10 Kriston final
[整理]2002年十大吉他手.
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你心目中的十大吉他手,并介绍,记得啊,好的文章将被编辑精选发表啊:)下面是“视听空间”斑竹YONGROCK对这些参加评选的吉他手的简单介绍。
大家也可以自己查找相关资料。
1.Alexander Kuoppala (Children of Bodom )芬兰新生代金属乐队Children of Bodom 吉他手,学院派的Alexander无疑将很多成份的音乐风格融入到了乐队本身,死亡,古典,速度,旋律,Children of Bodom是旋律黑暗死亡金属的新贵,也是新生代重型吉他手的偶像,况且Alexander很年轻。
2.andy timmons 美系旋律派大师,在视听版块精华区中有介绍。
3.check 死亡金属乐队DEATH的核心人物,乐队每张专辑都水平相当,DEATH的每张专辑录制后都会更换成员(除check),唯独check是乐队的灵魂。
13岁的check就立志要做世界上最重的音乐,check也对死亡金属后期起了不可磨灭的影响,可惜check已经离开了我们,对于check你会作些什么?4.CHRIS IMPELLITTERI 真正的速度之王,每秒19连音的世界记录保持者。
5.Helge Engelke (Fair Warning )这是我听过的最最最旋律的乐队,如果你喜欢流行金属,你可以听Fair Warning,听听Helge Engelke的吉他,相信就的把Bon Jovi, Mr.Big, Aerosmith, Night Ranger等扔到一边了。
6.George Bellas 我认为是迄今为止唯一可以和YNGWEI相提并论的新古典吉他大师,相比他要比YNGWEI更为正统更为古典化。
7.Greg Howe 黑人,多元化的吉他大师,从Instrumental到Neo-classical到JAZZ fusion 。
出道以来的每张专辑都在每种音乐风格上独占熬头!8.Jani Liimatainen (Sonata Arctica)又是位年轻的吉他大师,Sonata Arctica已经完全成为芬兰国宝Stratovarius的继承人,Timo Tolkki 的继承人。
莫扎特作品集

钢琴曲谱:莫扎特作品集莫扎特作品之交响曲:第1交响曲,降E大调,K.16(伯姆指挥柏林爱乐)第2交响乐,(疑作)(Naxos,沃德指挥北方室内管弦乐团)第4交响曲,D大调,K.19(伯姆指挥柏林爱乐)第5交响曲,降B大调,K.22(伯姆指挥柏林爱乐)第25交响曲,g小调,K.(伯恩斯坦指挥维也纳爱乐)第35交响曲(哈夫纳),D大调,K385第二乐章(哈农库特指挥皇家音乐厅管弦乐团)第36交响曲(林茨),C大调,K425第一乐章(哈农库特指挥皇家音乐厅管弦乐团)全曲(克莱伯版)第38交响曲“布拉格”,D大调,K504全曲(克伦贝勒指挥柏林战时广播交响乐团)第39交响曲,降E大调,K543第三乐章(演奏者不详)第三乐章(朱里尼/柏林爱乐)全曲(伯姆指挥柏林爱乐)第40交响曲,g小调,K550第一乐章(旺德指挥北德广播交响乐团)第一乐章(伯姆指挥柏林爱乐)第二乐章(伯姆指挥柏林爱乐)第三乐章(伯姆指挥柏林爱乐)第四乐章(伯姆指挥柏林爱乐)全曲(伯姆指挥柏林爱乐)四合一版(富特文革勒+瓦尔特+卡拉扬+老克莱伯)(维也纳爱乐+哥伦比亚交响+柏林爱乐+伦敦爱乐)第41号交响曲(朱庇特),C大调,K551第一乐章(伯姆指挥柏林爱乐)第一乐章(伯恩斯坦指挥维也纳爱乐)全曲(伯恩斯坦指挥纽约爱乐乐团)全曲(史科瓦泽夫斯基指挥日本读卖交响乐团)莫扎特作品之其他管弦乐作品:遣兴曲 K63,第五乐章(NAXOS,内拉特指挥萨尔茨堡室内乐团)遣兴曲 K99 第7乐章(NAXOS,内拉特指挥萨尔茨堡室内乐团演奏)第2号嬉游曲之2,D大调,K136(山度·威格指挥萨尔兹堡莫扎特管弦乐团演奏)第2号嬉游曲之3,降B大调,K137(山度·威格指挥萨尔兹堡莫扎特管弦乐团演奏)第2号嬉游曲之4,F大调,K138 第3乐章(库普曼指挥阿姆斯特丹巴洛克乐团)第11号嬉游曲 K251,第三乐章,稍快的快板(圣马丁室内合奏团)第12号嬉游曲 K252,第三乐章,波兰舞曲(霍利格尔管乐合奏团)第14号嬉游曲 K270,第二乐章,小行板(霍利格尔管乐合奏团)第15号嬉游曲 K287,第四乐章(圣马丁室内合奏团)第16号嬉游曲 K289,第一乐章(荷兰管乐合奏团)第17嬉游曲K334,第三乐章,小步舞曲(圣马丁室内合奏团)第17嬉游曲K334,第三乐章,小步舞曲(演奏者不详)第1号小夜曲,D大调,K100,第六乐章(博斯科夫斯基指挥维也纳莫扎特合奏团演奏)第3号小夜曲,D大调,K185,第二乐章(NAXOS,内拉特指挥萨尔茨堡室内乐团)第4号小夜曲,D大调,K203,第八乐章(NAXOS,内拉特指挥萨尔茨堡室内乐团)D大调进行曲K215和第5号小夜曲,D大调,K204第一乐章(马里纳指挥圣马丁乐团)第6号小夜曲,D大调,K239,(月下小夜曲)"Serenata Notturna"第一乐章:进行曲(伯姆指挥柏林爱乐)全曲(SandorVegh指挥萨尔茨堡莫扎特音乐学院乐团)第7号小夜曲,D大调,K250,(哈夫纳小夜曲)第四乐章:回旋曲(伯姆指挥柏林爱乐乐团演奏)第9号小夜曲,D大调,K320全曲(伯姆指挥柏林爱乐乐团演奏)第六乐章,小步舞曲(伯姆指挥柏林爱乐乐团演奏)第10号小夜曲,降B大调,K361第三乐章(NAXOS,德国管乐家重奏团)第七乐章(NAXOS,德国管乐家重奏团)全曲(伯姆指挥柏林爱乐管乐团)全曲(富特文革勒指挥维也纳演奏家乐团)第11小夜曲,降E大调,K375(芝加哥交响乐团/ 莫斯科爱乐)第12小夜曲,C小调,K388(迈耶尔管乐合奏团)第13号小夜曲,《G大调弦乐小夜曲》,K525第一乐章(瓦尔特指挥哥伦比亚交响乐团,CBS报纸版)第一乐章(Traunfellner指挥维也纳室内爱乐乐队)第四乐章:(伯姆指挥维也纳爱乐乐团)全曲(马里纳指挥圣马丁乐团EMI-LD版)全曲(马里纳指挥圣马丁乐团PhlipsCD版)《音乐玩笑》,F大调,K522(菲拉德指挥菲拉德室内管弦乐团)《音乐玩笑》,F大调,K522(奥菲斯室内乐团)德国舞曲,K605,第3首“雪橇”(博斯科夫斯基指挥维也纳莫扎特合奏团)德国舞曲 K586 No.5(Johannes Wildner指挥Capella Istropolitana)NAXOS8.550412 《英雄科堡之胜利》K587(奥菲斯室内乐团)Promenade en Traineau (里德/慕尼黑艺术家管弦乐团)(马里纳指挥圣马丁室内乐团)莫扎特作品之芭蕾音乐:《小玩意》(Les petits riens)K.299B(马里纳指挥圣马丁室内乐团)协奏曲:小提琴协奏曲:第1小提琴协奏曲,降B大调,K207(小提琴:大卫·奥依斯特拉赫)第1小提琴协奏曲,降B大调,K207(小提琴:Simon Standage)第2小提琴协奏曲,D大调,K211全曲(小提琴:格鲁米欧)第2小提琴协奏曲,D大调,K211全曲(小提琴:林昭亮)第3小提琴协奏曲,G大调,K.216第一乐章:快板(小提琴:马泽尔)第一乐章:快板(小提琴:阿卡多)第一乐章:快板(小提琴:慕洛娃)第一乐章:快板(小提琴:大卫·奥依斯特拉赫)第三乐章:(小提琴:穆特)全曲(格鲁米欧)第4小提琴协奏曲,D大调,K218第一乐章:(小提琴:格罗米欧)第二乐章:(小提琴:格罗米欧)第三乐章:(小提琴:格罗米欧)全曲(小提琴:阿卡多)第5小提琴协奏曲,A大调,K219第一、二乐章(小提琴:蒂博)第三乐章(小提琴:海菲兹)第三乐章(小提琴:穆特;指挥:卡拉扬)全曲(小提琴:施奈德汉)全曲(小提琴:格鲁米欧)D大调小提琴协奏曲(K271i)(小提琴:格鲁米欧)(单声)第一乐章第二乐章第三乐章E大调柔板,K261(小提琴:格鲁米欧)C大调回旋曲,K373(Maria-Elisabeth Lott,12岁)C大调回旋曲, K373(格鲁米欧小提琴)降B大调回旋曲, K269(谢霖小提琴吉卜森指挥新爱乐乐团协奏)双小提琴协奏曲,C大调,K190(小提琴:帕尔曼、祖克曼)小提琴中提琴交响协奏曲,降E大调,K364第一乐章(小提琴:海菲兹;中提琴:普利姆罗斯)第一乐章(Thomas Brandis; Giusto Cappone;伯姆指挥柏林爱乐)第一乐章Naxos历史录音(小提琴:Albert Sammons;中提琴:Lionel Tertis)第二乐章(小提琴:美岛莉;中提琴:今井信子)第三乐章(小提琴:海菲兹;中提琴:普利姆罗斯)第三乐章(小提琴:海菲兹;中提琴:普利姆罗斯)第三乐章(小提琴:布朗;中提琴:伊迈)第三乐章(小提琴:Dumay;中提琴:Causse)第三乐章(小提琴:伊戈尔·奥伊斯特拉赫,中提琴:大卫·奥伊斯特拉赫)第一、二乐章(小提琴:伊戈尔·奥伊斯特拉赫,中提琴:大卫·奥伊斯特拉赫)全曲:(小提琴:格鲁米欧,中提琴:佩雷西亚)***全曲:(小提琴:(帕尔曼),中提琴:祖克曼)交响协奏曲,k297b(Thomas Brandis;Giusto Cappone;伯姆指挥柏林爱乐)第一乐章第二乐章第三乐章D大调小提琴与钢琴协奏曲(小提琴:美岛莉;钢琴:艾申巴赫)莫扎特作品钢琴协奏曲:第7号为三架钢琴而作的协奏曲,F大调,K242(古钢琴:Malcolm Bilson,Robert Levin,谭梅文)第一乐章第二乐章第三乐章第8号钢琴协奏曲,C大调,K246,(全曲)(肯普夫/莱特纳/柏林爱乐)第9钢琴协奏曲,降E大调,K271第一乐章(钢琴:杨多)第二乐章(钢琴:杨多)第三乐章:(钢琴:杨多)全曲(钢琴:布伦德尔,马克拉斯指挥苏格兰室内管弦乐团/)全曲(钢琴:拉罗查,戴维斯指挥英国室内乐团)第10号为双钢琴而作的协奏曲,E大调,K.365第一乐章(古钢琴:Malcolm Bilson;谭梅文)第二乐章(古钢琴:Malcolm Bilson;谭梅文)第三乐章(古钢琴:Malcolm Bilson;谭梅文)第三乐章(钢琴:吉列尔斯; Rakov Zak)全曲(德拉罗查与普列文合作)全曲(吉列尔斯父女三星带花的名版)第12号钢琴协奏曲,A大调,K414,(钢琴:基辛;斯皮瓦科夫指挥莫斯科名家合奏团)第13号钢琴协奏曲,C大调,K415 (钢琴:米凯兰杰里)第13钢琴协奏曲,C大调,K415,第二乐章(钢琴:杨多)第13钢琴协奏曲,C大调,K415,第三乐章(钢琴:杨多)第15号钢琴协奏曲,降B大调,K450第15钢琴协奏曲(维也纳爱乐乐团/伯恩斯坦乐团指挥并演奏钢琴)第一乐章; 第二乐章;第三乐章全曲(钢琴:布伦德尔)全曲(钢琴:米凯兰杰利)第16号钢琴协奏曲,D大调,K451,(全曲,钢琴:佩拉西亚)第16号钢琴协奏曲,K451,(全曲,钢琴:塞尔金)第17号钢琴协奏曲,K453,G大调(暂缺)第18号钢琴协奏曲,K456,(钢琴:赛尔金Serkin)第19钢琴协奏曲,F大调,K459第一乐章(钢琴:哈斯姬儿)第二、三乐章(钢琴:哈斯姬儿)第二乐章(钢琴:杨多)第三乐章(钢琴:杨多)第20钢琴协奏曲 D小调, K466, (钢琴:杨多)第一乐章第二乐章第三乐章第20钢琴协奏曲 D小调 K466, 第二乐章:(钢琴:顾尔达)第20钢琴协奏曲 D小调 K466, 全曲(钢琴:米凯兰杰里,现场录音)第20钢琴协奏曲 D小调 K466, 全曲(钢琴:勒费布,富特文革勒/柏林爱乐)第21钢琴协奏曲,C大调,K467第一乐章:(钢琴:杨多)第一乐章(钢琴:Daniele Dechenne )第二乐章(钢琴:伊士东文)第二乐章(钢琴:安达Geza Anda)第二乐章(钢琴:施纳贝尔)第三乐章(钢琴:杨多)第三乐章(钢琴:Daniele Dechenne )全曲(钢琴:布伦德尔)全曲(钢琴:伊斯托敏)全曲(钢琴:内田光子)第22号钢琴协奏曲,降E大调,K482第一乐章(佩拉西亚/英国室内乐团)第二乐章(演奏者不详)第三乐章(佩拉西亚/英国室内乐团)全曲(钢琴: 海布勒,戴维斯指挥伦敦交响)第23钢琴协奏曲,A大调,K488第一乐章(钢琴:杨多)第二乐章(演奏者不详)第二乐章(霍洛维茨/朱利尼)第二乐章(施纳贝尔)第三乐章(霍洛维茨/朱利尼)第三乐章(钢琴:杨多)第三乐章(钢琴:肯普夫1960)全曲(钢琴:布伦德尔)第24钢琴协奏曲,C小调,K491第一乐章(钢琴:杨多)第二乐章(钢琴:杨多)第三乐章(钢琴:杨多)全曲(钢琴:哈斯姬儿)第25钢琴协奏曲,K503,C大调(Malcolm Bilson 古钢琴;Gardiner指挥英国巴洛克独奏家乐团)第一乐章第二乐章第三乐章第26钢琴协奏曲(加冕),D大调,K.537,(钢琴:海布勒,洛维茨基指挥伦敦交响)第一乐章第二乐章第三乐章第27钢琴协奏曲,降B大调,K595第一乐章(布伦德尔/马连拿指挥圣·马田乐团)第一乐章(钢琴:杨多)第二乐章(钢琴:杨多)第三乐章(钢琴:卡仲CLIFFORD CURZON)全曲(钢琴:顾尔达)全曲(钢琴:巴克豪斯)全曲(钢琴:吉列尔斯)第27钢琴协奏曲(3合1版)(演奏:吉列尔斯+佩拉希亚+顾尔达)莫扎特作品为其他乐器所作的协奏曲:大管协奏曲,降B大调,K191全曲(大管:Zeman;伯姆指挥维也纳爱乐乐团)全曲(翁纽大管,Cuschlbauer指挥班贝格交响乐团)长笛与竖琴协奏曲,K299第三乐章(朗帕尔长笛;拉斯金竖琴;菲拉德指挥菲拉德室内管弦乐团)全曲(舒尔茨长笛,萨巴雷塔竖琴,伯姆指挥维也纳爱乐乐团协奏)第1长笛协奏曲,K313全曲(格拉费娜尤长笛;马里纳指挥圣马丁乐团协奏)第一乐章(Susan Palma长笛,Orpheus Chamber Orchestra)第2号长笛协奏曲,D大调 K.314(长笛:尼科莱;皇家音乐厅管弦乐团/津曼)C大调行板,K315(朗帕尔长笛;Cuschlbauer指挥维也纳交响乐团)C大调行板,K315(朗帕尔长笛)双簧管协奏曲,K314(霍利格尔双簧管;马里纳指挥圣马丁乐团协奏)双簧管协奏曲,K314, 第三乐章(皮埃罗双簧管,朗帕尔指挥英国室内乐团)单簧管协奏曲,K622第一乐章(巴塞特单簧管版本,W.梅耶单簧管;哈农库特指挥维也纳音乐社)第一乐章(兰斯洛特单簧管,菲拉德指挥菲拉德室内管弦乐团)第二乐章(布瑞默单簧管;马里纳指挥圣马丁乐团)第二乐章(莱斯特单簧管,马里纳指挥圣马丁乐团)第二乐章(普林茨单簧管,伯姆指挥维也纳爱乐)第三乐章(普林茨单簧管,伯姆指挥维也纳爱乐)第三乐章(Naxos: 奥腾萨默单簧管;约翰内斯·维尔德纳指挥维也纳莫扎特学会)全曲(奥腾萨默单簧管,科林·戴维斯指挥维也纳爱乐乐团)全曲(普林茨单簧管,慕兴格尔指挥维也纳爱乐乐团)全曲(查尔斯·尼德赫单簧管独奏,奥菲斯室内乐团协奏)第1圆号协奏曲,D大调,K412(演奏者不详)第1圆号协奏曲,D大调,K412, 第一乐章(圆号:丹尼斯·布莱恩)第1圆号协奏曲,D大调,K412,第一乐章(圆号:图克维尔/英国室内乐团)第2圆号协奏曲,降E大调,K417(鲍曼圆号;祖克曼指挥圣·保罗室内乐团)第2圆号协奏曲,降E大调,K417, 第一乐章(圆号:丹尼斯·布莱恩)第3圆号协奏曲,降E大调,K447(圆号:丹尼斯·布莱恩)第4圆号协奏曲,降E大调,K495(圆号:丹尼斯·布莱恩)第4圆号协奏曲,降E大调,K495(圆号:图克威尔,马格指挥伦敦交响乐团协奏)莫扎特作品奏鸣曲:小提琴奏鸣曲:小提琴奏鸣曲第10号,K15(大键琴:维莱特;小提琴:波莱特)小提琴奏鸣曲第16号,K31(大键琴:维莱特;小提琴:波莱特)小提琴奏鸣曲第17号,C大调,K296 (小提琴:谢霖,钢琴:海布勒)小提琴奏鸣曲第18号,K301 (小提琴:格鲁米欧,钢琴:克林)小提琴奏鸣曲第21号,K304 (小提琴:格鲁米欧,钢琴:克林)小提琴奏鸣曲第24号,F大调,K376(小提琴:格吕米奥;钢琴:哈斯姬儿)小提琴奏鸣曲第26号,降B大调,K378(小提琴:格吕米奥;钢琴:哈斯姬儿)小提琴奏鸣曲第26号,降B大调,K378(小提琴:谢霖;钢琴:海布勒)小提琴奏鸣曲第27号,G大调,K379(小提琴:谢霖;钢琴:海布勒)小提琴奏鸣曲第32号,降B大调, K454(小提琴:格吕米奥;钢琴:哈斯姬儿)小提琴奏鸣曲第33号,K481 (小提琴:格鲁米欧,钢琴:克林)小提琴奏鸣曲第35号,A大调,K526(小提琴:谢霖;钢琴:海布勒)小提琴奏鸣曲第35号,A大调,K526 (小提琴:格鲁米欧,钢琴:克林)小提琴奏鸣曲第36号,F大调,K547 (暂缺)变奏曲,K359(小提琴:谢霖;钢琴:海布勒)小提琴奏鸣曲》K481(小提琴:施纳德汉;钢琴:希曼)小步舞曲(小提琴:海菲兹)钢琴奏鸣曲及独奏作品:钢琴奏鸣曲,第1号,C大调,K279(钢琴:季雪金)钢琴奏鸣曲,第2号,F大调,K280(钢琴:海布勒)钢琴奏鸣曲,第2号,F大调,K280(钢琴:哈斯姬尔)钢琴奏鸣曲,第3号,降B大调,K281(钢琴:霍洛维兹):第一乐章第二乐章第三乐章钢琴奏鸣曲,第3号,降B大调,K281(钢琴:吉列尔斯)钢琴奏鸣曲,第4号,降E大调,K282,(钢琴:吉塞金Gieseking)钢琴奏鸣曲,第5号,G大调,K283(钢琴:吉塞金Gieseking)钢琴奏鸣曲,第6号,D大调,K284(钢琴:海布勒)钢琴奏鸣曲,第7号,C大调,K309(钢琴:海布勒)钢琴奏鸣曲,第7号,C大调,K309(钢琴:拉罗查)钢琴奏鸣曲,第8号,A小调,K310(钢琴:拉罗查)钢琴奏鸣曲,第8号,A小调,K310(钢琴:李帕蒂)钢琴奏鸣曲,第8号,A小调,K310(钢琴:施纳贝尔)钢琴奏鸣曲,第9号,D大调,K311(钢琴:吉泽金)钢琴奏鸣曲,第10号,A大调,K330(钢琴:哈斯姬尔)钢琴奏鸣曲,第10号,A大调,K330(钢琴:霍洛维茨)钢琴奏鸣曲,第11号,A大调,K331(其中第三乐章为著名的土耳其进行曲)K331(钢琴:海布勒)K331(钢琴:吉塞金Gieseking)土耳其进行曲(波格莱里奇)钢琴奏鸣曲,第12号,F大调,K332(钢琴:舒拉.切尔卡斯基Shura Cherkassky)钢琴奏鸣曲,第13号,降B大调,K333(钢琴:拉罗查)钢琴奏鸣曲,第13号,降B大调,K333(钢琴:舒拉.