1)Yuefu乐府
1.The Influence of Minority Folk Songs on the Style of Poesy in Yuefu in the Northern and Southern Dynasties;南北朝乐府中少数民族民歌对词体的影响
英文短句/例句
1.Kim Chongjik s Opinion of Yuefu and Features of Yuefu in Dongdu;浅谈金宗直乐府观和《东都乐府》的特点
2.On Inheritance of San Cao s Yuefu Poems to the Folk Yuefu Poems of Han Dynasty;论三曹乐府诗对两汉民间乐府的继承
3.The Poetical Collection of Yuefu and Classical Determination of Li Bai's Yuefu Poems《乐府诗集》与李白乐府的经典确认
4.On Inheriting and. Developing to the Realistic Style of New Yuefu about the Yuefu Poems of Late Tang Dynasty;论晚唐乐府诗对新乐府诗风的继承与发展
5.Comparisons Between the PrimaryTang Dynasty Yuefu on Boundary Line and the Nan-bei Dynasty Yuefu on Boundary Line;初唐边塞乐府与南北朝边塞乐府之比较
6.Wei Liangfu s Critiques on Drama Seen in the Ming Edition of Yuefu Hongshan and Yuefu Mingci;明刻本《乐府红珊》和《乐府名词》中的魏良辅曲论
7.Classification of the Folk Music in the Han Dynasty and the Relationship Between Elegance and Popularity再论汉乐府音乐的分类及雅、俗关系
8.Analyzed Theory about Poem and Music in Wen Xin Diao Long Collections of Folk Songs and Ballads of Han Dynasty;《文心雕龙·乐府》中诗乐理论之浅析
9.Consciousness of Disaster,Appealing for"Moderate Contents"--On Wenxindiaolong·Yuefu;感乐忧时,呼“中和之响”——《文心雕龙·乐府》论
10.New Comment on "Moved by Grievous Music & Expressed with Matter;对汉乐府“感于哀乐,缘事而发”的新阐释
11.Palace Musical Culture in the Liang Dynasty and YueFu New Song萧梁宫廷音乐文化与乐府新声的创作
12.On the Relationship between Singing Skills and Emotion in Yuefuchuansheng从《乐府传声》看声乐教学中的“声情并茂”
13.On Liu Xie’s Poetic Sentiment and Music Idea in Chinese Culture and Literature;论文化乐学与文学用乐——以《文心雕龙·乐府》为中心
14.On the Effect of on Yuefu Poems论清乐抒情、娱乐功能之消长对乐府诗的影响
15.On the Entertaining Tendency of the Yue-fu Poetry by Wen Ting-yun--Taking Examples from his Yue-fu Poems of Historical Events;论温庭筠乐府诗的娱乐性——以其取材历史的乐府诗为例
16.A Music Ideal in the Yuefu of Qin Dynasty Court;从秦乐府钟秦封泥的出土谈秦始皇建立乐府的音乐思想
17.They called the types of songs which resembled those that the Music Conservatory had collected "Music Conservatory"songs.而且后代把与乐府搜集的歌谣相似的歌体也都称为"乐府"。
18.A Study of Yue Fu on Historical Events by WEN Ting-yun--Concurrently on the efforts to reform Yue Fu by poets in middle and late Tang Dynasty;论温庭筠的咏史乐府——兼论中晚唐诗人革新乐府诗的努力
相关短句/例句
