diff --git "a/Arts/valid.json" "b/Arts/valid.json" new file mode 100644--- /dev/null +++ "b/Arts/valid.json" @@ -0,0 +1,6159 @@ +[ + { + "id": 4004, + "category": "艺术学", + "discipline": "音乐与舞蹈学", + "title": "黄虎威音乐创作的多维探析", + "source": "改革开放以前，中国音乐的功能观是过于强调阶级性、斗争性，正是对这两个特征的过分强调，让音乐的审美功能和娱乐功能弱化甚至受限，因此创作出了一批单一且公式化的作品。", + "reference": "改革开放以前，中国音乐的功能观过于强调阶级性、斗争性，正是因为过于强调这两个特征，让音乐的审美功能和娱乐功能弱化甚至受限，因此创作出了一批单一且公式化的作品。", + "edit": [ + { + "src_interval": [ + 15, + 16 + ], + "tgt_interval": [ + 15, + 15 + ], + "src_tokens": [ + "是" + ], + "tgt_tokens": [] + }, + { + "src_interval": [ + 30, + 31 + ], + "tgt_interval": [ + 29, + 35 + ], + "src_tokens": [ + "对" + ], + "tgt_tokens": [ + "因", + "为", + "过", + "于", + "强", + "调" + ] + }, + { + "src_interval": [ + 36, + 41 + ], + "tgt_interval": [ + 40, + 40 + ], + "src_tokens": [ + "的", + "过", + "分", + "强", + "调" + ], + "tgt_tokens": [] + } + ] + }, + { + "id": 4006, + "category": "艺术学", + "discipline": "音乐", + "title": "罗麦朔《胤禛美人图》的创作研究", + "source": "总的来说，民族器乐曲除了一部分打击乐合奏意外，基本上都是以旋律为中心的，并且很讲究对旋律的润饰。", + "reference": "总的来说，民族器乐曲除了一部分打击乐合奏以外，基本上都是以旋律为中心的，并且很讲究对旋律的润饰。", + "edit": [ + { + "src_interval": [ + 20, + 21 + ], + "tgt_interval": [ + 20, + 21 + ], + "src_tokens": [ + "意" + ], + "tgt_tokens": [ + "以" + ] + } + ] + }, + { + "id": 4015, + "category": "艺术学", + "discipline": "音乐与舞蹈学", + "title": "民族心灵的慰藉之声", + "source": "因此，他下意识的对民歌中的古老调式和自由而灵活的演唱传统进行了深入的探索，并回应道：“在民歌中旋律是最重要的，和声是次要的”。", + "reference": "因此，他下意识地对民歌中的古老调式和自由而灵活的演唱传统进行了深入的探索，并回应道：“在民歌中旋律是最重要的，和声是次要的”。", + "edit": [ + { + "src_interval": [ + 7, + 8 + ], + "tgt_interval": [ + 7, + 8 + ], + "src_tokens": [ + "的" + ], + "tgt_tokens": [ + "地" + ] + } + ] + }, + { + "id": 4033, + "category": "艺术学", + "discipline": "音乐与舞蹈学", + "title": "建国十七年童声合唱研究", + "source": "从上可知，建国十七年间，中国政府及音乐界通过各样的形式，如国家性与地方性的创作比赛，全国音乐周、“上海之春”等音乐节以及其他合唱音乐活动，为合唱创作渲染积极的社会气氛，强有力地推进童声合唱作品创作，作曲家满怀热情，大量地创作优秀的童声合唱作品。", + "reference": "从上文可知，建国十七年间，中国政府及音乐界通过各种形式，如国家与地方的创作比赛、全国音乐周、“上海之春”等音乐节以及其他合唱音乐活动，为合唱创作创造积极的社会氛围，强有力地推进童声合唱作品创作，让作曲家满怀热情，能够大量地创作优秀的童声合唱作品。", + "edit": [ + { + "src_interval": [ + 2, + 2 + ], + "tgt_interval": [ + 2, + 3 + ], + "src_tokens": [], + "tgt_tokens": [ + "文" + ] + }, + { + "src_interval": [ + 23, + 25 + ], + "tgt_interval": [ + 24, + 25 + ], + "src_tokens": [ + "样", + "的" + ], + "tgt_tokens": [ + "种" + ] + }, + { + "src_interval": [ + 31, + 32 + ], + "tgt_interval": [ + 31, + 31 + ], + "src_tokens": [ + "性" + ], + "tgt_tokens": [] + }, + { + "src_interval": [ + 35, + 36 + ], + "tgt_interval": [ + 34, + 34 + ], + "src_tokens": [ + "性" + ], + "tgt_tokens": [] + }, + { + "src_interval": [ + 41, + 42 + ], + "tgt_interval": [ + 39, + 40 + ], + "src_tokens": [ + "，" + ], + "tgt_tokens": [ + "、" + ] + }, + { + "src_interval": [ + 74, + 76 + ], + "tgt_interval": [ + 72, + 74 + ], + "src_tokens": [ + "渲", + "染" + ], + "tgt_tokens": [ + "创", + "造" + ] + }, + { + "src_interval": [ + 81, + 83 + ], + 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"由于本文出现了多次大量地出现了集体聚合现象，所以就不需要在每一次聚的时候都做详细的阐述，所以在有些主题形象出场时便没有再加以阐述，只讲出个性化的特征就完成了它的分析效果。", + "edit": [ + { + "src_interval": [ + 0, + 0 + ], + "tgt_interval": [ + 0, + 2 + ], + "src_tokens": [], + "tgt_tokens": [ + "由", + "于" + ] + }, + { + "src_interval": [ + 2, + 4 + ], + "tgt_interval": [ + 4, + 7 + ], + "src_tokens": [ + "由", + "于" + ], + "tgt_tokens": [ + "出", + "现", + "了" + ] + }, + { + "src_interval": [ + 8, + 9 + ], + "tgt_interval": [ + 11, + 12 + ], + "src_tokens": [ + "的" + ], + "tgt_tokens": [ + "地" + ] + }, + { + "src_interval": [ + 11, + 11 + ], + "tgt_interval": [ + 14, + 15 + ], + "src_tokens": [], + "tgt_tokens": [ + "了" + ] + }, + { + "src_interval": [ + 13, + 14 + ], + "tgt_interval": [ + 17, + 17 + ], + "src_tokens": [ + "的" + ], + "tgt_tokens": [] + }, + { + "src_interval": [ + 16, + 16 + ], + "tgt_interval": [ + 19, + 21 + ], + "src_tokens": [], + "tgt_tokens": [ + "现", + "象" + ] + }, + { + "src_interval": [ + 31, + 31 + ], + "tgt_interval": [ + 36, + 37 + ], + 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"在众多音乐体裁中，交响乐因其庞大的规模和丰富的乐器种类，能够较为全面地反映音乐思潮。", + "edit": [ + { + "src_interval": [ + 13, + 17 + ], + "tgt_interval": [ + 13, + 23 + ], + "src_tokens": [ + "体", + "量", + "大", + "，" + ], + "tgt_tokens": [ + "其", + "庞", + "大", + "的", + "规", + "模", + "和", + "丰", + "富", + "的" + ] + }, + { + "src_interval": [ + 21, + 25 + ], + "tgt_interval": [ + 27, + 28 + ], + "src_tokens": [ + "丰", + "富", + "因", + "而" + ], + "tgt_tokens": [ + "，" + ] + }, + { + "src_interval": [ + 31, + 32 + ], + "tgt_interval": [ + 34, + 35 + ], + "src_tokens": [ + "的" + ], + "tgt_tokens": [ + "地" + ] + } + ] + }, + { + "id": 4220, + "category": "艺术学", + "discipline": "音乐与舞蹈学", + "title": "二十世纪八十年代中国钢琴三重奏创作研究", + "source": "为更好的理解和把握支声形态将其划分为纵向横向两种类型。", + "reference": "支声形态将其划分为纵向横向两种类型是为了更好地理解和把握。", + "edit": [ + { + "src_interval": [ + 0, + 9 + ], + "tgt_interval": [ + 0, + 0 + ], + "src_tokens": [ + "为", + "更", + "好", + "的", + "理", + "解", + "和", + "把", + "握" + ], + "tgt_tokens": [] + }, + { + "src_interval": [ + 26, + 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"reference": "全分解织体拥有非常强的音乐表现力，因其音域宽广、有起有伏，使得音乐效果丰富且表现活泼，是钢琴三重奏音乐作品中常用的织体之一。", + "edit": [ + { + "src_interval": [ + 17, + 19 + ], + "tgt_interval": [ + 17, + 19 + ], + "src_tokens": [ + "他", + "的" + ], + "tgt_tokens": [ + "因", + "其" + ] + }, + { + "src_interval": [ + 