切尔卡斯基)钢琴奏鸣曲,第13号,降B大调,K333(钢琴:霍洛维兹)钢琴奏鸣曲,第14号,c小调,K457(钢琴:阿劳)钢琴奏鸣曲,第15号,C大调,K545(钢琴:海布勒)钢琴奏鸣曲,第15号,C大调,K.545(钢琴:内田光子)钢琴奏鸣曲,第15号,C大调,K.545(钢琴:李赫特,布拉格现场)钢琴奏鸣曲,第16号,降B大调,K570(钢琴:弗雷德里齐·古尔达)钢琴奏鸣曲,第16号,降B大调,K570(钢琴:季雪金)钢琴奏鸣曲,第17号,D大调,K576, 第二乐章(钢琴:弗雷德里齐·古尔达)钢琴奏鸣曲,第17号,D大调,K576, 全曲(钢琴:Solomon)c小调钢琴《幻想曲》,K396(钢琴:查哈里亚斯Christian Zacharias)d小调钢琴《幻想曲》,K397(钢琴:吉列尔斯,现场录音)D大调钢琴《回旋曲》,K485(钢琴:查哈里亚斯Christian Zacharias)F大调钢琴《回旋曲》,K494(李赫特,布拉格现场)两架钢琴奏鸣曲,D大调,K448全曲(钢琴:罗夫·帕尔吉,沃尔夫冈·曼斯)全曲(钢琴:海布勒、霍夫曼)第二乐章(钢琴:鲁普、佩拉西亚)全曲(钢琴: Anna & Ines walachowski)钢琴变奏曲,K354(钢琴:海布勒)(根据博马舍《塞维利亚理发师》中的《我是多林》而作的12首变奏曲)迪波尔小步舞曲主题变奏曲9首,K573(钢琴:哈斯姬尔)迪波尔小步舞曲主题变奏曲,K573(钢琴:布伦德尔)根据“阿,妈妈,我要对你说”而作的12首变奏曲,K265(钢琴:海布勒)为两架钢琴而作的G大调慢板和变奏曲,K501(阿格丽姬,毕晓普-科瓦塞维奇)A小调回旋曲,K511(布伦德尔)6首德国舞曲,KV509(吉泽金)格伦·古尔德弹奏的(感觉异样的)莫扎特钢琴奏鸣曲:钢琴奏鸣曲 K279(格伦·古尔德)钢琴奏鸣曲 K283(格伦·古尔德)钢琴奏鸣曲 K330(格伦·古尔德)钢琴奏鸣曲K309(格伦·古尔德)钢琴奏鸣曲K310,第一乐章(格伦·古尔德)钢琴奏鸣曲K331,第三乐章, 土耳其进行曲(格伦·古尔德)室内乐:二重奏作品:G大调小中提琴二重奏,K423(Grumiaux&Pelliccia)降B大调小中提琴二重奏,K424(Grumiaux&Pelliccia)三重奏作品:第1号钢琴三重奏,降B大调,K254,(皮雷斯、杜梅、王建)第2号钢琴三重奏,G大调,K496(皮雷斯、杜梅、王建)第3号钢琴三重奏,降B大调,K502(美艺三重奏)第4号钢琴三重奏,E大调,K542(美艺三重奏)第5号钢琴三重奏,C大调,K548(暂无)第6号钢琴三重奏,G大调,K.564(美艺三重奏)第一乐章第二乐章第三乐章单簧管三重奏,降E大调,K498(莱文钢琴,莱斯特单簧管,科瑞斯特中提琴)为弦乐三重奏而作的《降E大调嬉游曲》,K563(格鲁米欧三重奏团)降B大调《嬉游曲》K254,第三乐章(皮尔斯/杜梅/王键) ——————————————————————————————————四重奏作品:第1号弦乐四重奏,G大调,K80/73f(意大利四重奏团)第2号弦乐四重奏,D大调,《米兰四重奏》之一,K155/134a(意大利四重奏团)第3号弦乐四重奏,G大调,《米兰四重奏》之二,KV156/134b(意大利四重奏团)第13号弦乐四重奏,D小调,《维也纳四重奏》第六首,K173 (阿玛迪乌斯四重奏团)第17号弦乐四重奏(狩猎),降B大调,K458(意大利四重奏组)第21号弦乐四重奏,D大调,K575(意大利四重奏组)第23号弦乐四重奏,K590,D大调《普鲁士四重奏》第三号(阿玛迪乌斯四重奏团)第1号钢琴四重奏,G小调,K478,全曲,(马友友,斯特恩,艾克斯,拉雷多)第2号钢琴四重奏,降E大调,K493,全曲,(马友友,斯特恩,艾克斯,拉雷多)第2号钢琴四重奏,降E大调,K493,全曲(PHILIPS:Haeble钢琴,Schwalbe小提琴,Cappone中提琴,Borwitzky大提琴)第1号长笛四重奏,D大调,K285, (贝奈特长笛;格鲁米欧三重奏团)第一乐章第二乐章第三乐章全曲第一乐章(高威与东京弦乐四重奏团)第2号长笛四重奏(全曲)(长笛:贝内特/格鲁米欧三重奏团)第3号长笛四重奏(全曲)(长笛:贝内特/格鲁米欧三重奏团)第4号长笛四重奏(全曲)(长笛:贝内特/格鲁米欧三重奏团)双簧管四重奏,K370(Kiss双簧管,科达伊四重奏团成员,NAXOS版)——————————————————————————————————五重奏作品:第3号弦乐五重奏,C大调,K515 (小提琴:Arthur Grumiaux,Arpad Gerecz;中提琴:Georges Janze r,Max Lesueur;大提琴:Eva Czako)第4号弦乐五重奏,G小调,K516, 第一乐章(演奏者同上)第5号弦乐五重奏,D大调,K593,(全曲,演奏者同上)第6弦乐五重奏 K614,降E大调,(格鲁米欧三重奏团/格莱茨/莱舒尔)单簧管五重奏,A大调,K581第一乐章(单簧管:Jozsef Balogh;Danubius 四重奏团)全曲(Schmidl巴塞特单簧管,维也纳八重奏团成员演奏)玻璃琴五重奏《C小调柔板与回旋曲》,K617(玻璃琴:Bruno Hoffmann;长笛:Aurele Nicolet;双簧管:Heinz Holliger;中提琴:Karl Schouten;大提琴:Jean Decroos)圆号五重奏,K407(Kevehazi圆号,科达伊四重奏团,NAXOS版)钢琴与管乐五重奏,降E大调,K452(布伦德尔钢琴,霍利格尔双簧管,布鲁纳单簧管,鲍曼圆号,图纳曼大管)钢琴与管乐五重奏,降E大调,K452(丹尼斯·布赖恩管乐合奏团)根据G大调弦乐小夜曲(K525)而改编的弦乐五重奏(埃克斯、瓜奈里四重奏团等)第一乐章第二乐章第三乐章第四乐章歌剧作品:《费加罗的婚礼》,K492序曲(梅塔指挥SONY 53286)序曲(莱茵斯多夫指挥维也纳爱乐)序曲(瓦尔特指挥哥伦比亚交响乐团)咏叹调:《蝴蝶不能再飞》(梅塔指挥SONY 53286)咏叹调:“Voi che sapete”(Danco演唱;克莱伯指挥维也纳爱乐乐团、维也纳歌剧院合唱团演出)二重唱:“Che soave zefiretto”(Casa & Gueden演唱,克莱伯指挥维也纳爱乐乐团、维也纳歌剧院合唱团)二重唱“Cinque...dieci...venti...trenta”(Siepi & Gueden演唱,E.克莱伯指挥维也纳爱乐乐团、维也纳歌剧院合唱团)“Porgi amor,qualche ristoro”(Casa演唱 E.克莱伯指挥维也纳爱乐乐团、维也纳歌剧院合唱团) “Porgi amor,qualche ristoro”(Kanawa演唱伯姆指挥维也纳爱乐乐团)“Dove sono”(演唱:施瓦兹科普夫;卡拉扬指挥维也纳爱乐)《魔笛》,K620序曲(伯姆指挥)序曲(瓦尔特指挥哥伦比亚交响)第二幕(索尔蒂指挥维也纳爱乐乐团,演唱:迪斯考等)二重唱“那些坠入爱河的男人”(索尔蒂指挥维也纳爱乐,演唱:普雷,罗莲嘉)“在神圣的殿堂里”(演唱:特尔维拉)“帕帕姬娜你在哪里”(伯姆指挥)二重唱:懂得爱情的男人,都有一颗仁慈的心(Ziesak&Kraus演唱;索尔蒂指挥维也纳爱乐)咏叹调:“如果有个女人爱我,多么幸福”(索尔蒂指挥维也纳爱乐乐团)“夜后”(演唱:格鲁布洛娃Edita Gruberova)二重唱:《pa pa pa》(演唱:夸斯托夫/卡巴列)二重唱:《pa pa pa》(演唱:普雷/霍尔姆, 索尔蒂/维也纳爱乐)美丽的画像(演唱:冯德里希)夜后"复仇的火焰"(演唱者:朵依特肯)《女人心》,K588序曲(伯姆指挥维也纳爱乐、维也纳歌剧院合唱乐团)第二幕(伯姆指挥维也纳爱乐、维也纳歌剧院合唱乐团)第2幕第4场(EMI伯姆指挥爱乐乐团与合唱团演出, Schwarzkopf、Ludwig、Kraus、Taddei等演唱) “Fra gli amplessi in pochi istanti”(EMI伯姆指挥爱乐乐团与合唱团演出, Schwarzkopf & Kraus演唱)《唐璜》,K527序曲(朱利尼指挥爱乐乐团)第一幕:(朱利尼指挥爱乐乐团,演唱:萨瑟兰、施瓦兹科普夫等)第二幕(索尔蒂指挥伦敦爱乐乐团、伦敦歌剧院合唱团)二重唱“让我们手拉手吧”(演唱:Sciutti & Wachter;朱利尼指挥爱乐乐团、合唱团)小夜曲“Deh vieni alla finestra”(Wachter演唱朱利尼指挥爱乐乐团、合唱团)《后宫诱逃》 K384咏叹调“Martern aller Arten”(Koth演唱,约胡姆指挥巴伐利亚歌剧院乐团与合唱团)咏叹调“Hier soll ich dich denn sehen”(Wunderlich演唱,约胡姆指挥巴伐利亚歌剧院乐团与合唱团)序曲(约胡姆指挥巴伐利亚歌剧院乐团与合唱团)序曲(NAXOS)《狄托的仁慈》,K621二重唱“Ah perdona al primo affetto”(von Stade & Popp演唱,科林·戴维斯指挥科文特花园皇家歌剧院乐团与合唱团)咏叹调“Ah,se fosse intorno al trono” (Burrows演唱科林·戴维斯指挥科文特花园皇家歌剧院乐团与合唱团)《阿斯卡尼奥在阿尔巴》K111,序曲(萨尔茨堡莫扎特管弦乐团/利奥波德·哈格)《巴斯蒂恩与巴斯蒂恩娜》K50,序曲《巴斯蒂安与巴斯蒂安娜》K50,全剧(Gruberova、Cole、Polgar演唱,Leppard指挥李斯特室内乐团)《装痴作傻》(一)施雷尔(P.Schreier)指挥C.P.E巴赫乐团《装痴作傻》(二)施雷尔(P.Schreier)指挥C.P.E巴赫乐团---------------------------------------------------------------------------------声乐作品:女高音咏叹调:“喜悦的心情”,K579(演唱:格鲁贝洛娃)咏叹调:“Vorrei Siegarvi,oh Dio”,K418《哈利路亚》(平诺克指挥英国协奏团, 演唱: Bonnry)《黄昏的感触》(Elly Ameling Dalton Baldwin with Netherlands Wind Ensemble)教堂音乐:忏悔者的庄严晚祷,K399C大调《加冕》弥撒曲,K317(哈农库特指挥)C小调大弥撒 K427 (柏林广播交响乐团/Fricsay)《圣礼赞》(排箫:赞非尔/管风琴:毕什)《C大调第十号弥撒曲》麻雀(库贝利克指挥巴戈里亚广播合唱团、乐团)安魂曲,D小调,K626伯姆指挥维也纳爱乐1971年版卡拉扬/柏林爱乐1976年版卡拉扬指挥维也纳歌唱家合唱团、伯林爱乐乐团巴伦博依姆1972年的版本克尔特兹(Kertesz)指挥维也纳爱乐乐团版库普曼指挥阿姆斯特丹巴洛克乐团等伯恩斯坦悼念亡妻版朱利尼/爱乐乐团和合唱团改编曲:第13号小夜曲《G大调弦乐小夜曲》,K525,第四乐章(长笛版)吉他: 《魔笛》主题及变奏(索尔改编,演奏:帕克宁)吉他: 《魔笛》主题及变奏(索尔改编,演奏:塞戈维亚)吉他: 《魔笛》主题及变奏(Pepe Romero 吉他独奏)《魔笛》中的幻想曲(萨拉萨蒂改编, 沙汉姆演奏)《费加罗婚礼》(管乐合奏)(LINOS-ENSEMBLE)《后宫诱逃》长笛与双簧管二重奏(Schulz长笛/Schellenberger双簧管)摇篮曲(改编曲)贝多芬《根据莫扎特歌剧〈唐璜〉中“La ci darem la mano”主题而作的变奏曲》但济《单簧管与乐队“La ci darem la mano”主题幻想曲》圆号协奏曲哼唱的《土尔其进行曲》木管五重奏《土尔其进行曲》Mozart 莫扎特作品目录编号K.时间地点作品名音高1 1761/2 Salzburg Minuet for Harpsichord (See K. 1e) G Major or 17641 1761/2? Salzburg Andante for Harpsichord C Major1b 1761/2? Salzburg Allegro for Harpsichord C Major1c 1761 Salzburg Allegro for Harpsichord F Major1d 1761 Salzburg Minuet for Harpsichord F Major1e 1761/2 Salzburg Minuet for Harpsichord (See K. 1) G Major or 17641f 1761/2 Salzburg Minuet for Harpsichord C Major or 17642 1762 Salzburg Minuet for Harpsichord F Major3 1762 Salzburg Allegro for Harpsichord B Flat Major4 1762 Salzburg Minuet for Harpsichord F Major5 1762 Salzburg Minuet for Harpsichord F Major5a 1763 Salzburg Allegro for Harpsichord (See K. 9a) C Major6 1764 Paris Sonata for Harpsichord & Violin C Major7 1764 Paris Sonata for Harpsichord & Violin D Major8 1764 Paris Sonata for Harpsichord & Violin B Flat Major9 1764 Paris Sonata for Harpsichord & Violin G Major9a 1763 Salzburg Allegro for Harpsichord (See K. 5a) C Major10 1764 London Sonata for Harpsichord,Violin (or B Flat Major Flute) & Cello11 1764 London Sonata for Harpsichord,Violin (or G Major Flute) & Cello12 1764 London Sonata for Harpsichord,Violin (or A Major Flute) & Cello13 1764 London Sonata for Harpsichord, Violin (or Flute) & Cello14 1764 London Sonata for Harpsichord, Violin (or Flute) & Cello。
最终幻想15王者之剑主题曲、插曲、片尾曲、背景音乐所有歌曲mv歌词

最终幻想15王者之剑主题曲、插曲、片尾曲、背景音乐所有歌曲mv歌词《最终幻想15:王者之剑》由,亚伦·保尔、琳娜·海蒂、肖恩·宾、阿德里安·布歇等联合配音演出,你知道最终幻想15王者之剑主题曲、插曲、片尾曲、背景音乐所有歌曲是谁唱的吗?下面是有最终幻想15王者之剑主题曲、插曲、片尾曲、背景音乐所有歌曲mv歌词,欢迎参阅。
最终幻想15王者之剑主题曲、插曲、片尾曲、背景音乐所有歌曲mv 歌词最终幻想15王者之剑主题曲、插曲、片尾曲、背景音乐所有歌曲mv歌词暂未更新,届时小编将持续跟踪报道,欢迎收藏本页面。
最终幻想15:王者之剑上映时间最终幻想15:王者之剑将于2017-03-10上映最终幻想15:王者之剑角色介绍露娜弗蕾亚·诺克斯·芙尔雷演员尼福尔海姆帝国属州特耐布拉艾的王女,担当着净化世界职责的神凪,深受世界中的人们所敬爱,与诺克提斯一起度过的幼年时光,对于其是非常重要的回忆。
作为路西斯与尼福尔海姆的和平象征,将与诺克提斯结婚的露娜,原本结婚仪式将于名叫奥尔缇谢的水之都进行,但是露娜却在因索姆尼亚卷入了路西斯与帝国间的战争。
克劳·阿尔媞斯演员王之剑的女性队员,出身于路西斯边境,拥有某种特殊能力,也可以使用上级黑魔法,是非常贵重的人员,将王之剑的成员看作自己家人般。
被卢彻·拉扎罗用空尖弹头杀害。
利波特斯·奥斯汀演员- 与尼克斯同乡的队员,非常开朗是王之剑的氛围活跃者,但同时责任感很强,还有着感情性顽固的一面,电影中还有着对于路西斯王的决定不满而爆发的场面。
尼克斯·乌里克演员雷吉斯王直属部队王之剑队员,也是电影的主角。
少年时代被卷入战争时被雷吉斯王所救,因此他非常感激雷吉斯王。
战斗能力优秀,是王之剑的核心人物,与路西斯王家的魔力亲和性很高。
资料 凯丽金

资料凯丽金肯尼·基(Kenny G)1956年6月5日出生于美国西雅图,是全球最著名的高音萨克斯风名家,出道以来,肯尼·基(Kenny G)总计创造了九张称霸全美当代爵士榜冠军并打进流行专辑榜 TOP10 的专辑,拥有24首抒情榜 TOP40 单曲,历年的专辑、单曲、音乐录影带的累积销售也已冲破7500万张,他是流行音乐史上最畅销的演奏曲艺人,同时也是当代最畅销的爵士乐乐手。
肯尼·基(Kenny G)的非凡才华为他赢得了葛莱美奖、全美音乐奖、灵魂列车奖与世界音乐奖。
基本信息∙中文名称肯尼·基∙外文名称Kenny G∙别名肯尼·基∙国籍美国∙星座双子座∙身高1.77m∙出生地美国西雅图∙出生日期1956年6月5日∙职业歌手,音乐家∙代表作品夜莺、伴我一生、茉莉花、回家∙主要成就1992年格莱美奖1992年全美音乐奖1992年世界音乐奖1994年全美唱片工业最佳艺人1 基本信息昵称:Kenny G原名:Kenneth Gorelick香港及台湾译作:肯尼基大陆译作:凯丽金生日1956年6月5日身高:177 CM 出生地:美国西雅图代表作:夜莺(Songbird)(美国及欧洲)、Theme From Dying Young(伴我一生)(台湾)、回家、茉莉花(中国)奖项:1992年获格莱美奖、全美音乐奖、世界音乐奖、1994年获全美唱片工业最佳艺人2 人物简介在肯尼·基(Kenny G)出现之前,萨克斯风一直是流行乐坛的配角,1987年,肯尼·基(Kenny G)的畅销单曲“Songbird”让全球乐迷疯狂爱上萨克斯风这个乐器,萨克斯风正式跃身为流行乐坛的主角,不仅法兰克·辛纳屈(frank sinatra)、芭芭拉·史翠珊(Barbra Streisand)、席琳·狄翁(Celine Dion)、惠妮·休斯顿(Whitney Houston)、黎安·莱姆丝(Leann Rimes)等跨世代乐坛巨星争相邀请肯尼·基(Kenny G)打造一首萨克斯风情歌,就连美国总统克林顿(William Jefferson Clinton)都对肯尼·基(Kenny G)的吹奏才华竖起大拇指叫好。
超能陆战队所有台词

