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   音乐学 在 戏剧电影与电视艺术 分类中 的翻译结果: 查询用时:0.017秒
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戏剧电影与电视艺术
音乐舞蹈
中国文学
高等教育
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音乐学
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  musicology
    In addition, the sum-up of dialect and the creation of languages has linguistic significance in musicology.
    而关于演唱方言土音辨正、语言创作特征的抽象总结则具有语言音乐学的意味。
短句来源
    Combined with the historical backgrounds and relevant historical components of musicworks,this paper analyzes the establishment of self-character and nationalization practice onmusic creation in the process of development of opera from the macroscopic view of historyand microcosmic view of musicology.
    本文着眼于历史宏观角度和音乐学的微观视点,结合作品所在的大的历史背景以及历史构成要素,以微观的音乐学视觉剖析歌剧发展过程中在音乐创作中是如何形成自我品质、如何进行民族化实践的。
短句来源
    On this base, this thesis discussed society function of Anhui Flower-Drum-Lantern music and its importance in the subjects of musicology and culture-anthropology in the respects of musicology and culture-anthropology.
    在此基础上,本文分别从音乐学、文化人类学的角度讨论了安徽花鼓灯音乐的社会功能和在音乐学、文化人类学等学科上的重要意义。
短句来源
  “音乐学”译为未确定词的双语例句
    Analyzing Musicologically the Last Interlude and Finale of Wozzeck
    对《沃采克》最后一个间奏曲和终曲的音乐学分析
短句来源
    With the visual angle of history, sociology and folklore and the study method of ethnomusicology, supported by the investigation made in Gaomin District, Foshan, Guangdong Province of China, this essay analyses and explains the origin, development and prosperity of "Si Huo Ju" while tracing back its musical history and trying to understand the regularity of the music.
    本文从历史学、社会学、民俗学的视角,运用民族音乐学的方法,立足于以广东佛山高明区为中心的实地调查,在回溯历史的同时,对“私伙局”的产生、发展及繁荣状况进行分析和解释,从而从中窥视岭南音乐文化变迁的轨迹,得出规律性的认识。
短句来源
    This thesis investigated systematically the art school of Anhui Flower-Drum-Lantern music by the method of ethnomusicology.
    运用民族音乐学的方法论对安徽花鼓灯音乐的艺术流派作系统的调查和分类式的探究。
短句来源
  相似匹配句对
    Analyzing Musicologically the Last Interlude and Finale of Wozzeck
    对《沃采克》最后一个间奏曲和终曲的音乐学分析
短句来源
    In addition, the sum-up of dialect and the creation of languages has linguistic significance in musicology.
    而关于演唱方言土音辨正、语言创作特征的抽象总结则具有语言音乐学的意味。
短句来源
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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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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……

The aria music of Shiqian puppet show is the main form of the local feature and style characteristic.It can be divided into two subsystems: "Gao Qiang" and "Ping Tan".Through a detailed analysis of the music characteristics of the commonly used Qu Pai and Ban Shi in the two sub-systems,we can,on one hand,provide more systematic basis of musicology theory for the inheritance and the recommendation of Shiqian puppet show.On the other hand,we can provide the material of a comparable case for the study of the tune...

The aria music of Shiqian puppet show is the main form of the local feature and style characteristic.It can be divided into two subsystems: "Gao Qiang" and "Ping Tan".Through a detailed analysis of the music characteristics of the commonly used Qu Pai and Ban Shi in the two sub-systems,we can,on one hand,provide more systematic basis of musicology theory for the inheritance and the recommendation of Shiqian puppet show.On the other hand,we can provide the material of a comparable case for the study of the tune source of Chinese traditional dramas,according to the idea of the cultural communication theory.

石阡木偶戏的唱腔音乐是该戏种地方特点和风格特征的主要表现形式,可以分为“高腔”和“平弹”两个子系统。通过对两个子系统常用曲牌及板式音乐特点较为详细的分析,一方面为石阡木偶戏的传承及推介提供较为系统的音乐学理论基础,另一方面依照文化传播学的观念,为中国传统戏曲声腔源流的研究提供一个可资比较的个案素材。

Watching the puppet show in Shiqian from the social cultural angle,we can find that it has three component factors—material component,shape component and social component.The most typical symbol of social component is the organization of its theatrical troupe.In the whole study of the ethnomusicology to the puppet show,why focuses to its theatrical troupe organization,its internal structure,external relation,the inheritance way and ceremony,is that it is the product which one kind of Shiqian folk historical...

Watching the puppet show in Shiqian from the social cultural angle,we can find that it has three component factors—material component,shape component and social component.The most typical symbol of social component is the organization of its theatrical troupe.In the whole study of the ethnomusicology to the puppet show,why focuses to its theatrical troupe organization,its internal structure,external relation,the inheritance way and ceremony,is that it is the product which one kind of Shiqian folk historical culture evolves firstly and has the history study significance.At the same time,through the detailed observation of its theatrical troupe,it will be helpful to reply how its music was created and the like.

从社会文化的角度来看石阡木偶戏,它有三个构成因素:即物质构成、形态构成和社会构成。其社会构成最典型的标志就是它的戏班组织。在对石阡木偶戏作民族音乐学的整体研究时,之所以着眼于其戏班组织,及其内部结构、外部关系和传承方法及仪式等,是因为它首先是一种石阡民间历史文化衍变的产物,具有历史学意义。同时,通过对其戏班的详细观察,将有助于回答其音乐本体生成的原由等问题。

 
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