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In a radio address to celebrate Brahms' 100 year birthday, Schoenberg not only related himself with Brahms, but also regarded Brahms as a “progressive”,which caused a sensation throughout the European music criticism circles.In Schoenberg's opinion, Brahms' progress is based on his predecessors by absorbing the essence and adding his special elements. In Brahms' works, a unique technique is to compose music with developing variations. Following Schoenberg's suit,many critics set foot in the field and comfirmed...

In a radio address to celebrate Brahms' 100 year birthday, Schoenberg not only related himself with Brahms, but also regarded Brahms as a “progressive”,which caused a sensation throughout the European music criticism circles.In Schoenberg's opinion, Brahms' progress is based on his predecessors by absorbing the essence and adding his special elements. In Brahms' works, a unique technique is to compose music with developing variations. Following Schoenberg's suit,many critics set foot in the field and comfirmed this discovery.

勋伯格在 1 933年庆祝勃拉姆斯诞辰一百周年的电台演讲中不仅把自己与勃拉姆斯联系在一起 ,而且还把勃拉姆斯称为“改革者” ,这一评价轰动了当时的整个欧洲音乐评论界。在勋伯格看来 ,勃拉姆斯的进步是建立在前辈作曲家的基础上 ,吸取精华 ,融入自我独特的内容。而勃拉姆斯的音乐中 ,最具独创的技法就是运用展开式变奏来构建音乐。继勋伯格之后 ,许多评论家纷纷涉足这个领域 ,再次肯定了勋伯格对勃拉姆斯的这一发现

Mr.Wu Bochao (1904-1949) is one of the major Chinese musicians in the 20th century.He studied Erhu,and Pipa with Mr.Liu Tianhua in his early years at Peking University Music School.From 1931 to 1935, he studied at the Royal Conservatory in Brussels,Belgium and completed his education in both Chinese and Western music.From then on,he made achievements in the fields of music education,conducting and composition.From 1943 to 1949,he was president of the National Conservatory of Music both in Chongqing and Nanjing.On...

Mr.Wu Bochao (1904-1949) is one of the major Chinese musicians in the 20th century.He studied Erhu,and Pipa with Mr.Liu Tianhua in his early years at Peking University Music School.From 1931 to 1935, he studied at the Royal Conservatory in Brussels,Belgium and completed his education in both Chinese and Western music.From then on,he made achievements in the fields of music education,conducting and composition.From 1943 to 1949,he was president of the National Conservatory of Music both in Chongqing and Nanjing.On April 5 and 6,2004,a series of commemorative activities were organized in Beijing,under the auspices of the Association for Promotion of Chinese Culture,the Chinese Musicians'Association and the Central Conservatory of Music,and with support of institutions and universities in Mainland China as well as in Taiwan and Hong Kong,to mark the 100th anniversary of Wu Bochao's birthday.The activities include a commemorative meeting,seminars,a concert of Wu Bochao's works,a photo exhibition and a memorial book of collected works on the musician titled The Music Career of Wu Bochao,compiled and published by the Xiao Youmei Association of Music Education and the Central Conservatory of Music Publishing House.However,some of the opinions and ideas released in these activities would have to be reconsidered,in my view.For instance,the writer of the article"For the Memory Unforgettable"in that book asserts that Wu Baochao"had been completely forgotten by the majority of Mainland Chinese musicians since that shipwreck despite his remarkable contribution to the development of our country's modern music culture."The book's postscript further proclaims that"although for decades you (Wu Baochao) have been admired,memorized and appreciated by numerous decent intellectuals in the music circle...it seems that you are never found in the music history of China for the first half of the 20th century."Another article even suggests"Wu Bochao,former president of the National Conservatory of Music,who has been repudiated for decades...is now rising like a moon from the sea!" In my view,these over-exaggerated remarks do not conform to the truth. So far as I know,only after the end of the"Cultural Revolution"was He Luting's personality and artistic thoughts widely recognized and praised,and likewise,the memorial meeting was held only in 1980 for Xiao Youmei,forefather of professional music education in China,and his biography and memorial book were published only in 1993.When compared with his predecessors Xiao Youmei and Huang Zi,the latecomer Wu Bochao's achievements and contribution would be overshadowed (for instance,very few of his compositions have come down to get popular today).Therefore,it was not too late when his name first appeared on newspapers in 1982,and obviously he has been forgotten by no means.As regards the different views and assessments in academic terms,it is only right to let everyone speak their own mind no matter how much their opinions differ from each other.

