Translation of Block Patterns: Spanish Glossary
4,622 / 4,629 Strings (99 %)
Validators: Fernando Tellado, Galois, Javier Aranda, Jose Conti, Laura Solanes, Magdalena, and Rafa Poveda. More information.
| Prio | Original string | Translation | — |
|---|---|---|---|
| <a href="#">Tumblr</a> / <a href="#">WordPress</a> / <a href="#">Instagram</a> | You have to log in to add a translation. | Details | |
|
<a href="#">Tumblr</a> / <a href="#">WordPress</a> / <a href="#">Instagram</a> <a href="#">Tumblr</a> / <a href="#">WordPress</a> / <a href="#">Instagram</a> You have to log in to edit this translation.
or Cancel
|
Loading… Loading… Loading… Loading… |
||
| Alan had started from his grandfather's laboratory, near Riverside Drive in mid-town New York. | Alan había comenzado su andadura en el laboratorio de su abuelo, situado cerca de la avenida Riverside Drive, en el centro de Nueva York. | Details | |
|
Alan had started from his grandfather's laboratory, near Riverside Drive in mid-town New York. Alan had started from his grandfather's laboratory, near Riverside Drive in mid-town New York. Alan había comenzado su andadura en el laboratorio de su abuelo, situado cerca de la avenida Riverside Drive, en el centro de Nueva York. You have to log in to edit this translation.
or Cancel
|
Loading… Loading… Loading… Loading… |
||
| Three years of his life had passed since that night when he had promised his grandfather he would carry on the experiments—three years in which he had lost his grandfather, but gained a wife and son. Ruth Vincent had married him and together they had worked on the fragile thing that he bore now on his back—fragile, but more potent in a strange, incredible way than any other device. | Habían pasado tres años desde aquella noche en la que le prometió a su abuelo que continuaría con los experimentos. Tres años en los que había perdido a su abuelo, pero también había ganado una esposa y un hijo. Ruth Vincent se había casado con él y juntos habían trabajado en un frágil artilugio que ahora él llevaba a sus espaldas; era frágil, pero, por extraño e increíble que pareciera, más potente que cualquier otro dispositivo. | Details | |
|
Three years of his life had passed since that night when he had promised his grandfather he would carry on the experiments—three years in which he had lost his grandfather, but gained a wife and son. Ruth Vincent had married him and together they had worked on the fragile thing that he bore now on his back—fragile, but more potent in a strange, incredible way than any other device. Three years of his life had passed since that night when he had promised his grandfather he would carry on the experiments—three years in which he had lost his grandfather, but gained a wife and son. Ruth Vincent had married him and together they had worked on the fragile thing that he bore now on his back—fragile, but more potent in a strange, incredible way than any other device. Habían pasado tres años desde aquella noche en la que le prometió a su abuelo que continuaría con los experimentos. Tres años en los que había perdido a su abuelo, pero también había ganado una esposa y un hijo. Ruth Vincent se había casado con él y juntos habían trabajado en un frágil artilugio que ahora él llevaba a sus espaldas; era frágil, pero, por extraño e increíble que pareciera, más potente que cualquier otro dispositivo. You have to log in to edit this translation.
