声无哀乐,Sounds Having Nothing to Do with Grief or Pleasure英语短句,例句大全

声无哀乐,Sounds Having Nothing to Do with Grief or Pleasure
1)Sounds Having Nothing to Do with Grief or Pleasure声无哀乐
1.On the Formation of Sounds Having Nothing to Do with Grief or Pleasure Written by Ji Kang;论嵇康《声无哀乐论》之形成原因

英文短句/例句

1.About HUANG Dao-zhou's Music Aesthetics:A Comparison Between his Debates againt Ji Kang's Sound,no Sorrow or Joy从《声无哀乐辩》与《声无哀乐论》的比较中看黄道周音乐美学思想
2.Formulation of Music Function In Sound without Funeral Music;《声无哀乐论》中关于音乐功能的阐述
3.Music Aesthetic Ideas in Sound without Dirge;《声无哀乐论》音乐美学思想研究述评
4.Comments on “Music Has No Distinctions Between Happiness and Sorrow" by Ji Kang;嵇康《声无哀乐论》的音乐思想简论
5.On Music is Irrelevant to Grief or Joy-Analysis of Ji Kang' Music Aesthetics从《声无哀乐论》看嵇康的音乐美学思想
6.The implications of sheng in Music without Sadness and Happiness by Ji Kang;《声无哀乐论》中“声”的三个层次
7.Music with Sorrow"or"Music without Sorrow" --Comments on Manifestation and Expression Form of Music;“声有哀乐”还是“声无哀乐”——论音乐的表现性和表现方式
8."Sounds Neither Sad Nor Happy" and the Development of the "Harmony Aesthetical Ideology" In Wei and Jin Dynasty;“声无哀乐”与六朝“和”范畴的嬗变
9.Aesthetic Ideology against Confucianism in Jikang s Sound without Dirge;嵇康《声无哀乐论》中反儒学的美学思想
10.The Harmony Aesthetical Ideology in Ji Kang s No Sadness in Music;论嵇康《声无哀乐论》的“和”美学思想
11.The Cause of “Music Has No Sorrow or Joy”and the Problem of its Valuation;《声无哀乐论》的产生原因及其评价问题
12.On Ji Kang s Philosophical and Aesthetic Thought that Music Embodies no Emotions;论嵇康“声无哀乐”的哲学美学思想
13.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
14.On Ji Kang s Music Ideas--Questioning on Sound without Dirge;嵇康音乐思想述评——兼及对《声无哀乐论》的质疑
15.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
16.A Study On “Sounds Neither Sad nor Happy” --From the Perspective of JI Kang s Aesthetic Thoughts;“声无哀乐”之我见——从嵇康的音乐美学思想谈起
17.On Ji Kang's Sheng-wu-ai-le-lun in the Perspective of Aesthetic Psychology从审美心理学角度谈《声无哀乐论》之“音心”问题
18.Subject and Object Reciprocate to Enjoy Harmonious Tone--Study Ji Kang‘s music appreciation theory from "Tone has no sadness or happiness;主客互动悦和声——从《声无哀乐论》看嵇康的音乐欣赏理论

相关短句/例句

Voice without Grief and Joy Theory声无哀乐论
3)Music is Irrelevant to Grief or Joy《声无哀乐论》
1.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
4)"having sad music"声有哀乐
5)Silent music无声之乐
1.The thesis includes seven parts: theoretical basis of Ji Kang’s thinking on aesthetics of music; the philosophical basis of his thinking; appraisal of Ji Kang’s personality; whether or not to promote“Silent music”and“the Voice of Zheng”; the interpretation of tone and sound; whether the thesis belongs to“self-discipline”or not.本文将以嵇康《声无哀乐论》作为研究基点，从嵇康音乐美学思想的理论依据，哲基础，嵇康人格的评价，《声无哀乐论》是否提倡“无声之乐”，是否肯定“郑声”，康对“音”、“声”的解释，及《声无哀乐论》到底属于“自律论”、“他律论”、还是和律论”七个方面详细介绍学术界对《声无哀乐论》学术研究的概况，并对学术观点行归纳总结，由此阐述笔者之拙见。
6)mixture of sorrow and joy哀乐互设