Music Bureau乐府
1.On Expression and Reason of "Family" in the Ballads of Han Music Bureau;简论汉乐府民歌对“家”的表现及其成因
2.Textual Reseach on the "Levee" Homeplace in the "Levee Song" of Music Bureau on Nan Denasty;南朝乐府《大堤》之“大堤”非襄阳城之大堤
3)Yue Fu乐府
1.The Creation of Yue Fu Poems Written by Han Scholars and its Importance;汉代文人的乐府歌诗创作及其意义
2.A Study on the Implication and its Ceremony and Music of Hanwu Emperor Establishing Yue Fu;汉武帝“始立乐府”的真正含义及其礼乐问题
4)Yuefu Poetry乐府
1.On Life-Awakening Consciousness in Li Bai s Yuefu Poetry;论李白乐府体现的生命觉醒意识
2.This article employs the methodology of textual criticism to explore the satirical allegory in Li bai s Yuefu poetry at the textual level and further interprets some of Li bai s Yuefu poetry.利用文本批评方法,对李白乐府中的兴寄从形式层面进行探讨。
3.According to Chinese poem developing history, Chuge (楚歌) plays a important role to Yuefu poetry (乐府诗).从诗史来看,楚歌的主要意义即在于它对乐府三言、五言、七言等诗歌形式的产生起到了重要的促进作用。
5)Yue Fu music乐府音乐
6)Yuefu Poetry乐府诗集
1.Interpret on the topic of Xianghe ballad in yuefu poetry;《乐府诗集》“相和歌辞”题解释读
2.The title of Ch inqu geci(琴曲歌辞)in the collection of Yuefu Poetry mostly has music meaning,such as“Cao(操)”、“Yin (引)”、“Nong(弄)”etc.《乐府诗集》“琴曲歌辞”大多具有歌辞性题名,如“操”、“引”、“弄”等。
延伸阅读
乐府 中国秦、汉至隋代的宫廷音乐机构。后世亦指有关音乐文学的体裁。 秦、汉间的乐府建置 乐府建置始于秦代、与"太乐"并立,分属内廷掌管。根据见《汉书·百官公卿表》及1977年始皇陵出土的错银"乐府"钟。梁刘勰、唐颜师古、宋郭茂倩及郑樵，皆据《汉书·礼乐志》："至武帝定郊祀之礼......乃立乐府,采诗夜诵"之说,把"乃立乐府"解释为始创乐府的建置。宋王应麟、清何焯等曾据汉惠帝二年的史料提出异议，实则《史记·乐书》与贾谊《新书》亦早有武帝以前的有关乐府记述。今人以为乐府始创于秦，汉初因袭之，汉武帝立乐府，应解释为乐府机构的大规模扩建。 哀帝罢乐府与晋、隋间的太乐乐府 公元前7年,汉哀帝裁撤乐府官，下诏："其罢乐府官。郊祭乐及古兵法武乐，在经非郑卫之乐者，条奏，别属他官。"对于这一史实，有"罢"（停办）、"省"（精简机构）两种解释。《汉书·礼乐志》明确记述，当时的乐府员工，经过裁减,余下47％,并入太乐机构。晋、隋间，有"太乐乐府"之名；《隋书·音乐志》郑译乐议讨论"三声并戾"、"三声乖应"问题，前称乐府，复称太乐，可见这一时期乐府与太乐仍为同一机构。 唐代在大乐署之外，无乐府之名，另设教坊与梨园。此后就不再有乐府机构的设施。 乐府与雅、俗乐的关系 汉初乐府令夏侯宽为《安世乐》"备其箫管"，属雅乐的礼仪活动，其乐实为当时民间俗乐的"楚声"。武帝时，李延年更用大量的民间俗乐从事郊祀礼仪活动。晋、隋间太乐乐府用"清商音律"。至唐代，大乐署仍然兼管雅、俗乐。这些史实说明中古以前，太乐或乐府作为音乐机构与它们所管理的音乐之间，并无严格的雅、俗界限。太乐或乐府作为宫廷机构，所掌音乐的种属往往与君主的好恶有关。君主中有为的创业者如汉高祖、汉武帝、唐太宗，都是思想豁达，不拘泥于雅、俗之见的；隋文帝有所偏颇，但他所提倡的"华夏正声"，实为南朝"清商乐"，不过是以前代俗乐为雅乐罢了。王运熙《乐府诗论丛》以为太乐掌雅乐而乐府掌俗乐的分立二署之说，是宋代以后雅、俗异流思想的反映，实以后代制度推论前事。 乐府与乐府诗词 音乐文学的史料中以乐府借称乐府诗词,已成通例。最是出现这种用法的是梁刘勰的《文心雕龙·乐府第七》。至宋代，郭茂倩编《乐府诗集》，用乐府二字来概括入乐的诗歌。再晚，某些文人将套用歌词体式的不入乐的诗、词、曲亦皆名之为乐府，则是名词的混用了。
