燕乐,Yan music
1)Yan music燕乐
1.A Primary Discussion of the influence of the Ya Music AndYan music in the Sui-Tang Period of Our Country to the Japanese and Korean Music Culture;浅谈我国隋唐时期雅乐及燕乐对日本、朝鲜音乐文化的影响
2.Impressions of New Theory of Yan Music by Liu Chong-de;曲径通幽的绝学境界——读刘崇德先生《燕乐新说》
3.A Comparison of"Eight-Note Seated Singing"of the Bouyei Nationality with the"Zuo Bu Ji"of Yan Music of the Tang Dynasty布依族“八音坐唱”与唐代燕乐“坐部伎”之比较
英文短句/例句
1.Yan Musical System in Sui and Tang Period and the Emergence of the Ci form Short Lyric;“隋唐燕乐”的不同系统与词的起源
2.A New Opinion on the Relationships between Yanyue and Ci--Discussion with Ms. Yue Zhen;燕乐与词关系新论——与岳珍女士商榷
3.Brief Introduction of Academic Achievement of Qiu Qiongsun, the Author of Research of Yanyue;简介《燕乐探微》作者丘琼荪的学术贡献
4.Some Issues on"Sitting and Standing Performance"of Yanyue in the Tang Dynasty;关于唐代燕乐“坐、立部伎”的几个问题
5.The Enlightenment of Sui and Tang Music Boom and its Impact on Chinese National Music Development;隋、唐燕乐的兴盛对中国民族音乐发展的启示
6.Except for the Yanyue and "Qingshangyue"which carried on the traditions of central China, most performances came from other regions and other nationalities.其中除继承中原传统的《燕乐》、《清商乐》，大多是来自外地、外族的乐舞。
7.A Primary Discussion of the influence of the Ya Music And Yan music in the Sui-Tang Period of Our Country to the Japanese and Korean Music Culture;浅谈我国隋唐时期雅乐及燕乐对日本、朝鲜音乐文化的影响
8.The repertoire of the court Yanyue mainly consisted of the Nine and Ten Parts Jiyue.宫廷燕乐所表演的节目主要有九、十部伎，
9.The Relation Between Yanyue 28’ Modes and Suzhipo Wudan-qisheng;燕乐二十八调与苏祗婆五旦七声的关系
10.Impressions of New Theory of Yan Music by Liu Chong-de;曲径通幽的绝学境界——读刘崇德先生《燕乐新说》
11.A Comparison of"Eight-Note Seated Singing"of the Bouyei Nationality with the"Zuo Bu Ji"of Yan Music of the Tang Dynasty布依族“八音坐唱”与唐代燕乐“坐部伎”之比较
12.On another bronze pot with patterns of fishing and poaching, a woman musician is striking the stone instrument qing.另一件燕乐渔猎纹铜壶上雕有一位正在击磬表演的女乐，
13.Inheritance and Development of Chinese Traditional Music from the Development of Palace Conviviality in Sui and Tang Dynasties;从隋唐时期宫廷燕乐的发展看中国传统音乐的传承与演变
14.Swallow Song and Song of Waiting--The Musical Massages Contained in Generative Fables of Chinese Poetry;《燕燕歌》和《候人歌》——汉语诗歌发生神话的音乐信息
15.That night the Happy Prince and the swallow did not sleep very well.当晚快乐王子及燕子睡得并不好。
