| 词汇 | example_english_music |
| 释义 | Examples of musicThese examples are from corpora and from sources on the web. Any opinions in the examples do not represent the opinion of the Cambridge Dictionary editors or of Cambridge University Press or its licensors. No longer was music's dependence on immediate sensations a drawback or a shortcoming, but rather the source of its strength and expressive power. Thoughtfully creative, performed responses require thorough familiarity with the music's structures, devices and processes. Towards the close there is a good point on the refocusing of the older view that music's function was moral persuasion. A second consequence follows from music's transcendence of conceptual meaning. Which musics ought to be the subject of one's study? In this study, those memories that stayed to adult life were indeed characterized by factors such as community, atmosphere and music's ability to arouse feelings. Thus, even when the orchestra is involved in more turbulent episodes, it is the vocal element which is largely responsible for the music's dramatic content. I fell under this music's spell many years ago and have long thought that this movement in particular should be much better known. The composer invites a variety of performers of western and non-western instruments to participate in her work, making the music's message a universal one. Schools with large representations of different ethnic groups often cannot address the musics of each adequately. I should add that music's artificiality is a great asset here. The first is the way of the ambitious "singing soul for music's sake". Furthermore, there is obviously a tendency to begin the more 'official' historiography of marginal musics with more ephemeral media than the printed word. Why should this depreciate music's status, artistic quality or any other pedagogically important matter? One must ask if there is more tokenism than substance in the inclusion of world musics in curricula in both schools and in higher education. The latter, for example, talked about music's usefulness in changing or enhancing their mood. A wide range of authors encounter an equally wide range of musics and raise many important issues. The music's distance from that adaptation, by way of its fraught and gestural content, suggests subtext. I have argued that music's ontology and its mediation must be grasped as historical. To remove the term popular, is to remove the range of possibilities for inventing new meaning in music's cultural production. One point of contact that comes through strongly is the impor tance of family tradition in the passing on of these two musics. If it has a utility at all, it is in providing a negative example as to how one might write about world musics and cultures. He is weaker, however, in asserting that this same seriousness points to the music's lack of function. Directly examining background music's influence in an everyday activity may shed light on the process. The effect found thus reflects music's influence in creating an atmosphere which extends to other surrounding stimuli. Whatever we say at this point about the music's success we should not confuse that with the mere ful®lment of intention. The third teacher in my study, who shared my concerns about authenticity, reacted by not teaching world musics at all. The musics in which they participate may have been performed by their foremothers and forefathers. Furthermore, it provides an opportunity for comparative thinking on why and how some genres of highly syncretic musics succeed. In this scenario, different forms of mappings between the music's temporal dimensions and the characteristics of the space can be established. Instead, it seems to have split into a number of 'diegetic' musics that emanate from performers within the fictional world of the drama. Does the drama now stress music's public function as a more neutral agent of enthusiasm where previously it had exemplified its efficacy in individual persuasion? We will investigate how electroacoustic music's areas fit in. If we describe musical activity from the angle of music's functions, we avoid the trap of elitism and keep a more open mind. Innovative practices of re-composition were central to a number of black electronic musics, including dub, toasting, scratching, rap, hip hop and their derivatives. He captures the music's epic spaciousness but also its polyphonic complexity. Issues of belief, however, and music's part in the experience of the sacred are, by contrast, rarely part of our scholarly enquiry. Part of this distinctiveness, he claims, is classical music's ' self-conscious attention to its own musical language'. The historiography of popular musics would seem to be a challenge to interpret the varying mediations located in the history of musical phenomena. Musical analysis is, however, important because music's emotional powers work on several layers, not only on the layer of the lyrics. Answering to film music's collaborative creative modalities, musicologists are designing broadened analytical paradigms, infusing their field with semiotics, psychology, and cultural studies. Could this form of 'spatialisation' be ignored as inessential to the music's true identity? Probably very few people would regard music's distinctive 'nowness' as a property of the art itself. In this work we see again music's role as an 'educative' medium, albeit typically working insidiously. More recently, it has developed perspectives that highlight music's 'active' properties in relation to social action, emotion and cognition. Subsequently, the causes of music's introduction to the factory are analysed. There are hardly any 'pure' national or ethnic musics anymore. More readily apparent than the fundamental line is the music's constitution from layers of orchestral 'texture'. One of the most striking aspects of the essays in this book is that few contributors refer to the music's social and political context. The tendency to focus on music's micro-social properties, while important, can displace attention from two critical dimensions. At a philosophical level the debate is about a music's level of cultural embeddedness. The other musics are there simply because it makes a good blend, with no concern for the relationship between the title and the tracks. The song lyrics focused on music's capacity to 'transport' the listener to another realm, thereby