1.
Academic Significance of Traditional Vocality and Successful Experience of Guo Lanying;
传统声乐理论的现实意义与郭兰英的成功经验
2.
The Change and Development in Traditional Singing Technique:An Examination of Transference in Aesthetic Interests;
从审美兴趣转移看中国传统声乐技术的发展与变化
3.
Sound Power Level Measurement for Pipa-One of Chinese Traditional Instruments
中国传统民族乐器琵琶的声功率测试
4.
On Linear thinking Mode 0f Chinese Traditional Music and Evolution of Western Counterpoint;
中国传统音乐的“线”性思维与西方多声部音乐
5.
In music, you can absorb the human voice of speech and other sounds that are hard to put into music in tradition.
在音乐中，可以纳入语言化人声和其它传统中难以入乐的声音。
6.
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”
7.
Sound Power Level Measurement of Ruan,a Chinese Traditional Plucked Stringed Instrument;
中国传统弹拨乐器阮的声功率测试(英文)
8.
Brief Analysis on the Basic Characteristics of Traditional Nationalities Vocal Music Art;
浅析中国传统民族声乐艺术的基本特征
9.
On the Notion of Multi-phonation in Traditional Instrumental Music;
对中国传统器乐多声现象若干问题的思考
10.
To Discuss the Harmonic Thinking Pattern in Barttok’s Music
传统的两面——以巴托克音乐中的和声思维为例
11.
Sound power level measurement of the Chinese traditional plucked three stringed instrument-Big Sanxian
中国传统弹弦乐器大三弦的声功率级测试
12.
The Scientific Theory of Using "Bel Canto" for Reference in Preserving the Charm of Folk Vocalism;
在保存民族声乐传统韵味中借鉴美声唱法的科学理论
13.
Future of Chinese Traditional Music: Diachronic and Synchronic Perspectives;
传统的音乐和音乐的传统——论传统音乐的时空观
14.
The second type of music is traditional music.
第二类音乐是传统音乐。
15.
As the clickety-clack of Irish step dancing and the sound of traditional Irish music fill the air,
爱尔兰踢踏舞的“喀里啪嗒”声伴随传统爱尔兰音乐响彻全场，
16.
The construction of "Chinese School of Vocality" requires the background support of traditional folk culture.
建构“中国声乐学派”需要传统民族文化的背景支撑。
17.
This theory is worth further probing and developing in China's poetry.
这是我国传统的声乐艺术值得探讨并有所继承的历史文化瑰宝。
18.
The operating skill of the Chinese tradition drama to sing in the use of thenational operating vocal music;
浅谈中国传统戏曲演唱技巧在民族声乐演唱中的运用