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音乐学
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  musicology
     Development of Research Method of Musicology in New China (1949~1999)
     新中国音乐学研究方法论的发展(1949-1999)
短句来源
     Summarize the Academic Forum of Contemporary Musicology Research in China
     学术期刊的使命和音乐学家的成长 《中国音乐学》创刊20周年暨“音乐学研究在当代”学术研讨会综述
短句来源
     Book Review Musicology——History, Writing and Literature
     音乐学研究的新视角——《音乐学:历史、文献与写作》一书读后
短句来源
     This article deals with a review of folk musicology development in China from 1950 to 2000
     本文主要评介自1950年至2000年民族音乐学在中国的发展情况。
短句来源
     Musical psychology development in contemporary musicology
     当代音乐学中音乐心理学的发展动态
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  musicological
     A Musicological Analysis on the First Violin Concerto of Szymanowski
     席曼诺夫斯基《第一小提琴协奏曲》的音乐学分析
短句来源
     A Musicological Study on the Chime Bells of Marquis of Jin
     晋侯苏钟的音乐学研究
短句来源
     The Musicological Research And Academic Norm
     音乐学研究与学术规范
短句来源
     On the basis of exposing the various influences on this work, such as the influences of the social culture and historical environment in the late 19th century and early 20th century, and of his life experiences with his creation concepts, this dissertation tries to probe on mu|ti aspects into the reason for people's favor for this work by way of musicological analysis on the "First Violin Concerto".
     本文试图通过对《第一小提琴协奏曲》的音乐学分析,在揭示19世纪末、20世纪初社会文化历史环境,以及他的生活经历与创作观念对这部作品的影响的基础上,从多方面去探寻这部作品之所以受到青睐的原因。
短句来源
     Musicological Analysis of Zither Concerto Li Gong Yuan
     古筝协奏曲《骊宫怨》音乐学分析
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  “音乐学”译为未确定词的双语例句
     The Study of Music and Language in Ethnomusicology
     民族音乐学视野中的音乐与语言研究
短句来源
     Bela Bartok(1881-1945)is a prominent Hungarian Composer, folklore musician and a pianoist, one of the most gifted musician in 20th century.
     贝拉·巴托克(Bela Bartok,1881-1945)是匈牙利杰出的作曲家,民俗音乐学家及钢琴家,是20世纪最强有力的音乐天才之一。
短句来源
     So these ballads are important to the studies of Anhui folklore,China's fotklore and melodies.
     这些民谣对于徽学研究、中国民俗文化研究以及音乐学的曲调研究,都有十分重要的意义。
短句来源
     The paper expounded the discipline overlap,the cultural structure,the specialty structure,the course structure,and the pluralistic meaning of the music education.
     全文就音乐学(教师教育)学科的学科交叉、文化结构、专业结构、课程结构以及多元性的意义等教育、教学思想做一阐述。
短句来源
     A Historical Review and Pondering on the Research Subject of Enthnomusicology
     民族音乐学研究对象的历史回顾与思考
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  musicology
A widely accepted definition of the word phenomenology, together with a basically eclectic attitude and a boundary issue between musicology and philosophy, is identified.
      
However, the author's distancing from the 'idealistic' aspects of his esthetics is covered, in particular the downplaying of the sound-sensitive level and the condemnation of musicology in general.
      
Therefore, the article is not so much a condemnation as an attempt to refound musicology in its entirety, with particular reference to contemporary music.
      
This article seek to highlight the aspects - explicit or implicit - that indicate the close attention paid by much American musicology of this century to the phenomenological level of musical events or, more generally, of the sound event.
      
The thematic index: A computer application to musicology
      
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  musicological
Most of the problems with existing computer musicological systems have to do with the lack of capability for capturing the important notion of musical structure.
      
Two relational databases for finding text paraphrases in musicological research
      
Other musicological uses for seriation are proposed.
      
Furthermore, the generative models learned by the ESP system provide insight into a number of musicological issues related to expressive performance.
      
A musicological model is required to infer the tonality of the piece, which would then give an indication of which enharmonic spelling is correct.
      
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By applying Marxist basic principle, in terms of culture and epistemology, this paper analyses the status of Beethoven's musical works in the history of aesthetics and in epistemology when music is taken as a form of art. On the basis of a realization that music possesses a unique function of recognition, a structural mode of how music helps to understand the world is developed. It concludes that contrary to the musical theory of post modernism, music must reflect the spirits of the times, must carry forward...

By applying Marxist basic principle, in terms of culture and epistemology, this paper analyses the status of Beethoven's musical works in the history of aesthetics and in epistemology when music is taken as a form of art. On the basis of a realization that music possesses a unique function of recognition, a structural mode of how music helps to understand the world is developed. It concludes that contrary to the musical theory of post modernism, music must reflect the spirits of the times, must carry forward the topical melody of the times, and must serve the course of promoting the emancipation of mankind. Beethoven's musical works and thoughts present this ever-lasting theme and will be glorified in history forever.

文章运用马克思主义基本原理 ,从文化学和认识论角度分析了贝多芬的音乐作品在美学史上的地位 ,以及作为艺术形式的音乐在认识上的特殊地位。在研究音乐所具有的独特认知功能的基础上 ,建构了一个音乐对世界进行理解和把握的结构模式。与所谓“后现代主义”的音乐学理论相反 ,音乐必须反映时代精神 ,弘扬时代的主旋律 ,为促进人类解放事业服务。贝多芬的音乐作品和他的音乐思想反映了人类永恒的主题 ,将永远彪炳于人类文化史册

This article holds that the concept of “Polyphony novel”as dialogic novel raised by Mikhail Bakhtin is merely one sort of Polyphony novel in history of novel.On account of this,the anthor makes a distinction between two Polyphony novels:one the dialogic novel of Dostoevsky,another the music novel of De Quincey,Gustave Flaubert,James Joyce,Aldous Huxley,Millan Kundera etc.