or Cancel
|
Loading… Loading… Loading… Loading… |
||
| Then the house had abruptly dwindled, thinned out, and disappeared from around him! He had reached a time-era before its construction. Still with greater speed, the shadowy shifting outlines of the great city were in motion, shrinking into smaller and smaller buildings, narrower, shorter roads. It was a strange transition indeed. And yet to Alan Dane, the strangeness of his own emotions seemed not the least of it. Three years of his life had passed since that night when he had promised his grandfather he would carry on the experiments—three years in which he had lost his grandfather, but gained a wife and son. Ruth Vincent had married him and together they had worked on the fragile thing that he bore now on his back—fragile, but more potent in a strange, incredible way than any other device. | Fue en ese momento cuando la casa se redujo de manera brusca y desapareció de su vista. Se había transportado a una época anterior a su construcción. Sin embargo, el horizonte sombrío y cambiante de la gran ciudad se movía aún a mayor velocidad, desapareciendo a medida que los edificios se hacían más pequeños y las carreteras más estrechas y cortas. De hecho, fue una transición extraña. Sin embargo, para Alan Dane, la naturaleza extraña de sus emociones parecía ser lo menos importante. Habían pasado tres años desde aquella noche en la que le prometió a su abuelo que continuaría con los experimentos. Tres años en los que había perdido a su abuelo, pero también había ganado una esposa y un hijo. Ruth Vincent se había casado con él y juntos habían trabajado en un frágil artilugio que ahora él llevaba a sus espaldas; era frágil, pero, por extraño e increíble que pareciera, más potente que cualquier otro dispositivo. | Details | |
|
Then the house had abruptly dwindled, thinned out, and disappeared from around him! He had reached a time-era before its construction. Still with greater speed, the shadowy shifting outlines of the great city were in motion, shrinking into smaller and smaller buildings, narrower, shorter roads. It was a strange transition indeed. And yet to Alan Dane, the strangeness of his own emotions seemed not the least of it. Three years of his life had passed since that night when he had promised his grandfather he would carry on the experiments—three years in which he had lost his grandfather, but gained a wife and son. Ruth Vincent had married him and together they had worked on the fragile thing that he bore now on his back—fragile, but more potent in a strange, incredible way than any other device. Then the house had abruptly dwindled, thinned out, and disappeared from around him! He had reached a time-era before its construction. Still with greater speed, the shadowy shifting outlines of the great city were in motion, shrinking into smaller and smaller buildings, narrower, shorter roads. It was a strange transition indeed. And yet to Alan Dane, the strangeness of his own emotions seemed not the least of it. Three years of his life had passed since that night when he had promised his grandfather he would carry on the experiments—three years in which he had lost his grandfather, but gained a wife and son. Ruth Vincent had married him and together they had worked on the fragile thing that he bore now on his back—fragile, but more potent in a strange, incredible way than any other device. Fue en ese momento cuando la casa se redujo de manera brusca y desapareció de su vista. Se había transportado a una época anterior a su construcción. Sin embargo, el horizonte sombrío y cambiante de la gran ciudad se movía aún a mayor velocidad, desapareciendo a medida que los edificios se hacían más pequeños y las carreteras más estrechas y cortas. De hecho, fue una transición extraña. Sin embargo, para Alan Dane, la naturaleza extraña de sus emociones parecía ser lo menos importante. Habían pasado tres años desde aquella noche en la que le prometió a su abuelo que continuaría con los experimentos. Tres años en los que había perdido a su abuelo, pero también había ganado una esposa y un hijo. Ruth Vincent se había casado con él y juntos habían trabajado en un frágil artilugio que ahora él llevaba a sus espaldas; era frágil, pero, por extraño e increíble que pareciera, más potente que cualquier otro dispositivo. You have to log in to edit this translation.
or Cancel
|
Loading… Loading… Loading… Loading… |
||
| “His watch, set above the other time-recording instrument on his wrist, told him that his start had been made only a scant half hour before.” | “Su reloj, que lo tenía colocado sobre otro artilugio de registro del tiempo en la muñeca, marcaba que había salido hace apenas media hora”. | Details | |
|
“His watch, set above the other time-recording instrument on his wrist, told him that his start had been made only a scant half hour before.” “His watch, set above the other time-recording instrument on his wrist, told him that his start had been made only a scant half hour before.” “Su reloj, que lo tenía colocado sobre otro artilugio de registro del tiempo en la muñeca, marcaba que había salido hace apenas media hora”. You have to log in to edit this translation.
or Cancel
|
Loading… Loading… Loading… Loading… |
||
| Later or earlier the rain-laden wind may drift up the water gate. | Tarde o temprano el viento cargado de lluvia ascendería por la compuerta de agua. | Details | |
|
Later or earlier the rain-laden wind may drift up the water gate. Later or earlier the rain-laden wind may drift up the water gate. Tarde o temprano el viento cargado de lluvia ascendería por la compuerta de agua. You have to log in to edit this translation.
