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   婚礼 在 音乐舞蹈 分类中 的翻译结果: 查询用时:0.032秒
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婚礼
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  wedding
    Analysis on the Wedding Songs of the Miao Nationality
    苗族婚礼
短句来源
    The Categories and the Features of Mongolian Wedding Songs
    蒙古族婚礼歌曲的种类及其特点
短句来源
    A Study on the Wedding Custom and Wedding Songs of Tu Nationality
    土族婚俗及婚礼歌探究
短句来源
    Different Music in Yi peoples' Wedding
    彝族婚礼中的不同音乐
短句来源
    The Inheritance and Breakage of Folk Song Tradition——Taking the Example of the Wedding Ceremony of Black-Clothed Zhuang People
    民歌传统的承继与断裂:以黑衣壮婚礼为例
短句来源
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  wedding ceremony
    The Inheritance and Breakage of Folk Song Tradition——Taking the Example of the Wedding Ceremony of Black-Clothed Zhuang People
    民歌传统的承继与断裂:以黑衣壮婚礼为例
短句来源
    Chapter One is about the origin of the wedding custom, the wedding ceremony, the significance of the feast and the evolution of the wedding institution.
    第一章阐述了西北回族的婚礼习俗产生的历史缘由、婚礼仪式、宴席在婚俗中的地位以及婚俗文化的历史变迁。
短句来源
    The married songs with tears are important categories concerning the music and songs of wedding ceremony custom of the Tus,a kind of cultural manifestations of the Tus,and contains the aesthetic consciousness of the Tu people.
    哭嫁歌是土族婚礼风俗乐歌的重要类型 ,是土族文化的一种表现形式 ,蕴含着土族人民的审美意识。
短句来源
  “婚礼”译为未确定词的双语例句
    The Space:A Dimensionality of Analyzing Ceremonial Music
    空间:仪式音乐分析中的一个维度——以上海南汇婚礼和丧葬仪式为例
短句来源
    Compare Two female characters of Rosina In the Marriage of Figaro and The Barber of Seville
    《塞维里亚的理发师》和《费加罗的婚礼》中两个萝西娜的角色类型比较
短句来源
    Le nozze di Figaro Overture
    一部精致的“袖珍交响曲” 莫扎特歌剧《费加罗的婚礼》序曲赏析
短句来源
    On Economic Values of Tibet Nationality's Blessing Song for Weddings in Muli County
    木里《藏族婚礼祝福歌》的经济学价值
短句来源
    A Study of the Duet in "The Marriage of Figaro
    《费加罗的婚礼》重唱研究
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  wedding
Wedding theory and praxis, the case studies reexamine current sociological ideology and punctuate social responsibility among practitioners through institutional transformation.
      
Why do couples opt for a church wedding ritual living in a modern secularized society.
      
The participants not only distinguished the church wedding rites from the eucharistic rites, but also discerned a third group of rites, musical rites.
      
26% of the participants were affected by the eucharistic rites, whereas 63% and 80% were affected respectively by the musical and church wedding rites.
      
The extend of affection by the church wedding rituals depends mostly on the importance the participants attach to ecclesiastic transitional rituals.
      
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  wedding ceremony
After the wedding ceremony, the parties returned to Virginia, where they continued to reside throughout the duration of their marriage.
      
A vacation that includes both a wedding ceremony and a honeymoon.
      
Croix in the United States Virgin Islands as the location of the wedding ceremony.
      
In addition, a sacrifice of a bull, a wedding ceremony,and a boy's circumcision ritual are discussed.
      
Those of us who watched Panorama last night now realize that there is a question over the civil wedding ceremony that is being proposed.
      
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The writer chose two arias "Mi chiamano Mimi" from La Boheme by G. Puccini, "Dove sono I bei momente" from Le Nozze Di Figaro by W. A. Mozart, as the examples explained the application of the breath in the singing. For the four moments of the breath, the article dissertated the different usage of the air supporting in those two pieces, to create the different figures by voicing.

文章选择了莫扎特的歌剧《费加罗的婚礼》中的《哪里去了 ,美好时光》和普契尼的歌剧《艺术家的生涯》中的《人们叫我咪咪》两部作品进行呼吸应用的分析及对比。针对呼吸过程的四个阶段 ,寻找出两部作品在演唱中呼吸应用的差异 ,从而更好地用声音塑造出两个不同人物的个性及其音乐所赋予的魅力。

The article took the two Rosina' s representative airs from both of the operas, which were U na' voce poco fa from Rossini' s The Barber of Seville, and Dove sono I be from the 3rd act of Mozart' s opera Marriage of Figaro, to compare with two kinds of Rosinas. The writer try to show the relation and differentiate of the two characters in different operas.

文章选择了两部歌剧中两个萝西娜最具有代表性的唱段:《塞维里亚的理发师》中“我听到美妙的歌声”和《费加罗的婚礼》中萝西娜在第三幕中的咏叹调“何处寻觅”作为对两个萝西娜进行角色类型比较的切入点,分析奥地利作曲家莫扎特创作的《费加罗的婚礼》和意大利作曲家罗西尼创作的《塞维里亚的理发师》中两个萝西娜的联系和区别。

In the area of Gansu, Qinghai ,Ninxia and Xinjiang in China, there are three kinds of folk dance performance active in the wedding ceremony. However, as the push of history some dances are still alive and others have disappeared gradually. The wedding dances of the minority nationalities of Salar, Hui and Uygur are studied in the thesis. Based on a great deal of first- hand investigation data and documentary data, the respective process of the rise and fall of the three wedding dances of "Dui Yi Ao Yi Ta", "Dance...

In the area of Gansu, Qinghai ,Ninxia and Xinjiang in China, there are three kinds of folk dance performance active in the wedding ceremony. However, as the push of history some dances are still alive and others have disappeared gradually. The wedding dances of the minority nationalities of Salar, Hui and Uygur are studied in the thesis. Based on a great deal of first- hand investigation data and documentary data, the respective process of the rise and fall of the three wedding dances of "Dui Yi Ao Yi Ta", "Dance in Banquet" and "Na Zi Er Ku Mu" are described.

在甘、青、宁和新疆地区 ,在民间婚礼中 ,曾经活跃着三种婚俗性的民间舞蹈表演。然而 ,随着历史的推进 ,也出现了舞蹈历史兴衰的现象。本文以中国西北地区的撒拉族、回族、维吾尔族婚礼中的舞蹈为研究对象 ,在大量第一手调查资料、文献资料的基础上 ,试图分析《堆依奥依纳》、《宴席舞》、《纳孜尔库姆》这三种婚俗舞蹈各自兴衰的过程

 
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