Question

求这段英语翻译，有道百度翻译勿扰，谢谢！！！！

we may say that music of the 19th century is: more concerned with color, whether
of chord or instrumentation, than ever before, that highly distant key
relationships become the expectation rather than the unusual, that the
tonic/dominant axis is weakened by a subdominant direction, that melody becomes
exalted into what might be called 'themes', that counterpoint, in the main, is
of less importance, and that the orchestral instrumentation is expanded greatly
to include piccolo, English horn, contrabassoon, bass and, occasionally,
soprano (Eb) clarinets, trombone, tuba, harp, and a steadily growing list of
percussion. Forms often take one of two paths, either that of great expansion
(symphony) or that of the miniature (Nocturnes). A new form which runs between
these extremes is the Tone Poem or Symphonic Tone Poem which, springing from
some literary or poetic inspiration, is, in general, a large single-movement
work for orchestra with many contrasting sections of tempi and texture.

Answer 1

我们可以认为，与以往相比19世纪的音乐更加注重多样性，不管是从旋律上还是从乐器上。这个时期，高音长调成为了大众的期盼而非不同寻常；由以全阶第五音为主轴的态势转变为以次属音为主的趋势；旋律升级为主题；旋律配合 变得不那么重要。管弦乐器发展到包括短笛，英国管，倍低音巴松笛，低音乐器 ，以及偶尔会使用到的高音竖笛，长号，大号，竖琴和使用日益增多的打击乐器在内的各种乐器。音乐的形式主要分为两种，要么是大型的交响乐要么是小型的夜曲演奏。在这些两极化的形式中产生了一种新的形式：曲调诗或交响乐诗，该种形式起源于文学及诗歌的灵感，总的来说该时期大量的单乐章管弦乐作品包含了更多的节拍和主题。

Answer 2

我们肯呢敢说，19世纪的音乐就是：比以前任何时候都更注重于色彩，无论是和弦或仪表，比以往任何时候，非常遥远的关键关系变成了不同寻常的期望，该主导轴是由亚优势减弱的方向，即旋律变得崇高到可以被称为'主题“，即对位，最主要的，是不太重要的。而管弦乐仪表大大扩大到包括短笛，英语角，低音笛，低音乐器，还有女高音（EB）单簧管，长号，大号，竖琴和稳步增长的打击乐的名单。形式往往需要一两个路径，要么是很大的扩展（交响乐）或微型（夜曲）的。而在这两个极端之间运行的新形式是音诗交响或音诗的，从一些文学或诗的灵感涌现，在一般情况下，一个很大的单个动作是为管弦乐队工作的。a large single-movement work for orchestra with many contrasting sections of tempi and texture.最后这句话不知道怎么翻译