or Cancel
|
Loading… Loading… Loading… Loading… |
||
| Then the house had abruptly dwindled, thinned out, and disappeared from around him! He had reached a time-era before its construction. Still with greater speed, the shadowy shifting outlines of the great city were in motion, shrinking into smaller and smaller buildings, narrower, shorter roads.<br>It was a strange transition indeed. And yet to Alan Dane, the strangeness of his own emotions seemed not the least of it. Three years of his life had passed since that night when he had promised his grandfather he would carry on the experiments—three years in which he had lost his grandfather, but gained a wife and son. Ruth Vincent had married him and together they had worked on the fragile thing that he bore now on his back—fragile, but more potent in a strange, incredible way than any other device. | Fue en ese momento cuando la casa se redujo de manera brusca y desapareció de su vista. Se había transportado a una época anterior a su construcción. Sin embargo, el horizonte sombrío y cambiante de la gran ciudad se movía aún a mayor velocidad, desapareciendo a medida que los edificios se hacían más pequeños y las carreteras más estrechas y cortas.<br>De hecho, fue una transición extraña. Sin embargo, para Alan Dane, la naturaleza extraña de sus emociones parecía ser lo menos importante. Habían pasado tres años desde aquella noche en la que le prometió a su abuelo que continuaría con los experimentos. Tres años en los que había perdido a su abuelo, pero también había ganado una esposa y un hijo. Ruth Vincent se había casado con él y juntos habían trabajado en un frágil artilugio que ahora él llevaba a sus espaldas; era frágil, pero, por extraño e increíble que pareciera, más potente que cualquier otro dispositivo. | Details | |
|
Then the house had abruptly dwindled, thinned out, and disappeared from around him! He had reached a time-era before its construction. Still with greater speed, the shadowy shifting outlines of the great city were in motion, shrinking into smaller and smaller buildings, narrower, shorter roads.<br>It was a strange transition indeed. And yet to Alan Dane, the strangeness of his own emotions seemed not the least of it. Three years of his life had passed since that night when he had promised his grandfather he would carry on the experiments—three years in which he had lost his grandfather, but gained a wife and son. Ruth Vincent had married him and together they had worked on the fragile thing that he bore now on his back—fragile, but more potent in a strange, incredible way than any other device. Then the house had abruptly dwindled, thinned out, and disappeared from around him! He had reached a time-era before its construction. Still with greater speed, the shadowy shifting outlines of the great city were in motion, shrinking into smaller and smaller buildings, narrower, shorter roads.<br>It was a strange transition indeed. And yet to Alan Dane, the strangeness of his own emotions seemed not the least of it. Three years of his life had passed since that night when he had promised his grandfather he would carry on the experiments—three years in which he had lost his grandfather, but gained a wife and son. Ruth Vincent had married him and together they had worked on the fragile thing that he bore now on his back—fragile, but more potent in a strange, incredible way than any other device. Fue en ese momento cuando la casa se redujo de manera brusca y desapareció de su vista. Se había transportado a una época anterior a su construcción. Sin embargo, el horizonte sombrío y cambiante de la gran ciudad se movía aún a mayor velocidad, desapareciendo a medida que los edificios se hacían más pequeños y las carreteras más estrechas y cortas.<br>De hecho, fue una transición extraña. Sin embargo, para Alan Dane, la naturaleza extraña de sus emociones parecía ser lo menos importante. Habían pasado tres años desde aquella noche en la que le prometió a su abuelo que continuaría con los experimentos. Tres años en los que había perdido a su abuelo, pero también había ganado una esposa y un hijo. Ruth Vincent se había casado con él y juntos habían trabajado en un frágil artilugio que ahora él llevaba a sus espaldas; era frágil, pero, por extraño e increíble que pareciera, más potente que cualquier otro dispositivo. You have to log in to edit this translation.