吴伯超先生(1904-1949年)是20世纪中国重要的音乐家之一。早年他追随刘天华先生在北京大学音乐传习所学习二胡、琵琶,副科学习钢琴;1931—1935年留学比利时,曾入布鲁塞尔皇家音乐学院深造,具有融贯中西的音乐素养,在音乐教育、指挥、作曲等领域均有所贡献。1943—1949年初他担任重庆和南京国立音乐院院长期间,在该院的发展和培养音乐人才等方面成绩显著。值此吴伯超先生百年诞辰之际,中华民族文化促进会、中国音乐家协会、中央音乐学院等大陆以及台港地区的社会团体与院校等单位,于2004年4月5日至6日在北京联合举办了“吴伯超百年诞辰纪念活动”———召开纪念大会、学术研讨会,举办了吴伯超作品专场音乐会与图片展览;萧友梅音乐教育促进会和中央音乐学院出版社特此编辑、出版了纪念文集《吴伯超的音乐生涯》(此书以下简称为《生涯》)。但是这次纪念活动中的某些观点和提法,笔者认为是否有值得商榷之处。如《生涯》一书里的《为了不该忘却的纪念》一文中说吴伯超先生“对发展我国现代音乐文化所作的多方面可圈可点的贡献,早就随着那场海难而被大陆音乐界绝大多数人彻底忘却”;此书名为《告慰吴伯超先生》的编后记里说“几十...

吴伯超先生(1904-1949年)是20世纪中国重要的音乐家之一。早年他追随刘天华先生在北京大学音乐传习所学习二胡、琵琶,副科学习钢琴;1931—1935年留学比利时,曾入布鲁塞尔皇家音乐学院深造,具有融贯中西的音乐素养,在音乐教育、指挥、作曲等领域均有所贡献。1943—1949年初他担任重庆和南京国立音乐院院长期间,在该院的发展和培养音乐人才等方面成绩显著。值此吴伯超先生百年诞辰之际,中华民族文化促进会、中国音乐家协会、中央音乐学院等大陆以及台港地区的社会团体与院校等单位,于2004年4月5日至6日在北京联合举办了“吴伯超百年诞辰纪念活动”———召开纪念大会、学术研讨会,举办了吴伯超作品专场音乐会与图片展览;萧友梅音乐教育促进会和中央音乐学院出版社特此编辑、出版了纪念文集《吴伯超的音乐生涯》(此书以下简称为《生涯》)。但是这次纪念活动中的某些观点和提法,笔者认为是否有值得商榷之处。如《生涯》一书里的《为了不该忘却的纪念》一文中说吴伯超先生“对发展我国现代音乐文化所作的多方面可圈可点的贡献,早就随着那场海难而被大陆音乐界绝大多数人彻底忘却”;此书名为《告慰吴伯超先生》的编后记里说“几十年来,音乐文化界许许多多有良知的学人,他们敬重你,怀念你,感激你,但却只能在底?

On the occasion of the Commemorative Meeting Marking the 120th Birthday of Xiao Youmei and 100th Brithday of Huang Zi held at the Shanghai Conservatory of Music which was also celebrating its anniversary of founding,I would like to speak about the three-points inspirations that the two great masters and forerunners have provoked upon us in terms of composition and composition theory:1) the courage of a pioneer;2) the artistry of a musician; and (3) the mission of a scholar.1) The courage of a pioneerBoth Xiao...

