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    vibration Õñ¶¯ 

    sound Òô 

    tone Òô£¨ÀÖÒô£© 

    musical tone ÀÖÒô 

    noise ÔëÒô 

    acoustics Éùѧ 

    psychoacoustics ÐÄÀíÉùѧ 

    frequency ƵÂÊ 

    intensity Ç¿¶È 

    time ʱ¼ä 

    wave form ²¨ÐΠ

    pitch Òô¸ß 

    loudness Ïì¶È 

    duration ʱֵ 

    timbre ÒôÉ« (tone color or quality) 

    tuning fork Òô²æ 

    pure tone ´¿Òô 

    complex tone ¸´Òô (composite tone) 

    overtone(s) ·ºÒô 

    (aliquot tone, harmonics, flageolet tone ¼´upper partials) 

    overtone series ·ºÒôÁР

    partial(s) ·ÖÒô(partial tone) 

    fundamental(tone) »ùÒô (first partial) 

    step Òô¼¶(scale step, degree) 

    accidental(s) ±äÒô¼ÇºÅ 

    sharp ÉýºÅ 

    flat ½µºÅ 

    double-sharp ÖØÉýºÅ 

    double-flat ÖØ½µºÅ 

    nature »¹Ô­ºÅ intonation Òô×¼ 
 
    range ÒôÓò(compass) 

    (voice) register ÒôÇø 

    small c С×Ö×éc 

    great C ´ó×Ö×éC 

    contra C ´ó×Ö¶þ×éC 

    unaccented octave С×Ö×é 

    one-lined octave С×ÖÒ»×é (one-line) 

    two-lined octave С×Ö¶þ×é (two-line) 

    three -lined octave С×ÖÈý×é(three-line) 

    four-line octave С×ÖËÄ×é (four-line) 

    temperament ÀÖÂÉ 

    tempered scale ƽ¾ùÂÉ (equal temperament) 

    just intonation ´¿ÂÉ 

    pitch name ÒôÃû 

    enharmonic notes µÈÒô 

    (whole) tone È«Òô 

    half-tone °ëÒô 

    natural half-tone ×ÔÈ»°ëÒô 

    natural tone ×ÔȻȫÒô 

    chromatic tone ±ä»¯È«Òô 

    chromatic half-tone ±ä»¯°ëÒô 

    notation ¼ÇÆ×·¨ 

    staff À֯נ

    treble clef ¸ßÒôÆ×ºÅ 

    bass clef µÍÒôÆ×ºÅ 

    clef Æ×ºÅ (G clef, F clef, C clef) 

    note(s) Òô·û 

    rest(s) ÐÝÖ¹·û 

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    minim ¶þ·ÖÒô·û (half note£¬ÃÀ) 

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    quaver °Ë·ÖÒô·û (eighth note£¬ÃÀ) 

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    (thirty-second note£¬ÃÀ) 

    hemidemisemi quaver ÁùÊ®ËÄ·ÖÒô·û (sixty-fourth note£¬ÃÀ) 

    dot ¸½µã 

    double dot ¸´¸½µã 

    dotted note ¸½µãÒô·û 

    dotted rest ¸½µãÐÝÖ¹·û 

    score ×ܯנ

    leger line(s) ¼ÓÏß (ledger line(s)) 

    head ·ûÍ· 

    stem ·û¸É 

    hook ·ûβ(tail) 

    space ¼ä 

    line Ïß 

    tie ÑÓÒôÏß 

    pause ÑÓ³¤ºÅ(hold, fermata) 

    bar С½Ú (bar lineС½ÚÏß,measure) 

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    absolute pitch ¾ø¶ÔÒô¸ß£¨Ìý¾õ£© #p#·ÖÒ³±êÌâ#e#

    sight-singing ÊÓ³ª 

    fixed-do ¹Ì¶¨³ªÃû·¨ movable-do Òôµ÷³ªÃû·¨ 

    lyra ÀÖ»Õ 

    rhythm ½Ú×à 

     rhythmic pattern ½Ú×àÐÍ 

    accent ÖØÒô 

    syncopation ÇзÖÒô 

    meter ÅÄ×Ó (time) 

    duple meter(s) ¶þÅÄ×Ó (2/2,2/4,2/8) 

    triple meter(s) ÈýÅÄ×Ó (3/2,3/4,3/8) 

    quadruple meter(s) ËÄÅÄ×Ó (4/2,4/4,4/8) 

    common meter ÆÕͨÅÄ×Ó (4/4) 

    simple meter(s) µ¥ÅÄ×Ó 

    compound meter(s) ¸´ÅÄ×Ó 

    compound duple meter(s) ¸´¶þÅÄ×Ó(6/2,6/4,6/8) 

    compound triple meter(s) ¸´Èý ÅÄ×Ó(9/4,9/8) 

    compound quadruple meter(s) ¸´ËÄÅÄ×Ó (12/4,12/8,12/16) 

    quintuple meter ÎåÅÄ×Ó 

    time signature ÅĺŠ

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    irregular meter £¨²»¹æÔò£©»ìºÏÅÄ×Ó(7/4,11/7) 

