lecture_music
Lecture+9耶鲁大学开放课程《聆听音乐》讲稿+
Professor Craig Wright: Okay. Let us start, ladies and gentlemen. We're going to pursue the issue of musical form today. It's an important thing to talk about because it allows us to follow a particular piece of music, and we'll be--I am using this metaphor of a musical journey and wanting to know where we are in music throughout the day today. Form is particularly important in all types of music--popular music as well as classical music--and we have this complex of material coming at us, this sonic material. And we try to make sense of it, and we say that it has a particular form. And we say it could have a particular structure even, so we tend to use metaphors having to do with architecture and things such as this.What we are really doing here is taking all of this sonic information that's coming into our brain and getting sorted, and makes us want to dance around or clap or be sad or happy, and make sense of it in terms of a few rather simple patterns. And musicians like to have forms because oftentimes it tells them what they ought to do next and where--here--I'm here but what ought to happen next? Well, if you've got a tried and true musical form that other musicians have used over the years, you might be inclined to use it too because your know your listener will be able to follow you.Now the other day, I asked early on in the course about the form in popular music, and I threw this out not really knowing what the answer would be. What's the most common form that one encounters when dealing with pop songs? And for the most part there was silence across the room, but one student--I have tracked him down--Frederick Evans, gave a very good answer--really a better answer than I could have given. So, clearly Frederick knew something about this idea of what he I think referred to as "verse and chorus" structure.I might call it "strophe and refrain," but it's the same thing whether you have it in a Lied of Franz Schubert or in a piece that I know nothing about. And Frederick is going to show us--introduce us--to a piece that I know nothing about. I sent him an e-mail last night saying, "Frederick, you gave a really good answer. Why don't you pick a piece, come up and demonstrate this?" So this is Frederick Evans. We're going--or excuse me. Yeah, Frederick Evans. He's going to come up here. I'm told we have to give him a microphone and he is going to introduce us to this particular piece. Now you probably all know what this piece is. How many of you have heard the piece we were just listening to? Everybody knows it. Who is the one person in the room that's never heard this piece before--has no clue what's happening? Moi. Okay? So Frederick, tell me about this piece, please.Frederick Evans: All right. This is a piece by 'N Sync--back when I was in fifth grade--and it's "Bye Bye Bye," and the pattern that it follows is really the archetype of a lot of popular songs. It's half of the chorus or so when it starts and then there's verse, chorus, verse, chorus and then what I call the bridge, which is like an emotional climax. And then the last one is a really powerful chorus where they just bring it home and then the music fades away.Professor Craig Wright: Okay. So it's this idea of changing text, then coming back to familiar text and familiar music, then changing, going back to the familiar new text, and then coming back to the familiar in terms of the chorus. Is that a fair shake?Frederick Evans: Yes, Sir. Yes.Professor Craig Wright: Okay. So shall we play--what are we going to hear first?Frederick Evans: So first you'll hear from seconds twenty-four to forty. This is an example of the verse where they have the beginning of the plot and then you have the chorus at seconds--about fifty-six--and that's where you get your repeating idea, which is what the piece is based on. And then last but not least, you have the emotional buildup where the background and the chord progression changes, a little more solemnly, and then there's the last chorus that just brings it home.Professor Craig Wright: Okay. Great. Let's listen to the-yeah. [music plays] Okay.Frederick Evans: Yep. So that was the first verse and that's when they really get you into what they're talking about.[music playing]Professor Craig Wright: What really interests me here is what they're using is a baroque ostinato "Lament bass" but that's--we'll get on to that in another week or so. So that's--okay. Now we'll go to the bridge, Frederick?Frederick Evans: Yes. There at the bridge is where they really sum up all their emotions and they really just want to tell you what they're building towards. [music playing]Professor Craig Wright: Okay. That's wonderful. Thank you, Frederick. That's exactly what I wanted. [laughs] [applause] Okay. How many want Craig to continue teaching this course and how many want Frederick? Let's hear it for Craig. [laughter] Let's hear it for Frederick. [applause] I knew it. Okay, but that's a good way of getting introduced to the idea of musical form.Let's talk about form now in classical music. The forms are a little more difficult in classical music because the music is more complex. And before we launch into a discussion of these musical forms, I want to talk about the distinction of genre in music and form in music. So we're going to go over to the board over here and you can see that I've listed the standard classical genres. What do we mean by genre in music? Well, simply musical type. So we've got this type called a symphony and this type of music called a string quartet and concerto, and so on. We could add other types: ballet, opera, things such as that. In the popular realm we've got genres too. We've got--classical New Orleans jazz would be a genre. Blues would be a genre. Grunge rock would be another sort of genre.A genre presupposes a particular performing force, a particular length of pieces and even dress and mode of behavior of the auditors--the listeners. If we were going to listen to the genre of a symphony, we would dress up one particular way, go to Woolsey Hall and expect to be there from eight o'clock until ten o'clock. If you were going to hear the Rolling Stones play at Toad's--where they do play occasionally--obviously one would not come at eight o'clock. One would come later, and one would dress in a particular sort of way and one would behave, presumably, in a different sort of way. So that's what we mean by genre, a kind of general type of music.Now today we'll start to talk about form in music, and what I need to say here is that each of these genres is made up of a--of movements, and each of the movements is informed by a particular form.So with the symphony we have four movements there: fast, slow, then either a minuet or a scherzo, and a final, fast movement, and each of these movements can be in one of the number of different forms and we'll talk about what they are in just a moment.So when we come to the string quartet, same sort of thing: fast, slow, minuet, scherzo, fast. Any one of those can be in a particular form. Concerto, generally, as mentioned before, has just three movements and sonata, a piano sonata, something played on a piano, or a violin sonata with violin and piano accompaniment--they generally have just three movements: fast, slow, fast. Okay.Let's talk about our forms now. In classical music things go by very quickly and it's difficult to kind of get a handle on it, and we, generally in life, don't like to be lost. We like to know where we are, we like to know what is happening, and this is what form allows us to do. So that if we're hearing a piece of music and all this stuff is coming at us we want to make sense of it by knowing approximately where we are. Am I still toward the beginning? Am I in the middle of this thing? Am I getting anywhere near the end of it? How should I respond at this particular point? Well, if we have in mind what I've identified here, we will be referring to as our six formal types, and we can think of these as templates that, when we're hearing a piece of music we make an educated decision about which formal type is in play. And then we drop down the model of this formal type, or the template of this formal type, and we sort of filter our listening experience through this template, or through this model.So here are our six models: ternary form, sonata allegro form, theme and variations, rondo, fugue, and ostinato. And they developed at various times in the history of music. Theme and variations is very old. Sonata-allegro is a lot more recent. Now of these, the ones that we'll be working with today are ternary form and sonata-allegro form, and sonata-allegro is the hardest, the most complex, the most difficult of all of these forms. It's so-called because it usually shows up in the first movement of a sonata, concerto, string quartet, symphony, so--and the first movements are fast so that's why we have allegro out there, and it most is associated with this idea of the sonata. It didn't necessarily originate there. It originated there and in the symphony, but for historical reasons we call this sonata because of its association with the sonata and the fact that it goes--and the fact that it goes fast--sonata-allegro form. So that in a symphony, usually your very first movement will be in sonata-allegro form.Your slow movement, well, that could be in theme and variations; it could be in rondo; it could be in ternary form. Your minuet and scherzo is almost always in ternary form and your last fast movement could be in sonata-allegro form. It could also be in theme and variations; could be in rondo; could be in fugue. Sometimes it's even in ostinato form. So you can see that these forms can show up and control--regulate--what happens inside of each of these movements. Okay? Are there questions about that? Does that seem straightforward enough? We have a big picture of genre here, movements within genre, and then forms informing each of the movements. Yes.Student: Did you say that the ternary form is normally used for the second movement?Professor Craig Wright: No. I said it's possible that it is--could be--used for the second movement. A ternary form is one of the forms that could be used with the slow second movement. We could also have theme and variations. We're going to hear one of those later in our course. It could also be a sortof slow rondo. So it's just one of really three possibilities there, but thanks for that question. Anything else? Okay.If not, let's talk then about ternary form because ternary form has much in common with what we experience in sonata-allegro form. Let me take a very straightforward example of ternary form. It's from Beethoven's "Für Elise," the piece--the piano piece that Beethoven wrote for one of his paramours at one time or another. Here. I'm going to tell you a story about this. My cell phone broke the other day.My cell phone broke the other day so I had to buy a new one. I was really happy about that. I hated to lose my old Mozart theme, but I then had to find a new Mozart theme. And nowadays my selections are more limited. So when you go on to these things--and in truth, I actually had my youngest son do this because I'm hopelessly incompetent with this kind of thing--you go on to these things, and now they only have one option for classical music, one option for--but it's called "Mozart" so good choice. Mozart has become the icon of classical music and I think it's the individual that should be the icon for classical music. All classical music now has been reduced down to just Mozart. Okay. I have no idea what that was about, but, well, who's calling?All right. So we have this piece in ternary form by Beethoven, and ternary form is--conveys to us simply the idea of presentation, diversion, re-presentation or statement, digression, restatement--anything like this. We like to diagram these in terms of alphabetical letters. You can think just A, B, A. [plays piano] All right. I'm going to pause here. We started out here. [plays piano] We are in this key. Major or minor? What do you think? Minor. All right. So were coming to the end of this A section. Here--The A section is very short [plays piano] but then [plays piano] we--major or minor? Major. Right. [plays piano] So what happened there? What do we call this? [plays piano] It's a very quick modulation. We've changed keys.And I'm going to digress here just for a moment to talk about this, which is this concept of relative major and minor. You may have noticed in music--and it's discussed briefly in the textbook--that there are pairs of keys, pairs of keys that have something in common. The members of the pairs have the same key signature, and we could take any key signature--three flats