超能陆战队所有台词人物:小宏、大白、弗雷德、神行御姐、芥末无疆、哈妮柠檬、罗伯特·卡拉汉教授、泰迪、卡斯阿姨、阿里斯泰、阿里斯泰·格利、弗雷德父亲1.get up ! Ge up!2.The winner! By total annihilation. Yama3.Yama:Who’s next ? Where’s the guts to stop me in the ring.With little Yama!4.Hiro:Can I try?5.Hiro:I have a robot.I built it myself.6.Beat it kid!House Rules:You gotta pay to play.7.Hiro:Oh,is this enough?8.Yama:What’s your name,little boy?9.Hiro, Hiro Hamada.10.Yama:Prepare your bot,Zero...11.Two bots enter...One might leaves. ----Fighters ready?-----Fight!12.Hiro:That was my first fight. Can I try again?13.Yama:No one likes a sore loser little boy.----Go home.14.Hiro:I’ve got more money...15.Fighters ready?----Fight!16.Hiro:Megabot!----destroy.17.Hiro:Not more “Little Yama”.18.Yama:But what?----This is not possible!19.Hiro:Hey, I’m as surprised as you are.Beginner’s luck.20.Hiro:do you wanna go again?----Yama?21.Yama:No one hustles Yama!22.Hiro:Wooh!hey!23.Yama:Teach him a lesson!24.Tadashi:Hiro,get on!25.Hiro:Tadashi,Ooh!Good timing.26.Tadashi:Are you okay?27.Hiro:yeah.28.Tadashi:Are you hurt?29.Hiro:No!30.Tadashi:Then, what are you thinking, knuckle head!31.Tadashi:You graduated high school and you’re 13 and this is what you’re doing---- Hold on!32.Tadashi:Bot fighting is illegal.You’re gonna get yourself arrested.33.Hiro:Bot fighting is not illegal.Betting on bot fighting...thats...that’s illegal.----But, so who could heed. I’m on a roll, big brother.----And there is no stopping me!34.Oh, no.35.Hi,Aunt cass36.Cass:Are you guys okay? Tell me you’re okay...37.Hiro:We’re fine.38.Tadashi:We’re okay39.Cass:Then what were you two knuckle heads inking?!---For 10years,I heed the best I could to raise you .---have I been perfect?No!----Do I know anything about children?No!----Should I pick a book on parenting?Probably?----Where I was going with this? I had a point...40.Tadashi:sorry.41.Hiro:We love you, Aunt cass.42.Cass:I love you too!----I had to close up early because of you two fellons on beat poetry night----Strees eating because of you! e on Moty!----This is really good!43.Tadashi:44.Tadashi:You’d better make this up to Aunt cass,before she eats everything in the cafe.45.Hiro:For sure.46.Tadashi:And I hope you learn your lesson, bone head.47.Hiro:Absolutely48.Tadashi:You’re going fight boting, aren’t you?49.Hiro:There’s a fight across town.If I book now ,i could still make it.50.Tadashi:When are you gonna start doing something with that big brain of yours?51.Hiro:What? Go to college like you ?----So people can tell me stuff Ialready know?52.Tadashi:Unbelievable.----Ahh, What would Mom and Dad say?53.I don’t know.They’re gone.----The died when I was 3,remember?54.Tadashi:I’ll take you.55.Hiro:Really?56.Tadashi:I can’t stop you from going,but I’m not gonna let you go on your own.57.Hiro:Sweet58.Hiro:What are we doing at your nerd school?----Bot fights that way!59.Gotta grab something .60.Hiro:Is this gonna take long?---Relax, you big baby, we will be in and out.----Anyway,you’ve never seen my lab.61.Hiro:Oh great! I get to see your Nerd Lab.62.Gogo:Heads up!63.Hiro:Wooh!----Electromag suspension?64.Gogo:Who are you!65.Tadashi:Gogo, this is my brother,Hiro.66.Gogo:Wele to the Nerd Lab.67.Hiro:Yeah....I’ve never seen electromag suspension on a bike before.68.Gogo:Zero resistance, faster bike.----But...Not fast enough.----Yet69.Tadashi:Hey,Wasabi,This is my brother, Hiro.70.WaSabi:Hello,Hiro.Prepare to be amazed.----catch!----71.Hiro:Laser induced Plasma?72.Wasabi:Oh yeah.----With a little magnetic confinement for ah...ultra precision.73.Hiro:Wow,how did you find anything in this mess?74.Wasabi:I have a system.There is a place for everything, and everything in its,place.75.Gogo:I need this!76.Wasabi:you can’t do that!----This is anarchy! Society has rules!77.Lemon;Excuse me!ing through!----Tadashi!----oh my gosh,you must be Hiro!----I’ve heard so much about you!----Perfect timing!Perfect timing78.Hiro:that’s a whole lot of Tungsten carbide.79.Lemon:400 pounds of it.----e here!e here! You’re gonna love this.----A dash of per chloric acid. A smidge of cobalt, a hint Hydrogen Peroxide...super heated to 500 Kelvin,and...Tadah!---I know right!----Chemical metal embrittlement!80.Tadashi:Not bad,Honey Lemon.81.Hiro:Honey lemon? Gogo?Wasabi?82.Wasabi:I spilled wasabi on my shirt one time people, One time!83.Tadashi:Fred is the one who es up with the nicknames.84.Hiro:Ah...Who’s Fred?85.Fred:This guy right here!----Ah! Ah! Don’t be alarmed, it is justsuit.This is not my real face and body.----The name is Fred.----School mascot by day but by night.----I’m also a school mascot.86.Hiro:So,what’s your major?87.Fred:No!No!I’m not a student but I am a major science enthusiast ----I’ve been turning to get honey to develop a formula....That can turn me into a fire breathing lizard at will.----But she says that’s not “science”.88.L:It’s really not.89.F:yeah,and I guess the shrink ray I ask Wasabi for isn’t science, either?Is it?90.W:Nope!91.F:Well then, what about invinsible sandwich?92.T:Hiro,93.F:Imagine eating a sandwich but,everybody just thinks you’re crazy.94.Just top95.F:Laser Eye?96.Hiro:What?97.Tingly fingers?98.Never gonna happen!99.Then what about grocery stores.100.H:So,what are you been working on?101.T:I’ll show you.102.H:Duct Tape?----I hate to break it to you, Bro.Already been invented. 103.A!Dude!A104.T:This is what I’ve been working on.105.Baymax:Hello,I am Baymax.Your personal health care panion. ----I was alerted to the need for medical attention when you said:A...106.H:A robotic nurse?107.B:On a scale of 1 to 10,How would you rate your pain?108.H:Physical,or emotional?109.B:I will scan you now.----Scan plete.----you have a slight epidermal abrasion on your forearm.----I suggest an anti-bacterial spray.110.H:Whoa, whoa...What’s in the spray specifically?111.B:The Primary ingredient is:”Bacitracin.”112.H:That’s a bummer,I’m actually allergic to that.113.B:You’re not allergic to Bacitracin.----You do have a mild allergy to:Peanuts.114.H:Not bad.115.H:You’ve done some serious coding on this thing huh!116.T:Ahah!Programmed to over more than 10,000 medical procedures ----This chip!Is what makes Baymax,”Baymax”117.Vinyl?118.T:Yeah,going for a non-threatening huggable kind of thing.119.H:Looks like a walking marshmallow.No offense.120.B:I am a robot.I can not be offended.121.H:Hyperspectro Cameras.122.T:yup.123.H:Titanium skeleton.124.T:carbon fiber.125.H:Right.Even lighter.----:Killer actuators, where did you get those? 126.T:Machined them right here...In house...127.H:Really?128.T:Yup---He can lift a thousand pounds.129.H:Shut up!130.B:You have been a good boy, have a lollipop.131.H:Nice132.B:I can not deactivate until you say:”You are satisfied with your care.”133.H:Well then, I’m satisfied with my care.134.T:He’s gonna help a lot of people.135.H:Hey,what kind of battery does it use?136.T:Lithium lon.137.H:you know,Super capacitor would charge way faster.138.R:Buring the midnight oil, Mr.Hamada?139.T:Hey,Professor, I actually was finishing up.140.R:You must be Hiro.Bot fighter, right?----When my daughter wasyounger,That’s all she wanted to do.----May I.141.H:Sure!142.R:Hom, Magnetic bearing Servos.143.H:Pretty sick huh? Wanna see how I put them together?144.T:Hey,Genius! He invented them!145.H:You are Robert Callaghan?---Like as in ,Callaghan...Callaghan’s Laws of Robotics?146.R:That’s right.Ever think about applying here?your age wouldn’t be an issue.147.T:I don’t know, he’s pretty serious about his career in bot fighting. 148.H:Well, kind of serious,149.R:I can see why.-----with you bot winning must e easy.150.H:Yeah, I guess.151.R:Well, if you like things easy,then my program isn’t for you.We push the boundaries of robotics here.My students go on to shape the future. Nice to meet you, Hiro.Good luck with the bot fights.==================152.T:You gotta hurry if you wanna catch that bot fight.153.H:I have to go here!if I don’t go to this nerd school.I’m gonna lose my mind.How do I get in?154.T:Every year, the school has a student showcase.You came up with something that blows Callaghan away.you’re win.But,it’s gotta be great.155.H:Trust me...It will be...Nothing!No eless empty brain.156.T:Well, washed up at 14.so sad157.H:I got nothing!I’m done! I’m never getting in!158.T:I’m not giving up on you.159.H:What are you doing?160.T:Shake things e that big grain of yours to think your way out. 161.T:Look for a new angle.162.T:Wow, a lot of sweet tech here today.How you feelin?163.H:You’re talking to an ex-bot fighter,It takes a lot more than this to rattle me.164.G:Yup,he’s nervous.165.F:Oh!you have nothing to fear little fella.166.G:he’s so tense.167.H:No!I’m not.168.L:Relax.Hiro.Your tech is amazing!Tell him, Gogo....169.G:Stop whining, woman up.170.H:I’m fine!171.W:What you need, little man?Deodorant breath mint, fresh pair of under pants?172.G:Under pants?You need serious help173.W:Hey, I e prepared.174.F:I haven’t done laundry in 6 months.One pair last me four days.I gofront, I go back, I go inside out then I go front and back175.T:Wow!That is both disgusting and awesome.176.G:Don’t encourage him177.F:It’s called “Recycling”.178.Next Presenter:Hiro Hamada.179.F:Oh yeah.this is it!180.H:I guess I’m up.181.L:Okay!Okay,photo!Photo!Everybody say:”Hiro!”182.