艺术

Through a detailed analysis of List's lieder, this thesis aims to explore their artistic values, appreciate their creative charms, and provide references for their performance.

本文就是通过对李斯特的艺术歌曲的创作来探究其艺术的价值，感悟其艺术歌曲创作的魅力，为更好地演唱李斯特的艺术歌曲服务。

Through past dynasties maestros inherit and full play , it became a unique form of art , which was different from other school of art in Tibet area , namely the school of Art of Wutun .

经过历代艺术大师们的继承和发挥，形成了区别于其他藏区艺术的独特的藏传艺术流派，即吾屯艺术流派。

Dance is the art of the United States is good at the art of lyric, is the emotional heart of the world's most turbulent time the emergence of a physical activity, mainly based on the expression of inner emotional style of art is the emotional world to "maximize" the performance.

舞蹈艺术是美的艺术，是善于抒情的艺术，是人们内心情感世界最动荡不安的时刻出现的一种形体活动，是以抒发内心情感为主的艺术样式，是情感世界到达&极致&的表现。

Based on the above analysis, I reinvestigated and studied in this paper the ideological infiltration into art production in the past research with the attempt to uncover how it does. Meanwhile I also explored the material conditions neglected in pure theoretical studies such as techniques, subsidies and media.

作者不仅探讨了以往研究中已经注意到的意识形态的因素对艺术生产的渗透，并且试图回答它是怎样或通过什么途径渗透到艺术生产中的这一延伸问题，因此，在第二、第三、第四章中分别研究了技术、资助、媒介等在艺术生产中所产生的复杂影响，对以往在艺术的纯理论研究中所忽视的物质条件的影响进行了专门的探讨。

It looked for the direct performance or metaphor of drama in daily life or the political symbols of country. After 1980's, based on ""thick-descriptive"" ethnographies on art, it called for renegotiating the relationship between art and anthropology in order to the further development of anthropology of Art.

解释人类学从日常生活的游戏、国家的政治象征中找寻戏剧的直接展演或隐喻，探寻社会生活的符号意蕴；80年代的艺术人类学在反思&深描&艺术的阐释民族志的基础上，重新审视艺术与人类学之间的关系，以此为发展艺术人类学的途径。

It looked for the direct performance ormetaphor of drama in daily life or the political symbols ofcountry. After 1980"s, based on "thick-descriptiveethnographies on art, it called for renegotiating therelationship between art and anthropology in order to thefurther development of anthropology of Art.

解释人类学从日常生活的游戏、国家的政治象征中找寻戏剧的直接展演或隐喻，探寻社会生活的符号意蕴；80年代的艺术人类学在反思&深描&艺术的阐释民族志的基础上，重新审视艺术与人类学之间的关系，以此为发展艺术人类学的途径。

Volume 1 introduces the history of accordion , Volume 2 is about the preliminary spread of accordion in China . I dug into great amount of concerning historical data of four aspects, they are the early accordion textbooks, the accordion activities happened in Shanghai, Haerbin and Yanan, which veritably resurges the development of accordion art in China before 1949. Volume 3 reveals the development of Chinese accordion art from after 1949, I focused on five aspects, namely the production, education, performance, theoretical study and communication between China and foreign counties, in time order. This part comprehensively shows the plenty fruits of accordion art in around 50 years after the foundation of China. Volume 4 mainly concerns the development of Chinese accordion music composing. It reviews the history in four periods. Meanwhile, this part also analyses in detail the nationalization pursuit and the utilization of performance skills in composing.

第一章是对&手风琴历史源流&的介绍；第二章是&中国最初的手风琴艺术传播&，本人挖掘出大量的相关史料，从&早期的中国手风琴教科书、上海、哈尔滨和延安的手风琴活动&四个方面进行了研究，真实地再现了1949年以前的中国手风琴艺术发展；第三章是&新中国成立以来的手风琴艺术发展&，分别从&乐器制造、手风琴教育、表演、理论研究与中外交流&五个方面按时间顺序进行了论述，全面反映了手风琴艺术在新中国成立后50余年所取得的丰硕成果；第四章是&中国手风琴音乐创作的发展&，论文将手风琴音乐创作分为四个时期进行了历史的回顾，并对创作中的民族化追求以及手风琴演奏技巧在创作中的运用作了具体分析。

What we have witnessed is a revaluing of the Artists Studio Practice within the Sphere of Public Art. I'll be presenting to you work produced on a number of different projects that have brought what is essentially a Fine Art studio practice to serve the needs of a public Art.

我们已经目睹了公共艺术范围内对艺术家工作室艺术实践的再评价，在这里，我将展现一系列出自不同艺术创作项目的作品，这些项目让美术工作室创作实践以其最独特的贡献满足了公共艺术的需要。

The forming of artistic school which is symboled by performer's personal singing style, marked not only the performer's artistic attainments have achieved the summit of her times but also the maturity of her own artistic style.

以演员个人演唱风格为标志的艺术流派的形成，既标志着一个演员的舞台艺术达到了她那个时代的艺术高峰，又标志着一个演员独具的艺术风格的成熟。

But, the combination of the pragmatism and the post-colony world is eating the conscience of the art. The narrow twisted and unbalanced folk culture definitely gives birth of a strange baby of the culture; it uglifies the modern art that represents the voice of the modern time. Neither does it brings the Chinese good wishes to a bright future, nor does it lead the Chinese modern art to a brilliant future, yet, it does pushes the clean world into an endless dark world.

然而，艺术领域的实用主义与后殖民的结合，蚕食着了艺术的良知；江湖文化的狭窄、扭曲和失衡，必然催生一种文化的怪胎，因而使得作为时代心声的当代艺术丑陋不堪、问题多多，它既没有把中国人的美好意愿引向光明，也不可能使中国的当代艺术走向辉煌，而是，将一个至纯之地推向一个遥遥无期的晦暗之境。

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。