or two sharps, whatever--but there's going to be one major key with three flats and one minor key with three flats.And I think we have up on the board here an example of just that so you can see written in here the three flats, and this is a minor scale with three flats. Now we could also have three flats over here, but we encounter three flats where we have the major scale. This happens to work out so that it's pitched on C. If we come up three half steps in the keyboard, we come up to E-flat so the relative major--the major key in this pair--is always three half steps--[plays piano] one, two, three--three half steps up above its paired minor. Here's another one down at the bottom--happens to have one sharp in it. We have the key of G major here with one sharp but if we come down three half steps [plays piano] we get its relative minor down here, and the reason I mentioned this is not because we actually hear this very much.I'm not sure that I hear modulations to relative major because I don't have absolute pitch and I'm not tracking keys when I listen to pieces--and my guess is you're not either. So for the average listener, we may not hear the actual pitch relationship but we may hear that we've had a modulation and you cankind of make an educated guess: that about fifty percent of the time if it's going minor to major, it's coming in this relative arrangement-- where major down to minor; it's going in this relative arrangement, so this happens a lot.So here we are in the mid section of our ternary form, A B A. Here's the B part [plays piano] and then back to [plays piano] the minor A. [plays piano] Now that's just the opening section of this piece. It goes on to do other things, but it's a very succinct example of ternary form, and ternary form is a useful way of introducing a larger concept, which is sonata-allegro form.So let me flip the board here, and here we go on to this rather complex diagram. As I say, it's the most complex one of all the six forms that we'll be working with. It consists of three essential parts: exposition, development and recapitulation. So you could think you were coming out of ternary form. You've got an A here, you've got a B idea here and then you've got an A return back here--but this is a lot more complicated. There are things--lots of things--going on.And I should say also--in terms of fairness in advertising--that this is a model. This is also something of an abstraction or an ideal. Not every piece written in sonata-allegro form conforms to this diagram in all particulars. Composers wouldn't want to do that--they'd have to assert their independence or originality in one way or another--but it's a useful sort of model. It tells us what the norm is, what we can generally expect. So we've got these three sort of sine qua non here and then we've got two optional parts of this that we'll talk about as we proceed.So this is the way we set out then sonata-allegro form: exposition, development, recapitulation. So we start out with the first theme, in the tonic key of course. It might even have subsets to it so that we could have one A and one B and one C up here. I won't put them up there but it can happen. Then we have a transition in which we have a change of key, moving to the dominant key. Transitions tend to be rather unsettled. It gives you the sense of moving somewhere, going somewhere. That's why it's called a transition. It could also--musicians like--quickly--like to call it a "bridge." It's sort of leading you somewhere else--and maybe in that way it is similar to the type of bridge that Frederick was talking about earlier. So we have a transition or bridge that takes us to a second theme in--now in the dominant key. If, however, our symphony happened to begin in a minor key, then the second theme would come in in the relative major. So if we had C minor as Beethoven does in his Fifth Symphony-- [plays piano] So there we are there in C minor, but the second theme [plays piano] is in the relative major of E-flat. Both have three flats in it. So if you have the start in minor, then composers traditionally modulate, not to the dominant, but to the relative major--which is up on the third degree of the scale. That's why there's a big three (III) there.So then the second theme comes in. It's usually contrasting, lyrical, sweeter. You heard the difference there--more song-like in the Beethoven--not so much of that musical punch in the nose as I like to refer to it, but a more relaxed sort of second theme, and there is oftentimes some filler or what we might call an interstice and we come to a closing theme. That's abbreviated up here, just CT, closing theme of the exposition, closes the exposition.Closing themes tend to be rather simple in which they rock back and forth between dominant and tonic so that you could end on the tonic and that gives you a sense of conclusion of the exposition.Now what happens? Well, you see these dots up on the board. Anybody know what these dots mean? I think we--actually we talk about this if you read ahead in the textbook Can somebody tell me what the dots mean> Jerry?Student: Repeat?Professor Craig Wright: Okay. Repeat. Okay. So that's what dots in music do-- when we have these double bars and dots that means repeat so we got to repeat the whole exposition. If we didn't like it the first time, we get a second pass at it in the repeat. Then we go on to the development and as the term "development" suggests, we're going to develop the theme here, but it is oftentimes more than that. It could be something other than just the development and the expansion. It could actually be a contraction. Beethoven likes to strip away things and sort of play with particular subsets of themes or play with parts of motives.Generally speaking, your development is characterized by tonal instability--moves around a lot. You can't tell what key you're in--tonal instability--and it also tends to be, in terms of texture, the most polyphonic of any section in the piece. There's a lot of counterpoint usually to be found in the development section. Then towards the end of the development section we want to get back here to the return and we want to get back to our first theme and our tonic key. So composers oftentimes will sit on one chord. What they will sit on will happen to be the dominant. So I could put that up here. We could put a five (V) up here because we want a long period of dominant preparation. [sings] is where we're going, back over here. But we're going to set this up as preparation in terms of the dominant that wants to push us in to the tonic.So there we are back in the tonic now and all the first themes come back as they did before. We also have a bridge but this time it does not modulate. It stays in the tonic key. We don't want it to modulate because we've got to finish in the tonic here. So I was thinking just a moment ago it's kind of the "bridge to nowhere." It really is a bridge to nowhere. You go right back to where you were. You stay in that tonic key and the second theme material comes in, your closing theme comes in, and you could end the composition here.Sometimes Mozart as we will see in our course will end a piece right at this point--the end, right there--but more often than not composers will throw on a coda. What's a coda do? Well, it really says to the listener that "hey, the piece is sort of at an end here." Codas generally are very static harmonically. They're--there's not a lot of movement. It's--and I keep--maybe I should have got--come up a different metaphor here--the idea of throwing an anchor over, slowing the whole thing down, simplifying it to say we're at the end. So you get a lot of the [sings] kind of things in the coda just to tell the listener it's time to think about clapping at this point, or reaching for your coat. And the other optional--Coda--What's that come from? The Latin cauda (caudae) I guess. . Italian coda means tail, and these can be, like all tails, long or short. Mozart happened to like short codas. Beethoven liked longer codas. And the other optional component here is the introduction. My guess is--Jacob, what would you guess? How many--what portion of classical symphonies--you're an orchestral player--what portion of classical symphonies would begin with an introduction, would you say?Student: Most of them.Professor Craig Wright: Most of them? Well, we'll consider that. Let's go for fifty percent at the moment. We'll consider fifty percent at the moment, so we'll see. Now let's jump into a classical composition that begins with a movement in sonata-allegro form. We're going to open here with Mozart's "Eine kleine Nachtmusik," "A Little Night Music." This is sort of serenade stuff that he wrote for Vienna--sort of night music, evening music. Let's listen to a little of it. We're going to start with the first theme idea, and before she does let me play this. [plays piano] What about that? Conjunct or disjunct melody?Students: Disjunct.Professor Craig Wright: Disjunct, yeah. There's a lot of jumping around [plays piano] and that kind of thing. Notice it's mostly [plays piano] just a major triad with [plays piano] underneath. So if we were at a concert and we wanted to remember this, we'd probably have a lot of skippy Xs here. We don't have time to get into the particulars of this, but that's why we're doing all of this diagramming stuff. So we got a lot of these skipping Xs.All right. So let's listen to the first theme of Mozart's "Eine kleine Nachtmusik." [music plays] A little syncopation there. And a sort of a counterpoint to this, so maybe we've got a couple of little ideas in here: A, B and C. [music playing] Ah, agitation, movement. [music playing] Here goes the bass. [sings] Pause. So we had a cadence there, [sings]. That would be the end of the musical phrase, a cadence, and the music actually stopped. I used to like to think of this in terms of almost a drama. We've got a change of scene here the--where some characters have gone off, the stage is now clear, and other characters are going to come on. So what characters are going to come on? Well, a more lyrical second theme. I'm going to play just a bit of it for you. [plays piano]What about this? Is this a conjunct melody? Obviously, it's descending. Conjunct or disjunct? [plays piano] Very conjunct. Actually, it's just running down the scale. Now we don't have time, because this music is going by so fast. We've got our skippy opening theme going around like that. We don't have time to sort of write down all those Xs so maybe just--yeah. [sings] And maybe something-- [sings] something like that. So this is our first skippy theme. Our second theme [sings] has a nice sort of fall to it. Okay. Here's the second theme. [music playing] Repeat. [music playing] Now closing theme already. [music playing]What's the most noteworthy aspect of that theme? [sings] What do you think? Thoughts--what would you remember about that? How would you graph that? Yeah.Student: [inaudible]Professor Craig Wright: Okay. Yeah. It starts out [plays piano] and then it's really conjunct, right, because it's staying on one pitch level, sort of the ultimate conjunct joined to the point that it's a unison pitch, [sings]. So I'd remember that just like this idea. So our closing theme, [sings] almost is the "woodpecker" idea. Sorry. But think of that kind of [sings] or maybe even a machine gun--whatever sort of silly analogy you want to construct to help you remember that. Okay. So here we are almost at the end of the exposition. Let's listen now to the end of exposition and then we'll stop. [music playing] Okay. So we're going to stop there.Now on this recording what do you think? Well, I think--reasons for time--let's go ahead and we'll advance it up to the beginning of the development section. So now we should listen to this whole complex once again, but we're not going to do that. We're going to proceed here and we're going to go in to the development section. And it's kind of fun the way Mozart starts the development section here. [plays piano] Let me ask you this. We started here. [plays piano] The development begins higher or lower? [plays piano] Yeah?Student: Lower.Professor Craig Wright: Lower so he's dropped down to the dominant. He's now in the dominant [plays piano] and if he continued as he had, [plays piano] that's what he would have done. That's not what he does, however. [plays piano] He's sitting here [plays piano] and he ends up there [plays piano] so we get this sort of dissonant shift, and it's a signal. It's like the composer holding up a sign: "development---time for the development now!" Okay? So something--we've shifted, we--or a sort of slap in the face telling us that we're at a new point in our form, a new section