音乐

Key Concepts: rise of piano, standardisation of the orchestra, sonata form, chamber music, symphony, balance, enlightenment, absolute music ,concerto, homophonic.

主要音乐概念：钢琴地位的提升，管弦乐队的标准编制，奏鸣曲式，室内乐，交响乐，音乐平衡感，音乐教化作用，纯音乐，协奏曲，主调音乐。

Key concepts: rise of piano, stardisation of the chestra, sonata fm, chamber music, symphony, balance, enlightenment, absolute music ,concerto, homophonic.

主要音乐概念：钢琴地位的提升，管弦乐队的标准编制，奏鸣曲式，室内乐，交响乐，音乐平衡感，音乐教化作用，纯音乐，协奏曲，主调音乐。

Abigail writes songs heavily influenced by Old Time music, but adds a modern element that comes from her own experiences–her composition,"Rockabye Dixie", won an award for its contribution to the new sound of traditional American Music. Béla Fleck played bluegrass for many years, but then added jazz, rock, world music, pop and classical influences to create a new form of banjo-based music.

Abigail的歌曲创作中有着古老音乐的深重影响，但又通过她个人的经验加入了现代因素，她创作的歌曲《Rockabye Dixie》，因她为美国传统音乐注入新的声音而获奖。Béla Fleck多年演奏蓝草音乐，并且融入了爵士、摇滚和世界音乐，流行和古典音乐，从而创造了全新的班卓琴音乐。

The music listening takes music work as object, passing the way for listenning to experience personally and comprehend musical true meaning, being dulcified feeling thus, people can pass to appreciate music further, acquaint with music, feel music to realize its emotion included, appreciating in the primary school music lesson the teaching occupies the specific weight of equal NTU.

音乐欣赏是以音乐作品为对象，通过聆听的方式来体验和领悟音乐的真谛，从而得到愉悦感，人们能通过进一步欣赏音乐，熟悉音乐，感受音乐来体会它所包含的情感，在小学音乐课中，欣赏教学占有相当大的比重。

The second chapter probes into the way and feature of spreading on Gesar" s music, and the development and the changes of the music spreading since the involving of modern intermedium, by introducing the psalmodies in different categories. The third chapter analyses the types of Gesar" s lyrics and the patterns they could change. The forth chapter illustrates the principles of Gesar" s creating and several majority tone patterns are showed here. In the fifth chapter, the tones of Gesar are classified based on three aspects, that is, the tone" s name, utilization and the localstyles. In the sixth chapter, the feature of Gesar s tones is analyzed from the aspect of the characteristics of melody, the rhythm and time, the tone patterns and the music structure and so on. The last chapter discusses the forms of music performance and the methods that the psalmodies take to sing.

本文第一章从史诗《格萨尔》说唱结合艺术形式的产生与发展开始，对它的这种艺术形式中的说与唱分别做了介绍；第二章通过对《格萨尔》音乐创作主体——艺人的分类介绍，探讨了史诗音乐的传播方式、传播特点以及在现代传播媒介的介入下它的传播方式的发展与变化；第三章是对唱词体裁的分析和它的变化类型；第四章论述了音乐唱腔的创作原则以及几种最主要的唱腔类型；第五章从曲调的名称、曲调的运用以及地域风格特点三方面对《格萨尔》唱腔进行了分类；第六章结合谱例从旋律特征、节奏节拍、调式以及音乐结构等方面分析了《格萨尔》音乐唱腔的特点；第七章是对《格萨尔》音乐表演形式及艺人演唱方法的探讨。

These genres include: Art music, Popular music, Traditional music, Regional and national music, and fusions of those genres.

这些音乐流派包括：艺术音乐、流行音乐、传统音乐、地区和民族音乐以及这些音乐的融合。

In the second place, the variety of musician resources brings about the multivariation of Wang Meng's spiritual structure. Various musical and cultural resources, including Russian classical music, revolutionary songs of the Soviet Union, minority music of the Northwest of China, the film music of Hollywood and modernist music of the West world, help Wang in his reflection on and transcendence of the'revolutionary'politics and culture.

第二，音乐资源的多样性带来王蒙精神结构的多元性，俄罗斯古典音乐、前苏联的革命歌曲、中国西北少数民族音乐、甚至好莱坞的电影音乐、西方现代主义音乐都可能是王蒙获取精神与文化素养的主要来源，正是这种音乐和文化资源的多样性使王蒙对&革命&政治与&革命&文化有所反思与超越。

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。

In opens the high school music appreciation class under the premise, through to the high school music appreciation class education present situation analysis, as well as to music appreciation class teaching classroom instruction present situation analysis, discovers at present the question which exists in the high school music appreciation class teaching, launches the massive discussions, then proposes concrete solution: Music have in the high school music appreciation class teaching system take is esthetic as the core, uses the suitable teaching method to carry on the teaching the main body though; In music appreciation class classroom instruction, must fully display the teaching material resources, the human resources, the modernized teaching aid resources.

在开设高中音乐欣赏课的前提下，通过对高中音乐欣赏课教育的现状的分析，以及对音乐欣赏课教学课堂教学现状的分析，找出目前在高中音乐欣赏课教学中存在的问题，展开大量的讨论，然后提出具体的解决办法：在高中音乐欣赏课教学体系中要以审美为核心，采用适当的教学方法进行教学的主体思想；在音乐欣赏课课堂教学中，要充分发挥教材资源，人力资源，现代化的教具资源。

Based on the analysis and studies of the concrete music representative of the present times, the article comes up with several approaches to the thematic treatment of the concrete music works, which involve modeling musical theme, comparing music theme and extending music sections by effect modulation; constructing music wo...

本文从当今具有代表性的具体音乐作品分析入手，研究提出了具体音乐作品中关于主题的几种处理手段：如通过效果调制塑造音乐主题、对比音乐主题、发展音乐段落；通过&主题材料综合呈示与渐变发展&、&主题材料分别呈示与交叠发展&、&主题材料逐渐呈示与交替发展&等主题呈示、发展与结构全曲的布局处理的手法来构建音乐作品，体现主题的&主题性&。

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。