肖

The programs provide some idea of the richness of Parisian artistic life during this period, such as the concert on March 23, 1833, in which Chopin, Liszt and Hiller played the solo parts in a performance of Johann Sebastian Bach's concerto for three harpsichords, and the concert on March 3, 1838, when Chopin, Alkan, Alkan's teacher Pierre Joseph Zimmerman and Chopin's pupil Adolphe Gutman played Alkan's 8-hand arrangement of Beethoven's 7th symphony.

节目表现了当时巴黎艺术生活的丰富多采，比如：1833年3月23日的音乐会上，肖邦、李斯特和希勒表演了JS巴赫三大键琴协奏曲的独奏部分，1838年3月3日的音乐会上，肖邦、Alkan、Alkan的老师Pierre Joseph Zimmerma和肖邦的学生Adolphe Gutman演奏了Alkan改编的贝多芬第七交响曲八手联弹版。

David Blacklock alongside Conrad Veidt and Valerie Hobson in Michael Powell and Emeric Pressburger's first collaboration The Spy in Black. Shaw described himself as a movie buff and called Academy Award-winning actor Spencer Tracy his "great god of all screen actors";he was so impressed by Tracy's technique that he claimed to become depressed while watching his movies because Tracy made acting look simple, while Shaw claimed to find it so difficult to master himself.

在1939年，在与康拉德·维德和瓦莱丽·霍布森一道参演米切尔·鲍威尔和艾默力·皮斯伯格的首部合作作品《暗处的间谍》，扮演主角大卫·布莱克洛克指挥官时，肖谦称自己只是个"电影爱好者"，还把奥斯卡奖获得者斯宾塞·屈赛称作"所有电影演员中的神"，屈赛的演技令肖如此震撼，使表演看起来如此简单，以至于肖称在观赏屈赛的电影时，因为觉得自己在表演时还难以收放自如垂头而沮丧。

The first one and the eleventh one are concentrate to the tensibility of finger,the second one are famous of it"s fingering techri-ique which is the typical fingering of Chopin,the third and six one are experience the layer of multi voice parts,the fourth one is difficult at it"s sharp-- pointed music proceeding and the fifth one are playing almost all black keys,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,harmonic innovate are visibly reflected at the seventh,the tenth and the eleventh one.

在分析其技术特征的同时，为了体现肖邦钢琴语汇的实用价值及练习的目的性，还采用对比比较分析的方法，有针对性地列举谱例，比较肖邦练习曲及其与肖邦其他钢琴作品典型技术课题的对应关系；还在演奏技术方面稍作探讨并在艺术性与美学方面略有探究，论述了肖邦练习曲的音乐个性和宝贵练习价值。

It explains separately the skills of the deviating from the key and modulation,the overlapping and interlacement of tune in deviating from the key and modulation to Chopin's《Polonaises》.Chapter three dissertates skills of a chord interlacement,and expending and appreciation about function of the chord subordinate in the《Polonaises》.

在肖邦《波兰舞曲》离调与转调技法中，对离调技法与转调技法，调性的重叠、交错分别进行阐述；第三章对肖邦在《波兰舞曲》中的和弦交织、下属功能的扩展与升值技法展开论述；第四章则是肖邦《波兰舞曲》的和弦外音、半音和声技法。。。

This article from analyzes the Polish nationality music, analyzes Chopin's piano music creation style and the Masurium Zuka creation, analyzes the Chopin music the national characteristic three aspects to obtain, further studies and studies Chopin's Masurium ancestor card music.

这三种舞曲的特点往往混合在一起构成肖邦的玛祖卡，结构上多是对称性乐句构成的三段形式。钢琴织体简单朴素。本文从分析浪漫主义时期及波兰民族音乐入手，到简述肖邦的生平及其钢琴音乐创作风格及玛祖卡的创作，分析肖邦音乐演奏应注意的问题四个方面入手，进一步学习和研究肖邦的玛祖卡音乐。

Chopin"s music creations have a lot of related with his living environment and the process of his growth.So in this part, we look of Chopin"s life firstly, then we will discuss the romantic and the revolution of realism characteristics with his several stages of life. and the change of his creations style from the earlier period grace, gorgeous to the more deeper emotion. The second part carried on more detailed treatise to Chopins creations background and art characteristics of various form in music work just like Mazurka, Polonaise, Waltz, Etude and so on!