“Hiro”183.L:We love you Hiro.Good luck!184.G:Don’t mess it up185.W:Break a leg,little man!186.F:Science, yeah!187.T:Alright, Bro. This is it!What’s going on?188.JH:I really wanna go here.189.T:Hey, you got this.190.H:Hi....My name is Hiro.Sorry.My name is Hiro Hamada.And.I’ve been working on something that I think is pretty cool.I hope you like it.This, is a microbot191.T:Breath.192.It doesn’t look like much.But when it links up with the rest of its pals...Things gonna get a little more interesting.The Microbots arecontrolled with this neurotransmitter.I think about what I want them to do...The do it.The applications for this tech are limitless. Construction... What use to take teams of people working by hands for months or years. Can now be acplished by one person.And that’s just the beginning... How about,Transportation?Microbots can move anything, anywhere, with ease.If you can think it...microbots can do it.The only limit is your imagination.Microbots!193.Cass:That’s my nephew! My family! I love my family!194.T:Nailed it!195.You did it!196.You did it bad.197.Good job,Hiro.198.It blows my mind, dude.199.They loved you.That was amazing!200.Krei:Yes,With some development, your tech could be revolutionary. 201.H:Alastair Krei.202.K:May I?---Extraordinary.I want your microbots at Krei Tech.203.H:Shut up.204.R:Mr.Krei is right.Your microbots are an inspired piece of tech.You can continue to develop them...Or you can sell them to a man whose only guided by his own self interest.205.K:Robert,I know how you fell about me.But it shouldn’t affect you...206.R:This is your decision, Hiro.But you should know,Mr krei has cut corn has cut corners.and ignored sound science to get where he is.207.K:That’s just not true.208.R:I wouldn’t trust Krei Tech with you microbots.or anything else 209.K:Hiro...I’m offering you more money that any fourteen year old could imagine.210.H:I appreciate the offer, Mr.Krei.But they are not for sale211.K:I thought you were smarter than that.Robert.212.T:Mr.Krei...That’s my brother’s213.K:oh, that’s right.214.R:I’m looking forward of seeing you in class...215.Wohoo! Yeah ! Unbelievable!216.Cass:Alright geniuses! Let’s feed those hungry brains. Back to cafe,dinner is on me!217.F:Yes,nothing is better that free food.218.T: Aunt Cass...219.Unless it’s moldy.220.T:We’ll catch up, okay?221.Cass:Sure.I’m so proud of you!Both of you!222.T:Thanks, Aunt Cass.223.H:I know what you gonna say.I should be proud of myself,because I’m finally using my gift for something important...224.T:No! No, I was just gonna tell you, your fly was down for the whole show.225.H:Haha, Hilarious! What? Ahh!226.Wele to Nerd School. Nerd!227.H:Hey, I am... I wouldn’t be here if it wasn’t for you, so... You know... Thanks for not giving up on me.228.T: Are you Okay?229.Yeah, I’m okay.But Professor Callaghan is still in there.230.H:Tadashi,No!231.T: Callaghan’s in there. Someone has to help.232.H:Tadashi.Tadashi.Tadashi.233.Cass:Hey...234.H: Hey, Aunt Cass.235.Mrs.Matsuda’s in the cafe. She’s wearing something super inappropriate for 80 year old. It always cracks me up. You shold e down. 236.H:Maybe later.237.Cass: Oh the university called again.It’s been a few weeks science classes started, but they said its not too late to register.238.H:Okay, thanks.I’ll think about it.239.Hey Hiro240.L:We just wanted to check in and see how you’re doing.241.W:We wish you were here , buddy.242.F:Hiro,if I could have only one super power right now... It would be the ability to crawl through this cameras and give you a big hug.243.B:Hello,I am Baymax, Your personal health care panion.244.H:Hey...Baymax,I didn’t know you were still active.245.B:I heard a sound of distress. What seems to be the trouble?246.H:Oh, I just had my toe a little, I’m fine.247.B:On a scale of 1 to 10, How would you rate your pain?248.H:Zero?...I’m okay, really, Thanks. You can shrink now.249.B:Does it when I touch it?250.H: That’s okay, No! No touching! Ahh251.B: You have fallen252.H: You think?253.B:On the scale of ..On a scale...On a scale...On a scale of one to ten... On a scale of one to ten, How would you rate your pain?254.H:Zero.255.B: It is alright to cry.256.H: No! No...257.B: Crying is a natural response to pain.258.H: I’m not crying.259.B: I will scan you for injury.260.H:Don’t scan me.261.B:Scan plete.262.H:Unbelieveable,Unbelieveable263.B:You have sustained no injuries.However. Your hormone and neurotransmitter levels indicate that you are experiencing mood swings. mon on adolesscenes.Diagnosis:Puberty.264.H:Woah! What? Okay,time to shrink now.265.B:You should expect an increase in body hair. Especially on your face, chest armpits, and....266.Thank you ,that’s enough.267.B: You may also experience strange and powerful new urges.268.H:Okay,let’s go you back in your luggage.269.B:I can not deactivate until you say: You are satisfied with your care. 270.H:Fine, I’m satisfied with my... My microbot? This doesn’t make any sense.271.B: Puberty can often be a confusing time for young adolescent flowering into a manhood.272.H:No! The thing is attracted with other microbot, but...That’s impossible, they were destroyed in a fire.Something’s broken.273.B:Your tiny robot is trying to go somewhere.274.H:oh yeah? Why don’t you find out where he is trying to go?275.B:Would that stabilize your pubescent mood swings?276.H:Absolutely. .... BayMax?277.Cass:Hiro?278.H:Hi, Aunt Cass.279.Cass:Wow, you’re up?280.H: Yeah, I figured it was time.281.Cass:Are you registering for school?282.H: Ah, yes ,I’ve thought about what you said.Really inspired me. 283.Cass:oh,honey, That’s so great.Okay, specal dinner tonight. I leave up some chicken wings...You know, with a hot sauce that makes us faces numb.284.H:Okay,sounds good.285.Cass:Great!Last hug.286.H:Baymax!Are you crazy? What are you doing?287.B:I have found where your tiny robot wants to go...288.H: I told you , its broken! It’s not trying to go... Locked.289.B:There is a window290.B:Please exercise caution.291.B:A fall from this height could lead to bodily harm.292.B:Oh,no293.B:Excuse me, while I let out some air.294.H:Are you done?295.B:Yes.296.B:It will take me a moment to re-inflate.297.H:Fine, just keep it down.298.H:My microbots? Someone’s making more.299.B:Hiro?300.H:You gave me a heart attack.301.B:My hands are equipped with defibrillators.302.B:Clear!303.H:Stop! Stop.It’s just an expression.304.B:oh, no.305.H:Run , oh, e on!306.B:I am not fast.307.H:Yeah, no kidding!308.H: Go , go ,e on.Kick it down! Punch it! Go go,e on , go go go .Move it.e on!e on ! The window!Suck in!BayMax309.police:Alright,let me get this straight.A man in a kabuki mask.Attacked you withan army of miniature flying robot.310.H:Microbots311.Police:Microbots312.H:Yeah,he was controlling them telepathically with a neurocranial transmitter.313.Police:So Mr.Kabuki was using ESP to attack you and balloon man. 314.Police:Did you file a report when your flying robots was stolen? 