in our form, the development section. So as we listen to this we'll hear Mozart move quickly through some--lots of different keys. I wouldn't be able to tell you what keys they are. I really wouldn't. But I do know that he moves through different keys. Then we will hear a re-transition start, but here is my challenge to you and why I'm sort of putting all these things up here. Which theme does he choose to develop here? Kind of interesting. Does he go with the first theme, [sings] or the [sings] or the [sings]? So which one? [music playing] [sings]Professor Craig Wright: Now he is all the way--first of all, what's the answer to the question? Which theme did he use here? We're now at the re-transition, we're almost finished this short development. Which one did he use? Who thinks they know? Raise your hand. Elizabeth?Student: The closing theme.Professor Craig Wright: Used just the closing theme [sings] so nothing but the closing theme in this short development section. Now we are at the re-transition and you're going to hear the violins come down [sings] but if I could sing the harmony--Maybe we should all sing it together. We'll be singing [sings]. It's the implied bass line. [sings] Then it's going to go [sings] back to the tonic. Then we're going to go [sings]. Then that first theme is going to come back in here. So let's listen to Mozart write a re-transition, and I'm going to sing the implied--or then sounded dominant that's going to lead to the tonic. [music playing] [sings] So all of the first theme material coming back--nothing new. [music playing] Here goes our bridge now--movement. [music playing] And he just cut it short. The first time he went there [sings]. That was what the bass did. This time he just stops the thing and stays in the tonic key. And then the rest of the material will come back in in the proper order in the tonic key. All right, but we need not hear that. Let's go on now to the coda and we're just going to listen generally to what happens in the coda here--typical coda with Mozart. [music playing] Tonic. [sings] [music playing] It's almost stereotypical. Right? [plays piano] You could have written that. I--even I could have written that--not so hard, but as they say, it's just a load of bricks to bring this thing to a conclusion. But it's a beautiful example of sonata-allegro form. It does what our model requires in all particulars in an unusually rapid rate here--about six minutes for this particular movement.。
高考英语一轮总复习 Module 3 Music(教师用书)教案 外研版必修2-外研版高三必修2英语
Module 3 Music(主题语境——人与社会之艺术：音乐)一、音乐类型1．pop music 流行音乐 2.rock music 摇滚乐3．light music 轻音乐 4.folk music 民乐5．country music 乡村音乐二、音乐表演相关1．instrument n．乐器 2.piano n．钢琴3．violin n．小提琴 4.guitar n．吉他5．pianist n．钢琴家 6.rhythm n．节奏7．melody n．旋律 8.tone n．音色9．studio n．工作室；演播室 10.camera n．摄像机11．microphone n．麦克风 12.stage n．舞台13．concert n．音乐会 14.live adj.现场直播的三、其他1．hobby n．爱好2．prefer v．偏爱；更喜欢→preference n．偏爱；偏好3．relax vt.使放松→relaxed adj.放松的→relaxation n．放松4．amusement n．娱乐；消遣5．entertainment n．娱乐；消遣→entertaining adj.令人愉快的6．recreation n．娱乐；消遣7．perform v．表演；演出→performance n．演出；节目8．fan n．粉丝9．clap v．鼓掌10．broadcast n．& v．广播；播放11．release vt.发行；发布1．be fond of 喜欢；喜爱2．be keen on 喜欢；对……着迷3．show an interest in 在……方面显示兴趣4．develop an interest in 在……方面发展兴趣5．have a taste for 对……感兴趣6．suit one's taste 符合某人的嗜好7．form a band 组建乐队8．make records 制作唱片9．pose a song/music 创作歌曲/音乐10．make a hit 流行1．I like the music which sounds good for me, no matter what style of music it is.我喜欢那些听起来令我满意的音乐，无论它是哪种类型的。
有关音乐讲座英语作文初一
有关音乐讲座英语作文初一Music Lecture。
Recently, I attended a music lecture given by a famous musicologist. The topic of the lecture was "The Development of Western Classical Music". The lecture was very informative and interesting, and I learned a lot about the history of classical music.The musicologist began by explaining the origins of classical music, which can be traced back to the medieval period in Europe. He then went on to talk about the different periods of classical music, such as the Baroque, Classical, and Romantic periods. He also discussed the major composers of each period, such as Bach, Mozart, and Beethoven.One of the most interesting parts of the lecture was when the musicologist played examples of music from each period. He played a piece by Bach on the harpsichord, aMozart symphony, and a Beethoven piano sonata. Hearing the music really brought the lecture to life and helped me to understand the differences between the different periods of classical music.The musicologist also talked about the influence of classical music on other genres of music, such as jazz and rock. He played examples of jazz and rock songs that had been influenced by classical music, and it was fascinating to hear how classical music had been adapted and transformed by other genres.Overall, I found the music lecture to be very engaging and informative. It was a great opportunity to learn more about classical music and its history, and I came away with a greater appreciation for this genre of music. I would definitely recommend attending a music lecture if you have the chance!。
托福TPO31听力文本
Section 1Conversation l — Community Planning in the ColoniesNarratorListen to part of a conversation between a Student and her United States History Professor. ProfessorSo, Amanda, you've asked a lot of questions about trade during the colonial period of the United States. Has our discussion clarified things for you?StudentWell, yeah, but now, I think writing about trade for my paper isn't going to work.ProfessorOh, so your questions about shipping routes were for your research paper?StudentYeah. But now, I see that I probably need to come up with a new paper topic. Actually, there was one other idea I had. I have been thinking about doing something about community planning in the early British settlements in Eastern North America.ProfessorOh. OK. I am curious. Why are you interested in doing something on community planning in colonial times?StudentWell, I am much more into architecture. It’s my major and I mean, planning out a town or city goes along with that. I mean, not that I don't like history...l am interested in history…really interested. But I think, you know, for a career, architecture is more for me.ProfessorThat's great. I've gotten some very thought-provoking papers from Students whose interests go beyond history.StudentOK. But for the paper you wanted us to try to include a comparison, right?ProfessorYes. Actually, that was really the purpose of the assignment. The way the United States developed or perhaps I should say the colonies, since the land that would become the Eastern United States…uh...there were British colonies there four hundred years ago. But anyway…uh... development in the colonies differed greatly depending on geography. I am looking for papers that have ideas about something that happened one way in the Northern colonies happened a different way in the Southern colonies.StudentIs that true in terms of urban planning?ProfessorVery true. Towns in the Northern colonies were centralized and compact. They provided ameeting point for exchanging goods, for participatory government, and for practicing religion. Houses would be built along the roads that led into town. And just outside the developed area, there would usually be an open area of some sort for grazing animals and also group activities. Actually, the model for planning a town in the Northern colonies was not unlike the model for the development of towns in medieval Europe. After all, the colonists had just come from Europe and the medieval period was just ended.StudentMedieval Europe. But what about the South? If I remember correctly... In the South, at least initially, they didn't build towns so much as they built trading posts.ProfessorThat's right. Most of the settlers in the North wanted to start a whole new life. But most of the people who came from Europe to the South just wanted to make some money and then go back. It is not surprising that some of most common buildings were storage facilities and port facilities. Lecture l-Music — Ancient Greek Music & PlatoNarratorListen to part of a lecture in a music class.ProfessorToday we are going to do something a little different. In the past few classes, we've listened to traditional music from around the world and we've talked about the characteristics of these music, what makes these styles distinctive, what kinds of instruments are used. And you've talked about what sounds familiar to you and what sounds strange. And many of you found some of what we've listened to very strange indeed.Well, today I want to start talking about western music and I am going to start in ancient Greece. But, now here's the part that's different. We're not going to talk very much about the actual music. Instead, we are going to talk about what the Greeks believed about music.Now, there are some very good reasons to approach the material in this way. First, well, we don't have very much ancient Greek music studied. Only about 45 pieces survived…uh...these are mostly records of poems and songs. And we are not sure how well we can reproduce the melodies or rhythms, because they were apparently improvised in many cases. So we really don't know all that much about what the music sounded like.What we do know about - and this really is the most important reason I am approaching today's lecture the way I am -is the Greek philosophy about music and its continuing influence on western attitudes toward music.Now, if we're going to understand the philosophy, we have to first understand that music for the Greeks was about much more than entertainment. Yes, there was music at festivals and we have sculptures and paintings showing people listening to music for many of the same reasons that we do. But this isn't the whole story.The important thing about music was that it was governed by rules, mathematical rules. And for those of you who are also studying music theory, you’ll see that it is in fact highly mathematical. Um...and for the Greeks, the same mathematical principles that govern music also govern the universe as well as the human character, the essence of you started playing around with the rules, you know, messing up the mathematical order, you could do serious harm. That's whymusic was considered so powerful, if you knew the rules, it could do great good. But if you broke them, you could do great harm to the character of the listener.So, we have this Greek idea that music is directly related to human character and behavior.The philosopher, Plato, talks about this in the context of education. For Plato, music is an important element in education, but only the right kind of music. That means the kind of music that builds the kind of character a good citizen or a future leader would need. Yes. For Plato, there is a kind of music that instills the qualities of leadership, just as there is a kind of music that makes a person soft and weak.Now, Plato has very specific, very conventional kinds of music in mind. He is not fond of innovation. There were musicians in Plato's day who were experimenting with different melodies and rhythms. A definite no-no for Plato. He thinks that breaking with tradition leads to all sorts of social problems, serious problems, even the breakdown of the fabric of society. I am thinking back now to when I first started listening to rock 'n' roll and I remember my father saying it was a bad influence on us. I think he would have gotten along well with Plato.Anyway, I don't need to tell you what I think about Plato's ideas about innovation, do l? Though I have to say it's interesting that the same arguments against new music and art are still being made. Perhaps like the Greeks, we recognize, and maybe even fear the power of music.Lecture 2-Geology — Movement of Tectonic PlatesNarratorListen to part of a lecture in a geology class.ProfessorAs we've discussed, Earth's crust is made up of large plates that rest on a mantle of molten rock. These plates…uh...now these tectonic plates support the continents and oceans. Over time, the tectonic plates move and shift, which moves the continents and the ocean floors too. Once it was understood how these plates move, it was possible to determine past movements of Earth's continents and how these slow movements have reshaped Earth's features at different times. OK. Well, (as) studying the movements of the plates can tell us about the location of the continents in the past, it can conceivably tell us about their location in the future too, right? So, in recent years, some geologists have used plate tectonic theory to make what they call geopredictions. Geopredictions are guesses about what Earth's surface might look like millions of years from now.So, we know how certain continents