肖邦的音乐创作与其生活环境、生长历程密切相关，因此在这一部分首先回顾了肖邦的生平，然后结合他成长的几个阶段从纵横两个方面(按年代先后次序和按体裁的分类)探讨了肖邦音乐创作的浪漫主义和革命的现实主义相结合的特点，及其创作风格从早期优雅、华丽但思想深度较浅逐渐向情感更深刻、气势更磅礴、爱国主义思想更成熟的转变。

In music structure, through the contract of the musical form structure of this work and the typical classical concerto musical form structure, it summarized the inheritance of classicism concerto structure and the personalized innovation of national style of this work, and emerged Chopin"s inheritance in concerto creation and his innovative spirit in this area. In melody, by centering the elaboration on the vocal and colorful melody, it fully displayed Chopin"s unique artistic style and distinct romanticized characteristic in melody creation. In rhythm, with the analysis of the third music movement"s rhythm, we could learn the rhythm of mazurka which penetrated the entire music movement and which had typical Poland national characteristics, the national characteristics of the work, and the primary form of characteristic rhythm. Furthermore, it revealed the national essence and the origin material in Chopin"s works. At last, in harmony, from the aspects of linearity and the sound thought of semitone, the counter-function harmony proceeding in breaking traditions, the harmony technique in function-extended, the charm in detuned chord, the blending of sound rhythm and music situation, it analyzed and summarized the distinct romanticism in harmony arranging in the work.

音乐结构上，通过作品曲式结构与古典协奏曲典型曲式结构的对比，总结作品对古典主义协奏曲结构的沿袭和民族风格的个性化创新，展现了肖邦在协奏曲创作的继承和创新精神；旋律上，主要围绕作品旋律的歌唱性和色彩性进行论述，充分展现肖邦在旋律创作上独特的艺术风格和鲜明的浪漫主义特征；节奏上，通过对第三乐章的节奏分析，展现了贯穿整个乐章的具有典型波兰民族特色的玛祖卡节奏，阐述作品的民族特色，并追溯特征节奏的原形，进一步揭示肖邦创作的民族本质和素材来源；和声上，从半音化的线性和声思维、突破传统的反功能和声进行、功能延伸式的和声手法、音阶化的转调模进手法、离调和弦的色彩魅力等几个方面入手，分析和总结了作品在和声运用上新颖、鲜明的浪漫主义特色。

This dissertation was focused on the research about the formation and evolution of NQB from the Late Triassic to the early middle Epoch of Jurassic Period, including integrated analyzing the characteristic of the key stratigraphic surfaces, the time of the key stratigraphy, regional rock straigraphy, biostratigraphy and chronostratigraphy, sedimentary system and depositional facies. On basis of these analysis, a tectonic evolution model have been established for NQB during from the Late Triassic to the early middle Epoch of Jurassic Period.1. After the systematic surface analysis about main stratigraphy units, we found that:(1) the bottom of Xiaochaka formation was comformity with the middle Triassic in the basin, and in the north margin it was deposited and overlapped on the different period stratigraphy before Triassic.(2) The top surface of Xiaochaka formation developed regionally karst and paleo-karst breccia, and was uncomformity with Nadigangri Formation, these things suggest that NQB in Xiaochaka depositing stage was developed from middle Triassic basin, and then an extensive regression occurred, the deposition was over and erosion come into being.(3) The lithologic assemblage, geochemistry, mixed fossils, and stratigraphy overlapping characteristic of Quemocuo Formation in early middle Jurassic indicted that the uncomformity surface was an extension-unconformity.2. Integrated analysis about stratigraphy division and correlation indicted that:(1) the paleontologic assemblage of Xiaochaka formation show its time was Carian -Norian stage of late Triassic. According to it was overlapped by late Triassic Nadigangri Formation, so Xiaochaka formation should be Carian - early Norian stage.(2) the SHRIMP Zircon U-Pb age of Nadigangri formation volcanic rocks wear vary form 216 to 205 Ma, so its time should be Norian, but maybe extended into Rhaetian Stage.(3) The age of its bottom volcanic rocks, the fossil assemblages of its middle and upper members and overlapped by lower Jurassic, indicted the age of Riganpeicuo Formation was Norian - Rhaetian stage. And the same time, the volcanic rocks geochemistry of Nadigangri and Riganpeicuo formation both reflected that they wear formed in rift tectonic settings. The lower lithologic and surface characteristic, fossil assemblages and its upper maybe was conformity with lower Jurassic, all reflected that the age of Tumengela Formation in Tumen area should be Norian - Rhaetian stage.

