聆听音乐(17-20课)
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.。
耶鲁大学《聆听音乐》公开课笔记(第13-16课)
耶鲁大学公开课《聆听音乐》笔记（第13-16课）目录第13课赋格：巴赫，比才和伯恩斯坦第14课帕赫贝尔，艾尔顿·约翰音乐中的固定音型第15课本尼迪克特教团圣歌和西斯廷教堂音乐第16课巴洛克音乐：巴赫的声乐作品第十三课赋格：巴赫，比才和伯恩斯坦关键词赋格（fugue）平均律钢琴曲集（The Well-Tempered Clavier）前奏（prelude）卡农（canon）复音织体（polyphonic texture）非模仿复调（non-imitative polyphony）模仿复调（imnitative polyphony）插句（episodes）复对位(invertible counterpoint) 皮卡迪三度(the Picardy third)赋格段（fugato）管风琴（pipe organ）萨克斯管（saxophone）双重赋格（double-fugue）叠奏（stretto）持续音（pedal point）导引赋格是个富有智慧的曲式并广泛出现于其它许多领域。
在诗歌领域如果你看过T.S.艾略特的诗《四首四重奏》(T.S.Eliot’s THE FOUR QUARTETS)其中就频繁参考了赋格的结构；在文学领域一本写于同时代的小说阿道斯·赫胥黎的《针锋相对》（Aldous Huxley’s POINT COUNTER POINT）是以赋格的形式来构架的；在地理学界学者们有时会说“这种晶体有特殊的赋格结构”；在绘画领域20世纪的许多画家，比如弗朗兹·库布卡（Franz Kupka）、享利·瓦伦西（Henry Valensi）、约瑟夫·亚伯斯（Josef Albers）他们都有赋格式的作品。
我阅读道格拉斯·郝夫斯台特的《哥德尔埃舍尔巴赫》（Douglas Hofstadter’s GODEL,ESCHER,BACH），大概在前25-30页还能跟上，之后的数学部分我就很难看懂了。
耶鲁大学公开课-聆听音乐笔记
Class1Preposterous=absurdContend=argue, or=maintain/assert (contend that he was right.)Paradigm=example,pattern.Sacrificial lambInstill=to impart gradually.Purvey~purveyor=provide and supply food, drink or other goodsSyllabus教学大纲Verse=poem/poetry/stanza; 独唱部chorus=副歌，合唱Intuition~intuitive=quick and ready insight; immediate apprehension or cognition.Articulate=清楚讲出Pump up=to fill with enthusiam or excitement/inflate/increase.Elevate=raise/ lift up to make higher, raise in rank or status/improve m orally, intellectually/raise the spirit of=elateMandatory=obligatoryPedagogical= of, relating to, or befitting a teacher or educationDrone= to make a sustained deep murmuring, humming, or buzzing soundIntimidate=frightenCoraggio=braveWhy do we listen to classical music?It helps people relax and relieve stress.It helps people center the mind.Classical music provide a vision of a better world. A refuge of beauty, or majesty, of love.Aim of the class: Change your personality; impart you the love of classical music.Week 1~4 element of music:rhythm, melody and harmony.Musical form( Verse and chorus); musical style; melody; rhythm, beatsMusic process by the lobe temporal; if memorize music, by lobe frontal.Music and language is processed in the same way as a gradual assimilation.Beethoven Symphony No.5 and No.9 major and minor.The major and minor chord, the home pitch(tonal key), the conjunct and disjunct music, the direction influence the our response to music.The 2 dimensions of music(the axle of music): pitch and duration(音高和时值)Orchestra管弦乐；brass铜管乐器；percussion intrument打击乐器（timpani/kettledrum定音鼓）；Octave(八度音节) interval（间隔间距）Dominant note（属音）Beat→unit= dupe meter; triple meterJohn Kander约翰肯德尔-作品《芝加哥》bass in the music will help us find the meter.Ritard(减慢) accelerando(渐速) modulation转调Class2Prophet=predictorInterior movement室内乐Serenade小夜曲Parlance=speech/idiomChef d’oeuvre名曲Upbeat= an increase in activityVersitile=varible, revisible 多才多艺的，多功能的Realm=kingdom, sphere, domain.Homage: respect, tributeCut to the chase(开门见山)3 piece of classical music.Beethoven’s Fifth Symphony; Tchaikovsky’s Piano Concerto No.1; Ritchar Strauss’s Zarathustra. Music genre: symphony(4 movements, which are independent and complementary. A fast and opening movement, a slower, more lyrical second movement, a third movement derived from dance, forth movement fast and emphatic conclusion.);Concerto(A soloist will confront the orchestra. 3 movements.Tone poem(1 movement, to tell a story or history event)OperaSonataBalletCantata…..Melody=motive and theme弦乐演奏技法pizzacato拨奏ornamenting装饰音Instrument:French horn: make sound through a vibrating column of air, “patrials” or the “Harmonic series”泛音列(without hand but a twelve and a half-foot length of vibrating air.)TrumpetOboeLow tuba(低音号)Sousaphone(苏萨大号) different overtonesWoodwind intrument: bassoon: lowest tone, use to show something funny. (Peter and the wolf) Orchestra/string family: viola(中提琴):16 inches long(41cm), violin 12 inches long(31cm), a bow pull across the intrument which is made by horse hair from the tails of horses. Strings are made out of cat or sheep gut in 16, 17 and 18 century, but now are medal. Vibrato(揉弦) wig a little bit. Pizzicato(拨奏) tremolo(碎弓) Tremolo(颤音)Drum: Bass drum; snare drum(小军鼓)Modest Musorgsky.莫戴斯特·莫索尔斯基—picture at the exhibition（展览会上的画作）：Polish Oxcart(波兰牛车) crescendo(渐强) Doppler priciple(多普勒原理). The lowest sound creates the longest sound wave and last longest- lower sounds or lower frequency travel farer.Ritchard Strauss. Death and transfiguration. (a pendant to the Zarathustra).Dissonance resolving to consonance, Dissonance are irrational numbers and Consonance are rational.Class3Nitty-gritty事实真相，本质Cadenza华彩乐章Superimpose添加，双重Musical notation of western culture used in the art music has two advantages: allows the composer to specify rather precisely what he or she wants; allows us to preserve our work of art. Musical notation is the first graph in Western culture.Chuck MangioneWhole note(全音符) representations of durationTwo half notes, 4 quarter notes, 8 8th notes,Rests(休止符) A dot means 50% of the origin note.Bars or measures(小节)Clarinet单簧管Cole Porter 斗牛犬之歌耶鲁Syncopation切分音Pick-up唱头4 ways to tell which is downbeat: duration(downbeat always long); patterns of accoplishment(range音域); chord changes come on the downbeat.Mozart No.40 Symphony g minor Symphony.Maurice Ravel(莫里斯拉威尔) Bolero(波莱罗舞曲)Class4Tempo accelerando(渐速) ritardando(渐慢)Rhythmic devices(节奏类型) syncopation（切分音）来自希腊语Synkope-means to cut short. Scott Joplin斯考特乔普林Tripet三连音Musical Texture: monophonic texture, homophonic texture, and polyphonic texture. Polyphonic texture: imitative polyphonic texture;Imitative counterpoint模仿式对位法；free counterpoint自由对位。
智慧树答案聆听音乐的钥匙知到课后答案章节测试2022年