    Metronome ½ÚÅÄ»ú (M.M.=Malzel’s ~) 

    duplet ¶þÁ¬Òô 

    triplet ÈýÁ¬Òô 

    quadruplet ËÄÁ¬Òô 

    quintuplet ÎåÁ¬Òô 

    sextuplet ÁùÁ¬Òô 

    septuplet ÆßÁ¬Òô 

    tempo ËÙ¶È 

    dynamics Á¦¶È 

    tempo mark(s) Ëٶȱê¼Ç  

    dynamic mark(s) Á¦¶È±ê¼Ç 

    mode µ÷ʽ£¨ÏÁÖ¸½Ì»áµ÷ʽ£»¹ãÖ¸µ÷ʽ£© 

    scale Òô½× 

    key µ÷ 

    tonality µ÷ÐÔ 

    atonality ÎÞµ÷ÐÔ 

    bitonality Ë«ÖØµ÷ÐÔ 

    polytonality ¶àµ÷ÐÔ 

    major ´óµ÷ 

    minor Сµ÷ 

    key signature µ÷ºÅ 

    pentatonic ÎåÉùµÄ 

    natural ×ÔÈ»µÄ 

    melodic ÐýÂɵĠ

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    false chord ¼ÙºÍÏÒ resolution ½â¾ö 

    relative keys ¹ØÏµ´óСµ÷ 

    parallel keys ͬÖ÷Òôµ÷ 

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    root ¸ùÒô£¨fundamental£© 

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    unison ͬ¶È£¬Ò»¶È£¨prime£© 

    second ¶þ¶È 

    third Èý¶È 

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    octave °Ë¶È #p#·ÖÒ³±êÌâ#e#

    ninth ¾Å¶È 

    tenth Ê®¶È 

    eleventh ʮһ¶È 

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    tri-tone ÈýÈ«Òô  

    diatonic interval ×ÔÈ»£¨Òô³Ì£© 

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    consonant ЭºÍ£¨Òô³Ì¡¢ºÍÏÒ£© 

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    chord ºÍÏÒ 

    triad ÈýºÍÏÒ 

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    minor triad СÈýºÍÏÒ 

    diminished triad ¼õÈýºÍÏÒ 

    augmented triad ÔöÈýºÍÏÒ 

    root position ԭλ 

    first inversion µÚһתλ 

    second inversion µÚ¶þתλ 

    third inversion µÚÈýתλ 

    sixth chord ÁùºÍÏÒ 

    sixth-four chord ËÄÁùºÍÏÒ 

    seventh chord ÆßºÍÏÒ 

    dominant seventh chord ÊôÆßºÍÏÒ 

    diminished seventh chord ¼õÆßºÍÏÒ 

    ninth chord ¾ÅºÍÏÒ 

    augmented sixth chord ÔöÁùºÍÏÒ 

    Added-sixth chord ¼ÓÁù¶ÈºÍÏÒ 

    fourth chord ËĶȺÍÏÒ 

    tone-cluster Òô´Ø 

    harmony ºÍÉùѧ 

    harmonic analysis ºÍÉù·ÖÎö 

    functional harmony ¹¦ÄܺÍÉù 

    modulation תµ÷ 

    transposition ÒÆµ÷ 

    chromatic scale °ëÒô½× 

    diatonic scale ×ÔÈ»Òô½× 

    passing tone ¾­¹ýÒô 

    neighboring tone ¸¨ÖúÒô£¨auxiliary tone£¬upper or lower£© 

    anticipation ÏÈÏÖÒô 

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    double mordent ¸´²¨Òô 

    inverted turn »ØÒô 

    arpeggio ÅÃÒô 

    melody ÐýÂÉ 

    repetition ÖØ¸´ 

    unity ͳһ 

    variety ±ä»¯ 

    variation ±ä×à 

    theme with variation Ö÷ÌâÓë±ä×à 

    comparison ¶Ô±È 

    augmentation Õ¹¿ª 

    climax ¸ß³± 

    sequence Ä£½ø 

    melodic sequence ÐýÂÉÄ£½ø 

    harmonic sequence ºÍÉùÄ£½ø 

    melodic progression ÐýÂɽøÐР

    melodic contour ÐýÂÉÂÖÀª 

    motive ¶¯»ú 

    thematic material Ö÷Ìâ²ÄÁÏ 

    phrase À־䠠

    phrasing ·Ö¾ä 

    period ÀֶΠ

    cadence ÖÕÖ¹ 

    perfect cadence ÍêÈ«ÖÕÖ¹ 

    imperfect cadence ²»ÍêÈ«ÖÕÖ¹ 

    half cadence °ëÖÕÖ¹ 

    authentic cadence Õý¸ñÖÕÖ¹ 

    plagal cadence ±ä¸ñÖÕÖ¹ 

    interrupted cadence ×è°­ÖÕÖ¹ 

    deceptive cadence αÖÕÖ¹ 

    musical form Çúʽ 

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    cadanza »ª²ÊÀÖ¶Î musical form Ìå²Ã 

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    trio ÈýÖØ×à 

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    opera ¸è¾ç 

    ballet °ÅÀÙ 

    chorus ºÏ³ª 

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