论文对晚三叠世—中侏罗世早期盆地的形成与演化开展了研究，包括关键地层界面特征分析、关键地层时代归属分析、区域岩石地层、生物地层和年代地层的综合对比分析、区域沉积体系与沉积相分析、岩相古地理分析，最终建立晚三叠世—中侏罗世早期羌塘盆沉积—构造动力演化模式。1、系统的对各地层单元的界面分析发现：(1)肖茶卡组底界在盆地内部与中三叠统整合关系，在盆地北缘为沉积超覆于不同时代的前三叠系之上：(2)肖茶卡组顶界面发育古岩溶角砾岩，与上覆那底岗日组为岩溶不整合接触，说明肖茶卡组沉积时期的羌塘盆地是在早中三叠世的盆地基础发展起来的，后期出现了广泛的海退事件，使盆地结束沉积并遭受风化剥蚀作用；(3)中侏罗统雀莫错组的岩性组合特征、岩石化学特征、古生物化石混积和地层的沉积超覆现象均表现出裂陷环境下形成的伸展不整合面的特征。2、综合地层划分与对比分析认为：(1)肖茶卡组古生物化石组合反映其时代为晚三叠世卡尼期—若利期，根据其上被上三叠统那底岗日组不整合覆盖，将其时代厘定为卡尼期—若利期早期；(2)那底岗日组火山岩SHRIMP锆石U-Pb年龄在216～205 Ma之间，其时代主要为若利期，可能包含有瑞替期：(3)日干配错组底部火山岩的年龄、中上部化石组合及其被下侏罗统整合覆盖，综合反映的时代为晚三叠世若利期—瑞替期，而且那底岗日组火山岩和日干配错组火山岩的地球化学成分分析反映两者均为引张构造背景下的产物；土门地区的土门各拉组的下部岩性及界面特征、化石组合和上部可能被下侏罗统整合覆盖，综合反映其时代为若利期—若利期。

When Shaw appeared in It Happened Here, a 1966 World War II film, he wrote much of his own dialogue, which the filmmakers would later admit "gave his dialogue an individual slant which enhanced his performance."[7] Shaw also helped in other aspects of the filmmaking, including casting; he introduced the filmmakers to Fiona Leland, who would be cast as Shaw's wife in It Happened Here.[7] Shaw wrote other plays, including The Ship's Bell, The Cliff Walk, The Glass Maze and Cul de Sac.

当肖参演1966年的二战电影《纳粹暴行录》时，他撰写了自己角色的大部分台词，对此电影制片人后来承认肖&给予了他的台词一种个人化的倾向，使他的表演更有力度&，肖还在其他方面帮助过电影的制作，包括选角；他把菲奥娜·利兰介绍给制片人，在《纳粹暴行录》中扮演肖的妻子。

The second part of the paper introduces "the background of Chopin"s creation of piano Etude. Then through the comparison of his and the people of his time or before on Etudes, the paper concludes that Chopins" has broken the traditional meaning on this genre. In the end, the paper analyses how Chopin"s Etudes combine art with technique, through three aspects: synthetical melody and technique, colorful harmony and technique, and singular piano and technique.

第二部分首先简要介绍肖邦钢琴练习曲的创作背景；接着通过肖邦练习曲与他之前和同时代的作曲家的练习曲的比较，说明肖邦的练习曲已突破了这一体裁的传统意义；最后从三个方面：综合的旋律特征和技术的结合、丰富的和声风格和技术的结合、独特的钢琴织体和技术的结合，来阐述肖邦练习曲是艺术性和技术性的有机结合。

This one mode pays close attention to network credence foundation of the businessman very much.

这一模式非常关注商人的网络信用基础。

Cell morphology of bacterial ghost of Pasteurella multocida was observed by scanning electron microscopy and inactivation ratio was estimated by CFU analysi.

扫描电镜观察多杀性巴氏杆菌细菌幽灵和菌落形成单位评价遗传灭活率。