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This text can is divided into four parts on the structure: The first part, carry on a synopsis to all say to Chinese's folk song; The second part, reorganize to Chinese's folk song of creation and development of piano music work carry on a review; The third part, the represent sex work to is 2《arethusa flower》,《flowing water》carry on detailed analysis in give musical performance; Last one part of head three parts of the foundations up, put forward textual center talk point, is Chinese the confidence problem of the style of piano music work of the folk song change..

本文在结构上可分为四个部分:第一部分,对汉族民歌进行简要概述;第二部分,对汉族民歌改编的钢琴音乐作品的产生与发展进行回顾;第三部分,对两首代表性作品《兰花花》、《流水》在演奏上进行详细分析;最后一部分则在前三部分的基础上,提出本文的中心论点,即为汉族民歌改变钢琴音乐作品的风格把握问题。。

On base of expatiating the different singing features of art songs and opera's aria respectively, this text put forward that both two of them should form the style of"take in everything ,complement each other"related to"histrionic"and"artistry".

本文在分别梳理艺术歌曲和歌剧咏叹调不同的演唱特征的基础上,提出两者在"戏剧性"和"艺术性"上应当形成"兼收并蓄、相得益彰"的风格。

After traversing a hundred paces, skirting a wall of the fifteenth century, surmounted by a pointed gable, with bricks set in contrast, he found himself before a large door of arched stone, with a rectilinear impost, in the sombre style of Louis XIV., flanked by two flat medallions.

他走上百来步,到了一道十五世纪的墙脚边,墙上有用花砖砌的山字形尖顶,沿墙过去,便看见一扇拱形石库大门,一字门楣,配上两个圆形浮雕,具有路易十四时代的浑厚风格。

The frame was oval, richly gilded and filagreed in Moresque.

画框是椭圆形的,厚厚得镀上一层金,装饰上取的是摩尔式风格。

And the westernized women's clothing formed, namely the women's clothing of Shanghai's style.2、 Westernized subject content that the westernization of the modeling element is the women's clothing, and modeling westernization of element clothing structure, clothing modeling form change that westernization brings of craft in fact: The westernization of the element of the surface fabric, on one hand influenced by western artistic style, on one hand textile technology, westernized result of technology of dyeing ; The auxiliary materials element is occidentalized to followthe direct result of western fashion , aesthetic change.3、 Key point that Shanghai women's clothing is westernized that widewesternization is the Republic of China period, occidentalize to make the wholeform of the women's clothing changed into the Western-style S type from thetraditional H type in wide type, the change of such external form is the widecultural transition to narrow clothes decorations culture of clothes decorations infact.4、 In the westernized course of the women's clothing of the Republic of ChinaShanghai, 1920 times rely mainly on the fact that the dress is matched andoccidentalized ; 1930 times rely mainly on occidentalizing in modeling ; And1940 times rely mainly on the fact that the auxiliary materials are occidentalized .

局部西化女装是在保留部分传统女装构成元素的基础上,通过造型元素西化、面料元素西化或辅料元素西化,而形成的西化女装,即海派女装。 2、造型元素的西化是女装西化的主体内容,而造型元素的西化实质上是服装结构、工艺的西化带来的服装造型形态变化;面料元素的西化,一方面是受到西方艺术风格的影响,一方面是纺织技术、染色技术的西化结果;辅料元素西化多是追随西方流行时尚、审美变化的直接结果。 3、廓型的西化是民国时期上海女装西化的关键所在,廓型西化使得女装的整体形态由传统的H型转变为西式的S型,这种外在的形态的改变实质上是宽衣服饰文化向窄衣服饰文化的过渡。 4、民国上海女装的西化过程中,1920年代以服饰搭配西化为主;1930年代以造型西化为主;而1940年代以辅料西化为主。

Aspiring style mavens can even upload their own fashion finds on an interactive website , where sartorial buried treasure will be displayed for all to see.

有志风格mavens甚至可以上传自己的时装上找到一个互动网站,其中sartorial埋宝藏将被显示所有看到的。

We should encourage the unhampered development of different forms and styles in literature and art, as well as the free discussion of theories of literature and art among exponents of different views and schools of thought.

洋为中用、古为今用的方针,在艺术创作上提倡不同形式和风格的自由发展,在艺术理论上提倡不同观点和学派的自由讨论。

Greatly influenced by three styles, which include Vienna song, Berlin song school, and J. R. Zumsteeg's Ballade; even though quantity of his works is less than that of J. F. Reichardt before him, then quality of his works is much more ahead of all musicians of his generation or before him.

舒伯特受到维也纳歌曲、柏林歌曲乐派与宗斯泰格叙事歌三种风格的影响,他的歌曲在数量上只比於前辈赖夏德少,在质量上则超越所有的前辈与同辈。

The Blue Mosquito series could be regarded as one re presentative of the second generation, arisen after 1990s, of Si Chuan School of oil painting.

蓝蚊子系列》其实可以说体现了上世纪90年代之後跃上画坛的四川画派第二代油画家的总体特徵,以郭伟等人为代表的这一代画家与上一代注重情感或艺术风格表现性艺术家不同,他们也很少在历史中寻求血缘的谱系,他们的着眼点就是生活,当下的生活。

Politicians contend , and men are swerved this way and that by conflicting tides of interest and passion

艺术上不同的形式和风格可以自由发展,科学上不同的学派可以自由争论。

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