jazz 中文意思是什麼

音標 [dʒæz]
jazz 解釋
n. 名詞 1. 爵士音樂,爵士舞(曲)。
2. 〈美俚〉爵士音樂風格〈刺激、興奮、活潑、放縱〉;活潑放縱。
3. 浮華而不實的行為;陳腔濫調的廢話。
adj. 形容詞 1. 爵士音樂的。
2. 不調和的;(色彩等)花哨惡俗的。
vt. 及物動詞 1. 把…奏成爵士音樂。
2. 在…中加入爵士音樂風味;使有刺激性,使活潑 (up)。
3. 〈美俚〉加快…的速度。
vi. 不及物動詞 1. 奏爵士樂;跳爵士舞。
2. 游蕩 (around)。
n. 名詞 -ist 爵士音樂愛好者。
adj. 形容詞 -y 1. 有爵士音樂特徵的。
2. 〈美俚〉活潑放縱的。
adv. 動詞 副詞 -ily ,-i-ness n. 名詞
  1. 2 recharge station ", a series of refreshing live entertainment events were launched at sai kung and stanley during summer weekends. featuring live performances of " hi - fi divas " dong xin and apple chan, yoga demonstrations, jazz dance, acappella, live jazz and bossa nova, chalk art demonstrations, etc., we enlivened the spirits of our audiences

    我們在2006年炎夏的四個周末下午,于西貢及赤柱呈獻休閑加氧站,透過兩位發燒hi - fi天後董沁和陳果的悅耳歌聲瑜伽示範爵士舞無伴奏清唱現場爵士樂演奏平地粉筆畫示範等等,散發清新休閑的感覺,為各觀眾加氧。
  2. Cubism had affinities with the new european interest in jazz.

    主體派和歐洲新近的爵士音樂熱有密切關系。
  3. Angus : sure, just don ' t put down jazz

    安格斯:當然可以,不過不要把爵士樂貶低咯。
  4. Ascap symphonic composer, jazz trumpeter and band leader, and owner of g. e. m. recording studio in columbia, south carolina

    -日本音樂家菅野子的中文fans交流網站,包含相關資料作品信息音樂試聽以及論壇交流。
  5. Audiophile jazz prologue, featuring 11 classic jazz

    風行鑒聽首選,好評如潮,繼續熱賣中
  6. Bahamian jazz pop superstar, gregory douglas, a hit in shanghai

    上海熱潮巴哈馬爵士樂、流行樂巨星格雷戈瑞道格拉斯
  7. The autographed irish falcon gretsch guitar of u2 frontman bono sold for 180, 000, while u2 bassist adam clayton ' s fender active jazz deluxe went for 22, 000 and the tom tom used in the u2 ' s vertigo tour by drummer larry mullen jr. sold for 19, 000

    一把帶有u2樂隊主唱波諾簽名的愛爾蘭falcon gretsch吉他拍得18萬美元貝斯手亞當克萊頓的fende貝斯拍得22000美元鼓手小拉里馬倫
  8. Bernstein combined the idioms of ethnic folk music and jazz with the virtuosity of a symphonist.

    伯恩斯坦以交響作曲家的高度藝術修養,把少數民族的音樂和爵士樂的不同的音樂語匯交融在一起。
  9. The bsb comprises more than fifty musicians from all walks of life. ages range from seventeen to seventy, with a healthy balance of males to females. musicians rehearse in their spare time and perform styles, from classical to jazz and popular music. members of the symphonic and swing bands, and smaller ensembles, are university students, full - time workers, or active retirees

    本團有五十多位來自各行各業的團員,年齡層從十七歲到七十歲都有,男女生幾乎各佔一半,利用業餘的時間排練,演出的曲目風格包括古典、爵士和通俗流行音樂;本團管樂團、爵士樂隊和重奏團的成員結構,包括有大學學生、職場就業人士和退休人員。
  10. Other chroniclers of american history talk of “ ages ” ( reform, gilded, jazz etc ) that lasted no more than a decade or so