绪论1.音乐对人体的作用答案:开发智力;培养审美人格;改造灵魂;身心建康第一章1.移调目的是为了？答案:通过旋律在不同调性上的演唱或演奏，起到音乐色彩变化2.长音给我们的联觉反应：答案:缓慢、开阔、平和、安静、稳重安静、稳重3.强音给我们的联觉反应：答案:近距离的、热烈的、积极的、兴奋的、激动的等4.不和谐的音响有哪些音程构成答案:含有2度 7度、增、减音程的所有音程与和弦5.快起的演奏方法给我们的联觉感受：答案:生硬的、急躁的、激烈的、凶险的、果断的、不安的第二章1.小提琴音色特点与擅长表现的角色答案:音色甜美、抒情，擅长表现青年女子形象和主旋律声部演奏2.中提琴音色特点与擅长表现的角色答案:音色深沉温和擅长表现中年妇女的形象，常担任和声声部演奏3.大提琴的音色特点与擅长表现的角色答案:音色开朗，擅长表现青年男子形象常担任主旋律演奏4.双簧管音色特点与擅长表现的角色答案:带有鼻音、忧伤感擅长表现忧郁、伤感的青年女性形象5.单簧管音色特点与擅长表现的角色答案:幽默、灵活，犹如抒情女高6.小号音色特点与擅长表现的角色答案:音色嘹亮，擅长表现军队、凯旋等形象7.圆号音色特点与擅长表现的角色答案:宽广温和富有诗意、擅长表现原野、山谷等形象，是乐队的融合剂8.定音鼓的音色与擅长表现的角色答案:音色低沉富有力度变化，是乐队的气氛制造者9.小军鼓音色与擅长表现的角色答案:音色明亮、具有沙沙的响弦声，擅长表现军队行军、舞蹈的场面等10.竖琴的音色与擅长表现的角色答案:音色轻盈剔透，擅长表现流水、水仙、流动的旋律第三章1.什么是织体？织体是答案:音乐在空间上的结构2.复调音乐在西方音乐史上哪个时期达到顶峰答案:巴洛克时期3.和声织体在西方音乐史上哪个时期代替复调织体答案:古典主义时期4.三段体曲式结构的图式答案:ABA或ABC5.三部曲式结构的图式答案:首部 + 中部 +再现部6.变奏曲式结构的图式答案:A+A1+A2+A3…7.回旋曲式结构的图式答案:A+B+A+C+A+D8.回旋曲式主要特点答案:主题段落必须出现三次或三次以上9.奏鸣曲式结构的图式答案:呈示部+展开部+再现部10.奏鸣曲式与三部曲式的不同点答案:主题与副题必须在不同的调上第四章1.交响音乐与交响曲的关系答案:交响曲是交响音乐中一种体裁2.歌剧序曲作用答案:静剧场、概括或暗示剧情作用3.歌剧《奥菲欧》序曲作者答案:蒙特.威尔第4.意大利曲序的结构答案:快板+慢板+快板5.法国序曲的创始人是?答案:吕利6.音乐会序曲特点？答案:脱胎于歌剧序曲，专为音乐会而作的序曲，常与文学、诗歌哲学结合7.《仲夏夜之梦序曲》作者答案:门德尔松8.《仲夏夜之梦序曲》曲式结构是？答案:奏鸣曲式第五章1.古典组曲的特点？答案:由不同风格的舞曲组成2.《法国组曲》作者答案:巴赫3.巴赫《法国组曲》中的第四首加沃特舞曲源于答案:法国4.巴赫《法国组曲》中的第六首卢尔舞曲源于答案:剧院舞曲5.巴赫的作品是由哪位作曲家将其整理弘扬？答案:孟德尔松案6.在西方音乐发展过程中，从哪个时期开始，西方音乐创作从娱乐和炫技转向关注人的生活与情感？答案:古典主义时期7.现代组曲的特点？答案:以故事情节为纽带的若干首乐曲组成8.下面的组曲哪些是属于现代组曲？答案:比才《阿莱城姑娘》组曲;才科夫斯基《天鹅湖》组曲9.《大峡谷》组曲作者答案:美国作曲家格罗非10.《大峡谷》组曲的艺术贡献有答案:将美国本土音乐与欧洲音乐创作技法结合;运用现代和声技法，音乐具有印象派的特点;开创了美国标题音乐和弘扬了民族精神;开创和发展了美国交响爵士音乐第六章1.大协奏曲之父是谁答案:阿尔坎杰罗·科雷利2.小提琴协奏曲《四季》的作者？答案:维瓦尔第3.协奏曲源于？答案:文艺复兴时期的经文歌4.下面哪位作曲家把作为声乐协奏曲改为纯器乐演奏的协奏曲？答案:意大利作曲家、科雷利5.协奏曲是西方音乐史中哪个时期重要的音乐体裁答案:巴洛克时期6.大协奏曲主奏组的乐器乐器组成特点答案:两件或两件以上的乐器组成7.乐队协奏曲特点答案:乐队中各乐器组之间的竞奏8.《勃兰登堡协奏曲》属于哪种协奏曲答案:乐队协奏曲9.中国第一部独奏协奏曲是答案:《梁祝小提琴协奏曲》10.《黄河钢琴协奏曲》的作者答案:殷承宗等第七章1.交响诗一种具有诗意和哲理性的标题音乐，他的结构是答案:一个乐章2.标题音乐与无标题音乐相比有何不同？答案:是否用文字来表述音乐所表达的内容不同3.创立交响诗的著名作曲家是答案:匈牙利作曲家、钢琴家李斯特4.交响诗的特点答案:单乐章的交响音乐5.交响诗《沃尔塔瓦河》的作者答案:捷克作曲家斯美塔纳6.《人生前奏曲》曲式结构答案:奏鸣曲式7.李斯特音乐创作的理念是答案:在音乐中要再现人的感受和心灵的阅历第八章1.被称之为“交响曲之父”的人答案:奥地利作曲家海顿2.交响曲来源于答案:17世纪的意大利序曲3.第一位使交响曲第一乐章具有主题对比的作曲家是哪位？答案:曼海姆乐派的奠基人斯坦密茨4.第一位将交响曲从三个乐章改编为四个乐章的作曲家是答案:维也纳乐派奠基人之一莫恩5.最后完善交响曲乐队编制，并将主调音乐最终代替复调音乐创作的作曲家是答案:维也纳乐派海顿6.《第四十交响曲》的作者答案:奥地利作曲家莫扎特7.被称为“集古典之大成，开浪漫之先河”的人物是答案:贝多芬8.《英雄交响曲》的艺术价值答案:将社会与政治融入交响音乐之中9.伯辽兹《幻想交响曲》的艺术价值答案:是一部为浪漫主义开启了决定性的大门的作品10.伯辽兹《幻想交响曲》属于哪种类型的交响音乐体裁答案:标题交响曲。
[耶鲁大学开放课程：聆听音乐].01.Introduction.中英文字幕
![[耶鲁大学开放课程：聆听音乐].01.Introduction.中英文字幕](https://img.taocdn.com/s3/m/340d8fd5b14e852458fb57e4.png)
Its aim is to teach you how to listen to music
有人可能会说 稍等
Wait a minute, you say
这很荒谬
That's preposterous
我天天听音乐的
I listen to music all the time
你这个老家伙
you old goat
你说的没错
And you're right
可能真是这样
You probably do
但是你听的是什么类型的音乐呢
But what kind of music are you listening to
可能是流行音乐 也不错
Well, probably pop music and that's fine
它使我放松
It relaxes me.
好的
Oting.
国家公共广播电台问过
National Public Radio asked
完全相同的问题
exactly this question
在一次一年前的民意调查中
in a survey a year or so ago and
我听了后 接着说 好吧
So I listened to it and I said, "All right
就是这里 你听听这个然后告诉我
Here, you listen to this and tell me
你听到了什么
what you're hearing."