or Cancel
|
Loading… Loading… Loading… Loading… |
||
| Alan had started from his grandfather's laboratory, near Riverside Drive in mid-town New York. The date had been May of 1942. His watch, set above the other time-recording instrument on his wrist, told him that his start had been made only a scant half hour before, by his personal consciousness of time. How long ago—how far away that seemed now! There had been a reeling of his senses, the soundless clapping of swiftly alternating light and darkness at the shadowy laboratory windows. Then as his rate of change accelerated, the days and nights had merged into this flat, dead emptiness of gray. | Alan había comenzado su andadura en el laboratorio de su abuelo, situado cerca de la avenida Riverside Drive, en el centro de Nueva York. Esta comenzó concretamente en mayo de 1942. Su reloj, que lo tenía colocado sobre otro artilugio de registro del tiempo en la muñeca, marcaba que había salido hace apenas media hora, lo que le pareció poco según su percepción del tiempo. Cuánto tiempo había pasado; qué lejano parecía eso ahora. Sintió como sus sentidos se tambalearan y el silencioso parpadeo de la rápida alternancia de la luz y la oscuridad en las ventanas del tenebroso laboratorio. A medida que los días pasaban, el día y la noche se sucedían con mayor rapidez, lo que hizo que se fusionaran en este vacío plano, inanimado y gris. | Details | |
|
Alan had started from his grandfather's laboratory, near Riverside Drive in mid-town New York. The date had been May of 1942. His watch, set above the other time-recording instrument on his wrist, told him that his start had been made only a scant half hour before, by his personal consciousness of time. How long ago—how far away that seemed now! There had been a reeling of his senses, the soundless clapping of swiftly alternating light and darkness at the shadowy laboratory windows. Then as his rate of change accelerated, the days and nights had merged into this flat, dead emptiness of gray. Alan had started from his grandfather's laboratory, near Riverside Drive in mid-town New York. The date had been May of 1942. His watch, set above the other time-recording instrument on his wrist, told him that his start had been made only a scant half hour before, by his personal consciousness of time. How long ago—how far away that seemed now! There had been a reeling of his senses, the soundless clapping of swiftly alternating light and darkness at the shadowy laboratory windows. Then as his rate of change accelerated, the days and nights had merged into this flat, dead emptiness of gray. Alan había comenzado su andadura en el laboratorio de su abuelo, situado cerca de la avenida Riverside Drive, en el centro de Nueva York. Esta comenzó concretamente en mayo de 1942. Su reloj, que lo tenía colocado sobre otro artilugio de registro del tiempo en la muñeca, marcaba que había salido hace apenas media hora, lo que le pareció poco según su percepción del tiempo. Cuánto tiempo había pasado; qué lejano parecía eso ahora. Sintió como sus sentidos se tambalearan y el silencioso parpadeo de la rápida alternancia de la luz y la oscuridad en las ventanas del tenebroso laboratorio. A medida que los días pasaban, el día y la noche se sucedían con mayor rapidez, lo que hizo que se fusionaran en este vacío plano, inanimado y gris. You have to log in to edit this translation.
or Cancel
|
Loading… Loading… Loading… Loading… |
||
| <em>Symbolism.</em> Music finds its highest and most universal expression in symbolism. Music is primarily a way of expressing moods, attitudes, feelings, and longings in generalized form. The listener tends to live himself concretely into the feeling suggested. In the esthetic mood he is not aware of the mechanics of the symbolic suggestion, for which the art has many resources, and he may not be aware of the music as such; but he lives realistically within his own personal realm of interests. Thus, music sounds the keynote on great festive occasions in the powerful forms of festive music, as in the great sacred oratorios and simpler but beautiful forms of church music or in triumphant marches and other festive celebrations in major form. But minor forms, as in tone poems and haunting melodies, work on the same principle and perhaps fully as effectively. From the grandeur suggested by the sonata to the serenity arising from the simplest bit of improvization in voice or instrument, music has unlimited power to seize the individual for some form of dreamlike realization of the subjects of his longings. | <em>Simbolismo.