声论

北朝文人接受四声论的过程中，投入了极大的热情，积极从各自的角度，或从理论角度质疑解惑，或在实践中为四声论的顺利应用做好各种准备。

The literators accept the theory of the four tones with enormous enthusiasm . Positively from respective angle , some question the theory to dispel doubt , and some make efforts to smoothen the application of it .

其在新时代的内涵为：破恶声论，创新求变，是中国现代文化革新的精神路向；

The content of it in the new age is to destroy the theory lf " evil voice ", bring to th e new ideas in order to change-the spiritual direction of China 's modern culture reformation .

不在的存在无声的有声&论《丽蓓卡》的叙事技巧

The sound of silence : On narrative technique of Rebecca

平淡叙述中的反叛之声&论《母亲的反抗》和《新英格兰一修女》

Insipid Described in the Rebel Voice & Discusses The Revolt of Mother and A New England Nun ;

我国近代警察制度创建的呼唤之声&论我国改良思想家的警政理论

The Voice Calls for the Creation of Chinese Modern Police System & On the Improvement of Thinkers Police Theory

动荡末世的变雅之声&论元末临川诗人吴皋及其诗歌艺术

The Plaintive Poetry of the Tubulence in the Last Phrase ── On Wu Gao , the Poet of Linchuan and His Poetic Art in the End of Yuan Dynasty

论嵇康《声无哀乐论》的和美学思想

The Harmony Aesthetical Ideology in Ji Kang 's No Sadness in Music

《声无哀乐论》的产生原因及其评价问题

The Cause of Music Has No Sorrow or Joy and the Problem of its Valuation

通过剖析《声无哀乐论》，我们从中抽取出无情与有情两个概念。

By analyzing the " Sound Without Sorrows ", from which we extract a " ruthless " and " enthusiastic " two concepts .

从嵇康《声无哀乐论》看音乐审美主体的差异性

On the Otherness of the Musical Aesthetic Subject & From Ji Kang 's Perspective of The Music is Irrelevant to Grief or Joy of

一直以来，人们对于《声无哀乐论》中的音乐美学思想有各种不同的解读，存在很大争议。

All along , the people for " Sound Without Sorrows " Musical Aesthetics in a variety of different interpretations , there is much controversy .

本文试图以分析《声无哀乐论》中情感问题作为突破口，以此探究《声无哀乐论》中音乐美学观的真正内含。

This paper attempts to analyze the " Sound Without Sorrows " in emotional problems as a starting point , this inquiry " Sound Without Sorrows " Aesthetics of Music really contains .

首先，综述了声学材料技术的进展，包括声学及声学材料基础知识的介绍，并对平面波的声波导管理论作了简要的阐述。

First , this paper makes a review of the acoustic material technology , include acoustic and acoustic material on the basis of knowledge , and explain the plane wave catheter theory .

应用认识论的观点，并根据《声无哀乐论》和《淮南子》中的音乐美学思想，分析、研究了音乐审美活动中审美主体的接受差异问题。

This paper , following the theory of knowledge and based on the musical aesthetic thoughts in Music without Sorrow and Joy and Huai Nan Zi , analyzes the acceptance differences of aesthetic subject in music appreciation .

有声缺义：论《喧哗与骚动》中的意义缺失

Vocal But Not Meaningful & Deficiency in Meaning in the Sound and the Fury

魏晋南北朝时期，味逐渐从先秦时期的声、色并论中脱离出来，成为独立的审美范畴，以味论诗渐成风气。

In Wei , Jin , and Southern and Northern Dynasties , the flavor was escape from amalgamation of visual and aural , became a absolute aesthetic category , the ethos of flavor criterion gradually came into being .