他在录什么
电子工业版(安徽)信息技术三上第6课《聆听音乐唱儿歌》教学设计
电子工业版（安徽）信息技术三上第6课《聆听音乐唱儿歌》教学设计一. 教材分析本课的主题是《聆听音乐唱儿歌》，选自电子工业版（安徽）信息技术三年级上册。
本课的主要内容是通过聆听和唱儿歌，让学生感受音乐的魅力，提高音乐素养。
教材中包含了多种类型的儿歌，有传统的、现代的，有中文的、英文的，还有各种乐器演奏的儿歌。
这些儿歌内容丰富，形式多样，能够激发学生的学习兴趣，培养他们的音乐审美能力。
二. 学情分析三年级的学生已经具备了一定的音乐基础，他们能够辨识简单的音符，能够唱一些简单的歌曲。
但是，他们对音乐的认知和欣赏能力还有待提高。
因此，在教学过程中，教师需要引导学生仔细聆听，感受音乐的美妙之处，并通过唱儿歌的方式，提高他们的音乐表现力。
三. 教学目标1.让学生通过聆听和唱儿歌，感受音乐的魅力，提高音乐素养。
2.让学生能够积极参与课堂活动，提高合作意识和团队精神。
3.让学生通过音乐学习，培养良好的审美情趣和高尚的情操。
四. 教学重难点1.重点：让学生能够正确地唱出儿歌，提高音乐表现力。
2.难点：让学生能够理解并欣赏不同类型的儿歌，提高音乐欣赏能力。
五. 教学方法1.聆听法：让学生仔细聆听音乐，感受音乐的魅力。
2.示范法：教师通过示范，引导学生正确唱儿歌。
3.讨论法：让学生在小组内讨论，分享对音乐的感受和理解。
4.激励法：通过鼓励和表扬，激发学生的学习兴趣和自信心。
六. 教学准备1.准备相关的儿歌资料，包括音频、视频和乐谱。
2.准备多媒体教学设备，如音响、投影仪等。
3.准备录音设备，以便在课堂上进行录音。
七. 教学过程1.导入（5分钟）教师通过播放一首欢快的儿歌，吸引学生的注意力，然后向学生介绍本课的主题《聆听音乐唱儿歌》。
2.呈现（10分钟）教师向学生展示几首不同类型的儿歌，让学生初步感受音乐的魅力。
教师可以播放儿歌的音频，让学生听一听，分辨出不同类型的儿歌。
3.操练（10分钟）教师引导学生跟唱儿歌，让学生通过唱的方式，体验音乐的美妙。
初中音乐_我的祖国教学设计学情分析教材分析课后反思
《我的祖国》教学设计【教学目标】一、情感态度价值观：1. 学生通过学唱歌曲《我的祖国》，感受音乐作品所表达的爱国主义情感，唤起学生对祖国的热爱之情。
2. 学生通过听赏交响诗《沃尔塔瓦河》主题片段，从旋律、节奏、音色等音乐要素的角度去感受、分析、理解作品，从而提高音乐审美能力，理解世界文化的多样性。
二、过程与方法：1. 通过聆听、分析、体验、探究、模仿等教学方法，体会作曲家斯美塔那对民族、对祖国的深厚感情。
从而使学生用舒缓的呼吸、优美圆润的歌声，满怀深情地演唱歌曲《我的祖国》。
2. 通过欣赏主题旋律，启发学生的形象思维，使学生从旋律、节奏、音色等方面感受音乐要素，理解音乐作品，丰富想象力，感受到河水奔流不息的情景。
三、知识与技能：1. 了解捷克民族音乐之父斯美塔那的生平及贡献，知道民族乐派的作品具有强烈爱国主义精神和深厚民族情感的音乐共性。
2. 通过赏析，提高自身的音乐审美能力、想象力和艺术修养。
【教学重点】学唱歌曲《我的祖国》，体会作者对民族、对祖国的深厚感情。
【教学难点】把握歌曲演唱的音准、力度、节拍及调式色彩的变化，感受和体验音乐家所塑造的音乐形象。
【教学准备】多媒体课件、钢琴【教学过程】一、导入1. 请同学们看两个词语“音乐”“情感”，有什么关系？音乐创作者，他们源于内心、生活的感受，激发了创作的灵感，于是有了音乐。
而我们通过聆听音乐，联想到音乐描绘的内容，后产生情感。
2. 下面请同学们充分展开想象力，听听这段音乐描绘了一幅流动还是静止的画面？二、《沃尔塔瓦河》主题1. 聆听音乐（引子）谁感受到了？这幅流动的画面像什么呢？让我们再次聆听2. 再次聆听（引子）画面中两条曲折交错的线条，不仅代表着波西米亚群山中涌出的两股清泉，更代表了水的各种形态，它们终将汇成条条江河，最后奔腾的涌入波涛汹涌的大海。
3. 聆听主题4. 作者及作品简介这两段音乐的作者是捷克的作曲家、钢琴家、指挥家——斯美塔那。
捷克是一个美丽富饶的小国家，几千年来深受周围大国的压迫与侵略，但捷克人民面对强大的侵略势力毫不畏惧。
(完整版)耶鲁大学《聆听音乐》公开课笔记(9-12课)
耶鲁大学公开课《聆听音乐》笔记（第9—12课）目录第09课奏鸣曲式：莫扎特和贝多芬第10课奏鸣曲式和主题以及主题变奏第11课曲式：回旋曲式、奏鸣曲式、主题变奏曲第12课客席指挥：布鲁克青年交响乐团第九课奏鸣曲式：莫扎特和贝多芬关键词曲式（form）反复（repetition）对比（contrast）主题与变奏（theme and variations）奏鸣曲-快板式（sonata-allegro form）弦乐四重奏（string quartet）协奏曲（concerto）三部曲式（ternary form）关系大调（relative major）回旋曲式（rondo form）赋格（fugue）固定低音（ostinato）呈示部（exposition）连接部（transition or bridge）发展部（development）再现部（recapitulation）尾声（coda）导引这节课我们探讨音乐形式的问题。
曲式对于所有音乐都是很重要的，它能让我们跟上一首乐曲的步伐，更形象地比喻，可以让我们在音乐之旅中明白我们身处何方。
曲式对所有音乐同等重要，无论是流行还是古典音乐。
我们周身充斥着各种复杂的素材，像音乐这种素材。
我们尝试着去理解它们的含义，甚至可以判定出它特定的结构，因而我们趋向于用建筑结构或诸如此类的事物来进行类比。
我们将进入大脑的信息分类整理，音乐带给我们的种种情绪反应是通过简单的模式达到效果的。
音乐家们喜欢运用曲式，因为曲式能告诉他们接下来如何做，怎么做更合适。
当你掌握了一种曲式并屡试不爽，它被其它音乐人经年累月地使用，你可能更倾向于使用它，以使你的听众跟随着你的音乐。
曲式曲式就是乐曲的结构形式。
曲调在发展过程中形成各种段落，根据这些段落形成的规律性，而找出具有共性的格式便是曲式。
流行音乐的曲式教授：对于流行音乐的曲式，弗雷德里克·埃文思同学给了一个很满意的答案，即主歌与副歌的结构，无论是在舒伯特的德文艺术歌曲中，还是在我们陌生的音乐中。
2024年小学一年级上册教学计划(三篇)
2024年小学一年级上册教学计划本学期针对我校学生实际情况，通过实践，使学生对音乐有一定的学习积极性，掌握基本的乐理知识，以及基本的演唱技巧，能有感情、有表情的进行演唱。
本期的教学任务、要求及重点如下：一、教学任务1、表演学习自然呼吸，不耸肩，养成良好习惯，注意咬字、吐子，清晰准确，做到有表情唱歌。
2、唱游能随音乐的不同情绪、节奏和节拍的变化，有表情的进行律动，模仿动作和即兴表演。