</em> La música alcanza su máxima y más universal expresión a través del simbolismo. En general, la música representa en gran medida una forma de expresar estados de ánimo, actitudes, sentimientos y anhelos. El oyente tiende a experimentar él mismo el sentimiento al que hace referencia la pieza. En el estado de ánimo estético no es consciente de las mecánicas propias del simbolismo, a diferencia del arte, que cuenta con muchos recursos para aplicarlas, y aunque es posible que no conciba la música como tal, experimenta de una manera realista sus propios intereses. De esta manera, la música se presenta como la gran protagonista de los eventos mediante formas importantes de música festiva, como en las grandes oratorias sagradas en la que podemos apreciar las simples, pero maravillosas formas de música eclesiástica o las marchas triunfales, así como en otras celebraciones en las que son protagonistas estas formas principales. Sin embargo, las formas minoritarias, como es el caso de los poemas sinfónicos y las melodías inquietantes, siguen los mismos principios y es posible que tengan la misma eficacia. Desde la grandeza que representa la sonata hasta la serenidad que transmite la más simple improvisación vocal o instrumental, la música tiene un poder sin igual de entrar en la vida de las personas que buscan la realización onírica de los sujetos de sus anhelos. | Details | |
|
<em>Symbolism.</em> Music finds its highest and most universal expression in symbolism. Music is primarily a way of expressing moods, attitudes, feelings, and longings in generalized form. The listener tends to live himself concretely into the feeling suggested. In the esthetic mood he is not aware of the mechanics of the symbolic suggestion, for which the art has many resources, and he may not be aware of the music as such; but he lives realistically within his own personal realm of interests. Thus, music sounds the keynote on great festive occasions in the powerful forms of festive music, as in the great sacred oratorios and simpler but beautiful forms of church music or in triumphant marches and other festive celebrations in major form. But minor forms, as in tone poems and haunting melodies, work on the same principle and perhaps fully as effectively. From the grandeur suggested by the sonata to the serenity arising from the simplest bit of improvization in voice or instrument, music has unlimited power to seize the individual for some form of dreamlike realization of the subjects of his longings. <em>Symbolism.</em> Music finds its highest and most universal expression in symbolism. Music is primarily a way of expressing moods, attitudes, feelings, and longings in generalized form. The listener tends to live himself concretely into the feeling suggested. In the esthetic mood he is not aware of the mechanics of the symbolic suggestion, for which the art has many resources, and he may not be aware of the music as such; but he lives realistically within his own personal realm of interests. Thus, music sounds the keynote on great festive occasions in the powerful forms of festive music, as in the great sacred oratorios and simpler but beautiful forms of church music or in triumphant marches and other festive celebrations in major form. But minor forms, as in tone poems and haunting melodies, work on the same principle and perhaps fully as effectively. From the grandeur suggested by the sonata to the serenity arising from the simplest bit of improvization in voice or instrument, music has unlimited power to seize the individual for some form of dreamlike realization of the subjects of his longings. <em>Simbolismo.</em> La música alcanza su máxima y más universal expresión a través del simbolismo. En general, la música representa en gran medida una forma de expresar estados de ánimo, actitudes, sentimientos y anhelos. El oyente tiende a experimentar él mismo el sentimiento al que hace referencia la pieza. En el estado de ánimo estético no es consciente de las mecánicas propias del simbolismo, a diferencia del arte, que cuenta con muchos recursos para aplicarlas, y aunque es posible que no conciba la música como tal, experimenta de una manera realista sus propios intereses. De esta manera, la música se presenta como la gran protagonista de los eventos mediante formas importantes de música festiva, como en las grandes oratorias sagradas en la que podemos apreciar las simples, pero maravillosas formas de música eclesiástica o las marchas triunfales, así como en otras celebraciones en las que son protagonistas estas formas principales. Sin embargo, las formas minoritarias, como es el caso de los poemas sinfónicos y las melodías inquietantes, siguen los mismos principios y es posible que tengan la misma eficacia. Desde la grandeza que representa la sonata hasta la serenidad que transmite la más simple improvisación vocal o instrumental, la música tiene un poder sin igual de entrar en la vida de las personas que buscan la realización onírica de los sujetos de sus anhelos. You have to log in to edit this translation.
