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Franz Schubert's first compositions were written when he was with the court choir boys, always in conflict with his teachers, since he was more interested in music than in getting good marks for his school work.

伯特首次组成了书面当时与法院合唱团男孩,总是与他的冲突中教师,因为他更感兴趣的音乐比获得良好标志着他的学校工作。

So shy was Franz Peter Schubert that his first meeting withLudwig van Beethoven was his last.

弗朗茨·彼德·伯特非常怕羞,他同路德维希·冯·贝多芬的第一次见面也成了最后一次见面。

Franz Seraphicus Peter Schubert, an Austrian composer, he is representative of early Romantic music, is also considered one of classical music, the last great masters.

弗朗茨·泽拉菲库斯·彼得·伯特是奥地利作曲家,他是早期浪漫主义音乐的代表人物,也被认为是古典主义音乐的最后一位巨匠。

The type that has fired public imagination most is that of the spontaneously inspired composer - the Franz Schubert type, in other words.

最能激发公众想象力的是自发式灵感型即弗朗兹·伯特型。

There were thirty torchbearers, among them Franz Schubert, with other well-known musicians, artists, authors and poets.

位著名的音乐家、艺术家、作家和诗人手持火炬,其中有弗朗兹·伯特。

Franz Schubert (Franz Peter Schubert ,1797.1.13-1828 .11.19) is the earliest known for a song writer, he has written more than 600 life songs, known as German art the history of songs first.

弗朗兹·伯特(Franz Peter Schubet,1797.1.13—1828.11.19)最早是被作为歌曲作家而闻名于世的,他一生创作了600多首歌曲,被誉为德国艺术歌曲史上第一人。

Franz Schubert, living in Vienna in late Classical and early Romantic periods ,is the founders of the Romantic Music of the nineteenth century .

弗朗兹·伯特(Franz Schubert,1797-1828)生活在古典主义和浪漫主义交接时期的维也纳,是十九世纪浪漫乐派的奠基人之一。

Franz Peter Schubert (Franz Peter Schubert 1797—1828) who was born in Austria is the great composers and musicians.

弗朗兹·彼特·伯特(Franz Peter Schubert 1797年—1828年)是出生在奥地利的伟大作曲家和音乐家。

Works of this group of early romantic include the song cycles and later symphonies of Franz Schubert, and the operas of Weber, particularly Oberon, Der Freischütz and Euryanthe.

这些浪漫主义早期的作品中包括伯特的组曲和后来的交响乐,以及韦伯的歌曲作品,特别是《Oberon》,《Der Freischütz 》和《Euryanthe》。

The article analyzed the Franz Schubert's Piano Sonata, Op.120 all-around with the elements of multidimensional structures, such as the pitch, rhythm, and textures. It discussed the effect of change and ratio to the drive and structure of the music through the three aspects of combination: the synchronous change and symmetry ratio of the element rhythm, the asynchronies change and the asymmetry ratio of the element rhythm, and the synchronous with asynchronies changes, and compared them with the Heinrich Schenker system.

内容提要:本文以伯特《钢琴奏鸣曲OP.120》为例,对该部作品的音高、节奏、织体等多维音乐要素进行了综合分析,从要素节律的"同步变化"和要素节律间的"匀称比率"、要素节律的"异步变化"和要素节律间的"非匀称比率"以及要素节律的"同步变化"、"异步变化"的结合三方面,来探讨了这些"变化"、"比率"对音乐的动力、结构力的作用,并与申克的还原体系分析方法进行了比较。

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