3、聆听欣赏优秀儿童歌曲，初步感受活泼、雄壮、优美抒情等不同歌曲和乐器。
4、读谱知识认唱1、2、3、5、6、等几个音，认识连线、延长记号等，并知道作用。
二、教学要求：1、突出音乐学科特点，把德育教育与音乐教育相结合。
2、启迪智慧，陶冶情操，培养审美情趣，使身心得到健康发展。
3、使学生掌握浅显音乐知识和简单音乐技能，培养对音乐的兴趣和爱好。
4、了解中外优秀音乐作品，使学生具有初步感受音乐和表现音乐的能力。
三、教学重点：学唱歌曲聆听音乐四、教研课题与教学措施奋斗目标：以美育人培养兴趣享受音乐教研课题：如何培养学生学习音乐的兴趣。
教学措施：（一）以音乐的美感来陶冶学生，感染学生教育家苏霍姆林斯基说过：“音乐教育不是音乐家地教育，而首先是人的教育”。
在音乐课中渗透适当地思想教育，充分利用音乐教育使学生潜移默化地受到音乐形象的感染和熏陶，寓教于情感，趣味，娱乐之中，使学生情趣上受到陶冶，在道德上受到影响。
在心灵上受到启迪。
首先通过音乐教育培养儿童具有初步爱祖国的情感。
在一年级的新歌及欣赏教材中多次出现《国歌》。
（二）创造生动活泼的教学形式，培养儿童学习音乐的兴趣。
法国大文豪雨果说：“开启人类智慧的宝库有三把钥匙，一把是数学，一把是文学，一把是音乐。
”小学低年级的音乐教学是整个音乐教育的基础。
这就要求教师不仅要针对低年级学生的生理、心理特点因材施教，还要不断更新教学理念，提高个人音乐素养，让更多更新颖的教学方法走进课堂，让四十分钟更加有声有色，这样才能使学生对音乐课产生浓厚的兴趣。
三年级上册信息技术教案-第6课 聆听音乐唱儿歌 电子工业版(安徽)
第6课聆听音乐唱儿歌一、教材分析：本节课内容主要包括利用音乐播放器欣赏儿歌，控制儿歌的播放进度，调整音量大小，把多首儿歌添加到播放列表中，进行连续播放等内容，它是学习后一课播放欣赏动画视频的基础，是培养学生获取信息、分析处理信息能力的重要一课。
虽然这一课是教授学生使用Windows Media Player播放软件播放儿歌并欣赏自己喜欢的儿童歌曲。
但实际教学中，教授也可以鼓励学生尝试登录相应的音乐网站，根据实际需要，使用不同的多媒体播放软件，播放自己喜欢的音乐。
二、学情分析：对于学生来说，多媒体电脑已经应用到了生活的各个领域，图、文、声、像的有机结合使计算机吸引了无数学生的眼球，而媒体播放器正是播放视频、音频文件的载体。
本节课正好让学生初步接触多媒体的世界，让学生利用Windows Media Player播放软件来欣赏电脑中的音乐。
部分学生已经初步掌握了关于在电脑中播放音乐的操作方法，对于这些学生，在教学中可以设置相应环节，让其起到示范演示的作用，达成生生互学。
对于很少接触到电脑的学生，可以通过创设情境的方式帮助他们了解和掌握Windows Media Player播放软件的使用，并同时利用学习的知识技能欣赏音乐。
其实单单对于这一节课活动涉及的操作要求难度并不大，而学生以前接触过三、教学目标：【知识与技能】1、认识Windows Media Player播放软件，知道打开方法。
2、了解音乐播放器的一般性操作。
3、了解任务栏及任务栏中的图标。
4、学会移动窗口的方法。
【过程与方法】1、了解音乐播放器的一般性操作。
2、了解任务栏及任务栏中的图标。
【情感态度与价值观】1、了解信息技术在日常生活中的应用，培养学生学习、使用电脑的兴趣和意识。
2、通过对音乐的欣赏，让学生在音乐中感受生活的美，从而陶冶学生的情操，启迪智慧。
四、教学重点与难点：1、教学重点（1）认识Windows Media Player播放软件，并通过播放器打开声音文件。
第六课 聆听音乐唱儿歌
3、练习使用“全选”快捷操作方式添加文件。
4、提问：鼠标没有指向文件，我们的操作能达到我们想要的结果吗？
十一、课堂小结
同学们说说，这节课你知道了什么？学会了什么？
板书设计
第六课聆听音乐唱儿歌
1、找到想要听的歌曲文件（儿歌的存放路径：我的电脑\D:\儿歌文件夹）
2、选中歌曲文件，使用打开方式来播放音乐
（2）在弹出菜单上先指向“打开方式”，再在菜单上单击“Windows Media er”。
好的，这是打开“Windows Media Player”其中的一种方式，等会儿老师会再介绍另外一种打开方式的。
（3）怎么使用“Windows Media Player”来欣赏儿歌。
我们已经打开了“Windows Media Player”播放器，那么我们如何来使用它来欣赏妈妈教我们的歌呢？
教学重难点
1、教学重点：
（1）Windows Media Player播放软件的基本操作。
（2）通过任务栏切换到不同的任务窗口。
2、教学难点：
Windows Media Player播放软件的基本操作。
教学准备
多媒体
课时
一课时
教
学
过
程
九、教学过程
一、情境导入
1、播放背景音乐《爱我你就抱抱我》。小朋友们要仔细的听这首歌，听听这首歌唱的是什么？
（9）右击选定的文件，将所有的儿歌添加到“正在播放”列表中。（老师示范操作结束，让学生动手实践操作。）
（10）老师指导学生“结束播放”的操作。
3、操作训练。
小朋友们，刚才老师教过你们如何打开“Windows Media Player”播放器了，下面呢老师让你们对照课本试试在“开始”栏中打开“Windows Media Player”播放器。我们来比比谁会以最快的速度打开，最先打开的同学向老师举手示意下。
耶鲁大学《聆听音乐》公开课笔记(第17-20课)PDF
耶鲁大学《聆听音乐》公开课笔记（第17-20课）目 录第17课 莫扎特和他的歌剧第18课 莫扎特和贝多芬的钢琴音乐第19课 浪漫派歌剧：威尔第的《茶花女》，波切利，帕瓦罗蒂和多明哥第20课 巨人的交响乐：贝多芬、柏辽兹、马勒、肖斯塔科维奇第十七讲 莫扎特和他的歌剧关键词利奥波德·莫扎特（Leopold Mozart）古典主义（Classical）三和弦（triad）属七和弦（dominant seventh chord）减三和弦（diminished chord）神童（divine）歌剧（opera）戏剧（drama）序曲（overture）洛伦佐·达·蓬特（Lorenzo da Ponte）导引古典主义作为一个音乐术语有两个分开的但却有联系的含义。
我们用古典主义这个词来指西方的“严肃”音乐或“艺术”音乐，与民间音乐、流行音乐、爵士乐、各种民族的传统音乐相区别。
我们称这种音乐为古典是因为它的形式和风格都极佳，具有超越时空的美。
但同时我们也可以把一个特定历史时期（1750-1820）的音乐叫做“古典主义”音乐（Classical中的C要大写），这是海顿与莫扎特写出伟大作品、贝多芬写出早期杰作的时期。
这些艺术家的创作在公众心目中一致被认为比例均衡，形式准确，是完美音乐的标准。
