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歌体
相关语句
  song form
     Song form poetry”marks an important stage in the course of modernization of Chinese poems and songs.
     “歌体诗”是中国诗歌近代化历程中的重要阶段。
短句来源
     Being a significant representative writer of“song form poetry”,Qiu Jins practice in this respect gives vigorous impetus to the transformation of the form of modern poems and songs.
     作为“歌体诗”的重要代表作家 ,秋瑾的“歌体诗”实践有力推进了近代诗歌的体式变革。
短句来源
     The second part is to go into details of Qiu Jins“song form poetry”writing,along with an evaluation on Qiu Jins ci poems.
     第二部分细说秋瑾的“歌体诗”创作 ,并兼及秋瑾词作之评价
短句来源
  “歌体”译为未确定词的双语例句
     Qiu Jins “Song Form Poetry”and Transformations in the Verse Form in Times of Modern China
     秋瑾的“歌体诗”创作与中国近代诗体变革
短句来源
     Study on the Zhao Style Poetry by Love Lake and Local Cultural Features of the Poems
     略论鸳鸯湖棹歌体诗歌创作现象及其地方文化特色
短句来源
     Poets of the Southern Society were a lively force in the modern Chines e poetry, whose writings were run through by new styles, songs, and colloquialis m, especially in the form of songs.
     南社诗人是中国诗歌近代化历程中的一支生力军,其创作贯穿于“新学诗” 、“新派诗”、“歌体诗”、“白话诗”等诗歌近代化阶段,尤以“歌体诗”的探索 成绩突出。
短句来源
     The lines of Zhouyi were composed in ballad structure,which belongs to the fruit of oral ballad creation.
     《周易》爻辞是歌体结构的,而且属于口头歌谣创作的产物;
短句来源
     Aites can also be classified according to the song style.
     “阿依特斯”又可以从歌体上做出分类。
短句来源
  相似匹配句对
     song
    
短句来源
     Robin’s Song
     知更鸟的
短句来源
     The Alternation of Songs of Bough of Bamboo in the Song Dynasty and the Poetic Style of Songs of Bough of Bamboo
     《竹枝》唱在宋代的变化与《竹枝
短句来源
     On Mendelssohn's Lieder Ohne Worte and art meanings
     论门德尔松的“无言及其艺术意义
短句来源
     Volume Graphics
     图形学
短句来源
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  song form
Structure and evolution of song form in the wrens Thryothorus sinaloa and T.
      
A cluster analysis of song form of the above four species plus one other, T.
      
ludovicianus, suggests that those species which are allopatric are the most similar in song form, while sympatric species are the most dissimilar.
      
In particular, our findings suggest that species-specific constraints on temporal features of song sounds determine song form, whereas spectral variability allows whales to flexibly adapt song elements.
      


Song form poetry”marks an important stage in the course of modernization of Chinese poems and songs.Being a significant representative writer of“song form poetry”,Qiu Jins practice in this respect gives vigorous impetus to the transformation of the form of modern poems and songs.The form of her“song form poetry”consists of an adapted song lay and newly created expressions,both of which make two wings of a song form poem.These distinctive poetic features jointly represent Qiu Jins valuable endeavours and...

Song form poetry”marks an important stage in the course of modernization of Chinese poems and songs.Being a significant representative writer of“song form poetry”,Qiu Jins practice in this respect gives vigorous impetus to the transformation of the form of modern poems and songs.The form of her“song form poetry”consists of an adapted song lay and newly created expressions,both of which make two wings of a song form poem.These distinctive poetic features jointly represent Qiu Jins valuable endeavours and gratifying achievements in her creative activities.She had been delving into the basic areas,as points of departure,of language,rhyme scheme,rhythm,sentence pattern and art of composition,etc.,so as to attain the liberation of the verse form by way of breaking the old one.The first part of this article is to make a general review of“song form poetry”,keeping an eye on revealing the background against which Qiu Jin was engaged in creating her new verse form.The second part is to go into details of Qiu Jins“song form poetry”writing,along with an evaluation on Qiu Jins ci poems.

歌体诗”是中国诗歌近代化历程中的重要阶段。作为“歌体诗”的重要代表作家 ,秋瑾的“歌体诗”实践有力推进了近代诗歌的体式变革。其“歌体诗”一体由变通的歌行和新创的歌词构成两翼 ,共同代表着她从语言、韵律、节奏、句式、章法等基点出发 ,打破旧诗形式 ,获得诗体解放的可贵努力和可喜成绩。本文第一部分总论“歌体诗” ,藉以揭示秋瑾诗体创新的时代背景 ;第二部分细说秋瑾的“歌体诗”创作 ,并兼及秋瑾词作之评价

In the record of early Qin Dynasty, different style of writings had different ways in using modal particles. Research in this field proves that there were the fewest modal particles in the style of recording events, and the most in songs and argumentative writings.

在先秦早期文献中,不同文体对语气词的运用有不同特点:记事体文献对语气词的运用最少,而歌体类、议论体类最多。

Judging by the western concept of musical form, the Chinese folksong Yangliuqing might be regarded as four-sentence period style consisting of the introduction, elucidation of the theme, transition to another viewpoint and summing-up. However, the author holds a view that the folksong should be considered as having a two-sentence period style as its first two sentences express the content and its last two sentences are the words inserted into the song for balance or euphony. The tune of the inserted words is...

Judging by the western concept of musical form, the Chinese folksong Yangliuqing might be regarded as four-sentence period style consisting of the introduction, elucidation of the theme, transition to another viewpoint and summing-up. However, the author holds a view that the folksong should be considered as having a two-sentence period style as its first two sentences express the content and its last two sentences are the words inserted into the song for balance or euphony. The tune of the inserted words is a rather fixed folksong style that is current in China. The first two sentences are the main part of a folksong, and present the off-hand creation of the singer while the tune of the inserted words serves as a supplement to the musical thoughts and expression of emotion. So the folksong Yangliuqing possesses a musical structure of two-sentence period style with a supplementary tune of inserted words.

民歌《杨柳青》如按西方音乐曲式概念来分析 ,就音乐的旋律组成来看 ,似乎可认作起承转合四句体的乐段体。而在《杨柳青》的歌词中 ,明确的内容只体现于前二句中 ,后二句则是由固定的衬词组成 ,由衬词组成的衬腔正是我国众多民歌中极为普遍的一种歌体现象 ,是基本上相对固定不变的 ;前二乐句往往因歌词内容不同 ,充满了民间歌手的“即兴创造性” ,形成民歌中的主体部分 ,衬腔则是主体部分乐思的补充和情绪的渲染。由此 ,《杨柳青》的歌曲体结构应是一个带有补充性的衬腔体的民间二句体乐段。

 
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