or Cancel
|
Loading… Loading… Loading… Loading… |
||
| <em>Symbolism.</em> Music finds its highest and most universal expression in symbolism. Music is primarily a way of expressing moods, attitudes, feelings, and longings in generalized form. The listener tends to live himself concretely into the feeling suggested. In the esthetic mood he is not aware of the mechanics of the symbolic suggestion, for which the art has many resources, and he may not be aware of the music as such; but he lives realistically within his own personal realm of interests. Thus, music sounds the keynote on great festive occasions in the powerful forms of festive music, as in the great sacred oratorios and simpler but beautiful forms of church music or in triumphant marches and other festive celebrations in major form. But minor forms, as in tone poems and haunting melodies, work on the same principle and perhaps fully as effectively. From the grandeur suggested by the sonata to the serenity arising from the simplest bit of improvization in voice or instrument, music has unlimited power to seize the individual for some form of dreamlike realization of the subjects of his longings. | <em>Simbolismo.</em> La música alcanza su máxima y más universal expresión a través del simbolismo. En general, la música representa en gran medida una forma de expresar estados de ánimo, actitudes, sentimientos y anhelos. El oyente tiende a experimentar él mismo el sentimiento al que hace referencia la pieza. En el estado de ánimo estético no es consciente de las mecánicas propias del simbolismo, a diferencia del arte, que cuenta con muchos recursos para aplicarlas, y aunque es posible que no conciba la música como tal, experimenta de una manera realista sus propios intereses. De esta manera, la música se presenta como la gran protagonista de los eventos mediante formas importantes de música festiva, como en las grandes oratorias sagradas en la que podemos apreciar las simples, pero maravillosas formas de música eclesiástica o las marchas triunfales, así como en otras celebraciones en las que son protagonistas estas formas principales. Sin embargo, las formas minoritarias, como es el caso de los poemas sinfónicos y las melodías inquietantes, siguen los mismos principios y es posible que tengan la misma eficacia. Desde la grandeza que representa la sonata hasta la serenidad que transmite la más simple improvisación vocal o instrumental, la música tiene un poder sin igual de entrar en la vida de las personas que buscan la realización onírica de los sujetos de sus anhelos. | Details | |
|
<em>Symbolism.</em> Music finds its highest and most universal expression in symbolism. Music is primarily a way of expressing moods, attitudes, feelings, and longings in generalized form. The listener tends to live himself concretely into the feeling suggested. In the esthetic mood he is not aware of the mechanics of the symbolic suggestion, for which the art has many resources, and he may not be aware of the music as such; but he lives realistically within his own personal realm of interests. Thus, music sounds the keynote on great festive occasions in the powerful forms of festive music, as in the great sacred oratorios and simpler but beautiful forms of church music or in triumphant marches and other festive celebrations in major form. But minor forms, as in tone poems and haunting melodies, work on the same principle and perhaps fully as effectively. From the grandeur suggested by the sonata to the serenity arising from the simplest bit of improvization in voice or instrument, music has unlimited power to seize the individual for some form of dreamlike realization of the subjects of his longings. <em>Symbolism.</em> Music finds its highest and most universal expression in symbolism. Music is primarily a way of expressing moods, attitudes, feelings, and longings in generalized form. The listener tends to live himself concretely into the feeling suggested. In the esthetic mood he is not aware of the mechanics of the symbolic suggestion, for which the art has many resources, and he may not be aware of the music as such; but he lives realistically within his own personal realm of interests. Thus, music sounds the keynote on great festive occasions in the powerful forms of festive music, as in the great sacred oratorios and simpler but beautiful forms of church music or in triumphant marches and other festive celebrations in major form. But minor forms, as in tone poems and haunting melodies, work on the same principle and perhaps fully as effectively. From the grandeur suggested by the sonata to the serenity arising from the simplest bit of improvization in voice or instrument, music has unlimited power to seize the individual for some form of dreamlike realization of the subjects of his longings. <em>Simbolismo.</em> La música alcanza su máxima y más universal expresión a través del simbolismo. En general, la música representa en gran medida una forma de expresar estados de ánimo, actitudes, sentimientos y anhelos. El oyente tiende a experimentar él mismo el sentimiento al que hace referencia la pieza. En el estado de ánimo estético no es consciente de las mecánicas propias del simbolismo, a diferencia del arte, que cuenta con muchos recursos para aplicarlas, y aunque es posible que no conciba la música como tal, experimenta de una manera realista sus propios intereses. De esta manera, la música se presenta como la gran protagonista de los eventos mediante formas importantes de música festiva, como en las grandes oratorias sagradas en la que podemos apreciar las simples, pero maravillosas formas de música eclesiástica o las marchas triunfales, así como en otras celebraciones en las que son protagonistas estas formas principales. Sin embargo, las formas minoritarias, como es el caso de los poemas sinfónicos y las melodías inquietantes, siguen los mismos principios y es posible que tengan la misma eficacia. Desde la grandeza que representa la sonata hasta la serenidad que transmite la más simple improvisación vocal o instrumental, la música tiene un poder sin igual de entrar en la vida de las personas que buscan la realización onírica de los sujetos de sus anhelos. You have to log in to edit this translation.
