英语翻译we may say that music of the 19th century is:more concerned with color,whether of chord or instrumentation,than ever before,that highly distant key relationships become the expectation rather than the unusual,that the tonic/dominant axis
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英语翻译we may say that music of the 19th century is:more concerned with color,whether of chord or instrumentation,than ever before,that highly distant key relationships become the expectation rather than the unusual,that the tonic/dominant axis
英语翻译
we may say that music of the 19th century is:more concerned with color,whether
of chord or instrumentation,than ever before,that highly distant key
relationships become the expectation rather than the unusual,that the
tonic/dominant axis is weakened by a subdominant direction,that melody becomes
exalted into what might be called 'themes',that counterpoint,in the main,is
of less importance,and that the orchestral instrumentation is expanded greatly
to include piccolo,English horn,contrabassoon,bass and,occasionally,
soprano (Eb) clarinets,trombone,tuba,harp,and a steadily growing list of
percussion.Forms often take one of two paths,either that of great expansion
(symphony) or that of the miniature (Nocturnes).A new form which runs between
these extremes is the Tone Poem or Symphonic Tone Poem which,springing from
some literary or poetic inspiration,is,in general,a large single-movement
work for orchestra with many contrasting sections of tempi and texture.
英语翻译we may say that music of the 19th century is:more concerned with color,whether of chord or instrumentation,than ever before,that highly distant key relationships become the expectation rather than the unusual,that the tonic/dominant axis
我们可以认为,与以往相比19世纪的音乐更加注重多样性,不管是从旋律上还是从乐器上.这个时期,高音长调成为了大众的期盼而非不同寻常；由以全阶第五音为主轴的态势转变为以次属音为主的趋势；旋律升级为主题；旋律配合 变得不那么重要.管弦乐器发展到包括短笛,英国管,倍低音巴松笛,低音乐器 ,以及偶尔会使用到的高音竖笛,长号,大号,竖琴和使用日益增多的打击乐器在内的各种乐器.音乐的形式主要分为两种,要么是大型的交响乐要么是小型的夜曲演奏.在这些两极化的形式中产生了一种新的形式：曲调诗或交响乐诗,该种形式起源于文学及诗歌的灵感,总的来说该时期大量的单乐章管弦乐作品包含了更多的节拍和主题.