On the occasion of the Commemorative Meeting Marking the 120th Birthday of Xiao Youmei and 100th Brithday of Huang Zi held at the Shanghai Conservatory of Music which was also celebrating its anniversary of founding,I would like to speak about the three-points inspirations that the two great masters and forerunners have provoked upon us in terms of composition and composition theory:1) the courage of a pioneer;2) the artistry of a musician; and (3) the mission of a scholar.1) The courage of a pioneerBoth Xiao Youmei and Huang Zi were brave pioneers of Chinese music. Chinese civilization can boast of its brilliant music but has not found in its history the word of"composition"("Komposition"to Xiao Youmei,but"composition"to Huang Zi) and its concept as well as the modern ideas,theories and practices that it covers. It is the great efforts of these two pioneers that have made composition an independent art form and a profession in China,just like many other countries in the world. It has now become a university major containing comprehensive technical theory,and a basic practice that promotes the development of the music art as a whole as well as it various sub-disciplines. It also serves as a link between different voices of diversified cultures (or even diversified sci-tech).2) The artistry of a musicianAny artist,scientist,philosopher,writer,poet and,of course,any composer,whoever wishes to become great,would have to spare no effort in the performance of his duty until the end of his life. However,no"great"laurels or wands would necessarily be offered to those who have achieved this by the art,science and music,etc. Only in this way can the God of human cultures proceed in his selection and audition for the great men to be. 3) The mission of a scholarXiao Youmei and Huang Zi were both composers,theorists and music pedagogues as well as music administrators and scholars. They had fulfilled,in their entire life span during those years of hardship,the mission as defined by J. G. Fichte. In contrast,we who are the successors of the cause created by Xiao Youmei and Huang Zi,should contemplate and examine our own conscience in serenity rather than simply feeling ashamed from time to time.

在上海音乐学院院庆暨纪念萧友梅诞辰120周年黄自诞辰100周年研讨会之际,我想从作曲与作曲技术理论专业的角度,谈谈两位伟大的先行者和奠基者对我们后来者的三点启示:1.拓荒者的勇气;2.艺术家的风范;3.学者的使命。1.拓荒者的勇气萧友梅先生与黄自先生是中国音乐勇敢的拓荒者。中华民族悠久的历史长河中,有金声玉振的音乐,却无“作曲”(对萧友梅而言是Komposition,对黄自而言是composition)这个词和概念以及它所涵盖的现代观念、理论、实践及其发展。正是两位拓荒者“筚路蓝缕,以启山林”,才促成了“作曲”在今日之中国就如同在当今世界多数国家一样,是社会上一门独立艺术和一项职业,是高校一种含有综合技术理论的专业,是促进音乐艺术整体及各个分支领域不断发展的最重要最基本的实践,也是不同艺术不同文化(今天甚至可以是不同科技领域)之间的声音的纽带。2.艺术家的风范艺术家对于艺术,科学家对于科学,哲学家对于哲学,文学家对于文学,诗人对于诗歌,当然还有作曲家对于作曲,凡是无愧于伟大二字的,必然是鞠躬尽瘁,死而后已。然而,对于做到了这一点的人,艺术、科学、音乐等等除了引领他与先贤圣哲的伟大灵魂进...

在上海音乐学院院庆暨纪念萧友梅诞辰120周年黄自诞辰100周年研讨会之际,我想从作曲与作曲技术理论专业的角度,谈谈两位伟大的先行者和奠基者对我们后来者的三点启示:1.拓荒者的勇气;2.艺术家的风范;3.学者的使命。1.拓荒者的勇气萧友梅先生与黄自先生是中国音乐勇敢的拓荒者。中华民族悠久的历史长河中,有金声玉振的音乐,却无“作曲”(对萧友梅而言是Komposition,对黄自而言是composition)这个词和概念以及它所涵盖的现代观念、理论、实践及其发展。正是两位拓荒者“筚路蓝缕,以启山林”,才促成了“作曲”在今日之中国就如同在当今世界多数国家一样,是社会上一门独立艺术和一项职业,是高校一种含有综合技术理论的专业,是促进音乐艺术整体及各个分支领域不断发展的最重要最基本的实践,也是不同艺术不同文化(今天甚至可以是不同科技领域)之间的声音的纽带。2.艺术家的风范艺术家对于艺术,科学家对于科学,哲学家对于哲学,文学家对于文学,诗人对于诗歌,当然还有作曲家对于作曲,凡是无愧于伟大二字的,必然是鞠躬尽瘁,死而后已。然而,对于做到了这一点的人,艺术、科学、音乐等等除了引领他与先贤圣哲的伟大灵魂进行对话以外,未必能许诺他这“伟大”的桂冠与权杖。唯其如此,人类文化那真理的上帝对于未来的“?

 
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