所以这个比较短的时期在所有具有持续审美价值的音乐中被冠以古典主义时期，我们今天就来讲讲莫扎特。
古典主义音乐与巴洛克音乐的区别先听一首莫扎特的《G小调交响曲》，这首曲子是莫扎特创作于古曲主义时期。
我们与上周分组聆听的巴赫等人的曲子进行一下比较，巴赫的那首协奏曲是从他使用一系列相同方式的音乐声（大约持续9分多钟）开始的，所有的音乐使用了相同的主旨、情绪、感觉，这就是巴洛克音乐。
巴洛克音乐的曲风，从头至尾特定的乐章、片段总体来说没什么变化。
古典主义时期音乐出现了一些不同，在一个特定的乐章中会有一些变化。
比如说，节奏会从规则到不规则，声音从很大声响到很安静，并且这种改变到了浪漫主义时候更为明显。
倾听音乐、聆听音乐、静听音乐
倾听音乐、聆听音乐、静听音乐音乐欣赏，是人的听觉器官接触音乐作品的音响运动形式而产生的一种能动的审美活动，也是一种通过音乐形象去体验和认识社会生活的积极的思维活动。
通过音乐欣赏教学，可以接触古今中外的各种题材、体裁、风格的作品，从而开阔音乐视野，懂得一些基本的音乐知识，培养高尚的音乐修养，提高审美能力。
音乐欣赏课是初中音乐课的重点内容之一，如何更好地上好音乐欣赏课，使学生更好地参与音乐欣赏，吸收音乐带来的不同感受，并提高自己的审美水平，是我们音乐老师一直很关注的问题。
如何引导学生走进欣赏境界，这是值得我们每位音乐老师去探寻的。
就我这十几年的教学，浅谈一下自己的几点认识。
一、创建和谐的初中音乐欣赏模式，提高学生审美能力音乐欣赏模式是音乐教学过程的基本阶段，是音乐教学理论的转化形式。
它用于设计课程、选择题材、提高教师活动的基本框架，主要目的是为音乐教学工作提供一个可操作性的程序。
（一）音乐欣赏课的一般程序纵观我们的音乐欣赏课，无非就以下几个程序：组织教学〈导入〉——介绍作品（引入新课内容）——初步整体欣赏〈简听〉——分析结构〈以学生为主，教师补充〉——分段欣赏——进一步讲解作品内涵——深入性完整欣赏等。
（二）如何引导学生走进欣赏境界，教师应做到以下几点第一，应创设安静的欣赏环境。
音乐欣赏特别强调“静”。
好的音乐只有静听，才能品其感，解其意。
设想，在非常吵闹的大街上给你播放再优美动听的乐曲恐怕也打动不了你吧。
只有在安静的环境中，个人内心平静了，才能获得最佳的听觉效果，所以作为音乐教师，在让学生欣赏音乐之前必须让学生安静下来静静的欣赏音乐。
比如七年级第二单元的欣赏《百鸟朝凤》这首乐曲学生初听开头就窃窃私语了，都说太吵了，不好听。
我立刻关掉音响，改变惯用的教学模式，由我先讲述这首乐曲的创作手法和它独特的韵味。
当我讲到唢呐运用它高超的演技惟妙惟肖地模拟了多种鸟鸣后，学生们立刻回应要好好的听完。
在安静的氛围中学生体会到了民族乐器——唢呐独特的魅力，也感受到乐曲表现出的百鸟争鸣，一派生机盎然的大自然景象。
《聆听音乐唱儿歌》学历案
《聆听音乐唱儿歌》学历案一、学习主题“聆听音乐唱儿歌”，让同学们在这堂课里感受音乐和儿歌的乐趣，学会在信息技术环境下聆听和欣赏儿歌，了解与音乐播放相关的简单信息技术操作。
二、学习目标1、知识与理解知道如何在信息技术设备（如电脑、平板）上找到儿歌音乐资源。
理解音乐播放软件（如Windows Media Player等常见软件）的基本界面和简单功能，像播放、暂停、音量调节等功能按钮的作用。
2、技能与操作能够独立操作信息技术设备打开音乐播放软件，找到并播放自己喜欢的儿歌。
可以根据自己的喜好调节儿歌的音量大小、暂停和继续播放。
3、情感态度与价值观培养对儿歌和音乐的喜爱之情，提升音乐欣赏的兴趣。
增强在信息技术环境下自主探索和获取音乐资源的意识。
三、评价任务1、形成性评价课堂提问：提问学生关于音乐播放软件基本功能的理解，例如“怎么在这个软件里把声音调大呀？”，观察学生的回答情况来判断他们对知识的掌握程度。
操作演示：让学生在设备上演示如何打开软件找到儿歌并播放，看操作是否熟练准确。
2、总结性评价课后小测试：出几道关于音乐播放软件使用的题目，如“请写出找到儿歌并播放的三个步骤”等。
实际应用评价：观察学生在后续自由活动时间里，是否能主动运用所学的信息技术知识去聆听儿歌，以此评价他们是否真正掌握了技能并且产生了兴趣。
四、学习过程1、导入（5分钟）2、知识讲解（10分钟）展示常见的信息技术设备（可以是图片或者用语言描述设备外观），比如电脑、平板。
然后介绍在这些设备上通常会有预装的音乐播放软件或者可以下载的音乐APP。
以Windows Media Player为例（如果是平板就可以说系统自带的音乐播放器），详细讲解软件的界面。
比如哪里是播放列表，哪里是控制播放、暂停、停止的按钮，哪里是调节音量的滑块。
就像告诉同学们这是一个充满宝藏的小盒子，每个部分都有它的小秘密呢。
解释一些常见的音乐文件格式，像MP3，就说这是一种让音乐能够在设备上播放的特殊“语言”，就像不同的小动物有不同的叫声一样，设备能听懂MP3这种“叫声”，就能播放出好听的音乐啦。
耶鲁大学《聆听音乐》公开课笔记(1-4课)
耶鲁大学公开课《聆听音乐》笔记(第1—4课)讲师：Craig Wright职业：耶鲁大学音乐教授学位：伊斯曼音乐学校钢琴乐音乐史双学士（1966）、哈佛大学音乐学博士（1972）学习资料1、教科书《聆听音乐》（第五版）Dr. Craig Wright著；余志刚、李秀军译；三联书店2012年4月出版（附光盘1张“聆听练习”）；大16开彩印，定价：88元；2、聆听指南：6张CD/套装（收录了150多个音乐作品选段的听力训练是本课的核心内容）可以从网上下载。
目录第1课导论第2课乐器与音乐风格第3课节奏：音乐的基础第4课节奏：爵士、流行和古典第一课导论关键词古典音乐（classical music）流行音乐（popular music）旋律（melody）大调（major）小调（minor）音高（pitch）主音高（home pitch/tonic pitch）两个维度（dimensions）时长/值（time/duration）拍子（beat）为什么听古典音乐第一、帮助人们放松、舒缓压力，这可能是主要的原因；第二、帮助人们集中精力，让听众全神贯注起来；第三、古典音乐提供了一个美好世界的意象，绚丽而庄严的庇护所，或许甚至还有爱的慰藉。
有时候它象征着世上也许会有一些事物超凡脱俗，还有诸如上帝之类的比我们人类更伟大的存在，引发我们去思考客观世界。
这就是伟大艺术的价值，无与伦比的文学、诗歌、绘画、音乐。
它展示了人类所能及之事，人类精神所能承载之力。
它们指引着我们、预示着可能有那么一些超越我们自身的精神存在，指引我们思考并不断追寻自己在这世上存在的意义。
流行音乐与古典音乐区别1、古典音乐（莫扎特作品选段）旋律感强烈；流行音乐（Rave′Til Dawn选段）完全没有旋律，不停地反复、节奏、鼓点，强烈的脉动；2、古典音乐的演奏乐器发出的声音与流行乐的合成音效是截然不同的。
