隋唐燕乐,Sui and Tang pop music
1)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。
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.In the Sui and Tang dynasties, the "Yanyue"(referring generally to all music and dances entertaining banquets) which marked a peak of the Tang Dynasty music and dance culture was mainly performed by Jiyue professionals.隋唐燕乐(泛指宴享娱乐的歌舞)标志着唐代乐舞文化的高峰，主要就是由乐舞伎人表演的。
3."The Style of ci Originating Among the People" and "ci Originating from the Court-Feast Music in the Sui and Tang Dynasties";“词体发生于民间”与“词起源于隋唐燕乐”——答岳珍学友商榷文
4.A Reflection on “the Source of Ci-poetry Coming from the Banquet Music in the Sui and Tang Dynasties”: To Discuss with Mr. Li Changji;关于“词起源于隋唐燕乐”的再思考——与李昌集先生商榷
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.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
7.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
8.On the Origin of Ci poems from the Angle of the Relationship among Quzi Ci Shengshi and Yanyue 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
9.Making an Investigation and Study on Nanzhao Fengshenyue,Biaoguo yue and Yanyue in Sui and Tang Dynasties南诏奉圣乐、骠国乐与隋、唐燕乐——西南丝绸之路音乐文化考察研究之二
10.The Research on Xiyu Musicians Coming to the Mainland of China in Sui and Tang Dynasties隋唐时期来到中原的西域音乐家之研究
11.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
12.Through《Jie Gu Lu》to Understand the Buddhist Music"s Impact on China Music in Wei and Jin to Sui and Tang Dynasties从《羯鼓录》看魏晋至隋唐时期佛教音乐对中原音乐的影响
13.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
14.For instance, the wrestling dance and folk dance of the Qin and Han dynasties, the Nine Parts and Ten Parts dances, the Sitting and Standing Parts dances of the Sui and Tang dynasties,例如秦汉的甬抵百戏、散乐杂伎，隋唐的九、十部伎，坐、立部伎，
15.Debates on the 28 Modes of Banquet of the Tang and Song Dynasties and the Nomenclature of Gongche Tunes;唐宋燕乐二十八调音阶辨异——兼论民间工尺调名之传统乐学涵义
16.On Cen Zhongmian s Critiques of Chen Yinque s Study in Sui and Tang History;试析岑仲勉《隋唐史》对陈寅恪隋唐史研究的批评
17.The northern stone tablet calligraphy originated in the Northern Dynasties (386-581) and the Sui Dynasty (581-618).碑刻为北派，以赵、燕、魏、齐、周、隋为序，
18.Luoyang was the eastern capital of the Sui and Tang Dynasties and a lot of emperors" temporary abodes were built around Luoyang city at that time.洛阳是隋唐王朝的东都 ,隋唐两代在洛阳城周围修建了许多离宫。
相关短句/例句
Investigation of Yanyue of the Sui and Tang Dynasty隋唐"燕乐"考
3)Sui and Tang dynasties music隋唐音乐
4)The Sui and Tang dynasties隋唐
1.A Brief Discussion on the Li family of Zhao-jun in Hebei in the Sui and Tang Dynasties;隋唐时期河北地区赵郡李氏活动略论
2.Drawbacks of Public Relief-grain Granary in the Sui and Tang Dynasties;试论隋唐义仓在救荒中的弊端
3.The Evolutionary Orientation of the Han Customs in the Sui and Tang Dynasties;隋唐汉族风俗演进的趋向
5)Sui Dynasty and Tang Dynasty隋唐
1.Inspection and Presentation on Korea Moved Hexi Area duringSui Dynasty and Tang Dynasty;隋唐时期高丽人入迁河西问题考述
2.Sui Dynasty and Tang Dynasty are the growing phase.隋唐时期是古代类书的发展时期，这一时期类书的编纂情况、分类体系、分类思想等对后世类书的编纂起着重要的奠基作用。
6)Sui and Tang Dynasty隋唐
1.A Discussion on Buddhism Zen s Impact on Confucianism inSui and Tang Dynasty;隋唐时期佛教禅宗对儒学思想的影响
2.On Fei Tians Costume on the Frescoes ofSui and Tang Dynasty in Dunhuang;敦煌隋唐壁画中飞天服饰的研究
3.For the research of Gaogouli, there are two problems to study: One is Gaogouli s south migration to Korean Peninsula, the other is the characteristic and reason ofSui and Tang Dynasty go on expedition the Gaogouli power.对于高句丽的研究,有两个问题需要加以探讨:一个是高句丽南迁朝鲜半岛,另一个是隋唐征伐高句丽的性质和原因。
延伸阅读
《燕乐考原》中国清代学者凌廷堪研究隋唐燕乐乐律理论的来源及其宫调体系的专著，6卷。凌廷堪（约1755～1809）字次仲，安徽歙县人，曾任宁国府（今安徽）学教授，研究古代礼乐。他认为在乐律上后世俗乐与古雅乐之间，隔唐代燕乐一关，而唐代燕乐实以郑译所传龟兹人苏祗婆的琵琶乐调为本；又指出，琵琶乐调中五旦、七调之说，出于苏祗婆的传授，而十二律、八十四调之说，则出于郑译的推演。这些见解在一定程度上澄清了中国古代乐律发展史上的一些混乱概念。该书汇集了不少史料,如唐段安节《乐府杂录》(即《琵琶录》）、《新唐书·礼乐志》、宋沈括《梦溪笔谈》（乐律部分）、宋王灼《碧鸡漫志》、《宋史·乐志》、《辽史·乐志》、元周德清《中原音韵》等，加以比较，说明了唐代以来燕乐乐律演变的过程，并列出《七宫七羽表》、《七商七角表》、《燕乐合琴表》等，便于检索参考。本书又通过校勘方法，校出所引材料中的一些文字讹误之处。如《隋书·音乐志》所载郑译奏议中称"鸡识"即"南吕声"，本书指出"南吕声"应是"商声"之误，《宋史·乐志》所载高角《阳台云》，或作"商角"，本书指出 "商角" 应是"高角"之误，"高角"即"高大食角之省文"等。关于郑译所称八十四调之说，该书已说明是"推演其(指龟兹琵琶乐律)声"的结果，自然是采自中原的传统音乐理论。当时西域各地还没有旋宫转调的说法。郑译在引进龟兹乐律时，已采取使中原乐律与西域乐律相结合的方法，而以后的琵琶指法由于吸收了中原古琴的指法有很大的发展。但凌廷堪以为"自隋郑译推演龟兹琵琶以定律，无论雅乐俗乐皆源于此，不过缘饰以律吕之名而已"。此论断失之偏颇，过分夸大了龟兹乐律在中原地区的影响。