23, + 24 + ], + "tgt_interval": [ + 23, + 24 + ], + "src_tokens": [ + "，" + ], + "tgt_tokens": [ + "、" + ] + }, + { + "src_interval": [ + 38, + 38 + ], + "tgt_interval": [ + 38, + 40 + ], + "src_tokens": [], + "tgt_tokens": [ + "表", + "现" + ] + }, + { + "src_interval": [ + 41, + 44 + ], + "tgt_interval": [ + 43, + 44 + ], + "src_tokens": [ + "成", + "为", + "在" + ], + "tgt_tokens": [ + "是" + ] + } + ] + }, + { + "id": 4278, + "category": "艺术学", + "discipline": "音乐与舞蹈学", + "title": "魏军古筝协奏曲音乐创作研究", + "source": "五、作曲家在音乐的发展和内容表达中，深刻表达和追溯到那些曾经在中国历史上辉煌的文化，了解盛唐时期灿烂的文化景象，唤醒人们对盛唐文化为代表的中国传统文化的回望与思考。", + "reference": "五、作���家在音乐的发展和内容表达中，深刻表达并追溯到那些曾经在中国历史上辉煌的文化，了解盛唐时期灿烂的文化景象，唤醒人们对盛唐文化为代表的中国传统文化的回顾与思考。", + "edit": [ + { + 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"作为佛教圣地之一的古国龟兹，是西域大国之一，在丝绸之路的繁荣时期，它见证了多元文化的交流与融合，为后世留下了无法超越的精神财富。", + "edit": [ + { + "src_interval": [ + 28, + 32 + ], + "tgt_interval": [ + 28, + 34 + ], + "src_tokens": [ + "时", + "代", + "下", + "，" + ], + "tgt_tokens": [ + "繁", + "荣", + "时", + "期", + "，", + "它" + ] + }, + { + "src_interval": [ + 35, + 40 + ], + "tgt_interval": [ + 37, + 39 + ], + "src_tokens": [ + "来", + "自", + "于", + "各", + "国" + ], + "tgt_tokens": [ + "多", + "元" + ] + }, + { + "src_interval": [ + 42, + 63 + ], + "tgt_interval": [ + 41, + 58 + ], + "src_tokens": [ + "与", + "文", + "明", + "，", + "它", + "所", + "承", + "载", + "的", + "人", + "类", + "的", + "文", + "明", + "是", + "后", + "人", + "无", + "可", + "比", + "拟" + ], + "tgt_tokens": [ + "的", + "交", + "流", + "与", + "融", + "合", + "，", + "为", + "后", + "世", + "留", + "下", + "了", + "无", + "法", + "超", + "越" + ] + }, + { + "src_interval": [ + 66, + 68 + ], + "tgt_interval": [ + 61, + 63 + ], + "src_tokens": [ + "支", + "柱" + ], + "tgt_tokens": [ + "财", + "富" + ] + } + ] + }, + { 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"唱第一个字前，气就应该吸“饱”，开始句：“千里黄云白日曛”，在演唱时要将“吸饱气”的状态维持住，然后均匀地运用气息唱到“云”字，“云”字唱足五分半的时值，快速吸足气，再唱“白日曛”，“日”这里的旋律有小连线，在这个连线内囊括一个八分休止符，所以唱“日”字时要注意：“声断，气不断”，这种呼吸的处理演唱能突出唐诗吟诵的感觉，还能将“曛”字本身的暗淡，落日的落寞感突出。", + "edit": [ + { + "src_interval": [ + 52, + 53 + ], + "tgt_interval": [ + 52, + 53 + ], + "src_tokens": [ + "的" + ], + "tgt_tokens": [ + "地" + ] + }, + { + "src_interval": [ + 151, + 152 + ], + "tgt_interval": [ + 151, + 151 + ], + "src_tokens": [ + "够" + ], + "tgt_tokens": [] + } + ] + }, + { + "id": 9106, + "category": "艺术学", + "discipline": "音乐与舞蹈学", + "title": "汪立三音乐创作研究", + "source": "傩是一种祭祀时的表演形式，建立在祭祀仪式中，随着发展中不断的吸收各种文化而变成一种载歌载舞的戏曲表演形式，因起源于祭祀，所以音乐带有神秘感。", + "reference": "傩是一种建立在祭祀仪式中的祭祀时的表演形式，随着发展中不��地结合各种文化而变成一种载歌载舞的戏曲表演形式，因起源于祭祀，所以音乐带有神秘感。", + "edit": [ + { + "src_interval": [ + 4, + 13 + ], + "tgt_interval": [ + 4, + 4 + ], + "src_tokens": [ + "祭", + "祀", + "时", + "的", + "表", + "演", + "形", + "式", + "，" + ], + "tgt_tokens": [] + }, + { + "src_interval": [ + 21, + 21 + ], + "tgt_interval": [ + 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"利用古琴曲进行改编而创作出的钢琴三重奏音乐作品，民族气息极为浓郁，民族色彩也极其鲜明，具有较高的审美价值，对于艺术的研究也拥有独特的价值。", + "edit": [ + { + "src_interval": [ + 11, + 12 + ], + "tgt_interval": [ + 11, + 12 + ], + "src_tokens": [ + "造" + ], + "tgt_tokens": [ + "作" + ] + }, + { + "src_interval": [ + 43, + 44 + ], + "tgt_interval": [ + 43, + 48 + ], + "src_tokens": [ + "在" + ], + "tgt_tokens": [ + "具", + "有", + "较", + "高", + "的" + ] + }, + { + "src_interval": [ + 46, + 50 + ], + "tgt_interval": [ + 50, + 50 + ], + "src_tokens": [ + "上", + "比", + "较", + "有" + ], + "tgt_tokens": [] + } + ] + }, + { + "id": 9225, + "category": "艺术学", + "discipline": "音乐与舞蹈学", + "title": "古诗词艺术歌曲的演唱教学研究", + "source": "“颂”多为祭祀宗庙祖先的乐舞，“风”、“雅”、“颂”表现了中国古代诗、乐、舞三者的密切关联，是中国早期主要的音乐形式。", + "reference": "“颂”主要用作祭祀祖庙的活动，而“风”、“雅”、“颂”展现了中国古代诗歌、音乐与舞蹈之间紧密的联系，是中国早期主要的音乐表现形式。", + "edit": [ + { + "src_interval": [ + 3, + 5 + ], + "tgt_interval": [ + 3, + 7 + ], + "src_tokens": [ + "多", + "为" + ], + "tgt_tokens": [ + "主", + "要", + "用", + "作" + ] + }, + { + "src_interval": [ + 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"edit": [ + { + "src_interval": [ + 9, + 10 + ], + "tgt_interval": [ + 9, + 10 + ], + "src_tokens": [ + "为" + ], + "tgt_tokens": [ + "是" + ] + } + ] + }, + { + "id": 9231, + "category": "艺术学", + "discipline": "音乐", + "title": "探析打击乐二重奏《京剧印象》的艺术手段与演奏技巧", + "source": "唱词高度浓缩了剧情和人物的心境，结合唱腔以多种板式程式化的再现了古老的中国历史故事，这种艺术形式已成为中国文化的象征之一。", + "reference": "唱词高度浓缩了剧情和人物心境，结合唱腔以多种板式程式化地再现了古老的中国历史故事。这种艺术形式已成为中国文化的象征之一。", + "edit": [ + { + "src_interval": [ + 12, + 13 + ], + "tgt_interval": [ + 12, + 12 + ], + "src_tokens": [ + "的" + ], + "tgt_tokens": [] + }, + { + "src_interval": [ + 28, + 29 + ], + "tgt_interval": [ + 27, + 28 + ], + "src_tokens": [ + "的" + ], + "tgt_tokens": [ + "地" + ] + }, + { + "src_interval": [ + 41, + 42 + ], + "tgt_interval": [ + 40, + 41 + ], + "src_tokens": [ + "，" + ], + "tgt_tokens": [ + "。" + ] + } + ] + }, + { + "id": 9241, + "category": "艺术学", + "discipline": "音乐与舞蹈学", + "title": "论抗战时期云南红色革命歌曲的艺术特色及其价值", + "source": "这一类型的作品大多数都是具有进行曲风格的特点，曲式结构简单，节奏上慷慨激昂、极具动力性的特点。", + "reference": "这一类型的作品大多数都是具有进行曲风格的特点，曲式结构简单，节奏上慷慨激昂、极具动力性的特征。", + "edit": [ + { + "src_interval": [ + 45, + 46 + ], + "tgt_interval": [ + 45, + 46 + ], + "src_tokens": [ + "点" + ], + "tgt_tokens": [ + "征" + ] + } + ] + }, + { + "id": 9255, + "category": "艺术学", + "discipline": "音乐与舞蹈学", + "title": "上海古筝表演艺术多元性特征研究（1978-2000）", + "source": "指出器乐表演艺术的发生和发展，主要受到乐器”、“演奏家”、“器乐作品”三个因素的影响。", + "reference": "指出器乐表演艺术的产生和发展，主要受到“乐器”、“演奏家”和“器乐作品”三个因素的影响。", + "edit": [ + { + "src_interval": [ + 9, + 10 + ], + "tgt_interval": [ + 9, + 10 + ], + "src_tokens": [ + "发" + ], + "tgt_tokens": [ + "产" + ] + }, + { + "src_interval": [ + 19, + 19 + ], + "tgt_interval": [ + 19, + 20 + ], + "src_tokens": [], + "tgt_tokens": [ + "“" + ] + }, + { + "src_interval": [ + 28, + 29 + ], + "tgt_interval": [ + 29, + 30 + ], + "src_tokens": [ + "、" + ], + "tgt_tokens": [ + "和" + ] + } + ] + }, + { + "id": 9278, + "category": "艺术学", + "discipline": "音乐与舞蹈学", + "title": "民族心灵的慰藉之声", + "source": "《第五交响曲》成功的原因和其创作背景的特殊性有着直接联系。", + "reference": "《第五交响曲》的成功和其创作背景的特殊性有着直接联系。", + "edit": [ + { + "src_interval": [ + 7, + 12 + ], + "tgt_interval": [ + 7, + 10 + ], + "src_tokens": [ + "成", + "功", + "的", + "原", + "因" + ], + "tgt_tokens": [ + "的", + "成", + "功" + ] + } + ] + }, + { + "id": 9289, + "category": "艺术学", + "discipline": "音乐与舞蹈学", + "title": "音乐思潮流变下的中国交响乐创作（1949-2019）", + "source": "就构成现代主义音乐思潮的音乐风格和流派而言，就有包括表现主义、新古典主义、序列音乐、偶然音乐、电子音乐、空间音乐等。", + "reference": "就构成现代主义音乐思潮的音乐风格和流派而言，包括表现主义、新古典主义、序列音乐、偶然音乐、电子音乐和空间音乐等。", + "edit": [ + { + "src_interval": [ + 22, + 24 + ], + "tgt_interval": [ + 22, + 22 + ], + "src_tokens": [ + "就", + "有" + ], + "tgt_tokens": [] + }, + { + "src_interval": [ + 51, + 52 + ], + "tgt_interval": [ + 49, + 50 + ], + "src_tokens": [ + "、" + ], + "tgt_tokens": [ + "和" + ] + } + ] + }, + { + "id": 9300, + "category": "艺术学", + "discipline": "音乐与舞蹈学", + "title": "古诗词艺术歌曲的演唱教学研究", + "source": "在声乐教学中把古诗词艺术歌曲作为必学曲目时十分必要的，它在词曲关系、咬字发音、音色的训练等都具有极高的教学价值。", + "reference": "在声乐教学中，把古诗词艺术歌曲作为必学曲目是十分必要的，因为它们在词曲关系、咬字发音、音色的训练等方面都具有极高的教学价值。", + "edit": [ + { + "src_interval": [ + 6, + 6 + ], + "tgt_interval": [ + 6, + 7 + ], + "src_tokens": [], + "tgt_tokens": [ + "，" + ] + }, + { + "src_interval": [ + 20, + 21 + ], + "tgt_interval": [ + 21, + 22 + ], + "src_tokens": [ + "时" + ], + "tgt_tokens": [ + "是" + ] + }, + { + "src_interval": [ + 27, + 28 + ], + "tgt_interval": [ + 28, + 32 + ], + "src_tokens": [ + "它" + ], + "tgt_tokens": [ + "因", + "为", + "它", + "们" + ] + }, + { + "src_interval": [ + 45, + 45 + ], + "tgt_interval": [ + 49, + 51 + ], + "src_tokens": [], + "tgt_tokens": [ + "方", + "面" + ] + } + ] + }, + { + "id": 9307, + "category": "艺术学", + "discipline": "音乐", + "title": "配器视角下秦文琛“宽线条”技法研究", + "source": "而最值得一提的是标记4的位置，由于在此处小字一组的d音与e音均没有出现的缘故，因此此处的线条较之前面有些明显的偏上，且由于此处音高为f音处“宽线条”与b音处“宽线条”以震音的形式交替出现，因此这里的泛音层次感也更加丰富。", + "reference": "而最值得一提的是标记4的位置，由于在此处小字一组的d音与e音均没有出现的缘故，因此此处的线条较之前明显地偏上，由于此处音高为f音处“宽线条”与b音处“宽线条”以震音的形式交替出现，因此这里的泛音层次感也更加丰富。", + "edit": [ + { + "src_interval": [ + 49, + 52 + ], + "tgt_interval": [ + 49, + 49 + ], + "src_tokens": [ + "面", + "有", + "些" + ], + "tgt_tokens": [] + }, + { + "src_interval": [ + 54, + 55 + ], + "tgt_interval": [ + 51, + 52 + ], + "src_tokens": [ + "的" + ], + "tgt_tokens": [ + "地" + ] + }, + { + "src_interval": [ + 58, + 59 + ], + "tgt_interval": [ + 55, + 55 + ], + "src_tokens": [ + "且" + ], + "tgt_tokens": [] + } + ] + }, + { + "id": 9316, + "category": "艺术学", + "discipline": "音乐与舞蹈学", + "title": "民族心灵的慰藉之声", + "source": "新时代潮流下，沃恩·威廉斯和同时代人一起成功的唤醒了沉睡已久的英国音乐，而当英国音乐再次苏醒后，便再一次涌入时代的洪流，随即掀起了层层巨浪。", + "reference": "新时代潮流下，沃恩·威廉斯和同时代人一起成功地唤醒了沉睡已久的英国音乐，而当英国音乐再次醒来后，便再一次涌入时代的洪流，随即掀起了层层巨浪。", + "edit": [ + { + "src_interval": [ + 22, + 23 + ], + "tgt_interval": [ + 22, + 23 + ], + "src_tokens": [ + "的" + ], + "tgt_tokens": [ + "地" + ] + }, + { + "src_interval": [ + 44, + 46 + ], + "tgt_interval": [ + 44, + 46 + ], + "src_tokens": [ + "苏", + "醒" + ], + "tgt_tokens": [ + "醒", + "来" + ] + } + ] + }, + { + "id": 9337, + "category": "艺术学", + "discipline": "音乐", + "title": "福雷艺术歌曲的风格特征及演唱方法研究", + "source": "这也可以看出福雷细致地写作风格，将如此细节标注，表达出自己的创作意图，让演唱者清晰地领悟其用意，同音如果演唱的一模一样，就会显得乐句非常平庸。", + "reference": "这也可以看出福雷细致的写作风格，将细节如此标注，表达出自己的创作意图，让演唱者清晰地领悟其用意，同音如果演唱的一模一样，就会显得乐句非常平庸。", + "edit": [ + { + "src_interval": [ + 10, + 11 + ], + "tgt_interval": [ + 10, + 11 + ], + "src_tokens": [ + "地" + ], + "tgt_tokens": [ + "的" + ] + }, + { + "src_interval": [ + 17, + 21 + ], + "tgt_interval": [ + 17, + 21 + ], + "src_tokens": [ + "如", + "此", + "细", + "节" + ], + "tgt_tokens": [ + "细", + "节", + "如", + "此" + ] + } + ] + }, + { + "id": 9343, + "category": "艺术学", + "discipline": "音乐与舞蹈学", + "title": "民族心灵的慰藉之声", + "source": "《伦敦交响曲》以其独特的民族音乐语言和传统的曲式结构特点深切的展现出作曲家身为一个伦敦人的自豪感。", + "reference": "《伦敦交响曲》作曲家身为一个伦敦人的自豪感通过其独特的民族音乐语言和传统的曲式结构特点深切地展现出来。", + "edit": [ + { + "src_interval": [ + 7, + 8 + ], + "tgt_interval": [ + 7, + 23 + ], + "src_tokens": [ + "以" + ], + "tgt_tokens": [ + "作", + "曲", + "家", + "身", + 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"本章从“音乐形象”分析入手，以作品《彼得与狼》的总谱和音响为主，以及与创作过程中与此相关的音乐事实为辅。结合笔者阅读总谱的收获、音响效果的感受，和对创作中音乐事实的理解，从客观存在的事实到笔者主观的感受，进一步说明作品中音乐形象的表达过程。这样不仅可以显示出不同的音乐元素有什么不同的特征，也可以清楚不同音乐情绪是如何来表达和体现的。更能够让听众分辨出不同的音乐形象，以及它们是如何呈现的，深入理解普罗科菲耶夫的创作意图。", + "edit": [ + { + "src_interval": [ + 51, + 52 + ], + "tgt_interval": [ + 51, + 52 + ], + "src_tokens": [ + "，" + ], + "tgt_tokens": [ + "。" + ] + }, + { + "src_interval": [ + 101, + 101 + ], + "tgt_interval": [ + 101, + 102 + ], + "src_tokens": [], + "tgt_tokens": [ + "，" + ] + }, + { + "src_interval": [ + 118, + 119 + ], + "tgt_interval": [ + 119, + 120 + ], + "src_tokens": [ + "，" + ], + "tgt_tokens": [ + "。" + ] + }, + { + "src_interval": [ + 165, + 166 + ], + "tgt_interval": [ + 166, + 167 + ], + "src_tokens": [ + "，" + ], + "tgt_tokens": [ + "。" + ] + }, + { + "src_interval": [ + 174, + 175 + ], + "tgt_interval": [ + 175, + 175 + ], + "src_tokens": [ + "别" + ], + "tgt_tokens": [] + } + ] + }, + { + "id": 9357, + "category": "艺术学", + "discipline": "音乐与舞蹈学", + "title": "二十世纪八十年代中国钢琴三重奏创作研究", + "source": "林华先生是陈铭志先生的学生，他创造出了许多室内乐、钢琴独奏作品，以及合唱、艺术歌曲等等。", + "reference": "林华先生是陈铭志先生的学生。