音乐

Through reviewing music history writers explanation about romantic music in the 20th century, reflecting the view that romantic music is free only in form and order and the inheritance is greater than contrariness between romantic music and classic music, this paper finds defectiveness of past conclusion, comparing classic music, the paper holds , romantic music have had new cultural attribute, and the fragmentation between romantic music and classic music is no less than inheritance.

本文检视了20世纪以降西方音乐史作家对浪漫主义音乐的解读，反思了那种把浪漫主义音乐仅仅看作是形式和秩序方面不守法、推断其对古典主义音乐的继承远远大于对立的论断，认为这种结论失之偏颇。本文提出，与古典主义音乐相比，浪漫主义音乐已具有新的文化性质，它与古典主义音乐之间的断裂丝毫不少于对它的继承。

[offset:500] [00:00.00]Loreena McKennitt - Greensleeves [00:14.00] [00:28.27]Alas my love you do me wrong [00:36.29]To cast me off discourteously; [00:43.53]And I have loved you oh so long [00:49.98]Delighting in your company.

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This article is based on the research of Mr. Li Yinghai"s monograph the modes of Music of the Han nationality and their harmony, his music composition and a series of his vocal music works, piano works. From the structure of the chord, the harmonic progression, the modes and tonality, texture composition style, the style of dealing with the skill and technique of national music sound simulation, etc. the author expounds Mr. Li Yinghai"s great achievement and his precious experience on academic research and application on national mode harmony in detail.1. Music composition should regard nationalitys traditional music as foundation, and at the same time use European traditional skill and technique of music composition for reference, seek the harmony of traditional skill and technique, modern idea and national style. Only in this way could we promote research of the national music theory and creation of the national music.2. Theory stems from practice, guides practice again at the same time. And theory is developing, perfecting constantly in practice.

文章以黎英海先生的理论专著《汉族调式及其和声》以及他创作、改编的一系列声乐作品、钢琴作品为研究对象，从和弦结构、和声进行、调式调性、织体写法、间音处理手法、民族音乐音色模拟技法等方面详细论述了黎英海先生在民族调式和声理论的研究与应用上取得的丰硕成果与宝贵经验及其给我们的两点启示：1、音乐创作应以民族传统音乐为根基，以欧洲传统作曲技法为借鉴，努力探求音乐创作中传统技法、现代理念与民族风格的和谐统一，以此推动民族音乐理论的研究与民族音乐的创作。2、理论来源于实践，同时又指导实践，并在实践中不断发展、完善。

The conducting and receiving sensibility of the Gong tonality vibromusic sound wave at the main points of the spleen and stomach meridians:(1) The conducting sensibility of meridians and acupoints were different from each other;(2) The conducting of the spleen and stomach meridians of the FD group was weaker than the control group;(3) In the FD group, the spleen meridians had higher conducting sensibility than the control meridians and soft tissues, while in the control group the zusanli point of stomach meridian have higher sensibility than other points;(4) Divide the FD into gastric motility disorders form and non-gastric motility disorders form, the diference of interclass of Diji point's receiving sensibility of music sound wave had statistical significance.

脾胃经腧穴对宫调音乐声波传导的接收：(1)不同经络不同腧穴对音乐声波传导接收敏感性存在差异；(2)FD组脾胃经腧穴对宫调音乐声波接收弱于对照组；(3)FD组脾经腧穴对音乐声波的接收较对照经及对照软组织敏感，对照组胃经足三里穴对音乐声波的接收敏感性高于其他腧穴；(4)动力障碍型与非动力障碍型地机穴的音乐声波接收差别有统计学意义； 4。

In a way bands like the smiths from the 80s were a breath of fresh air there was a lot of electronic rubbishy pop around at that time, but because of that the backlash was that things moved in a more positive direction .the London music seane is particularly good for prompting change people get bored quickly and with different multicultural musical influences it is constantly changing, it kind of boots you up the back side to stop you playing in same style, and look at new things.

就像在80年代Smiths的出现如一股新鲜空气，因为当时有太多的电子垃圾音乐。但正是因为这个原因，人们对音乐的需求推动了其向前发展。伦敦音乐的背景对刺激音乐的改变起着特别的推动作用。人们对一种音乐会很快失去兴趣，受不同文化交流的影响，音乐背景也一定会随之改变。这一现实会促使你向新事物新方向发展而不能总是奏一成不变的音乐。

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。

Electro music has become one of indiscerptible parts in modern music. Three foreign composers of electro music, invited by the Electric Music Department of Shanghai Conservatory, will add more splendidness and magnificence to our music week with their lectures and electric music concert.

电子音乐已成为当代音乐不可分割的一个重要组成部分，上海音乐学院电子音乐工程系所邀请的三位外籍电子音乐作曲家和他们的讲座以及他们的一场电子音乐音乐会都将为我们的音乐周增添绚丽的当代色彩。

The discussion touches upon the Buddhist, Daoist and Shaman religious milieu, the Confucian and scholarly circles, the calendric celebrations, folk weddings and funeral rituals, as well as entertainment and stage performances.

本文涉及到祭祀音乐文化、文人音乐文化、宗教音乐文化，民俗音乐文化以及当代音乐文化中洞箫类乐器的使用情况与意义，阐述了洞箫类乐器在中国传统音乐文化中的重要地位。

This text passes the angle argument to music diversification, sing diversifiedly hermeneutically and give examples the to pull the cloth eye-catcher result, then the argument music diversification is in music educate of the important position, and from the teacher, teaching method to pass diversified teaching of music how let classroom" live", training the music talented person of the high character

本文通过对音乐多元化的含义及分类，音乐教育多元化的必要性、重要性，进而论证了音乐多元化在音乐教育中的重要地位，并从教师、教法的角度论证通过音乐多元化教学怎样让课堂&活&起来，培养音乐多元化高素质的人才。

The School of Music at Hangzhou Normal University is one of the organizers of this competition as well, and is one of the birthplaces of Chinese contemporary music and education in Chinese contemporary music. The School of Music at Hangzhou Normal University ranks in the top 10 schools of music in China, has excellent learning environment, well equiped facilities, experienced and knowledged staff, and has accumulated a wealth of experience and achievements.

杭州师范大学音乐学院也是这次比赛的承办单位之一，杭州师范大学是一所开办音乐教育100年历史的中国知名大学，也是中国现代音乐和现代音乐教育的主要发祥地之一，杭州师范大学音乐学院是中国排名前10名的音乐学院，办学环境优美，办学条件完备，教师力量雄厚，已经积累了丰硕的办学成果。

However, as the name（read－only memory）implies, CD disks cannot be written onorchanged in any way.

然而，正如其名字所指出的那样，CD盘不能写，也不能用任何方式改变其内容。

Galvanizes steel pallet is mainly export which suits standard packing of European Union, the North America. galvanizes steel pallet is suitable to heavy rack. Pallet surface can design plate type, corrugated and the gap form, satisfies the different requirements.

镀锌钢托盘多用于出口，替代木托盘，免薰蒸，符合欧盟、北美各国对出口货物包装材料的法令要求；喷涂钢托盘适用于重载上货架之用，托盘表面根据需要制作成平板状、波纹状及间隔形式，满足不同的使用要求。