音乐是一种听觉感知的呈现，你不可能像对待英语或历史考试那样，在考试前一天晚上将音乐中的信息或声音死记硬背以便应付考试。
耶鲁大学开放课程《聆听音乐》讲义：印象派音乐和异国情调
耶鲁大学开放课程《聆听音乐》讲义：印象派音乐和异国情调Listening to Music: Lecture 21 TranscriptDecember 2, 2008 << backProfessor Craig Wright: Now today we're going to be talking about musical Impressionism--next time modernism, but today musical impressionism. Impressionism, generally speaking, is a period in the history of music running from 1880 to 1920. It's mostly a French phenomenon although it did expand, as we will see, to England and to Italy and to the United States even to some degree. We have the American Impressionist School of Art, for example. Let's turn to the board here and visit some familiar names and faces.You know of the painters: Manet, Monet, Renoir, Alfred Sisley, Camille Pissarro, and the American--interesting enough--American woman, Mary Cassatt. Any time an art museum needs to raise cash, what sort of exhibition do they put on? A blockbuster exhibition of Impressionist painting. That's what brings everybody in. It is the locus, somehow, of what art is supposed to be. Everybody loves these Impressionist exhibitions whether it's Boston, New York, Chicago, wherever it might be. So we have those artists.We also have the poets--though interestingly enough they're not called so much Impressionist poets. They're called the Symbolist poets, and I'm sure in literature classes and in French classes you have studied some of them: Charles Baudelaire, Paul Verlaine, Arthur Rimbaud, and Stephane Mallarmé.Turning now to the composers, the most important of these, really, is Claude Debussy. He sort of started this school of French composition, the Impressionist style. We list others up there--Maurice Ravel. We've bumped into Bolero of Ravel; Gabriel Fauré wrote some beautiful Impressionist music. You may have heard of parts of the Fauré "Requiem" from time to time; Ottorino Respighi, an Italian, suggesting that this also got to Italy; and the American, Charles Griffes, who died of the influenza in New York City but wrote some Impressionist piano and orchestral music.In terms of the works of these individuals, we've listed more over here for Debussy than any one else--Clair de Lune, that we're going to be talking about today, that's important, Prelude to the Afternoon of a Faun.--we'll be hearing some of that and you have your Listening Exercise 40 on Prelude to the Afternoon of a Faun, other orchestral pieces, Nocturnes--sort of night mood pieces, La Mer, a big orchestral composition, Images, more orchestral works, and then preludes for piano. And we'll be foregrounding those preludes for piano here today and a couple of pieces that we listed on the board: the "Ondine" from Gaspar de la Nuit [of Ravel] that will be performed for us later in the hour today, and the Bolero that we have mentioned before. So those are the players.Let's