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戏曲唱腔
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  “戏曲唱腔”译为未确定词的双语例句
     The "Negation of Negation" of the Definition of Music form in Chinese Opera Singing
     中国戏曲唱腔曲体界定的“否定之否定”
短句来源
     The Analysis on the Form of Arias in Banqiang-Style Traditional Opera
     板腔体戏曲唱腔的形态分析
短句来源
     On“Jiqu and the Variational Style of Banshi”in Chinese Opera Singing
     试论戏曲唱腔的“集曲板式变化体”
短句来源
     The analysis are made from four aspects: (1) the analysis on the plot;
     本文主张对板腔体戏曲唱腔的形态分析应从以下几方面进行:一、对剧情(规定情境)的分析。
短句来源
  相似匹配句对
     The Analysis on the Form of Arias in Banqiang-Style Traditional Opera
     板腔体戏曲唱腔的形态分析
短句来源
     On“Jiqu and the Variational Style of Banshi”in Chinese Opera Singing
     试论戏曲唱腔的“集曲板式变化体”
短句来源
     A Recollection of the Traditional Opera
     戏曲往事
短句来源
     On "Traditional Chinese Drama TV
     论“戏曲电视”
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The analysis are made from four aspects: (1) the analysis on the plot; (2) a chart of measurement of singing parts; (3) analysis on the text; (4) the summary and commence on the arias.

本文主张对板腔体戏曲唱腔的形态分析应从以下几方面进行:一、对剧情(规定情境)的分析。二、用图表形式对唱段各腔句形态进行量化。三、对唱段进行文字分析。四对整个唱段进行评价和总结。

“Jiqu(connecting pieces of music in a Chinese opera) and the variational style of banshi(music rhythm)”is an important music form in the development of the art of Chinese opera; it is an effective means of promoting the musical function of Chinese opera singing. By using the means of jiqu of traditional Chinese operas as a point of penetration, the writer unveils the theoretical connotation and cultural implication of the“Jiqu and the variational style of banshi”, and shows its achievements and a rosy future....

“Jiqu(connecting pieces of music in a Chinese opera) and the variational style of banshi(music rhythm)”is an important music form in the development of the art of Chinese opera; it is an effective means of promoting the musical function of Chinese opera singing. By using the means of jiqu of traditional Chinese operas as a point of penetration, the writer unveils the theoretical connotation and cultural implication of the“Jiqu and the variational style of banshi”, and shows its achievements and a rosy future.

“集曲板式变化体”,是戏曲唱腔艺术发展中一种重要的曲体,是提升戏曲唱腔音乐功能的一个有效手段。以戏曲的传统“集曲”手法为切入点,揭示“集曲板式变化体”的理论内涵和文化意蕴,并展示其颇有成效的实践成果和广阔前景。

The definition of the music form of opera arias is found in the item "variational style of Banshi" and the item of "Banqiangti" in Chinese Encyclopedia.There is something the matter.In the paper,"Discourse Upon Opera Music",of the writer's,he followed the saying "Banqiangti" as the above,besides he curtly echoed the specious saying "Zongheti"(sytheses).Now he tries to object to the above hackneyed expressions that have influenced China and the world for about half a century.Taking the arias of Hunan and Guizhou...

The definition of the music form of opera arias is found in the item "variational style of Banshi" and the item of "Banqiangti" in Chinese Encyclopedia.There is something the matter.In the paper,"Discourse Upon Opera Music",of the writer's,he followed the saying "Banqiangti" as the above,besides he curtly echoed the specious saying "Zongheti"(sytheses).Now he tries to object to the above hackneyed expressions that have influenced China and the world for about half a century.Taking the arias of Hunan and Guizhou operas as main examples,which the writer collected personally,taking "Qupai"(names of tunes) as guiding principles,and according to the system of "Qupaiti"(musical forms),"Qupai banshi bianhuati"(Variational style of tune names and music rhythm) and "Jiqu banshi bianhuati"(Variational style of music collection and music rhythm),the writer uses "negation of negation" to define Chinese opera arias and music forms.And he tries to make the names match reality and to go close to truth.He also tries to put forward nice development in Chinese musicology,to put forward academic terms that reach a possible compromise in the Chinese people.So that the Chinese people can take part in international academic activities without being a laughingstock.

戏曲唱腔曲体界定,见于《中国大百科全书》的“‘板式变化体’说”、“‘板腔体’说”,问题多多。笔者拙著《戏曲乐谭》除沿袭上述“‘板腔体’说”外,还草率地附合过似是而非的“‘综合体’”说”。兹撰拙文试将一反以上在国内外影响近半个世纪的陈言,取笔者经口耳相传所得之湘黔戏种唱腔为主例,以曲牌为纲,按曲牌体、曲牌板式变化体、集曲板式变化体系列,对戏曲唱腔曲体界定予以“否定之否定”,力求名实相符、接近真理,促进中国音乐学学科建设之健康发展,竭力争取国人以尽可能形成共识的学术话语,参与国际学术交流活动,力免贻笑大方……

 
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