315.H:No,I thought they were all destroyed.Look, I know it sounds crazy but Baymax was there too.Tell him.316.B:Yes ,officer.He is telling the tru...th.317.H:What the...What’s wrong with you?318.B:Low battery.319.H:Whoa!Whoa, try to keep it ho...me320.B:I am a health care, your personal Baymax...321.Police:Kid,How about we call your parents and get them down here. 322.H:What?323.Police:Write your name and number down in this piece of paper,and we can...324.H: I gotta get you home to your charging station.325.H:Can your walk?326.B:I will scan you now. Scan plete. Health care.327.H:Okay,If my aunt asked, You are at school all day, got it?328.B:We jump out of window.329.H:No, But be quiet! Shhh!330.B:We jump out of window.331.H:But you can’t say things like that on our Aunt Cass.332.Cass:Hiro,You home,sweetie?333.H:That’s right!334.Cass:I thought I heard you, Hi!335.H:Hey.Aunt Cass336.Cass:Oh, look at my little college man.Ah!I can’t wait to hear allabout it.Oh! Means its almost ready.337.H:You be quiet?338.Cass:Alright, get ready to have your face melted.We are gonna feel this things tomorrow.You know what I’m saying?Okay,sit down,tell me everything.339.H:The thing is,since I registered so late.I’ve got a lot of school stuff to catch up on.340.Cass:What was that?341.H:Mochi.Oh. That darn cat342.Cass:Oh!Just take a plate for the road.okay?Don’t work too hard. 343.H:Thanks for understanding.344.B:Hairy baby.Hairy baby.345.H:Alright, e on.346.B:I’ll carry on, I’m your personal Baymax.347.H:One foot in front of the other.348.H:This doesn’t make any sense.349.B:Tadashi350.H:What?351.B:Tadashi352.H:Tadashi’s gone353.B:When will he return?354.H:He is dead,Baymax.355.B:Tadashi was in excellent health.With a proper diet and exercise.He should have lived a long life.356.H:Yeah,he should have.But there is a fire...Now he’s gone.357.B:Tadashi is here.358.H:No, people keep saying he is not really gone.As long as who remember him.Still hurts...359.B:I seen no evidence of physical injury.360.H:It’s a different kind of hurt361.B:You are my patient, I would like to help362.H:You can’t fix this one buddy. Ah, What are you doing?363.I am downloading a database on personal lost. Database downloaded. Treatments include:contact with friends, and loved ones.I am contacting them now.364.H:No!No,don’t do that.365.B:Your friends have been contacted.366.H:Unbelieveable! Now what are your doing.367.B:Other treatments include:passion,and physical reassurance.368.H:Okay,Really369.B:You will be alright.There,there.370.H:Thanks, Baymax.371.B:I am sorry about the fire.372.H:It’s okay,it was an accident. Unless.....Unless it wasn’t a ...373.H:Ah!The showcase,the guy in the masked stole my microbots and set the fire to cover his tracks.He’s responsible for Tadashi.We gotta catch that guy.374.Television:it’s alive,It’s alive,It’s alive,It’s alive!375.H:If we’re gonna catch that guy,you need some upgrades.376.B:Will apprehending the man in the masked improve your emotional state?377.H:Absolutely,Let’s work on your moves.378.B:I have some concerns.This armor may undermine my non-threatening huggable design.379.H:That’s gotta be the idea,buddy,you look sick.380.B:I can not be sick.I’m a robot.381.H:it’s just an expression.382.Data transfer plete.383.H:I fail to see how karate makes me a better health care panion. 384.H:You wanna keep me healthy, don’t you?Punch this.Yes.Hammer fist. Knife hand!Back kick!Gummy Bears!385.H:Yeah,fist bump!386.B:Fist bump is not in my fighting database.387.H:No, this isn’t a fighting thing.It’s what people do sometimes when they are excited or pumped up.Hey now you’re getting it.388.H:I will add fist bump to my care giving matrix.389.H:Alright!Let’s go get that guy.e on.get him Baymax.390.H:We’re too late391.B:Your tiny robot is trying to go somewhere.392.H:e on393.B:Always wait one hour after eating before swimming.394.H:e on!395.B: Your heart rate has increased dramatically.396.H:Okay,Baymax.Time to use those upgrades.397.L:Hiro?398.H:No!No,get out of here! Go!399.W:What are you doing out here.400.H:Nothing!Just stop for a walk.Helps my pubescent mood swings 401.W:Is that Baymax?402.H:Yeah,but you really...403.G:Ahh!Why is he wearing carbon fiber under pants?404.B:I also know Karate.405.H:You guys need to go.406.L:No,don’t push us away,Hiro.We’re here for you.That’s why Baymax contacted us.407.B:Those who suffer a lose, requires support from friends and loved ones.408.H:Who would like to share their feelings first?409.F:Oh!I’ll go! Okay!My name is Fred,and it has been 30 days since... Holy Mother of Megazod! Am I the only one seeing this?410.W:Aaahhh,My gosh! Oh no!411.H:Go! Baymax,get him!412.H:No!no!no, what are you doing.413.G:I am saving your life.414.H:Baymax can handle that guy.415.B:Oh!no!416.G:Wasabi417.W:Goodbye!418.G:Hiro,explanation now!419.H:He stole my microbots,he started the fire.I don’t know who he is! Baymax,palm hill strike!420.G:Hard left!421.F:That Mask,black suit...We are under attack from a super villain people!I mean,how cool is that?I mean it’s scary obviously,but how cool?422.G:Why are we stopped?423.W:The lights red.424.G:There are no red lights in a car chase!425.W:Why is he trying to kill us?426.W:Why are you trying to kill us?427.F:it’s classic villain, we’ve seen too much!428.L:Let’s not jump t conclusions,We don’t know he is trying kill us. 429.L:Car,he is trying to kill us!430.G:Did you just put your blinker on?431.W:You have to indicate your turn,it’s the law!432.G:That’s it!433.H:Stop the car!Baymax and I can take this guy!434.B:Seat belts save lives.Buckle up everytime.435.W:Whoa!Wha,what are you doing?436.L:I think we lose him.437.W:Watch out438.G:Baymax hold on!439.W:We are not gonna make it!440.G:We are gonna make it!441.W:We are not gonna make it!442.G:We are gonna make it!443.W:We are not gonna make it!444.G:We are gonna make it!445.L:We made it!Yes~!446.L:I told you we’re gonna make it.447.B:Your injuries require my attention and your body temperatures are low448.H:We should get out of here449.F:I know a place.450.G:Where are we?451.H:Fred?Where are you going?452.F:Oh,wele to the MiCasa.It’s French for “Front door”.453.G:It’s really not.Listen,nitwit!A lunatic in a mask just tried to kill us.I’m not in the mood,fred!454.Servant:Wele home,Mr.Frederick.455.F:Heathcliff,My man!e on in guys.We’ll safe in here.Give me some. 456.G:Freddie?This is your house?I thought you lived under a bridge. 457.F:Well,technically it belongs to my parents.They are on a vacay in a family island.We should totally go sometime.For all luck!458.L:You gotta be kidding me.459.W:If I wasn’t just attacked by a guy in a kabuki mask.I think this would be the weirdest thing I’ve seen today.My brain hates my eyes for saying this.460.B:Your body temperature is still low.461.H:Oh!Yeah,Hh462.F:Ahh!It’s like spooning a warm marshmallow.463.L:Oh!It’s so nice! Ah yeah!464.W:Ah!It’s toasted.465.G:Ahh!Good robot.466.H:Does that symbol mean anything to you guys?467.F:Yes ,It’s a bird!468.H:No!The guy in the mask was carrying something with this symbol on it.469.B:Apprehending the man in the mask will improve Hiro’s emotional state470.G:Apprehend him?We don’t event know who he is!471.F:I have a theory.472.W:Dr.Slaughter,MD?473.F:Actually, millionaire weapons designer, Malcolm Chastletick.474.H:The annihilator.475.F:Behind the mask,industrialists.Reed Exworthy.476.G:Baron von De-Struck? Oh,just get to the point!477.F:Don’t you guys get it?The man in the masked who attacked us,Is none other than....Voila!Alastair Krei.478.H:What?479.F:Think about it,Krei wanted your microbots and you said no.Rules don’t apply to a man like Krei.480.H:There’s n way! The guy’s too high profile.481.L:Then who was that guy in the mask?482.H:I don’t know,we don’t know anything about him.483.B:His blood type is AB negative.Cholesterol levels are..484.H:Baymax,you scanned him?485.B:I am programmed to assess everyone’s health care needs.486.H:Yes.I can use the data from your scan to find him.487.G:Uh,you’d have to scan everyone in San Fransokyo...and that might take,I don’t know forever?488.H:No!No...No,I just have to look for another angle.Got it! I’ll scan the whole city at the same time.I just have to upgrade Baymax’s sensor.Actually,if we’re gonna catch this guy,I need to upgrade all of you. 489.W:Upgrade who now?490.B:Those who suffer a lose,requires support from friends and loved ones.491.F:Oh wohhooh!Okay! I like where this is heading.492.W:We can’t go aginst that guy!We’re nerds!493.L:Hiro,We want to help,But we’re just us.494.H:No!You can be way more.495.G:Tadashi Hamada is our best friend.We’re in.496.F:Can you feel it?Do you guys can feel these?Our origin story begins. We are gonna be Superhero.497.H:Arms up!The neurotransmitters must be in his mask.We498.499.500.501.G: 502.。
终极音响测试天尊

终极⾳响测试天尊【专辑名称】:Chesky Records Ultimate Demonstration【专辑中⽂】:终极⾳响测试天尊【专辑歌⼿】:Various Artists【专辑⽇期】:2005年《CD天书》推介the ultimate demonstration disc---chesky:CHESKY精选了14段最新录⾳去分析测试14个试⾳必试项⽬,每段⾳乐播出之前均有英语辅导各位每段录⾳的特⾊及应该听出怎样的声⾳才算理想。
本录⾳另有普通话版本,让英语聆听能⼒不太好的发烧友也能够听得懂每段讲解的意思。
本碟不仅能辅导阁下去提升聆听HI FI的技巧,更能以所学的技巧去⾳乐厅听现场演奏时增添聆听情趣。
此外,由于录⾳绝对⾃然和忠于⾳乐,发烧友在试听选购不同的⾳响器材(或接线)时,本碟也是⼀张不可多得的试⾳CD,⽤⼀张CD试齐14个最重要的测试项⽬。
以下是14个测试项⽬,数⽬代表该段⾳乐(⾮旁⽩)的TRACK NUMBER。
3、⾼分析⼒5、深度7、⽓氛9、中频纯度11、⾃然度13、透明度15、临场感17、内在冲击⼒19、节奏速度感21、聚焦⼒23、⽴体解像⼒25、瞬变。
TEST CD 4.1(测试CD4。
1)这张CD的录⾳真实到聆听者与乐器之间没有麦克风的存在。
再加上刻意选了⼗七种不同类型的录晋收录成这张测试⽚,对于⾳场的表现、⾳⾊以及动态等都有其独到之处。
第⼀轨从头到尾都有⽊管按键的活⽣杂⾳,您听得清楚吗?还有,这是⼗⼆位⽊管乐⼿在⼤教堂内的录晋,空间感够⼤吗,第⼆轨演奏者有时还会跟着哼唱⼏句,您注意到了吗,钢琴如果不够晶莹扎实饱满,⿎刷如果不够清楚,那都不对。
