学的部分并行处理理念引入到家实际应用中。