1.
Vredenburg Music Center, Utrecht, Holland, 1979.
弗雷登伯格音乐中心,乌得勒支,荷兰
2.
The Research on the Beguine Movement in the Southern Low Countries in the 13-14~(th) Century;
13-14世纪尼德兰南部伯格音运动探析
3.
Schoenberg was a progenitor of modern music.
勋伯格是一位现代音乐的先驱。
4.
The Summary about Schoenberg and the Music Researches on him in China;
国内有关勋伯格及其音乐的研究综述
5.
The Vienna school headed by a. Schoenberg and his pupils a. Webern and a. Berg moved directly to the exploration of sounds in a more abstract sense.
以勋伯格及其学生韦伯恩和伯格为代表的维也纳学派直接对声音进行了更加抽象的分析。
6.
Faber had to concentrate hard to understand what he was saying; his Scots accent was very broad.
他说话带浓重的苏格兰口音，费伯几乎难以听懂。
7.
The count turned round as he heard the entrance of Danglars into the room.
伯爵听到腾格拉尔进来的声音就转过身来。
8.
The Influence of Schoenberg's Religious Thought on His Music;
勋伯格的宗教思想对其音乐创作的影响
9.
Inquiry into Schubert s Romantic Music Style and Piano Impromptu;
舒伯特的浪漫主义音乐风格及钢琴即兴曲研究
10.
Inquiry into Present Home Research of Schoenbery and His Music;
对国内勋伯格及其音乐研究状况的述评
11.
Esthetic Characteristics of Expressionism from Schoenberg s Music;
从勋伯格的音乐看表现主义的美学特征
12.
The Twelve-Tone Technique and Orchestration in Schoenberg's Variations for Orchestra(Ⅱ)
勋伯格《乐队变奏曲》的十二音处理与配器技术(下)
13.
Theme Center of Arnold Schoenberg's Early Atonality
勋伯格初期无调性音乐作品中的主题中心
14.
The Twelve-Tone Technique and Orchestration in Schoenberg's Variations for Orchestra(Ⅰ)
勋伯格《乐队变奏曲》的十二音处理与配器技术(上)
15.
Explorations in the 20~(th) Century s Music Horizon;
20世纪音乐视界的开拓与探索——关于勋伯格和序列音乐
16.
italicizing the upper extremity of the pitch spectrum with flute or piccolo(Arthur Berger)
用长笛或短笛来突出音高乐谱的上端(阿瑟 伯格尔)
17.
italicizing the upper extremity of the pitch spectrum with flute or piccolo(bArthur Berger)
用长笛或短笛来突出音高乐谱的上端(b阿瑟 伯格尔)
18.
The Connotation of Sternberg’s Theory of Intelligence and Its Enlightenment to the Cultivation of Graduate Students under;
斯滕伯格智力理论及对音乐教学论研究生培养的启示