or Cancel
|
Loading… Loading… Loading… Loading… |
||
| Likewise, much of the charm of music lies in its association with overt action as in dances, work songs, marches, and games, where action is rhythmic. | Asimismo, parte del encanto de la música reside en su relación con las acciones manifiestas, como son los bailes, las canciones de trabajo, las marchas y los juegos, donde la acción viene marcada por el ritmo. | Details | |
|
Likewise, much of the charm of music lies in its association with overt action as in dances, work songs, marches, and games, where action is rhythmic. Likewise, much of the charm of music lies in its association with overt action as in dances, work songs, marches, and games, where action is rhythmic. Asimismo, parte del encanto de la música reside en su relación con las acciones manifiestas, como son los bailes, las canciones de trabajo, las marchas y los juegos, donde la acción viene marcada por el ritmo. You have to log in to edit this translation.
or Cancel
|
Loading… Loading… Loading… Loading… |
||
| <br> | You have to log in to add a translation. | Details | |
|
Loading… Loading… Loading… Loading… |
|||
| This added power of the music lies not only in the dance steps but more conspicuously in the suggestive rhythms divided into intricate patterns often far surpassing the score or the physical performance. That is what we mean when we say music carries. In such situations the musical appeal may lie for one person in the verbal message or the overt action and for another, purely in the musical appeal. Yet both words and action on the one hand and music on the other are enriched through the association. | Este poder adicional de la música no solo reside en los pasos de baile, sino que también, de una manera más notable, en los ritmos sugestivos que se dividen en patrones complejos que, a menudo, sobrepasan los límites de las calificaciones o el rendimiento físico. Esto es a lo que nos referimos cuando decimos que la música te guía. En este tipo de situaciones, para algunas personas el atractivo de la música puede residir en el mensaje que se quiere transmitir o la acción manifiesta que representa y para otras la música es llanamente un atractivo en sí. Sin embargo, tanto las palabras y la acción por un lado como la música por otro se enriquecen entre sí por medio de la asociación. | Details | |
|
This added power of the music lies not only in the dance steps but more conspicuously in the suggestive rhythms divided into intricate patterns often far surpassing the score or the physical performance. That is what we mean when we say music carries. In such situations the musical appeal may lie for one person in the verbal message or the overt action and for another, purely in the musical appeal. Yet both words and action on the one hand and music on the other are enriched through the association. This added power of the music lies not only in the dance steps but more conspicuously in the suggestive rhythms divided into intricate patterns often far surpassing the score or the physical performance. That is what we mean when we say music carries. In such situations the musical appeal may lie for one person in the verbal message or the overt action and for another, purely in the musical appeal. Yet both words and action on the one hand and music on the other are enriched through the association. Este poder adicional de la música no solo reside en los pasos de baile, sino que también, de una manera más notable, en los ritmos sugestivos que se dividen en patrones complejos que, a menudo, sobrepasan los límites de las calificaciones o el rendimiento físico. Esto es a lo que nos referimos cuando decimos que la música te guía. En este tipo de situaciones, para algunas personas el atractivo de la música puede residir en el mensaje que se quiere transmitir o la acción manifiesta que representa y para otras la música es llanamente un atractivo en sí. Sin embargo, tanto las palabras y la acción por un lado como la música por otro se enriquecen entre sí por medio de la asociación. You have to log in to edit this translation.