    其他美國史編年史家都是用不到十年左右的「時期」 (改革時期、鍍金時期、爵士樂時期等等)來談論美國史。
  11. He was the first jazz clarinetist to play with symphony orchestras

    他是第一個和交響樂團合作的爵士單簧管演奏家。
  12. During the 1920s, louis armstrong became famous for his performances on the trumpet and jazz cornet

    20世紀20年代,路易斯?阿姆斯特朗的小號和爵士短號演奏讓他一舉成名。
  13. This new orleans music is often called classic, traditional or dixieland jazz

    這種來自新奧爾良的音樂經常被稱為古典爵士樂、傳統爵士樂或是南方爵士樂。
  14. The idom ' s exotica, chocotasy and loveberry brands come with cd compilations of acid jazz and dance music

    安全套包括奇妙異趣夢幻巧克力和果之戀三大系列產品,配套的cd以休閑音樂酸爵士和舞曲為主。
  15. The idom ' s exotica, chocotasy and loveberry brands come with cd compilations of chillout, acid jazz and dance music

    安全套包括奇妙異趣夢幻巧克力和果之戀三大系列產品,配套的cd以休閑音樂酸爵士和舞曲為主。
  16. Ahead of valentine ' s day. the idom ' s exotica, chocotasy and loveberry brands come with cd compilations of acid jazz and dance

    安全套包括奇妙異趣夢幻巧克力和果之戀三大系列產品,配套的cd以休閑音樂酸爵士和舞曲為主。
  17. In this essay i argue that the writing of american jazz age novelist f. scott fitzgerald responds to the developing national culture of his time, here described as an evolving relation between the marginality of the region and the hegemony of the center. like many of the characters in his novels, fitzgerald ' s perceived liminality from nation and canon - his work did not achieve repute until after his death - produced, paradoxically, dependence on those values the writer felt most distant from. to a far greater extent than hemingway, fitzgerald fictionalized the commodity culture of the american center which he, in time, came to reject in favor of a moral posture. fitzgerald ' s migration from the perceived margins of american literary discourse to status as a posthumous, centered canonical figure has three specific dimensions - the geographical, the canonical, and the moral - all of which combine to produce a significant ambivalence, beyond " modernist " credentials, in his life and legacy

    本文認為,美國爵士時代的小說家菲茨傑拉德的作品對于作者所處時代和處于發展之中的民族文化(即區域邊緣與國家霸權之間的演進關系)作出了回應.正如其小說中的許多人物一樣,菲茨傑拉德從國家和典律中感知到閾限性(他自己的作品直到死後才獲得盛譽) ,這使得他依賴于自己認為是最為邊遠的價值觀念.與海明威相比較,菲茨傑拉德在更大程度上將位於美國中心的商品文化小說化,而最終他又出於道德考量將它予以拒絕.菲茨傑拉德從明顯的美國文學話語邊緣向去世之後被經典化的中心地位的漂移表現在地理、典律、道德三個方面.三者交織,使得學界關於他的紛爭超越了現代主義者身份問題,在關於他的人生和文學遺產問題上也是褒貶不一,眾說紛紜
  18. His battles with parker during this series were more than worth the price of admission, whether it was for spurs fans cheering on parker or for jazz fans watching their young floor leader grow up before their eyes

    不管是為帕克吶喊的馬刺球迷,還是親眼看著他們年輕的領袖成長起來的爵士球迷,買票來看德隆和帕克在本輪季后賽上的對決,對他們來說都是物超所值了。
  19. As a long - hair i rather resent the intellectural looking at jazz with the feeling to listen to charlie parker is an experience equal to that of listening to the art of the fugue

    作為一個古典音樂愛好者,我非常反感以理性的方式看待爵士樂,也就是把聽查理帕克(爵士樂代表人物之一)的感受等同於聽賦格曲的藝術。
  20. Negroes gave to america jazz and a taste for gaudy clothes, while indians contributed smoking and the crew-cut.

    黑人給美國帶來了爵士音樂和大紅大綠的衣服,印第安人提供了吸煙和平頭發式。
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