are currently moving. For example, the continents of Africa has been creeping north toward Europe. And Australia has been making its way north too, toward Asia.Does anyone know what's happening to the Americas? l...l think we've talked about that before. Lisa?StudentThey are moving westward, away from Europe and Africa. Right?ProfessorRight. And what makes us think that?StudentThe Atlantic Ocean floor is spreading and getting wider, so there is more ocean between the Americas and Europe and Africa.ProfessorOK. And why is it spreading?StudentWell, the seafloor is spilt. There is a ridge, a mountain range that runs north and south there. And the rock material flows up from Earth's interior here, at the split, which forces the two sides of the ocean floor to spread apart, to make room for the new rock material.ProfessorGood. And that means, over the short term…uh…and by short term I mean 50 million years, that's a blink of the eye in geological time. Um…over the short term, we can predict that the Americas will continue to move westward, farther away from Europe, while Africa and Australia will continue to move northward.But what about over the long term? Say 250 million years or more. Well, over that length of time, forecasts become more uncertain. But lots of geologists predict that eventually all the continents, including Antarctica, will merge and become one giant land mass, a super continent, one researchers calling Pangaea Ultima, which more or less means the last super continent.Now, how that might happen is open to some debate. Some geologists believe that the Americas will continue to move westward and eventually merge with East Asia. This hypothesis is based on the direction the Americas are moving in now. But others hypothesize that a new super continent will form in a different way. They think that a new subduction zone will might occur at the western edge of the Atlantic Ocean.Paul, can you remind us what a subduction zone is?StudentYeah. Um...basically, a subduction zone is where two tectonic plates collide. So if an ocean floor tectonic plate meets the edge of a continent and they push against each other, the heavier one sinks down and goes under the other one. So the…um...the oceanic plate is made of denser and heavier rock, so it begins to sink down under the continental plate and into the mantle.ProfessorRight. So the ocean floor would kind of slide under the edge of the continent. And once the ocean plate begins to sin k, it would be affected by another force –slab pull. Slab pull happens at the subduction zone.So to continue our example…As the ocean floor plate begins to sink down into the mantle, it would drag or pull the entire plate along with it. So more and more of this plate, the ocean floor, would go down under the continent into the mantle. OK?So, as I said, currently the Atlantic Ocean floor is spreading, getting wider, but some researchers speculate that eventually a subduction zone will occur where the oceanic plate meets the continental plate of the Americas.1f that happens, slab pull could draw the oceanic crust under the continent, actually causing the Americas to move eastward toward Europe and the ocean floor to get smaller. That is, the Atlantic Ocean would start to close up, narrowing the distance between the eastern edge of the Americas and Europe and Africa. So they form a single super continent.Section2Conversation 2—Credits for InternshipNarratorListen to a conversation between a Student and an Employee at the university center for off-campus study.StudentHi. I am Tom Arnold. I am supposed to pick up a packet from the regional center for marine research. I am doing an internship there this summer.EmployeeYes. I have it right here. The mail carrier dropped it off a few minutes ago.StudentThanks. Um...l wanted to ask about getting credits for the internship. I don't know if…EmployeeI might be able to help you with that. Is there a problem?StudentI just wanted to make sure the details have been corrected. The system should show that I am registered to earn four credits. But as of Friday, nothing was showing up yet. I was told it would be fixed this morning.EmployeeWell, I can check on the computer for you. Tom Arnold, right?StudentYes.EmployeeWell, it is showing credits…but only three.StudentReally?! So now what? These all have to be finalized last week.EmployeeWell, yes. The course enrollment period ended last week. But since our office was supposed to get this straightened out for you before then... Let me see what I can do.Uh...did the university give approval for you to earn four credits for this internship? Because the other Students at the center for marine research are only getting three.StudentUm...l am pretty sure those other Students are doing the internship at the center's aquarium, taking classes in marine biology and then teaching visitors about the various displays. I am doing a special research internship with the center. We’ll be collecting data on changes to the seafloor out in the open ocean.EmployeeOh. That sounds quite advanced.StudentWell, the internship requires me to have scuba diving certification and to be a senior oceanography Student. I want to do advanced study in oceanography when I graduate. So I really want to get a sense of what real research is like.EmployeeI see. Now let's try and see if we can... Oh. OK. I see the problem. There are two kinds of internships listed here-regular and research. Yours is listed as regular so it is only showing three credits.StudentCan you switch it?EmployeeNot yet. But it lists Professor Leonard as…StudentShe is in charge of all the internships.EmployeeShe just needs to send an email so I have an official record. Then I can switch it. And that should solve everything.StudentGreat! And I know Professor Leonard is in her office this afternoon, so I can go there later. It will be such a relief to get all these paperwork completed.Lecture3-Marine Biology — Coral Reefs & CoT starfishNarratorListen to part of a lecture in a Marine Biology class.ProfessorWe've been talking about the decline of coral reefs in tropical areas all over the world…um... how natural and man-made stresses are causing them to degrade, and in some cases, to die.So now let's focus on a specific example of a natural predator that can cause a lot of damage to coral reefs-the Crown of Thorns, or CoT starfish. The Cot starfish is found on coral reefs in the tropical Pacific Ocean and it eats coral. Now, in small numbers, the starfish don't affect coral reefs dramatically. But periodically, starfish population explodes. And when that happens, the reefs can become badly damaged or even destroyed, something we are trying very hard to prevent. For example, during the 1960s, there was an outbreak of CoT starfish in the Great Barrier Reef, off the east coast of Australia. Luckily, the CoT starfish population gradually declined on its own and the reefs recovered.But we were left wondering - what cause the population to increase so suddenly? Well, over theyears, we've come up with a few hypotheses. All still hotly debated.One hypothesis is that it's a natural phenomenon, that the starfish naturally undergo population fluctuations following particularly good spawning years.There are also several hypotheses that suggest some sort of human activities are partly responsible, like fishing. There are fish and snails that eat starfish, particularly the giant triton snail, which is the main predator of the starfish. These fish and snails have themselves experienced a decline in population because of overfishing by humans. So with a decline in starfish predators, the starfish population can increase.Another hypothesized human-related cause is fertilizer runoff. People use fertilizer for their crops and plants and a lot of it eventually makes its way from land into the seas. It's fertilizer, so it has a lot of nutrients. These nutrients have an effect on the starfish, because they cause an increase in the growth of phytoplankton. Phytoplankton are microscopic plants that grow in the ocean. Larval CoT starfish eat phytoplankton in their first month of life, so more fertilizer in the ocean means more phytoplankton, which means more starfish, bad for the reefs.Now, the final hypothesis has to do with storm events.1f some reefs are destroyed by storms, starfish populations that inhabited those reefs would have to condense and concentrate on the reefs that are left. So this can cause a kind of mass feeding frenzy.So we have ideas, but no real answer. And because we aren't sure of the causes for starfish population increases, it's difficult to prevent them. I mean, some progress has been made. For example, new survey techniques have enabled us to detect population increases when the starfish are quite young, so we can be ready for them. But meaningful progress requires much better evidence about the cause.On the bright side, in all the research being done on causes, we have discovered something related to how starfish populations might affect coral reef diversity. We think that when reefs are damaged, after a few years, the fastest-growing corals repopulate the areas. And these fast-growing species can grow over the slower-growing species of coral, denying them light and preventing them from recovery. However, the faster-growing species are the preferred food of the CoT starfish. So when an outbreak of CoT starfish occurs, they thin out the fast- growing coral and may give the slower ones a chance to reestablish. So without the outbreak, the diversity of coral would be reduced.Lecture4-Anthropology (the Botai People & Horses)NarratorListen to a part of a lecture in an anthropology class.ProfessorSo now that we've discussed how people in ancient societies tamed animals like cows and chickens for food and other uses. I'd like to talk about an ancient culture that domesticated horses. It's the Botai people.The Botai culture thrived over 5,000 years ago in central Asia, in what is now northern Kazakhstan. Pretty much all of what we know about the Botai comes from three archaeological sites. And we learned that the Botai were able to build large perennial villages, sometimes with hundreds of homes. We also found horse bones at these sites and these can be traced back to the time of the Botai settlements. The climate that the Botai culture lived in...it was harsh. And the Botai people…they didn't really seem to have much in the way of agriculture going on. So their wholeeconomy was really based on horses. And because horses can withstand the tough climate, they can survive ice storms and they don't need heated barns, the Botai people could settle in one place and rely on the horses for food, clothing and transportation.StudentSo the Botai were the first to domesticate horses?ProfessorWell, we are pretty sure that horses were first domesticated a bit earlier, to the northwest, in the area that is now Ukraine and western Russia. It's quite possible that some of those people later migrated east to Kazakhstan.StudentBut what exactly tells us that these Botai people, that the horses in their area were really domesticated?ProfessorAs with most ancient history, there is not much that we can be certain about. But we know there was a significant population of wild horses in that area. So there were plenty of opportunities for the Botai people to find horses to domesticate.We also know that horse milk was an important source of food for the Botai people. What? Milking a wild horse? Well, now, that would be impossible…to milk a wild horse. And then... there's the…Oh. Yes? Eric.StudentSo you said last week that for some animals, like for dogs, there were physical changes taking place over the course of generations of dogs because of domestication. So can we tell from those horse bones if it was sort of the same for horses?ProfessorActually, it wasn't. We know that horses have not changed a lot physically as a result of domestication. So those ancient horse bones don't tell us much about domestication. But…we've found that…um…we've found what maybe pens or corrals in the Botai settlements. And not too long ago, a new approach was used to find out if the Botai people were keeping horses. Soil samples from these pens or corrals show ten times the concentration of phosphorus.StudentUm...phosphorus?ProfessorYes. Phosphorus is a very significant indicator that horses, large numbers of horses were being kept in the settlements. You see, horse manure, horse waste is rich in phosphorus and also nitrogen compared to normal soil. But nitrogen is an unstable element. It can be washed out when it rains or it can be released to the atmosphere, whereas phosphorus combines with calcium and iron, and can be preserved in the soil for thousands of years.The soil from the Botai settlement sites was found to have high concentrations of phosphorus and low nitrogen concentrations, which is important since it suggests that what we've got is really old, not something added to the soil more recently.StudentWait. So if horses have been there recently, there'd still be lots of nitrogen in the soil.ProfessorThat's right. Yes. Karen.StudentI just read an article. It said that one way to determine if there was an ancient fireplace at an archaeological site was to check the soil for phosphorus. So couldn't the phosphorus at the Botai sites just be from the frequent use of fireplaces?ProfessorYou are absolutely right. However, when a fireplace leaves behind a lot of phosphorus in the soil, we'd also find an unusually high concentration of potassium. But the soil at the Botai settlements, it was found with relatively little potassium, which makes it far more likely that the phosphorus came from horses. OK?Now, later on, people of the same region, northern Kazakhstan, started raising sheep and cattle. And that led to a more nomadic culture. Since sheep and cattle can't survive harsh climates, they needed to be taken south every winter. Moving around meant working harder but the trade-off was far richer, fattier milk year round and warm clothing from the sheep.。
