音画对立,conflict of music and picture
1)conflict of music and picture音画对立
1.In order to give full play to the advantage of the combination of music and picture and achieve new artistic effect, the article illustrates the relationship between music and picture in the following three aspects: simultaneity of music and picture, parallelism of music and picture, andconflict of music and picture.这里从音画同步、音画平行、音画对立三个方面,阐述了音乐与画面之间的关系。
2)asynchronism[英][ei"si?kr?niz?m][美][e"s??kr?n?z?m]音画分立
3)vowel contrast元音对立
英文短句/例句
1.On the Essences of Long and Short Vowels of Zhuang Language and Yue Dialect Opposite Based on Experiments;基于实验的粤壮语长短元音对立本质研究
2.A New Analysis of Two Syllable antitheses under the Six Rhyme Categories Three Initial Consonants in Wu-fang yuan-yin(五方元音);《五方元音》六韵三母下两套小韵对立新论
3.The relative amount of time needed to pronounce a vowel, consonant, or syllable.音量发出某元音、辅音或音节所需时间的相对量
parison to Vowels in English and Mongolian Language and Their Connection with Consonants;英语与蒙古语中元音的对比以及元音和辅音之间的发音关系
5.The stimuli consisted of two pairs of speech sounds or phonemes, in this case Japanese owel sounds.声音刺激包括两对语音声音或者音素，本试验使用的是日语元音。
6.The study and establishment of the phonemes of a language.音位学对一种语言音位的研究和建立
7.On Some Correspondence between the Long Vowels,Diphthongs and VC(V)/CV(C) Configurartions in Orchon,Modern Spoken Mongolian and Wrirtten Mongolian;关于鄂伦春语和蒙古语的长元音、复合元音及音组的某些对应关系
8.The Three-polar Pattern of Chinese Music Teaching Theory in the Background of Multiplity;多元化背景下我国音乐教育观的三足鼎立格局
9.Relationship between dong ping fu and the Development of Court Music at around the Establishment of the Yuan Dynasty;论东平府与元朝立国前后宫廷音乐建设的关系
10.Wishes from Another Shore: From Conflicting Dualism to Harmonious Pluralism;彼岸的希盼—从二元对立走向多元共存
11.Governing Public Affairs: From Binary Oppositions to Polycentricity;公共事务治理：从二元对立到多元化
12.Educational Research Mode: from Dual Contradiction to Pluralistic Integration;教育研究范式:从二元对立到多元整合
13.From Duality-Opposion to Multi-Element Coexistance--Clearing-up the Misunderstanding of Duality-Opposion Thinking of the Practice Aesthetics;从二元对立到多元共存——走出实践美学争论的二元对立思维误区
14.A Study of Vowel Production by College First-Year English Majors;对大学英语专业一年级学生元音发音的研究
15.Vowel Correspondence between Ancient Chinese and Tibetan Language in Terms of Phonological Change;从音变过程看上古汉语与藏语的元音对应
16.Transliteration Unit Alignment Method Based on the First Syllable Letter Mapping基于音节首字母匹配的音译单元对齐方法
17.Effects of Intensive Language Exposure on Chinese Students Perception of American Tense /i/ and Lax /I/;密集型语言输入对中国学生感知美式紧元音/i/及松元音/I/的影响
18.A Comparative Study of English and Chinese Vowels within Chinese Vowel Frame;汉语元音框架下英汉单元音对比及其教学指导意义
相关短句/例句
asynchronism[英][ei"si?kr?niz?m][美][e"s??kr?n?z?m]音画分立
3)vowel contrast元音对立
4)phonological opposition音位对立
5)the opposition of timbre音色的对立
6)Tableauxi音画
1.Some Features Of Sergey Rakhmaninov s EtudesTableauxi, Op.33;与拉赫玛尼诺夫《音画练习曲》Op.33有关的一些特点
延伸阅读
欢音苦音中国西北及陕西省关中地区戏曲和民间音乐中普遍应用的音乐术语。由两种不同的音阶与调式所形成，作为表现感情气质变化的技法之一。在秦腔称为欢音、苦音，或花音、哭音，眉户称硬调、软调，碗碗腔称花音子、苦音子，四川弹戏称甜皮、苦皮，或甜品、苦品。欢音的曲调为徵调式,其旋律常用音为sol、la、do,re 、mi五音,一般用以表现愉快、明朗、活泼、矫健等情绪。苦音的情况较为复杂，虽仍以徵音为其曲调主音,但旋律常用音则为 sol、si、do、re、fa五音，因而色彩大异。对此，国内有两种不同观点，一种认为苦音仍属徵调式，因其si音在实际运用时，习惯上略低于本律，故属于一种特殊的音阶结构的徵调式。另一种观点则认为,从实际效果看,苦音又具有 sol商调式的因素。苦音在情感气质上，有伤感、晦暗、悲愁、哀怨等感觉。有时，因低于本律的si音在旋律中甚为活跃，实际已起着宫音作用,已暂时移宫到下方大二度的调上，而构成sol羽调式。这种移宫换调的方法,在古代称为"以闰为宫"（闰即降si音）。这种七声音阶的移宫法，古代又称为"改柱换调"（柱即今日琵琶的"相"）。近代学者有人认为，它与隋唐时代从西域传来的"燕乐"有密切关系，虽与汉族音乐逐步融合，却仍保留了"燕乐"的某些因素。苦音与欢音均可独立运用,也可互相作大段转换,以适应不同感情的表现。这种技巧，在同州梆子、蒲州梆子、阿宫腔、弦板腔、线腔、老腔、陕北道情、青海平弦、青海花儿、甘肃河西曲子......均有所见，各剧种、曲种的音乐基本材料和音调虽不同，其技巧手法却相同。以陕西眉户的"月调"为例，可看出在音乐材料基本相同的情况下，欢音与苦音的变异。此外，粤剧的"乙反"及潮剧的"轻三六"、"重三六"、"活三五"，与欢音、苦音的性质基本相同。