16.The Happy Prince misunderstood the little bird"s meaning and replied,快乐王子误会了小燕子的意思，回道：
17.Who are you and why are you so [email protected] asked the swallow.“您是谁？干嘛那么不快乐？”燕子问道。
18.The Happy Prince knew that the swallow was right.快乐王子知道燕子的话是对的。
相关短句/例句
Yanyue燕乐
1.A New Opinion on the Relationships betweenYanyue and Ci——Discussion with Ms. Yue Zhen;燕乐与词关系新论——与岳珍女士商榷
2.On the Origin of Ci poems from the Angle of the Relationship among Quzi Ci Shengshi andYanyue in Sui,Tang and the Five Dynasties.;从隋唐五代燕乐与曲子词、声诗的关系论词的起源
3.The music of Tang Dynasty based on the music of Han and absorbed elite from many minorities and foreign ones,and formed the brilliant music system of Tang which is calledYanyue.唐音乐在立足汉族音乐的基础上吸收少数民族及外来音乐的精华,形成了辉煌的燕乐系统。
3)Sui and Tang pop music隋唐燕乐
1.This book embodied many first-hand materials on pop music in Sui and Tang periods,hence,it weighs a lot in the study ofSui and Tang pop music.盛唐年间问世的《古今乐纂》保存了不少有关隋唐时期音乐体制的第一手资料,对隋唐燕乐的研究具有重要价值。
4)New Theory of Yan Music《燕乐新说》
1.Impressions ofNew Theory of Yan Music by Liu Chong-de;曲径通幽的绝学境界——读刘崇德先生《燕乐新说》
5)songs for imperial dinners燕乐歌辞
1.The present paper concluded from the relationship of the formation of four , five , and seven character poems and music as well as from the development ofsongs for imperial dinners of the Sui and Tang Dynasties that the establishment of word forms results from the combination and transformation of both.本文在对四言、五言、七言诗体形成与音乐的关系以及隋唐燕乐歌辞发展的宏观观照中 ,得出词体确立是诗乐离合嬗变发展的产物。
6)On the Origin of Court Banquet Music《燕乐考原》
延伸阅读
燕乐燕乐中国隋唐至宋代宫廷宴饮时供娱乐欣赏的艺术性很强的歌舞音乐。又称宴乐。宋人沈括在《梦溪笔谈》中说：“先王之乐为雅乐，前世新声为清乐，合胡部为燕乐。”隋唐燕乐继承了乐府音乐的成就，是汉族俗乐与境内其他民族以及外来俗乐相融合而成的宫廷新音乐。它在隋、唐几位嗜好音乐的皇帝的推动下，得到了很大发展。隋炀帝有专业乐工3万人。当时把大型的宫廷乐队按照所奏乐曲的来源分为九部乐，即清乐（传统音乐）、西凉（今甘肃）乐、龟兹(今新疆库车)乐、天竺（印度）乐、康国（即康居，今新疆北部及中亚）乐、疏勒乐、安国（中亚细亚）乐、高丽乐、礼毕（最后所奏，一说即文康乐）。唐玄宗时宫廷中乐工多至数万，设5所教坊加以管理，并设别教院教练宫廷音乐创作人员。唐初改九部乐为十部乐，包括：燕乐（杂用中外音乐）、清商伎（传统音乐）、西凉伎、天竺伎、高丽伎、龟兹伎、安国伎、疏勒伎、康国伎、高昌（在今新疆）伎。到唐玄宗时，又根据表演形式将十部乐改为坐部伎、立部伎两大类。坐部伎在室内坐奏，人数较少，音响清雅细腻，要求乐师有较高的技艺；立部伎在室外立奏，人数较多，常有很喧闹的合奏，有时还加入百戏等。燕乐中包括多种音乐形式，如声乐、器乐、舞蹈、百戏等。其中歌舞音乐在隋唐燕乐中占有最重要的地位。多段的大型歌舞曲叫做大曲，在唐代燕乐中具有突出的艺术成就。燕乐所使用的主要乐器有琵琶、箜篌、筚篥、笙、笛、羯鼓、方响等。安史之乱以后，宫廷音乐衰退，宫廷乐工多散落民间。宋统一后，虽设教坊，沿用唐代旧曲，但宫廷内外演奏的大曲只是唐时盛况的一部分，且规模大为缩减。宋代的大曲开始向歌舞剧演变，许多乐段逐渐变为曲牌，分散于词曲、戏曲、说唱和器乐中，大曲作为独立的音乐体裁则日渐消亡。南宋以后，音乐发展的主流转到市民艺术（戏曲、说唱、城市歌曲等）中，宫廷的燕乐和雅乐都失去了原有的发展势头。