Classical-Music古典音乐(中英对照)
C l a s s i c a l-M u s i c古典音乐(中英对照) -CAL-FENGHAI.-(YICAI)-Company One1Classical Music叶: Many people think that classical music is too esoteric that they are afraid or unwilling to accept it. 古典乐被很多人认为深奥难懂,许多人都不敢或不愿接受古典音乐.In fact, it is not necessary for us to treat classical music with profound knowledge. 其实对待古典音乐,未必要具有高深的音乐知识.Willing to try is a very good beginning. 只要肯尝试接触,就是非常好的开始.With the increasing time of contact, we will naturally know how to appreciate classical music. 只要喜爱古典音乐,随着接触的时间增加,自然就知道如何欣赏了.When a classical music fan gets in touch with music, he or she should have a basic concept, that is, humans’ art is a kind of spiritual activity which needs understanding and communication. 一个古典音乐爱好者,在接触音乐作品时应具备的基本概念是:人类的艺术是一种需要经过了解、沟通,才能够真正进入欣赏层次的心灵活动.汤: Broad classical music refers to western classical music. 广义古典乐指西洋古典乐.Modern music lasted from European Renaissance to early 20th century including all non-pure entertaining modern professional music was collectively referred to classical music. 自文艺复兴时期至二十世纪初出现的现代乐派包括所有非纯粹娱乐性质的现代专业音乐被统称为古典音乐.Narrow classical music refers to European mainstream music from the year 1750 to 1820, which was known as Vienna Classical Music. 狭义的古典乐指1750-1820年时期的欧洲主流音乐,被称为维也纳古典乐派.The three most famous composers in this period were Haydn, Mozart and Beethoven. 此乐派最著名的三位作曲家是海顿、莫扎特和贝多芬.Unlike popular music, classical music has its profound meaning that makes people ponder deeply and lofty.古典音乐不同于流行音乐的地方是它的内涵深刻,能发人深思,更能使人高尚,免于低俗.It is an independent sect with polished artistic and rational emotional expression.它是一个独立的流派,艺术手法讲究洗练,追求理性地表达情感.彭: Western classical music can be divided into three periods. 西方古典音乐大致可分为三个时期.The first period was the Baroque Period which began from the year 1600 and ended with Bach's death in 1750. 第一个时期是巴洛克时期,始于1600年前后,1750年巴赫的逝世标志着巴洛克时期的结束.Unlike the simple and plain music in the Renaissance, music of this period became flashy, complex and full of emotional appeal. 这一时期的音乐一改文艺复兴时期的简洁朴素,变得浮华,复杂,富有感性的吸引力.Vivaldi, Bach and Handel were three famous musicians in this period. 这一时期著名的音乐家有维瓦尔第,巴赫和亨德尔.Their representatives were "Four Seasons", "Matthew Passion", "Al Mira" and so on. 他们的代表作有《四季》、《马太受难曲》和《阿尔米拉》等.伟: The second period was the Classical Period. 第二个时期是古典主义时期.From late 18th century to early 19th century, Haydn, Mozart and Beethoven had made significant contribution to European music history. They were known as Vienna Classical Music School. 18世纪后期至19世纪前期,海顿、莫扎特和贝多芬三位大师对欧洲音乐史产生了重大影响,被后人称为维也纳古典乐派.Their representatives were "Genesis", "Don Juan”, and “Destiny". 他们的代表作有《创世纪》、《唐璜》和《命运》.During this period, modern piano had been gradually improved and appeared on the stage of history. 这一时期,现代钢琴得到逐步完善,登上了历史舞台.Piano sonatas, string quartets and some other new music genre gradually formed and took the place of suite, fugue, concerto and some other old form. 钢琴奏鸣曲、弦乐四重奏等新的音乐体裁逐渐形成,代替了组曲、赋格和大协奏曲等陈旧的形式.马: The last period was the Romanticism Period. 最后一个时期是浪漫主义时期.Musicians in that period paid more attention on the spiritual realm, the expression of subjective feelings and the use of ethnic and folk music. 浪漫时代的音乐家更注重表达人的精神境界与主观感情,更加重视对民族和民间音乐的利用.Chopin, Mendelssohn and Tchaikovsky were the representatives in this period. 此阶段的代表人物有肖邦、门德尔松和柴可夫斯基."Nocturne", "Midsummer Night's Dream" and "Swan Lake" were their well-known works. 他们的代表作主要有《夜曲》,《仲夏夜之梦》和《天鹅湖》.石: The beauty of classical music is that classical music can resonate with human mind.古典音乐的美在于能和人的心灵产生共鸣.Outstanding classical music works were composed by composers with a creative heart of full soul and emotions. 优秀的古典音乐作品都是作曲家将心中的喜怒哀乐全身心投入到音乐中而创作出来的.Mozart died before finishing his work "Requiem". Before he died, he said: "I am writing for my own Requiem". 莫扎特还没完成《安魂曲》的创作便死去了,临死前他说: "我在为我自己写《安魂曲》";Beethoven's "Destiny" expressed his indomitable spirit of struggling with fate;贝多芬的《命运》表达了作者与命运抗争的不屈精神;Saint-Saens's "Swan" revealed the composer's sadness. 圣桑的《天鹅》流露了作者的丝丝哀愁…When you are happy, listening to "Turkish March" will make you happier;在你快乐的时候,听听《土耳其进行曲》会让你感到更加快乐;When you are bored, listening to Chopin's "Nocturne" will sweep your troubles away;在你烦闷的时候,听听肖邦的《夜曲》会使你的烦恼一扫而光;Classical music can temper our soul, purify our heart and enhance our personality. 古典音乐能使我们的灵魂得到锤炼,心灵得到净化,人格得到提升.辉: Western researches have found that classical music is the medicine of curing physical and mental hurt. 西方科研发现,古典音乐是治愈身体与精神伤痛的良药.Slow and gentle classical music can make people get quiet in their mind.缓慢平和的古典音乐会使人在心灵上得到宁静.Music therapists change people's emotions by the huge influence of music on people’s mood.音乐治疗师正是利用音乐对情绪的巨大影响来改变人的情绪的.They usually use a lot of painful or wrathful music to help patients vent negative emotions as much as possible. Then music therapists will gradually use active music to stimulate positive force in patients’ heart and ultimately help them get rid of pain and plight.他们通常会先使用大量悲伤或愤怒的音乐帮助被治疗者尽可能地发泄出消极情绪,然后音乐治疗师会逐渐使用积极的音乐激发被治疗者内心的积极力量,最终帮助他们摆脱痛苦和困境.叶: The beautiful classical music is rich and colorful. Although it is abstract, we can get the maximum enjoyment of beauty with a genuine heart. 古典音乐的美形式多样,丰富多彩,虽然比较抽象,但只要我们用一颗真心体会,就能够得到最大的美的享受.Albert Einstein said: "The world can be formed by the mathematical formula; it can also be formed by the notes." 爱因斯坦说过:这个世界可以由数学公式组成,也可以由音符组成.Mathematics and music, one represents science and one represents art. With mathematics and music, we can grasp the wealth created by human mankind. 数学和音乐,一个代表科学,一个代表艺术.有了它们,就可以把握整个人类所创造的财富.Music is so important to our human beings that we can not imagine what the world would be without music. 由此可见音乐于人类是多么的重要,难以想象没有音乐的世界会是怎样.That is the end of our presentation. Let us enjoy a Polish classical musical cartoon as the end of today’s lecture. 下面让我们欣赏一段波兰古典音乐动画作为今天演讲的结束.。
2021版高考英语(外研版)一轮复习学案：必修2 Module 3 Music
三言两语1.Music can give life to our life, making it full of liveliness and offering a relief to the music.2．Learning a musical instrument will help your children develop concentration, patience and perseverance.3．In addition to improving creativity, learning music also develop many skills that will continue to be useful to your children throughout their lives.1.我喜欢一切和音乐有关的东西，包括关于音乐的故事。
I like everything about music, including_stories_about_music.2．有明显的证据证明，与那些没受过音乐训练的孩子相比，上音乐课的孩子有更好的记忆力。
There_is_clear_evidence_that children who take music lessons develop a better memorycompared_with_children_who_have _no_musical_training.[单词 拼写应用]核心单词1．audience n ．听众2．peasant n ．农民3．tour v t .巡回演出4．complex adj .复杂的5．tune n ．曲调6．record v t .录音[语境运用] 用所给词的适当形式填空。
1．He recorded(record) everything that had happened during his travel.2．He won the love and respect of the surrounding peasants(peasant)．3．He is now busy touring(tour) all over the world.4．The real world is always more_complex(complex) than any simple model.拓展单词1．compose v t.作曲；创作→composer n．作曲家2．conduct v t.指挥(乐队)→conductor n．指挥3．music n．音乐→musical adj.音乐的→musician n．音乐家4．direct v t.指挥adj.直接的→ director n．指挥；导演→direction n．方向5．lose v t.失去；丢失→loss n．损失→lost adj.丢失的；迷失的6．talent n．天分；天赋；才华→talented adj.有才能的7．influence v t.影响→influential adj.有影响力的8．lecture n．&v t.演讲；报告→lecturer n．(大学的)讲师9．mix v t.使混合→ mixture n．混合物[语境运用] 用所给词的适当形式填空。
外研版高中英语必修二《Music》优质课公开课课件、教案
外研版高中英语必修二《Music》优质课公开课课件、教案Module 3 MusicI．教学内容分斩本模块以“Music”为话题。
学生通过本模块的学习可以了解古今中外的音乐家，提高他们的音乐欣赏水平，培养他们对音乐的评价和鉴赏能力，从而丰富学生的音乐知识，提高学生的艺术修养。
Introduction部分通过设计的两个活动让学生复习和学习一些常见的乐器的名称，激发学生学习本模块的兴趣。
Reading and Vocabulary该部分向同学们介绍了音乐家海顿、莫扎特和贝多芬以及他们的伟大成就。
让同学们在阅读的过程中了解音乐家的奋斗历程，树立正确的人生观和价值观。
通过相关的活动，训练学生的综合语言能力。
Grammar 1学习并巩固时间状语从句。
Writing要求学生阅读一封外国朋友的电子邮件，并根据问题写一封回信。
Function通过回答问题和完成句子让学生懂得如何表达喜好和厌恶，从而初步培养学生的鉴赏能力。
Listening and Vocabulary首先通过听力活动帮助学生了解和学习有关英国乐队The Beatles的背景知识，接着让学生学习新的词汇。
在训练学生听力的同时考查学生的理解能力。
Grammar 2复习过去完成时态。
通过练习帮助学生巩固过去完成时态的基本用法。
Pronunciation学会如何在日常交际中使用升调和降调。
Everyday English要求学生掌握表达喜好的一些用语和有关音乐的日常用语。
Cultural Corner学习一篇有关著名作曲家叶小刚的文章，了解他的音乐经历和音乐成就，增强学生的民族自豪感。
Task训练学生仿写一篇介绍著名音乐家生平和作品的文章。
Module File对整个模块的学习内容进行归纳总结，有助于学生对所学知识进行复习和巩固。
II．教学重点和难点1．教学重点(1)本模块的生词和短语。
(2)弄清楚时间状语从句和过去完成时态的用法。
(3)谈论有关音乐的话题。
音乐讲座英语作文
音乐讲座英语作文Music LectureMusic is a universal language that transcends cultural boundaries and has the power to evoke emotions, inspire creativity, and bring people together. As a passionate music enthusiast, I recently had the opportunity to attend a captivating music lecture that delved into the fascinating world of music and its profound impact on our lives.The lecture was delivered by a renowned musicologist, whose deep understanding of the subject and engaging presentation style captivated the audience from the very beginning. The speaker began by highlighting the rich history of music, tracing its evolution from ancient civilizations to the present day. They explored the various genres, styles, and musical traditions that have emerged over time, each with its unique characteristics and cultural significance.One of the key topics discussed during the lecture was the role of music in shaping human civilization. The speaker eloquently explained how music has been interwoven into the fabric of societies, serving as a means of communication, expression, and cultural preservation. They shared examples of how music has been used toconvey messages, tell stories, and reflect the values and beliefs of different communities around the world.The lecturer also delved into the psychological and neurological aspects of music, highlighting the profound impact it has on the human brain and our emotional well-being. They discussed how music can trigger the release of neurotransmitters like dopamine and serotonin, which are associated with feelings of pleasure, relaxation, and happiness. The speaker also explored the therapeutic applications of music, showcasing how it can be used to alleviate stress, reduce anxiety, and even aid in the healing process.Furthermore, the lecture touched on the relationship between music and creativity, emphasizing how music can inspire and fuel the creative process. The speaker shared insights into the creative minds of renowned composers, musicians, and artists, and how they have used music as a medium to express their unique perspectives and push the boundaries of artistic expression.One particularly captivating segment of the lecture focused on the role of music in shaping cultural identity and promoting social cohesion. The speaker delved into the ways in which music has been used to celebrate diversity, foster cross-cultural understanding, and bridge divides within and between communities. They shared examples of how music festivals, concerts, and collaborative projectshave brought people from different backgrounds together, fostering a sense of unity and shared experience.Throughout the lecture, the speaker emphasized the importance of music education and the need to nurture a deeper appreciation for the art form among people of all ages. They highlighted the cognitive, social, and emotional benefits of music education, and advocated for the inclusion of music in school curricula and community-based programs.As the lecture drew to a close, the speaker left the audience with a powerful message about the transformative power of music. They encouraged everyone to embrace music as a tool for personal growth, social change, and the betterment of humanity. The audience left the lecture hall feeling inspired, enlightened, and with a renewed sense of appreciation for the profound impact of music on our lives.Overall, the music lecture was a thought-provoking and enriching experience that expanded my understanding of the multifaceted nature of music and its profound influence on the human experience. The speaker's depth of knowledge, engaging presentation style, and ability to connect with the audience made this lecture a truly memorable and impactful event.。