他创作了许多室内乐队的钢琴独奏作品、合唱以及艺术歌曲等等。", + "edit": [ + { + "src_interval": [ + 13, + 14 + ], + "tgt_interval": [ + 13, + 14 + ], + "src_tokens": [ + "，" + ], + "tgt_tokens": [ + "。" + ] + }, + { + "src_interval": [ + 16, + 18 + ], + "tgt_interval": [ + 16, + 17 + ], + "src_tokens": [ + "造", + "出" + ], + "tgt_tokens": [ + "作" + ] + }, + { + "src_interval": [ + 24, + 25 + ], + "tgt_interval": [ + 23, + 25 + ], + "src_tokens": [ + "、" + ], + "tgt_tokens": [ + "队", + "的" + ] + }, + { + "src_interval": [ + 31, + 37 + ], + "tgt_interval": [ + 31, + 36 + ], + "src_tokens": [ + "，", + "以", + "及", + "合", + "唱", + "、" + ], + "tgt_tokens": [ + "、", + "合", + "唱", + "以", + "及" + ] + } + ] + }, + { + "id": 9359, + "category": "艺术学", + "discipline": "音乐与舞蹈学", + "title": "中国当代音乐史中的创作筝曲研究", + "source": "但是，在当时五弦筝的音色和演奏水平都是及其一般的，从“往者民间酒会，各以党俗，弹筝鼓缶而已，无要妙之音，变羽之转。”中不难看出，在这一时期筝并没有被统治者所接纳。", + "reference": "但是，在当时，五弦筝的音色和演奏水平都是极其一般的，从“往者民间酒会，各以党俗，弹筝鼓缶而已，无要妙之音，变羽之转。”中不难看出，在这一时期，筝并没有被统治者所接纳。", + "edit": [ + { + "src_interval": [ + 6, + 6 + ], + "tgt_interval": [ + 6, + 7 + ], + "src_tokens": [], + "tgt_tokens": [ + "，" + ] + }, + { + "src_interval": [ + 19, + 20 + ], + "tgt_interval": [ + 20, + 21 + ], + "src_tokens": [ + "及" + ], + "tgt_tokens": [ + "极" + ] + }, + { + "src_interval": [ + 69, + 69 + ], + "tgt_interval": [ + 70, + 71 + ], + "src_tokens": [], + "tgt_tokens": [ + "，" + ] + } + ] + }, + { + "id": 9375, + "category": "艺术学", + "discipline": "音乐与舞蹈学", + "title": "论抗战时期云南红色革命歌曲的艺术特色及其价值", + "source": "这些作品都真实地反应人民大众的思乡情感。", + "reference": "这些作品都真实地反映出人民大众的思乡情感。", + "edit": [ + { + "src_interval": [ + 9, + 10 + ], + "tgt_interval": [ + 9, + 11 + ], + "src_tokens": [ + "应" + ], + "tgt_tokens": [ + "映", + "出" + ] + } + ] + }, + { + "id": 9376, + "category": "艺术学", + "discipline": "音乐与舞蹈学", + "title": "徐景新艺术歌曲的演唱与分析研究", + "source": "这几章内容并不是各自为营、毫无关联性的，事实上在分析徐景新艺术歌曲演唱与分析研究的过程中，它们之间是息息相关的，徐景新艺术歌曲的成功不仅在于创作具有时代性、民族性等特点，更在于他紧密的贴合人民生活。", + "reference": "这几章内容并不是各自为营、毫无关联性的，事实上在分析徐景新艺术歌曲演唱与分析研究的过程中，它们之间是息息相关的，徐景新艺术歌曲的成功不仅在于创作存在时代性、民族性等特点，更在于其紧密地贴合人民生活。", + "edit": [ + { + "src_interval": [ + 72, + 74 + ], + "tgt_interval": [ + 72, + 74 + ], + "src_tokens": [ + "具", + "有" + ], + "tgt_tokens": [ + "存", + "在" + ] + }, + { + "src_interval": [ + 88, + 89 + ], + "tgt_interval": [ + 88, + 89 + ], + "src_tokens": [ + "他" + ], + "tgt_tokens": [ + "其" + ] + }, + { + "src_interval": [ + 91, + 92 + ], + "tgt_interval": [ + 91, + 92 + ], + "src_tokens": [ + "的" + ], + "tgt_tokens": [ + "地" + ] + } + ] + }, + { + "id": 9391, + "category": "艺术学", + "discipline": "音乐与舞蹈学", + "title": "上海古筝表演艺术多元性特征研究（1978-2000）", + "source": "而音乐的审美活动也能够反应出这一时期文化发展方向和大众审美导向。", + "reference": "而音乐的审美活动也能够反映出这一时期文化发展方向和大众审美导向。", + "edit": [ + { + "src_interval": [ + 12, + 13 + ], + "tgt_interval": [ + 12, + 13 + ], + "src_tokens": [ + "应" + ], + 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"本章探索新技法在演奏上的各种可能性，并提出一些关于扬琴技法运用的想法，希望能为扬琴的艺术表达与音乐创作带来一些灵感。", + "edit": [] + }, + { + "id": 9476, + "category": "艺术学", + "discipline": "音乐与舞蹈学", + "title": "二十世纪八十年代中国钢琴三重奏创作研究", + "source": "“但是虽然构成对比复调可以由很多方面来决定，但是其中节奏以及音高的对比是必不可少的因素。”", + "reference": "“尽管对比复调的形成受多方面因素影响，但其中节奏以及音高的对比是必不可少的因素。”", + "edit": [ + { + "src_interval": [ + 1, + 7 + ], + "tgt_interval": [ + 1, + 3 + ], + "src_tokens": [ + "但", + "是", + "虽", + "然", + "构", + "成" + ], + "tgt_tokens": [ + "尽", + "管" + ] + }, + { + "src_interval": [ + 11, + 15 + ], + "tgt_interval": [ + 7, + 11 + ], + "src_tokens": [ + "可", + "以", + "由", + "很" + ], + "tgt_tokens": [ + "的", + "形", + "成", + "受" + ] + }, + { + "src_interval": [ + 18, + 21 + ], + "tgt_interval": [ + 14, + 18 + ], + "src_tokens": [ + "来", + "决", + "定" + ], + "tgt_tokens": [ + "因", + "素", + "影", + "响" + ] + }, + { + "src_interval": [ + 23, + 24 + ], + "tgt_interval": [ + 20, + 20 + ], + "src_tokens": [ + "是" + ], + "tgt_tokens": [] + } + ] + }, + { + "id": 9478, + 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"概述第四乐章的总体框架：该乐章由《捻诸观描》、《裘装对镜》和《烘炉观雪》三个组成部分构成（参见图2-2-11）。", + "edit": [ + { + "src_interval": [ + 0, + 2 + ], + "tgt_interval": [ + 0, + 2 + ], + "src_tokens": [ + "作", + "品" + ], + "tgt_tokens": [ + "概", + "述" + ] + }, + { + "src_interval": [ + 7, + 16 + ], + "tgt_interval": [ + 7, + 13 + ], + "src_tokens": [ + "整", + "体", + "结", + "构", + "介", + "绍", + ":", + "第", + "四" + ], + "tgt_tokens": [ + "总", + "体", + "框", + "架", + "：", + "该" + ] + }, + { + "src_interval": [ + 18, + 20 + ], + "tgt_interval": [ + 15, + 16 + ], + "src_tokens": [ + "包", + "括" + ], + "tgt_tokens": [ + "由" + ] + }, + { + "src_interval": [ + 33, + 34 + ], + "tgt_interval": [ + 29, + 30 + ], + "src_tokens": [ + "、" + ], + "tgt_tokens": [ + "和" + ] + }, + { + "src_interval": [ + 42, + 42 + ], + "tgt_interval": [ + 38, + 40 + ], + "src_tokens": [], + "tgt_tokens": [ + "组", + "成" + ] + }, + { + "src_interval": [ + 44, + 45 + ], + "tgt_interval": [ + 42, + 47 + ], + "src_tokens": [ + "（" + ], + "tgt_tokens": [ + "构", + 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