第三轨是在⾳乐厅⾥录的,您可以听到侧壁传回来的堂⾳吗?弦乐够甜够光泽吗?如果涩涩没有光泽那就严重了。
第四轨的钢琴够⼲净利落吗?速度够快吗?如果拖泥带⽔那也完蛋了。
第五轨精彩的地⽅是那⼆⽀巴松管,您听到它们很真实的质感吗?您听到空间的⼝响吗?如果您觉得它们的声⾳不美,那当然不对。
真人快打10终结技大全

真人快打10终结技大全真人快打10作为一款备受玩家喜爱的格斗游戏,终结技一直是游戏中最为吸引人的部分之一。
每个角色都有自己独特的终结技,让玩家在游戏中可以体验到不同的打击感和视觉盛宴。
在本文中,我将为大家介绍真人快打10中各个角色的终结技,希望能够帮助玩家更好地掌握游戏技巧,提升游戏体验。
1. 丹尼尔·凯奇。
终结技,火焰之拳。
丹尼尔·凯奇的终结技是一记极具威力的火焰拳,他会迅速蓄力并释放出一记燃烧的火焰拳,对敌人造成巨大伤害。
2. 雷登。
终结技,雷电打击。
雷登的终结技是一记强力的雷电打击,他会释放出强大的雷电能量,将敌人击倒在地,造成毁灭性的打击。
3. 孙悟空。
终结技,如来神掌。
孙悟空的终结技是一记神乎其技的如来神掌,他会释放出强大的能量波,将敌人瞬间击溃。
4. 刘康。
终结技,狂暴之刃。
刘康的终结技是一记狂暴之刃,他会化身为一头狂暴的狮子,用锋利的利爪将敌人撕裂成碎片。
5. 卡诺。
终结技,心脏撕裂。
卡诺的终结技是一记致命的心脏撕裂,他会迅速接近敌人,用锋利的刀刃将敌人的心脏撕裂。
6. 雷神。
终结技,雷霆之怒。
雷神的终结技是一记震撼人心的雷霆之怒,他会召唤出强大的雷电能量,将敌人彻底击溃。
7. 雷克斯。
终结技,毁灭之翼。
雷克斯的终结技是一记毁灭之翼,他会化身为一只巨大的恶魔,用强大的黑暗力量将敌人吞噬。
8. 莫卡普。
终结技,猛犸之怒。
莫卡普的终结技是一记猛犸之怒,他会化身为一头狂暴的猛犸象,用强大的力量将敌人碾压成肉泥。
9. 雷神。
终结技,雷霆之怒。
雷神的终结技是一记震撼人心的雷霆之怒,他会召唤出强大的雷电能量,将敌人彻底击溃。
10. 闪电侠。
终结技,闪电风暴。
闪电侠的终结技是一记闪电风暴,他会以迅雷不及掩耳之势,将敌人团团围住,然后一举击溃。
以上就是真人快打10中各个角色的终结技大全,每个终结技都有其独特的特点和打击效果,希望玩家们能够善加利用,享受游戏的乐趣。
Terminator_Salvation

[Scene: Longview state correctional facility,2003]朗维尤州立监狱2003年-Dr. Kogan:Marcus ,How are you?Marcus,你怎么样?-Marcus: Ask me in an hour.一小时后再问吧。
-Dr. Kogan: I thought I'd try... one last time.我想...最后再和你谈一次。
-Marcus:You should have stayed in San Francisco, Dr. Kogan .San Francisco: 旧金山Dr.=Doctor: 博士你该呆在旧金山的,科根博士-Dr. Kogan: By signing this consent form, you'll be donating your body to a noble cause. You'd... have a second chance... through my research to live again.consent: 同意,许可form:表格donate: 捐赠noble:高尚的,崇高的cause:事业research: 研究签下这份承诺书,你的遗体会捐献给一项崇高的事业。
你可以... 得到救赎的机会。
我的研究可以让你重生。
-Marcus: You know what I did. My brother and two cops are dead because of me. I'm not lookin' cop: 警察lookin’=looking:寻求你知道我做了些什么。
我哥哥和两个警察都是被我害死的。
我不奢求for a second chance. But I'm not the only one with a death sentence, am I? Do you think I'm gonna kill your cancer, Serena?sentence: 宣判,判决kill: 消减,治愈cancer:癌症我不奢求什么机会了。
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PROFESSIONAL COMMUNICATION AND TRANSLATION STUDIES, 5 (1-2) / 201279 THE IMPORTANCE OF MEMORY TRAINING ININTERPRETATIONAndrea KRISTONTibiscus University, TimişoaraAbstract: Among the many things an interpreter should learn in order to perform simultaneous or consecutive interpretation, memory is an important element that needs training. In the present paper, my aim is to discuss some techniques of improving one’s memory, the characteristics of short and long term memory, and the way in which they influence the interpreter’s performances. Keywords: interpretation, short-term and long-term memory, simultaneous interpretation, consecutive interpretation, mnemonics.1. IntroductionEveryone knows that interpreting denotes facilitating communication from one language into another language. The conference interpreter translates the message orally, which is quite different from written translation. In order to perform the task professionally an interpreter has to master the foreign language/s he/she is working upon, and to undergo special training as the job requires not only to perform this task correctly, but also to perform it in real time, which means fast.Whether it is about a simultaneous or a consecutive interpretation, the person performing it has to do the translation quickly and not to leave blank spaces in what he/she is about to say. This may prove sometimes difficult, especially if the interlocutor speaks too fast or uses too long sentences and no pause. In the case of simultaneous interpretation, things are even more complicated as the translator is isolated in a sound-proof booth and speaks in the microphone while the speaker does not stop. Consecutive interpretation is divided in two: short CI and long CI. Short CI uses fragments that the interpreter has to memorize and render orally, while in the other case, the interpreter takes notes.This article will discuss some techniques of training memory, the most important tool for a conference interpreter. My experience as interpreter shows that retaining the information that needs to be conveyed into the target language is crucial. If you do not have a memory trained to remember that, the target language proficiency proves insufficient. Apart from the vocabulary or linguistic structures of a language, together with the subject matter knowledge, the interpreter should be at ease with the general framework of the conference, which will help him/her understand the information and place it into context. Memory can be split in two types: short and long-term memory. Short-term memory is important for the interpreter to retain what he/she has just heard, while a good long-term memory helps genuine understanding and an accurate conveying of the message.PROFESSIONAL COMMUNICATION AND TRANSLATION STUDIES, 5 (1-2) / 2012802. Short and long-term memoryPsychological studies of human memory agree that it can be of two types: short-term memory (STM) and long-term memory (LTM). Carolyn Hopper draws our attention to the name of LTM, which is only long-term, never permanent. (Hopper 2010: 102). According to its name, STM is able to retain and recall the information for just a brief period of time because it does not create the neural mechanisms that would be needed for a subsequent storage. On the contrary, LTM occurs once you have created the neural pathways for storing, so the information that you hear can be stored from minutes to months or even years’ span. We have, though, to make a deliberate attempt to encode the information in the way we intend to recall it later. “In actuality long-term memory is the neural pathways and synaptic connections that have stabilized through repeated use” (Hopper 2010: 102). This actually means that some things become part of our memory through rehearsal, and they belong to the LTM, while the sentences that we hear only once do not get encoded into our memory, being part of the STM. This short-term memory is extremely important in an interpreter’s task, as he/she has to quickly convey the message from the source language into the target language. It only lasts up to thirty seconds, then it gets erased from one’s memory, which means that in the case of an interpreter, he/she translates the message, and when the conference is over, he moves on to another task, maybe entirely different. That is why this STM is extremely useful to interpreters and they have to learn how to take advantage of it.3. Effort ModelsDaniel Gile (1992) talks about the difficulties and efforts “involved in interpreting tasks and strategies needed to overcome them” (Gile 1992: 191), observing that many failures occur in the absence of any visible difficulty. He then proposes his Effort Models for interpreting. He says that “The Effort Models are designed to help them [interpreters] understand these difficulties [of interpreting] and select appropriate strategies and tactics. They are based on the concept of Processing Capacity and on the fact that some mental operations in interpreting require much Processing Capacity” (Gile 1992:191).The Effort Models suggested by Gile are meant to help interpreters perform their task at a superior level. They are constructed upon four types of efforts, namely: the Listening and Analysis Effort, the Memory Effort, the Production Effort, plus the Coordination one. The Listening Effort consists of all “comprehension-oriented operations, from the subconscious analysis of the sound waves carrying the source-language speech which reach the interpreter’s ears through the identification of words to the final decisions about the ‘meaning’ of the utterance”(Gile 1995: 160). The listening and analysis efforts recall the presence of understanding, besides the simple hearing of words, that is, the brain has to use its capacity of conveying the sounds into a rational message. The Memory Effort is viewed as more of a storage mechanismPROFESSIONAL COMMUNICATION AND TRANSLATION STUDIES, 5 (1-2) / 201281 where information is temporarily kept before further processing takes place. Production is being performed on speech segments, while Coordination Effort has a crucial task. It was compared to “the air-traffic controller for the interpreting that takes place, allowing the interpreter to manage