【托福听力备考】TPO12听力文本——Lecture 3
【托福听力备考】TPO12听力文本——Lecture 3众所周知，托福TPO材料是备考托福听力最好的材料。
相信众多备考托福的同学也一直在练习这套材料，那么在以下内容中我们就为大家带来托福TPO听力练习的文本，希望能为大家的备考带来帮助。
TPO 12 Lecture 3 Music historyNarrator：Listen to part of a lecture in a music history class. Theprofessor has been discussing Opera.ProfessorThe word opera means work, actually it means works. It’s the plural of theword opus from the Latin. And in Italian it refers in general to works of art.Opera Lyrica or lyric opera refers to what we think of as opera, the musicaldrama.Opera was commonplace in Italy for almost a thousand years before it becamecommercial as a venture. And during those years, several things happened,primarily linguistic or thematic and both involving secularization.Musical drama started in the churches. It was an educational tool. It wasused primarily as a vehicle for teaching religion and was generally presented inLatin, the language of the Christian Church which had considerable influence inItaly at that time. But the language of everyday life was evolving in Europe andat a certain point in the middle ages it was really only merchants, aristocratsand clergy who could deal with Latin. The vast majority of the population usedtheir own regional vernacular in all aspects of their lives. And so in what isnow Italy, operas quit being presented in Latin and started being presented inItalian.And once that happened, the themes of the opera presentations also started to change. And musical drama moved from the church to the plaza right outside the church. And the themes again, the themes changed. And opera was no longerabout teaching religion as it was about satire and about expressing the ideas ofsociety or government without committing yourself to writing and risking imprisonment or persecution, or what have you.Opera, as we think of it, is of course a resurrected form. It is themelodious drama of ancient Greek theater, the term ‘melodious drama’ being shortened eventually to ‘melodrama’ because operas frequently are melodramatic,not to say unrealistic. And the group that put the first operas together that wehave today then, were, well…it was a group of men that included Galileo’s father Vincenzo, and they met in Florence he and a group of friends of the count of Bardi and they formed what is called the Camerata dei Bardi. And they took classical theater and reproduced it in the Renaissance time. This…uh…this produced some of the operas that we have today.Now what happened in the following century is very simple. Opera originated in Italy but was not confined to Italy any more than Italians were. And so as Italians migrated across Europe, they carried theater with them and opera specifically because it was an Italian form.What happened is that the major divide in opera that endures today tookplace. The French said opera ought to reflect the rhythm and cadence of dramatic literature, bearing in mind that we are talking about the golden age in French literature. And so the music was secondary, if you will, to the dramatic cadence of language, to the way the rhythm of language was used to express feeling and used to add drama and of course as a result instead of arias or solos, which would come to dominate Italian opera. The French relied on what the Italians called recitativo or recitative in English. The lyrics were spoken, frequently to the accompaniment of a harpsichord.The French said you really can’t talk about real people who lived in opera and they relied on mythology to give them their characters and their plots, mythology, the pastoral traditions, the novels of chivalry or the epics of chivalry out of the middle Ages. The Italians said, no this is a great historical tool and what better way to educate the public about Nero or Attila or any number of people than to put them into a play they can see and listen to.The English appropriated opera after the French. Opera came late to England because all theaters, public theaters were closed, of course, during their civil war. And it wasn’t until the restoration in 1660 that public theaters again opened and opera took off. The English made a major adjustment to opera and exported what they had done to opera back to Italy.So that you have this circle of musical influences, the Italians invented opera, the French adapted it, the English adopted it, the Italians took itback.It came to America late and was considered to elitist for the generalpublic. But Broadway musicals fulfilled a similar function for a great long while.John Jay Chapman wrote about opera, quote, “If an extraterrestrial being were to appear before us and say, what is your society like, what is this Earth thing all about, you could do worse than take that creature to an opera.” End quote. Because opera does, after all, begin with a man and a woman and anemotion.阅读使人快乐，成长需要时间希望这些对你的托福备考有帮助，预祝大家托福考试能取得理想成绩。
2022届一轮复习外研版高中英语：必修2 Module 3 Music 学案
必修二Module 3Music[主题词块背诵]1．dynamic music 动感音乐2．give a concert 举办音乐会3．special effect 特效4．have musical talent 有音乐天赋5．compose a song 创作歌曲6．light music 轻音乐7．rock music 摇滚乐8．classic/popular music 古典/流行音乐9．a musical genius 一位音乐天才10．gain/have a large fan base 有强大的粉丝群11．start touring 开始巡回演出12．make/produce/release records 制作/发布唱片13．give the audience a thrill of joy 给观众带来愉悦14．conduct the band 指挥乐队15．solo concert 独唱音乐会16．sing in chorus 合唱17．go to the symphony 去听交响乐18．music festival 音乐节19．national anthem 国歌20．nursery rhyme 童谣[主题佳句背诵]1．It is the folk song that makes me fall in love with Chinese folk music.正是这首民歌使我爱上了中国民间音乐。
2．It is said that life will be not complete without music.Music is certainly a vital part of any culture.据说没有音乐的人生就是不完整的。
音乐无疑是任何文化中至关重要的一部分。
3．Music has become such an important part in my life that I can hardly imagine what life would be without music.音乐已经成为我生命中重要的一部分，我难以想象如果没有音乐我的生活会怎样。
2018-2019学年高中一轮复习英语教师用书：必修二 Module 3 Music 含答案
Module 3 Music一、刷黑板——词汇全听写(先过识记默写关)Ⅰ.阅读词汇(英译汉)[第一屏听写]1．choir n．(教堂里的)唱诗班；合唱队2．jazz n. 爵士乐3．orchestra n. 管弦乐队(团) 4．saxophone n. 萨克斯管5．court n. 宫廷[第二屏听写] 6．symphony n．交响乐；交响曲；交响乐团7．Austria n. 奥地利8．Austrian adj. 奥地利的9．prince n. 王子；亲王10．album n. 专辑[第三屏听写]11．ballad n．民歌；民谣；(伤感的)情歌12．lyrics n. (复)歌词13．solo adj. 独奏的14．tune n. 曲调Ⅱ.高频词汇(汉译英)[第四屏听写]1．audience n．听众2．classical n. 古典音乐3．composer n. 作曲家4．conductor n. 指挥5．musician n. 音乐家[第五屏听写]6．director n．指挥7．genius n. 天才8．lose v t. 失去；丢失9．musical adj. 音乐的10．peasant n. 农民[第六屏听写]11．talent n．天分；天赋；才华12．compose v t. 作曲；创作13．tour v t. 巡回演出14．band n. 乐队15．catchy adj. 动人的[第七屏听写] 16．complex adj.复杂的17．influence v t. 影响18．record v t. 录音19．lecturer n. (大学的)讲师[第八屏听写]20．mix v t.使混合21．be_impressed_with 留下深刻印象22．split_up 分裂；分割23．make_a_note_of 记录二、刷清单——热身自盘点(再过基本应用关) (一)核心单词(二)常用短语(三)经典句式(四)初中考点再回顾一、过重点单词——纵引横联超人一点1．lose vt.失去；丢失；迷路；输掉；使沉溺于；专心致志于；(钟表)慢[高考佳句] Of course, I also took some practical steps to lose weight.(2017·天津高考) 当然，我也采取了一些实际的步骤来减肥。
英语作文听音乐讲座的收获和感受
英语作文听音乐讲座的收获和感受全文共10篇示例，供读者参考篇1Wow, have you ever been to a lecture about music before? It's super cool! I went to one last weekend and it was so much fun. The lecturer talked about different genres of music, like pop, rock, classical, and jazz. He played some songs for us to listen to and told us about the history behind each one.I learned that music can make you feel all sorts of emotions. Like, when you listen to a sad song, you might feel sad or when you listen to a happy song, you might feel happy. It's really amazing how music can connect with our feelings like that.The lecturer also talked about how music can bring people together. Like, when you go to a concert, you're surrounded by people who all love the same music as you. It's like you're all one big happy family, singing and dancing together.I also learned about some famous musicians, like Mozart, Beethoven, and Taylor Swift. They all have their own unique style of music and they've inspired so many people around the world.It's really cool to think about how music can have such a big impact on people's lives.Overall, I had a great time at the music lecture. I learned a lot of new things and it made me appreciate music even more. I can't wait to go to another one soon!篇2I went to a music lecture last week and it was soooo cool! The speaker talked about different types of music and how they can make us feel different emotions. It was super interesting to learn about how music can affect our mood.One thing that really stood out to me was when the speaker played two different songs - one fast and upbeat, and the other slow and sad. We all closed our eyes and listened, and I could actually feel the difference in how the music made me feel. The fast song made me feel happy and energetic, while the slow song made me feel kinda sad and contemplative. It was like the music was speaking to my emotions!I also learned about different musical instruments and how they create different sounds. The speaker played some clips of different instruments and I was amazed at how unique each onesounded. I never realized how much skill it takes to play an instrument and create beautiful music.Overall, the lecture was a great experience and I learned a lot about music and how it can impact our lives. I can't wait to listen to more music and pay attention to how it makes me feel. Who knew that something as simple as a song could have such a powerful effect on us? Music is truly a magical thing!篇3Hi everyone, I want to share with you all about my experience attending a music lecture. It was super cool and I learned a lot!First of all, the lecturer talked about different types of music like classical, jazz, and pop. I didn't know there were so many kinds of music out there! They also explained how music can make us feel different emotions like happy, sad, or excited. I never really thought about it before, but it makes sense now!Next, we learned about different musical instruments like the piano, guitar, and drums. The lecturer played some music for us and we had to guess which instrument was making the sound. It was so fun trying to figure it out!We also talked about famous musicians like Beethoven, Mozart, and Taylor Swift. I didn't know that music has been around for so long and that there are so many talented people making amazing songs.After the lecture, we got to listen to some live music and even dance a little bit. It was so much fun moving to the beat and feeling the music in my bones.Overall, I had a great time at the music lecture. I learned a lot about different types of music and how it can make us feel all sorts of emotions. I can't wait to keep listening to music and exploring all the different genres out there. Music is so awesome!篇4I went to a music lecture the other day, and it was super cool! The lecturer talked about different types of music and how it can make us feel different emotions. It was really interesting to learn about all the different instruments and how they make music sound so good.I learned that music can make us feel happy, sad, excited, or even scared. It's like magic how just some notes and beats can make us feel so many different things. I also found out thatmusic is a form of art that can bring people together and make us feel connected.One of the best parts of the lecture was when the lecturer played some music for us to listen to. We closed our eyes and just listened to the beautiful sounds. It was like we were in a whole different world, just lost in the music.After the lecture, I felt really inspired to learn more about music. I think I want to take some music lessons and maybe even learn how to play the guitar or piano. Music is so powerful and I want to be able to create beautiful sounds like the ones we heard at the lecture.Overall, going to the music lecture was an awesome experience. I had so much fun and learned a lot about music. I can't wait to keep exploring the world of music and maybe even become a musician myself one day!