本文认为 ,巴赫金所提出的“复调小说”概念实际上有违于小说创造的音乐学原则 ,只不过代表了小说史上某一种复调小说模式 ,可称之为“对话模式”的复调小说。鉴于此 ,本文将另一种基于音乐学原则的小说形态汇入巴赫金的“复调小说”概念 ,并对文学史上复调小说的成就别为两类 :一类是以陀思妥耶夫斯基为代表的对话小说 ,另一类是德·昆西、福楼拜、乔伊斯、赫胥黎、昆德拉等人的以对位原则为基础的音乐小说。

Now it is in a new Millenium, those who concerned the development of Chinese music academic are thinking about how will be the Chinese musicology in the new century? No matter domestic or overseas Chinese, as well as the foreign friends who is determined to study the Chinese music, how about their opinions? Especially those young and middle aged musicologists experienced the changeable situation of 20th century and undertook the historic task of carrying forward the cause and forging ahead into the future. ...

Now it is in a new Millenium, those who concerned the development of Chinese music academic are thinking about how will be the Chinese musicology in the new century? No matter domestic or overseas Chinese, as well as the foreign friends who is determined to study the Chinese music, how about their opinions? Especially those young and middle aged musicologists experienced the changeable situation of 20th century and undertook the historic task of carrying forward the cause and forging ahead into the future. They have a fund of rich academic knowledge as well as open view of culture and full of real opinion and deep insight to the Chinese musicology in the future. Therefore, in the first spring of the new millenium, we offered the column of Writing Conference, invite the musicologists to make suggestions and offer advice to Chinese musicology in 21st century. The manuscripts we received were from the Chinese music scholars on the both sides of the Taiwan Strait, overseas Chinese musicians, and foreign friends. Besides the general situation on Chinese music, the articles were related to the ethnomusicological, music aesthetics, music historiography, music form and pattern, music education, musical psychology, musical sociology, musical archaeology. We hold the idea that the development of Chinese Musicology needs individual research and general survey. The column of Writing Conference in this new century is a continuation of the column of Review Chinese Music Culture in 20th Century in the end of the last century. We welcome all of musicians and scholars from China and overseas to participate in the conference and present their opinions and suggestions to us.

当历史的车轮带领着我们驶入 2 0 0 1年时 ,凡关心中国音乐学术发展的人们也许都在思考 :在新的世纪 ,中国音乐学将会怎样 ?无论是国内或海外的炎黄子孙 ,还是有志于中国音乐研究的国际友人 ,他们都在想些什么 ?特别是那些经历了风云变幻的 2 0世纪 ,又肩负着继往开来历史重任的中青年音乐学家 ,他们既有丰富的学术积累 ,又有开阔的文化视野 ,对中国音乐学的未来一定有着许多真知灼见。有鉴于此 ,在新世纪的第一个春天 ,本刊特辟这一笔会专栏 ,邀请部分中青年音乐学家来对 2 1世纪的中国音乐学献计献策。在我们收到的稿件中 ,既有海峡两岸的中国音乐学家 ,也有旅居海外的华人学者和外国朋友。内容除了有关中国音乐学界的总体情况之外 ,还涉及民族音乐学、音乐美学、音乐史学、音乐形态学、音乐教育学、音乐心理学、音乐社会学、音乐考古学等诸多领域。我们之所以辟这一笔会专栏 ,以“形而上”的方式进行研讨 ,可看作本刊上世纪末“2 0世纪中国音乐文化回眸”专栏的继续。旨在倡导一种虚实并务的学风。我们以为 ,中国音...

当历史的车轮带领着我们驶入 2 0 0 1年时 ,凡关心中国音乐学术发展的人们也许都在思考 :在新的世纪 ,中国音乐学将会怎样 ?无论是国内或海外的炎黄子孙 ,还是有志于中国音乐研究的国际友人 ,他们都在想些什么 ?特别是那些经历了风云变幻的 2 0世纪 ,又肩负着继往开来历史重任的中青年音乐学家 ,他们既有丰富的学术积累 ,又有开阔的文化视野 ,对中国音乐学的未来一定有着许多真知灼见。有鉴于此 ,在新世纪的第一个春天 ,本刊特辟这一笔会专栏 ,邀请部分中青年音乐学家来对 2 1世纪的中国音乐学献计献策。在我们收到的稿件中 ,既有海峡两岸的中国音乐学家 ,也有旅居海外的华人学者和外国朋友。内容除了有关中国音乐学界的总体情况之外 ,还涉及民族音乐学、音乐美学、音乐史学、音乐形态学、音乐教育学、音乐心理学、音乐社会学、音乐考古学等诸多领域。我们之所以辟这一笔会专栏 ,以“形而上”的方式进行研讨 ,可看作本刊上世纪末“2 0世纪中国音乐文化回眸”专栏的继续。旨在倡导一种虚实并务的学风。我们以为 ,中国音乐学的发展 ,除了应有大量“形而下”的“个案研究”和“综合研究”之外 ,尚须对我们的研究进行一定的反思和前瞻。我们热诚欢迎海内外广大学界同仁参与这一讨论。

 
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