or Cancel
|
Loading… Loading… Loading… Loading… |
||
| Music with words and action. Much of the charm of music lies in its association with words which carry the message, as in song. The center of interest in much of the vocal art lies in the meaning conveyed by the words where the music serves as an artistic embellishment. This is true of the lullaby, the lover's plea, and grand opera. Likewise, much of the charm of music lies in its association with overt action as in dances, work songs, marches, and games, where action is rhythmic. | Música combinada con palabras y acciones. Parte del encanto de la música reside en su asociación con las palabras, que son las que transmiten el mensaje, como ocurre en el caso de las canciones. El núcleo de este interés radica en gran parte en el arte vocal ligado al significado que transmiten las palabras, en estos casos, la música actúa como un mero ornamento. Es el caso de las nanas, las canciones de amor y la gran ópera. Asimismo, parte del encanto de la música reside en su relación con las acciones manifiestas, como son los bailes, las canciones de trabajo, las marchas y los juegos, donde la acción viene marcada por el ritmo. | Details | |
|
Music with words and action. Much of the charm of music lies in its association with words which carry the message, as in song. The center of interest in much of the vocal art lies in the meaning conveyed by the words where the music serves as an artistic embellishment. This is true of the lullaby, the lover's plea, and grand opera. Likewise, much of the charm of music lies in its association with overt action as in dances, work songs, marches, and games, where action is rhythmic. Music with words and action. Much of the charm of music lies in its association with words which carry the message, as in song. The center of interest in much of the vocal art lies in the meaning conveyed by the words where the music serves as an artistic embellishment. This is true of the lullaby, the lover's plea, and grand opera. Likewise, much of the charm of music lies in its association with overt action as in dances, work songs, marches, and games, where action is rhythmic. Música combinada con palabras y acciones. Parte del encanto de la música reside en su asociación con las palabras, que son las que transmiten el mensaje, como ocurre en el caso de las canciones. El núcleo de este interés radica en gran parte en el arte vocal ligado al significado que transmiten las palabras, en estos casos, la música actúa como un mero ornamento. Es el caso de las nanas, las canciones de amor y la gran ópera. Asimismo, parte del encanto de la música reside en su relación con las acciones manifiestas, como son los bailes, las canciones de trabajo, las marchas y los juegos, donde la acción viene marcada por el ritmo. You have to log in to edit this translation.
or Cancel
|
Loading… Loading… Loading… Loading… |
||
| Music with words and action. Much of the charm of music lies in its association with words which carry the message, as in song. The center of interest in much of the vocal art lies in the meaning conveyed by the words where the music serves as an artistic embellishment. This is true of the lullaby, the lover’s plea, and grand opera. Likewise, much of the charm of music lies in its association with overt action as in dances, work songs, marches, and games, where action is rhythmic. | Música combinada con palabras y acciones. Parte del encanto de la música reside en su asociación con las palabras, que son las que transmiten el mensaje, como ocurre en el caso de las canciones. El núcleo de este interés radica en gran parte en el arte vocal ligado al significado que transmiten las palabras, en estos casos, la música actúa como un mero ornamento. Es el caso de las nanas, las canciones de amor y la gran ópera. Asimismo, parte del encanto de la música reside en su relación con las acciones manifiestas, como son los bailes, las canciones de trabajo, las marchas y los juegos, donde la acción viene marcada por el ritmo. | Details | |
|
Music with words and action. Much of the charm of music lies in its association with words which carry the message, as in song. The center of interest in much of the vocal art lies in the meaning conveyed by the words where the music serves as an artistic embellishment. This is true of the lullaby, the lover’s plea, and grand opera. Likewise, much of the charm of music lies in its association with overt action as in dances, work songs, marches, and games, where action is rhythmic. Music with words and action. Much of the charm of music lies in its association with words which carry the message, as in song. The center of interest in much of the vocal art lies in the meaning conveyed by the words where the music serves as an artistic embellishment. This is true of the lullaby, the lover’s plea, and grand opera. Likewise, much of the charm of music lies in its association with overt action as in dances, work songs, marches, and games, where action is rhythmic. Música combinada con palabras y acciones. Parte del encanto de la música reside en su asociación con las palabras, que son las que transmiten el mensaje, como ocurre en el caso de las canciones. El núcleo de este interés radica en gran parte en el arte vocal ligado al significado que transmiten las palabras, en estos casos, la música actúa como un mero ornamento. Es el caso de las nanas, las canciones de amor y la gran ópera. Asimismo, parte del encanto de la música reside en su relación con las acciones manifiestas, como son los bailes, las canciones de trabajo, las marchas y los juegos, donde la acción viene marcada por el ritmo. You have to log in to edit this translation.
or Cancel
|
Loading… Loading… Loading… Loading… |
||
Export as
Translate WordPress.com 