篇5I went to a music lecture the other day and I had so much fun! The lecture was all about different types of music and how they can make us feel different emotions. It was super interesting and I learned a lot.The speaker played all sorts of music for us to listen to. There was classical music, pop music, rock music, and even some jazz. Each type of music had its own special sound and rhythm. The classical music was so peaceful and calming, while the rock music made me want to get up and dance. I didn't really like the jazz music at first, but after listening to it for a while, I started to appreciate the improvisation and creativity that went into it.One thing that the speaker talked about was how music can affect our mood. When we listen to happy music, we feel happy. When we listen to sad music, we feel sad. It's like the music is speaking to our hearts and helping us to express our emotions. I never really thought about music in that way before, but now I understand why we all love music so much.After the lecture, I went home and listened to some of my favorite songs. I could feel the music filling me up with joy and energy. It was like I was seeing the world in a whole new way, with music as my guide. I can't wait to learn more about music and explore all the different genres and styles out there.Listening to music is such a special experience. It's like a journey for your ears and your soul. I'm so grateful for the opportunity to attend the music lecture and I can't wait to see where my musical journey takes me next.篇6I attended a lecture on music and I want to share with you guys my experience and feelings. The lecturer talked about different types of music, how music can make us feel and how it can bring people together.First of all, I learned that there are many different types of music like pop, rock, classical, and jazz. Each type of music has its own style and rhythm. I realized that I like pop music the best because it is so upbeat and makes me want to dance.The lecturer also talked about how music can make us feel different emotions. For example, happy music can make us feel joyful and sad music can make us feel emotional. I never really thought about how music can affect our mood before, but now I understand that music is a powerful thing.Another thing that I found interesting was how music can bring people together. The lecturer told us about music festivals where people from all over the world come together to listen to music and have fun. It's amazing how music can connect us and create a sense of unity among people.Overall, I really enjoyed the lecture on music. I learned a lot of new things and it made me appreciate music even more. I nowunderstand that music is not just something we listen to, but it is a powerful tool that can bring people together and evoke emotions. I can't wait to listen to more music and explore different genres in the future.篇7Title: My Experience at the Music LectureHi everyone! Today, let me tell you about my experience at the music lecture. It was so much fun and I learned a lot of cool things!First of all, the music lecturer played so many different types of music for us to listen to. There was classical music, pop music, rock music, and even some jazz music! It was really cool to hear all the different sounds and styles of music. I didn't know that music could be so diverse!One of my favorite parts of the lecture was when the lecturer taught us about different musical instruments. We got to see pictures of all the different instruments and even hear what they sound like. I never knew there were so many different instruments in the world! My favorite instrument was the guitar because it sounded so cool and I really want to learn how to play it now.Another thing I learned at the lecture was about different music genres. I didn't know that music could be classified into different genres like classical, pop, and jazz. It was really interesting to learn about how each genre has its own unique characteristics and history.Overall, my experience at the music lecture was amazing! I had so much fun listening to all the different types of music and learning about instruments and genres. I can't wait to go to another music lecture in the future and continue learning more about the wonderful world of music!That's all for now. Thanks for listening to my story about the music lecture! Bye bye!篇8Oh wow, I had the coolest experience last week! I went to a music lecture and it was so awesome! I learned a lot of things and I want to share it with you guys.First, the lecturer talked about different types of music like classical, pop, rock, and jazz. He played examples of each type and told us about the instruments used in each genre. It was so cool to hear the differences and learn about the history of each style.Then, we learned about how music can make us feel different emotions. The lecturer played sad music and happy music for us to listen to. It was amazing how the music could make us feel sad or happy without any words. Music is really powerful!After that, we talked about famous musicians like Beethoven, Mozart, and Taylor Swift. We learned about their lives and how they became famous. It was inspiring to hear about their hard work and dedication to music.Overall, I had a great time at the music lecture. I feel like I learned a lot and I have a greater appreciation for all kinds of music. I can't wait to listen to more music and maybe even learn to play an instrument myself!I think everyone should go to a music lecture because it's so fun and you can learn a lot. Who knew that music could be so interesting and enjoyable? I can't wait to go to another lecture and learn even more about the amazing world of music!篇9Title: My Experience and Feelings at a Music LectureHey guys, today I want to share with you all about my experience at a music lecture. It was super cool and I learned a lot of new things! So let me tell you all about it.First of all, the lecturer talked about different types of music like classical, pop, rock, and jazz. He played examples of each type of music and we got to listen and guess which type it was. It was so fun trying to figure out the different sounds and instruments used in each type of music. I never knew there were so many different kinds of music before!Next, the lecturer talked about famous musicians and composers like Beethoven, Mozart, Elvis Presley, and Taylor Swift. He played some of their famous songs and we got to sing along. It was so cool hearing music from different time periods and learning about the people who made them. I felt like I was time traveling through music history!After that, the lecturer talked about the importance of music in our lives. He told us how music can make us feel happy, sad, excited, or calm. He even played some relaxing music and we closed our eyes and listened. I felt so peaceful and relaxed, like I was floating on a cloud. I never realized how powerful music could be in changing our moods and emotions.Overall, I had a blast at the music lecture and learned so much about different types of music, famous musicians, and the power of music in our lives. I can't wait to listen to more music and explore new genres and artists. Music is truly amazing and I'm so grateful for this experience. I hope you all get to attend a music lecture too and have as much fun as I did!That's all for now, guys. Thanks for listening to my story. Bye-bye!篇10Yo, everyone! Today I wanna share with you guys about my experience attending a music lecture. It was super cool and I learned a lot from it.First off, the lecturer talked about different types of music like pop, rock, classical, and even hip hop. He played some examples of each type of music and we got to listen and try to guess which genre it belonged to. It was so fun guessing and jamming out to the tunes.Next, the lecturer talked about the different instruments used in music. I didn't know there were so many! He showed us pictures and played some clips of each instrument so we couldhear what they sounded like. My favorite was the guitar, it sounded super rad!After that, we got to learn about some famous musicians and their contributions to music. I was amazed at how much talent and hard work goes into making music. It made me appreciate all the musicians out there even more.Overall, the lecture was awesome and I learned a ton. I now have a greater appreciation for music and all the hard work that goes into creating it. I can't wait to keep listening to more music and maybe even try to play an instrument myself someday!That's all from me, guys. Thanks for listening to my story. Keep rockin' out to your favorite tunes! Peace out!。
中国传统乐器讲座英语作文
中国传统乐器讲座英语作文A Lecture on Traditional Chinese Musical InstrumentsLast week, I had the privilege of attending a fascinating lecture on traditional Chinese musical instruments. This event not only broadened my understanding of Chinese culture but also left me deeply impressed by the beauty and complexity of these instruments.The lecture began with an introduction to the rich history of Chinese music. The speaker explained that music has always been an integral part of Chinese culture, dating back thousands of years. Traditional instruments have evolved over time, reflecting the changing trends and tastes of the people.Next, the speaker introduced various traditional Chinese instruments, including the guzheng (a plucked string instrument), the erhu (a two-stringed bowed instrument), and the pipa (a lute-like plucked string instrument). Each instrument was accompanied by a brief demonstration, allowing us to appreciate their unique sounds and techniques.One of the most interesting parts of the lecture was the explanation of how these instruments are made. From the selection of materials to the intricate craftsmanship, each instrument is a work of art. The speaker showed us examples of different types of wood, strings, and other components that are used in the construction of these instruments.The lecture also covered the role of traditional Chinese instruments in modern music. The speaker explained that while many modern musicians use electronic instruments, there is a growing trend towards incorporating traditional instruments into modern compositions. This not only enriches the sound but also helps to preserve and promote traditional music.Finally, the speaker invited us to ask questions and share our thoughts. Many of us were fascinated by the instruments and eager to learn more. Some even expressed a desire to learn how to play one of the instruments.Overall, the lecture was an enriching experience that broadened my horizons and deepened my appreciation for traditional Chinese music and culture. I highly recommend it to anyone who is interested in learning more about this fascinating aspect of Chinese culture.。
听各国音乐讲座收获英语作文
听各国音乐讲座收获英语作文Attending a global music lecture was an enriching experience that expanded my understanding of various cultures and their musical traditions. The presenter's fluency in English made it easy to follow along, even as we explored the nuances of different genres.The session on African rhythms was particularly captivating, as it highlighted the intricate beats and harmonies that are characteristic of the continent's diverse music scene. It was fascinating to learn how these rhythms have influenced modern music genres, including jazz and hip-hop.As we moved on to Asian music, I was struck by the delicate melodies and the use of traditional instruments. The lecture helped me appreciate the subtlety and depth of Asian musical expressions, which often convey stories and emotions through their unique scales and tones.The segment on Latin American music was lively and energetic, with a focus on the passionate and expressive nature of the songs. The use of Spanish and Portuguese in the lyrics added another layer of interest, as it showcased the linguistic diversity within the region.Listening to classical European compositions was a serene experience. The lecture provided insights into the historicalcontext and the technical aspects of these timeless pieces, which have stood the test of time and continue to inspire musicians worldwide.The final part of the lecture was dedicated to contemporary English-language music, which showcased the evolution of pop and rock music. It was interesting to see how language and lyrics have adapted to reflect currentsocial issues and trends.Overall, the global music lecture not only enhanced my appreciation for music but also improved my English listening and comprehension skills. It was a truly immersive and educational experience.。
听音乐讲座的收获和启发英语作文
