1.
The New Idea Of Modern Counterpoint And Performance Style In Shchedrin s Works;
谢德林现代复调音乐思维及其演奏风格——钢琴套曲《24首前奏曲与赋格》探讨
2.
That Shchedrin's24 Prelude and Fugue is an important work of the counterpoint music in20 th century.
前苏联作曲家谢德林的《24首前奏曲与赋格》,是20世纪钢琴复调音乐中的重要文献。
3.
An Analysis on the Writing Features of No.9 Fugue in Dmitri Shostakovich s Twenty-four Preludes and Fugues;
论肖斯塔科维奇《二十四首前奏曲与赋格》No．9的赋格写作特色
4.
General Character and Relation of Chopin s Twenty-four Preludes Op.28;
肖邦《24首前奏曲》op.28的共性与联系
5.
Writing of the Suite Prelude and Fugue (Ⅰ);
“前奏曲与赋格”套曲的写作(上)
6.
Writing of the Suite Prelude and Fugue;
“前奏曲与赋格”套曲的写作(下)
7.
Inspiration of Tonality Thinking about 24 Preludes and Fugues Composed by Dmitriy evich Shostakovich
肖斯塔科维奇《24首序曲与赋格》调性思维的启示
8.
The Analysis of Prelude and Fugue on Hindemith s Ludus Tonalis;
亨德米特《调性游戏》前奏曲与赋格分析
9.
The Analyis of D·Shostakovich’s Three Parts Fugue in A Minor --Concurrently Dsicuss Some Characteristics of D·S·S “24 Preludes And Fugues”;
肖斯塔科维奇a小调三声部赋格分析——兼论《二十四首前奏曲与赋格》的某些创作特征
10.
A Study on Rakhmanmov 24 Piano Prelude;
拉赫玛尼诺夫《24首钢琴前奏曲》研究
11.
The Research of the Scriabin s 24 Preludes(op.11);
斯克里亚宾24首前奏曲（op.11）的研究
12.
Chopin "24 First Prelude" the Music Style and the Performance Inquires into
肖邦《二十四首前奏曲》的音乐风格与演奏探究
13.
On the Expressive Effects of Harmony Shifting in 24 Preludes & Fugues by D.Shostakovich;
论肖斯塔科维奇《24首序曲与赋格》和声游移的表现特征
14.
Research Notes Of Shostakovich 24 Prelude And Fugue;
精彩纷呈的密接和应——肖斯塔柯维奇《24首序曲与赋格》研究札记
15.
How to Perform Bach's A Flat Major Prelude and Fugue with the Free Bass Accordion
如何用自由低音手风琴演奏巴赫《降A大调前奏曲与赋格》
16.
An independent, relatively long piece that precedes a fugue.
独奏曲段赋格曲之前的独立的，相对较长的乐曲
17.
Harmonic technique and representation of Chopin s 24 preludes;
肖邦24首前奏曲的和声手法及其表现意义
18.
The Early Stage of Exploration of Kabalevsky "Op.38, 24 Piano Preludes"
初探卡巴列夫斯基《24首钢琴前奏曲Op.38》