her focus of attention between the listening and analysis task and the ongoing self-monitoring that occurs during performance” (Leeson 2005: 57). When coordination is reached, interpreters attain the optimal state in order to perform their task. At this point, there is synchronization between their skill level and the task they have to perform. The art of smooth interpretation is based on the art of smooth coordination. Even if sometimes these Efforts overlap, coordination actually finds the balance between all the factors.3.1. Effort Model of Simultaneous InterpretationGile’s effort model of simultaneous interpreting comprises the above mentioned four elements, and he codes the model as follows:SI = L + P + M + C,where, L is the Listening and Analysis Effort, P is the Production Effort, M stands for Memory, and C for Coordination. Simultaneous interpretation is a total of all these efforts, and it actually depends on their complete and smooth running, namely the particular comprehension, short-term memory, or production operations being performed on speech segments. “Due to the high variability of requirements depending on the incoming speech segments, processing capacity requirements of individual Efforts can vary rapidly over time, in seconds or fractions of seconds” (Gile 1995: 169).3.2. Effort Model for Consecutive InterpretationGile also believes that Consecutive Interpretation consists of two phases: a listening and a reformulation phase, and then, a reconstruction phase:CI = L + M + N, where N is the note-taking process followed by phase two:CI = Rem + Read + P, where interpreters retrieve messages from their short-term memory and reconstruct the speech (Rem), read the notes (N), and produce the Target Language Speech (P). As we can see, this formula proposed by Gile is only applicable in the case of long CI, where the interpreter takes notes to render orally the message at the end of the conference.I would like to suggest another way of seeing CI, short CI this time, where the interpreter undergoes exclusively the oral task of rendering the information to the other part. Short CI is very close to SI, but I may add that the pace of the whole process is slower, which increases the interpreter’s capacity of understanding and analyzing the information. Due to this, the interpreter only uses his/her short term-memory and produces the language speech, without neglecting coordination. The formula stays the same as in the case of SI, but mimics and the mutual perception of the speaker with the interpreter ease the latter’s task:short CI = L + M + P + CPROFESSIONAL COMMUNICATION AND TRANSLATION STUDIES, 5 (1-2) / 2012824. Short-term memory: acoustic, visual and semantic codingIt is believed that information enters STM as a result of attention to a stimulus, in our case, the attention to the speaker. Studies show that the encoding of information is mainly done through three modalities: acoustic, visual and semantic.The acoustic coding relates closely to what we hear (words, sentences, sounds), without placing the emphasis on the meaning of sentences/words. A source of evidence “for separating long and short-term memory comes from experiments which suggest that material in our short-term memory is processed largely in terms of speech sounds, whereas our long-term memory depends primarily on meaning” (Baddeley 1999:36).Alan Baddeley states that STM depends mainly on acoustic coding (1966). “If participants recalled words from short-term memory, they didn’t confuse words having the same meaning, like (e.g “big” and “large”), but they often confused words that sounded similar (e.g. remembering “cat” instead of “cap”)” (Eysenck 2005: 48). This means that the interpreter relies a lot on what he hears, while he tries to carry the task properly. During the rapid translation process, the interpreter does not have enough time to thoroughly analyze the meaning of information; therefore, he/she sometimes translates automatically according to the words heard without filtering the actual meaning. The message is rendered appropriately if the words are heard, but also placed in context. In this case, LTM acts better, and is based mainly on the interpreter’s good knowledge of the area the translation is being performed.The visual coding of a message is linked to the pictures or images we mentally create when we hear a discourse. In a conference, it may be either a Power Point presentation, some diagrams and charts, or it may come under the form of visual representations a person creates in his/her own mind. For some people it is called photographic memory, as they immortalize an image, while in others, it is less functional.Semantic coding talks about the actual meaning of words. Studies made by psychologists (Kellogg 2003: 135) were quite surprising. Kellogg found out that semantic codes are powerful in STM, and that people were aware of the actual meaning of triads or pairs of words given.5. Training short-term memorySTM has to be constantly trained, so that the interpreter achieves a better understanding of the source language and its message. Consequently, the level of interpretation will improve, and very probably, the results will be highly satisfactory. But how can someone train his/her memory for better memorizing performance?Psychologists have filled thousands of pages about the human brain and the fact that the average people never use it to the full. They have also created together with linguists lots of practical exercises that should be performed by the students aiming to become interpreters.PROFESSIONAL COMMUNICATION AND TRANSLATION STUDIES, 5 (1-2) / 2012835.1. MnemonicsOne important tool in memorizing is mnemonics. The Concise Oxford English Dictionary (Soanes, Stevenson, Hawker, 2006: 477) states that a mnemonic device is any learning technique that helps memory. When learning a foreign language, a student may associate words in the new language with various meanings in his own language, or may use sentences created especially in order to help. So, mnemonics aims at remembering something that seems difficult in a form that you remember much easier. In interpretation, the mnemonic tool may prove helpful, but unfortunately, if the information is totally new, we do not have the necessary time to find an easy alternative to remember.Memory, though, can be trained and improved. Specialists declare that just like you can train your body, or work out your muscles, you can achieve better performances with your memory. Vivid and colourful images are well received by your brain, so any time you hear something, try to turn it into a pleasant image for the brain. One secret for the conference interpreter is to try to convey rapidly the spoken word into a vivid image, so it remains, even if for short, in your memory.In order to make your mnemonics more memorable, you should use positive, pleasant images. Your brain often blocks out unpleasant ones. You should alsouse vivid, colorful, sense-laden images – these are easier to remember than drab ones.Humour is always a good means of easily remembering things or aspects, while symbols, like road signs, or red traffic lights can code quite complex messages quickly and effectively.5.2. The link methodIn order to improve your consecutive interpretation in a conference, when you hear in a row a large number of things or objects with no apparent link to you (especially if the domain of translation is not your cup of tea), you should train your memory. Memory has very little to do with intelligence, but a lot to do with practice and technique. As we have already mentioned, images that you create are one of your best partner during a workshop. So, do not be afraid to experiment. The more ridiculous the images you create in your mind, the better chances of remembering them you will have. Take a short example.If you have to remember the following: bus, glass, belt, moisturizer, four words with absolute no connection, a good exercise is to take them step by step, and picture them in your head in an unfamiliar way. If the images your mind creates are too common, your STM will not be able to recall them. So, imagine a bus, an actual bus, like the one which takes you to work daily, or a bus in your