听音乐讲座的收获和启发英语作文Music has been an integral part of human civilization for centuries, serving as a powerful medium for expression, emotion, and cultural identity. Recently, I had the opportunity to attend a captivating lecture on the role of music in our lives, and the insights I gained from this experience have been truly transformative.The lecture was delivered by a renowned musicologist, whose vast knowledge and passion for the subject matter immediately captured the attention of the audience. From the very outset, the speaker emphasized the multifaceted nature of music, highlighting its ability to transcend boundaries and connect people from diverse backgrounds.One of the key takeaways from the lecture was the idea that music is not merely a form of entertainment, but a powerful tool for personal and societal growth. The speaker delved into the psychological and neurological effects of music, explaining how it can influence our emotions, cognitive abilities, and overall well-being. They discussed studies that have shown the therapeutic benefits of music,particularly in the treatment of mental health conditions and the alleviation of stress and anxiety.Another fascinating aspect of the lecture was the exploration of the cultural and historical significance of music. The speaker traced the evolution of various musical genres, highlighting how they have been shaped by the social, political, and economic landscapes of different eras. This deep dive into the cultural context of music provided a fresh perspective, challenging the audience to consider the ways in which music both reflects and shapes the human experience.One of the most impactful moments of the lecture came when the speaker discussed the role of music in social justice movements. They shared examples of how music has been used as a tool for activism, giving voice to the marginalized and inspiring collective action. The speaker emphasized the power of music to transcend language barriers and unite people in a shared struggle for equality and human rights.Furthermore, the lecture delved into the creative process behind music composition and performance. The speaker shared insights into the technical and artistic elements that go into creating music, shedding light on the meticulous work and dedication required to bring a musical vision to life. This exploration of the creative processwas particularly inspiring, as it reminded the audience of the immense talent and creativity that exists within the world of music.One of the most profound takeaways from the lecture was the idea that music has the power to shape our perception of the world and our place within it. The speaker discussed how the way we experience and engage with music can influence our worldview, our values, and our understanding of ourselves and others. This notion resonated deeply with me, as I began to recognize the ways in which my own musical preferences and experiences have shaped my personal growth and development.Throughout the lecture, the speaker also addressed the challenges and controversies that have surrounded the music industry, such as issues of artistic integrity, commercial exploitation, and the role of technology in music production and distribution. These discussions highlighted the complex and multifaceted nature of the music world, encouraging the audience to think critically about the various forces that shape the music we consume and the impact it has on our lives.As the lecture drew to a close, the speaker emphasized the importance of actively engaging with music, whether as a listener, a performer, or a creator. They encouraged the audience to explore new musical genres, to seek out diverse perspectives, and to continuously challenge their own preconceptions about the role ofmusic in their lives.In the end, the insights and takeaways from this music lecture have left a lasting impact on me. I have gained a deeper appreciation for the complexity and significance of music, and I have been inspired to approach my own musical experiences with a renewed sense of curiosity and engagement. Whether it's through active listening, creative expression, or critical analysis, I am committed to continuing my journey of musical discovery and using this powerful art form to enrich my life and the lives of those around me.。
关于音乐讲座的英语作文
Title: The Enchanting Experience of a Music LectureAttending a music lecture is an extraordinary experience that transcends the boundaries of mere listening and delves into the realm of profound understanding and appreciation. It is a journey that takes you through the annals of musical history, the intricacies of composition, and the emotional depth that each note carries. Last weekend, I had the privilege to attend such a lecture, and it left me mesmerized, rekindling my love for music in ways I never thought possible.The lecture commenced with a gentle introduction to the evolution of music, tracing its origins from ancient civilizations to the modern era. The speaker, a seasoned musicologist, had a way with words that painted vivid pictures in our minds. He didn't just talk about music; he made us feel it. As he narrated the stories behind different musical genres and their influence on society, I could almost hear the echoes of those distant melodies resonating within the lecture hall.One of the most captivating segments was when he delved into the art of composition. He explained how a simple arrangement of notes could evoke a myriad of emotions, from joy to sorrow, from tranquility to turmoil. To illustrate this, he played a few pieces himself, demonstrating how each instrument contributed to the overall narrative of the composition. It was astonishing to see how the subtlest changes in rhythm or pitch could drastically alter the mood of a piece.Moreover, the lecture also shed light on the therapeutic aspects of music. The speaker shared instances where music had been used to heal traumatized minds, to bring solace to the grieving hearts, and to inspire hope in despair. This aspect of music, though often overlooked, is perhaps its most powerful. It underscored the idea that music is not just an art form; it's a universal language that speaks to the core of our being.What truly set this lecture apart was its interactive nature. The audience was encouraged to ask questions, share their own musical experiences, and even attempt simple compositions under the guidance of the speaker. This created a warm, inclusive atmosphere where everyone felt like a part of a shared musical journey.In conclusion, attending this music lecture was a transformative experience. It not only enriched my knowledge about music but also reignited my passion for this incredible art form. I realized that music is not just something we listen to; it's something we experience, something that shapes our emotions, thoughts, and ultimately, our lives. As I left the lecture hall, I felt a renewed sense of awe for music and a deep gratitude for having had the opportunity to delve into its enchanting depths.。
传统乐器讲座的英语作文
传统乐器讲座的英语作文The Traditional Chinese Musical Instruments Lecture。
Introduction。
In the past few years, traditional Chinese music has gained popularity all over the world. People from different countries are eager to learn more about the traditional Chinese musical instruments. To meet this demand, a lecture on traditional Chinese musical instruments was held at the local community center. The lecture aimed to introduce the history, characteristics, and playing techniques of traditional Chinese musical instruments to the audience.History of Traditional Chinese Musical Instruments。
The history of traditional Chinese musical instruments can be traced back to ancient times. The earliest Chinese musical instruments were made of stone, bone, and bamboo. As time went by, new materials such as wood, metal, andsilk were used to make musical instruments. The development of traditional Chinese musical instruments was closely related to the development of Chinese music. The instruments were used in various occasions, such as religious ceremonies, court music, and folk music.Characteristics of Traditional Chinese Musical Instruments。
参加了关于各国的音乐讲座英语作文
Attending a Global Music Lecture: A Journey Through Cultural Rhythms Recently, I had the privilege of attending a lecture on music from around the world. This event was an enlightening exploration of how music serves as a universal language that connects different cultures and reflects diverse histories and traditions. The experience not only broadened my understanding of global music but also deepened my appreciation for the rich tapestry of sounds that define various cultures. Discovering Musical DiversityThe lecture began with an overview of the diverse range of musical traditions across different continents. The speaker highlighted the distinct characteristics of music from regions such as Africa, Asia, Europe, and the Americas. Each segment of the lecture was accompanied by audio clips and visual presentations that showcased the unique instruments, rhythms, and vocal styles prevalent in each region.For instance, we learned about the complex polyrhythms of West African drumming, which are integral to community ceremonies and storytelling. The lecture then shifted to explore the intricate melodies of Indian classical music, characterized by its use of ragas and talas, which create a deep emotional resonance. The rich traditions of European folk music, with its varied use of instruments like the accordion and fiddle, were also discussed, along with the vibrant salsa rhythms from Latin America.The Role of Music in Cultural IdentityA significant portion of the lecture focused on how music serves as a means of cultural expression and identity. The speaker emphasized that music often reflects the historical and social contexts of a community. For example, indigenous music of the Americas often incorporates elements of nature and spiritual beliefs, while jazz, which originated in the United States, represents a fusion of African rhythms and European harmonies. We also discussed how music plays a role in preserving traditions and passing down stories from one generation to the next. In many cultures, traditional songs are used to commemorate important events, celebrate rites of passage, and convey collective memories.Interactive Elements and Personal InsightsOne of the most engaging parts of the lecture was the interactive session. Attendees had the opportunity to handle various musical instruments from different cultures, such as the djembe drum, the sitar, and the didgeridoo. This hands-on experience provided a deeper connection to the music and allowed us to appreciate the craftsmanship involved in creating these instruments.The lecturer also encouraged us to share our own musical experiences and how they relate to the global music traditions discussed. This exchange of personal insights fostered a sense of connection and mutual appreciation among attendees.The Impact of Global Music on Personal PerspectivesAttending this lecture had a profound impact on my perspective of music. It highlighted the universal nature of music as a form of communication that transcends language barriers and geographical boundaries. The diversity of musical styles and traditions illustrated how music is deeply intertwined with cultural identity and human expression.I left the lecture with a renewed appreciation for the richness of global music and a desire to explore different musical genres further. The experience underscored the importance of embracing and celebrating cultural diversity through the art of music.ConclusionThe global music lecture was a remarkable journey through the sounds and rhythms of various cultures. It provided valuable insights into how music shapes and reflects cultural identities and offered a deeper understanding of the role of music in connecting people across the world. This experience not only enriched my knowledge but also inspired me to explore and appreciate the diverse musical traditions that contribute to the vibrant tapestry of global culture.。
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Had many health problems late in his life
The Beatles
• • Pop/Rock band from Liverpool, England The four members were Paul McCartney, John Lennon, George Harrison, & Ringo Starr
Music
Elvis Presley (1935-1977)
• • Known as “the King of Rock & Roll” or “the King” Sang many types of songs including popular, country, and gospel songs
The Beatles
The Beatles
• • Began singing together in 1962 Most songs released from 1962 – 1970
– – – – – – Love Me Do I Saw Her Standing There A Hard Day’s Night Can’t Buy Me Love When I’m Sixty-Four Here Comes the Sun
– – – – – Heartbreak Hotel Don’t Be Cruel Love Me Tender All Shook Up Jailhouse Rock
Elvis Presley (1935-1977)
• He also acted in 33 movies
– – – Love Me Tender Jailhouse Rock Viva Las Vegas
The Beatles
• John Lennon murdered in 1980 in New York City
Other Famous Musicians
• Michael Jackson (1958-2009)
1984
2007
Other Famous Musicians
• • • • • • Bob Dylan Billy Joel Bruce Springsteen Madonna The Rolling Stones (rock & roll band) The Eagles (rock band)
Genres of Music
• • • • • • • Popular Rock Country Rap Rhythm & Blues (R&B) Classical Jazz
ቤተ መጻሕፍቲ ባይዱ
Other Famous Musicians
• • • • Sting Mariah Carey Whitney Houston The Beach Boys (band)
Popular Musicians Today
• • • • • • • Eminem Josh Groban Justin Bieber Beyoncé Knowles Lady Gaga Taylor Swift Celine Dion