1.
Lizhi s Theory of TONGXI and the Principle of the Centrepiece of Music;
论李贽“童心”说与音乐主体性原则
2.
Discussion on function of human being s subject property in the music practice activity;
论人在音乐实践活动中的主体性作用
3.
The Study of Subjective Initiative in the Teaching of Music Appreciation
音乐鉴赏教学中审美主体能动性研究
4.
On the Otherness of the Musical Aesthetic Subject--From Ji Kang s Perspective of The Music is Irrelevant to Grief or Joy of;
从嵇康《声无哀乐论》看音乐审美主体的差异性
5.
Exploration on the Experience Principle and Subjectivity of Musical Aestheticism
音乐审美的体验性特征与主体性发展初探
6.
Approaches to Cultivation Question of Students as Main Body in Music Teaching;
音乐教学中对学生主体性培育问题研究
7.
The Inevitability of Transition from Classical Music to Romantic Music;
论古典主义音乐与浪漫主义音乐传承的必然性
8.
The generating process of Chinese music and the feeling modes of subject;
中国音乐生成过程与音乐主体的感知方式
9.
Contemporary China and “Alternative Modernity”-- Thinking from “Subject of Chinese Musical Culture”;
当代中国与“现代性的不同选择”——由“中国音乐文化主体性”引发的思考
10.
On the Expression of JI Kang′s Music Aesthetic Subject Ideas in “Sounds Without Sorrows” Theories;
论稽康音乐审美主体观在《声无哀乐论》中的体现
11.
although the nature of the music of mountain songs is mainly bold and sonorous,
虽然，山歌体裁的音乐性格就其主流来 说是奔放、高亢的，
12.
The arrangement of all the tones and chords of a composition in relation to a tonic.
（音乐的）调性乐曲中相对于主音的所有音和和声的组合
13.
Acceptance Differences of Aesthetic Subject in Music Appreciation;
音乐审美活动中审美主体的接受差异
14.
Display the Main Functions of the Students and Raise Music Education Efficiency;
发挥学生主体作用提高音乐教学效果
15.
In tonal music it is next in importance to the tonic.
在调性音乐中，其是仅次于主音的重要调。
16.
It rules music, movies, dreams, glamour, illusion, spirituality, and addictions.
它主宰音乐、影、境、力、觉、性和沉迷。
17.
An Analysis on the Music Image of Lulu from the Angle of Feminism;
女性主义视角下的露露音乐形象分析
18.
On the Theme and Musical Quality of Edgar Allan Poe s Poetry;
论埃德加·艾伦·坡诗歌的主题与音乐性