fusing dream with reality. Rather, music's formal qualities actually distance it from nature because they represent a human element. He concludes that it is 'a compromise too far from the point of absolute authenticity' (37) to be of value in world musics teaching. They have failed to grasp music's essence as a 'way of having thoughts, feelings and ideas'. Consequently, when musics of the world travel, the attitude of both the teachers and the students tends to be quite conservative. He reaf®rmed that music's place in the curriculum depended on recognising it as a non-verbal, intuitive area of experience. The contrast in our meanings is easily attributed to my immersion in the theory and philosophy of world musics teaching. In opera, however, the characters can sing, can themselves enter music's realm of externalised inwardness. Creators of sonic art have, for decades, manipulated these expectations to communicate messages through direct and symbolic usage, whether in electroacoustics, film or popular musics. The dreams of the past prompted visions of future electronic musics, but our considerable experience has revealed different realities. The fact that the music's surface features are related at a deeper level, however, may jar with the libretto's eclectic styles and images. Our age, with its easy access to musics worldwide, allows a musician to develop his/her own unique mixture of musical influences. Running through computer music's history, he sees clear opportunities of gaining a broader community through education and participation. Such musics thus demand new ways of conceptually engaging the 'informing' processes of listening. To which extent does the study of electroacoustic musics require specific tools? Given these examples, it is not surprising how the history of twentieth-century musics has seen a progressive emancipation of noise. However, concepts and insights developed through sound pieces are easily generalised to tonal and non-tonal musics of all kinds and genres. The event started with the organisers checking the sound equipment and playing a variety of recorded musics. The openness to the democratic pluralistic possibilities of the future may remain popular music's most lasting legacy. Of course, such musics were contemporaneous; didn't you know it all along? A comparison is made between the work concept and jazz and improvised electronic musics. First, the emphasis of her research falls on music's place in the soundtrack, that is, on its interactions with dialogue and, especially, sound effects. Given country music's popularity and influence in the twentieth century, she has pinpointed a serious oversight. If this is the case, why did we see so few fanzines in the music's heyday? Clearly, popular music's affective power was capable of creating and sustaining an alternative social reality for those who sought it. At the time, this focus constituted a significant advance - it helped to highlight from within what it meant to speak of music's link to social structure. The curatorship exercised over an exclusive repertoire of recordings by a particular kissa and its regular clientele could also be extremely influential in local understandings of music's meaning and value. I know it's for the music's sake. At the end, a similar section offers short biographies of the music's principal contributors over the past century. Given the contemporary proliferation of musics and ideas, how do we deal with the pluralism of our times - with its anxieties as well as its vibrancy? Ethnic and cultural musics are, and have been, taught successfully for a long time through informal education or education in natural settings outside of the schools. Once again, in many cases, rather than emphasising its unique properties, teachers were instead concerned to demonstrate those properties that it holds in common with other musics. The visualisation of sound - its preparation and release - was communicated to the observer, and seemingly the performance partner, through the physical embodiment of the music's character. She identified her being - her personality, her way of doing - with music's 'inner voices', and these voices served as a referent (for her) of her role in life. One of these, perhaps the most obvious one, is that both classical and popular musics have made and are continuing to make significant contributions to the song repertoire. Overall, though, what is striking about the effort of cultural studies to read trad jazz is its limited nature, and its lack of interest in the music's political role. Paradoxically, it is because we cannot ignore it, we cannot 'tune in and out', while still more or less keeping track of the music's overall motion. Readers of this journal must be less interested in the fact of music's general interdisciplinarity than in the particular forms this takes in the eighteenth century - already a huge field. We'll consider the im/possibilities of such sonic states by way of a consideration of the various usages of 'noise' throughout experimental musics of the past century. The case studies in the series are much more open and revealing of the sources of the world's musics, but they are not well served here. Clearly, 'urban' does not only refer to the music's locus of production, but also to qualities inherent in the product, even though these remain rather nebulous. While this might leave the audience uncertain of the music's status, it points to the increasing irrelevance of music's status in relation to the world constructed on the television screen. What makes the reading of these books together so interesting is that they make clear how interrelated the musics' histories are, even though they sound so little alike. The problems of representation combined with the lack of consistent, thorough and fairly universally applicable analytical tools have undoubtedly inhibited electroacoustic music's acceptance in more intellectual, musicological circles. Although there is a place for this island mentality during the ongoing experimental phase of electroacoustic music's development, too many using this as a modus operandi is dangerous. These examples are from corpora and from sources on the web. Any opinions in the examples do not represent the opinion of the Cambridge Dictionary editors or of Cambridge University Press or its licensors. |
反思网英语在线翻译词典收录了377474条英语词汇在线翻译词条，基本涵盖了全部常用英语词汇的中英文双语翻译及用法，是英语学习的有利工具。