favourite colour: whether pink or bright turquoise. Then, a glass should not be just a glass that you drink from, it would be too ordinary. Instead, try to link the glass to the bus in a ridiculous way. You can see a bus that tries to have a drink, is actually sipping from a glass. Try to close your eyes for a short fraction and visualize the bus drinking from a glass. Next, we have belt. We have to connect it with the glass, so imagine a belt made of glasses,PROFESSIONAL COMMUNICATION AND TRANSLATION STUDIES, 5 (1-2) / 201284quite original. The final item is moisturizer, so a ludicrous image could be a belt that uses moisturizer. In the following lines, you have some rules that you may find helpful:1. Picture items out of proportion, that is gigantic or of memorable size2. Picture your items in action whenever possible. Besides, we unfortunately tend to remember negative things or feelings that we had to face. So, violent or shocking images in action make the whole scene more memorable.3. Exaggerate the number of items. You can easily imagine “thousands” or “millions” belts using moisturizer, just as “hundreds” of buses sipping tea from a glass.The link method boils down to strange associations that you make in your head. The more ridiculous and illogical the associations are, the better your chances to remember the items are. It is essential that you actually see the pictures in your mind’s eye. “If you have trouble recalling the first item then associate it with the friend testing your skills, if you have trouble recalling other items then the link was not illogical enough” (Lorayne 1958: 42).Even if the link method seems unnecessary in the case of an interpreter, where logic should be an important element, this is a good exercise of training your memory and increases its capacity to remember many things in a short time. It can help interpreters increase the pace of the task they perform.5.3. Note-takingAnother simple method that will relieve the strain on your STM is by taking notes. This thing is possible, even if the speaker has a rapid pace. All the interpreter has to do is to be used to some abbreviations. In his book, Note-taking for Consecutive Interpreting, Andrew Gillies (Gillies 2005: 48) explains that if you hear a list in order: 1,2,3, you may still note 1, 3, 2. This is because if you write down quickly 1 and 3, they will not be burdening your memory any more, you will only have to remember 2 for a couple of seconds.Concretely, if you interpret at a conference, and the speaker talks about positive/negative aspects, you can quickly picture a big red tick and a big red X, that will subsequently help you deliver the information not only correctly, but also in an organized way, as you utter from memory the two columns with red letters on them. If you develop your mnemonic colourful tool in interpretation, it will be less likely to make mistakes, as your mind learns to be better organized.5.4. Imagination, association and locationImagination, association and location are the three most important aids in developing your mnemonic. Imagination talks about the power with which you create an image so that it will come to you later. Association links certain things with others, sometimes sounds or even smells. Location gives you two things: a coherent context into which you can place information so that it hangs together, and a way of separatingPROFESSIONAL COMMUNICATION AND TRANSLATION STUDIES, 5 (1-2) / 201285 one mnemonic from another. By setting one mnemonic in a particular town, we can separate it from a similar mnemonic set in a city. For example, by setting one in Timisoara and another similar mnemonic with images of Sibiu, we can separate them without being afraid of a possible confusion. In order to strengthen the feeling of location, we can also build the flavors and atmosphere of these places.5.5. Telling a story in the source languageAnother exercise designed for memory improvement in interpreting is retelling a story in the source language.The task of the teacher is to tell or play a recording once to his trainees and they will have to reproduce the text with the same words. They are not allowed to take notes. Zhong suggests four types of tactics: “Categorization: Grouping items of the same properties; Generalization: Drawing general conclusions from particular examples or message from the provided text; Comparison: Noticing the differences and similarities between different things, facts and events; Description: Describing a scene, a shape, or size of an object, etc. Trainees are encouraged to describe, summarize, and abstract the original to a large extent in their own words” (Zhong 2003).5.6. General exercisePhysical exercise is a good memory stimulator. Our memories grow old together with us, and once we start losing from their fit capacities, we can stimulate them by a walk in the open air. A healthy lifestyle is also an ally for you in improving memory. You should eat right, and give your brain the substances it needs especially sunflower seeds, nuts, hazelnuts, spinach, kiwi, omega 3 which is to be found in fish, blueberries, or lean beef.The ability to remember increases when you nurture your brain with a good diet, and enough sleep. It is known that people who sleep 8 hours per night can take better advantage of their brain. Social relations also boost the capacity of your brain, but we should also be able to keep stress in check, as it is one of the brain’s worst enemies.6. ConclusionInterpretation is a complex task that requires the association of many factors. No matter whether simultaneous or consecutive interpretation is performed, the role of the memory is extremely important. Short-term memory is based especially on the actual hearing of sounds, without always filtering the information, that is why the interpreter has to be careful with the message he/she conveys further. Due to the fact that long-term memory involves neural pathways and synaptic connections, it is better established in the interpreter’s brain. So, long-term memory has the advantage that the interpreter is better acquainted with the field to which the translation belongs;PROFESSIONAL COMMUNICATION AND TRANSLATION STUDIES, 5 (1-2) / 201286consequently, the interpretation happens very precisely, due to the correct placement in context.As conference interpreter, I make good use of both types of memory, as their training has proved important for the quality of subject message rendering. In this article, the aim was to discuss techniques for memory improvement, as mastering the languages and the general background of the conference are not sufficient. Therefore we have to encourage memory training through all of its aspects - acoustic, visual, or semantic, which together with the other tools is crucial in the interpreter’s work.References1. Baddeley, A. 1999. Essentials of Human Memory, East Sussex: Psychology Press Ltd.2. Eysenck, W. M. 2005. Psychology for AS Level, New York: Psychology Press Inc.3. Gile, D. 1995. Basic Concepts and Models for Interpreter and Translator Training,Amsterdam& Philadelphia: John Benjamins4. Gile, D. 1992. “Basic Theoretical Components in Interpreter and Translator Training”,in Teaching Translation and Interpreting: Training, Talent and Experience, ed. byDollerup, C and Loddegaard, A., Amsterdam, Philadelphia, John Benjamins PublishingCompany5. Gillies, A. 2005. Note-taking for Consecutive Interpreting, Manchester, St JeromePublishing6. Hopper, H. C. 2010. Practicing College. Learning Strategies, Belmont: Wadsworth7. Kellogg, R.T. 2003. Cognitive Psychology. London: Sage Publications8. Leeson, L. 2005. “Making the Effort in Simultaneous Interpreting” in Topics in SignedLanguage Interpreting: Theory and Practice, ed. by Terry Janzen, Benjamins,Philadelphia9. Lorayne, H. and Thomas, A. 1958. “How to Develop a Super Powered Memory”available at: http://interpreters.free.fr/consecmemory/linking.htm [accessed March 2011]10. Soanes, C., Stevenson, A, and Hawker, S.(eds.) 2006 Concise Oxford EnglishDictionary (Computer Software) (11th ed.).Oxford, Oxford University Press.11. Zhong, W., 2003. “Memory Training in Interpreting” in Translation Journal,available at: /journal/25interpret.htm [accessed March 2011]。