take a look now at what this music sounds like. I'm going to start with playing some of this piece that you all know. I'm sure you've heard this before: Clair de Lune (1890) [plays piano] And we'll pick it up from there in just a moment. But obviously-- [plays piano] we've talked a little about this before--this general relaxation caused by the falling down motive only to rise up [plays piano] at this point. But also of interest here is the absence of any kind of clear-cut meter. That's, I think, the big-ticket item here. You'd be hard pressed to tap your foot to this, to conduct this in any way. So that takes us through, oh, the first twelve, fifteen bars of this piece.Now a different kind of music. [plays piano] Let's pause on this for a moment. I'll be emphasizing thephenomenon of parallel motion today--parallelism today--and here is a moment of that. [plays piano], all the voices. They probably have six different notes [plays piano] in that chord, but the next one [plays piano] all six are going in the same direction rather than having--going in the opposite direction. We'll continue to elaborate on that as we proceed. [plays piano] Okay.Now another idea comes in here, [plays piano] lovely, really nice, [plays piano] could be Chopin, right, that kind of rich sound with the [plays piano] almost guitar-like accompaniment underneath it, but something really neat happens here. [plays piano] We have this chord [plays piano] and then we have this chord [plays piano] --kind of a surprising or shocking, unexpected chord. So that's something else we get here with this impressionist style: unexpected chords, new chords. We might have normally [plays piano]. Then we could go [plays piano] and that kind of Beethoven-type sound, but here we get [plays piano], going to, not chords a fourth or a fifth away, but chords just a third away. [plays piano] Okay. [plays piano]Now that's another interesting moment. We've had--we've got this sound here to begin with [plays piano]. Well, that's kind of-- [plays piano] And then the next chord is [plays piano]. We haven't had those chords before. We've had major triads, we've had minor triads, we've had diminished triads and now we've got the kind of flip side of the diminished triad--the augmented triad. This is the fourth of our triads. Major [plays piano] --we've got a major third on the bottom and minor third on top. Minor, [plays piano] changes those around, [plays piano] a minor third on the bottom, major on top, major, [plays piano] minor. Then we could have--we have got this sharp, biting chord called [plays piano] the diminished if we just two minor thirds. It's the most narrow of the triads, [plays piano] but supposing we had two major thirds in this aggregate, [plays piano] yeah, that kind of sound. Well, it's a little bit weird [plays piano] so we get once again a new chord here with the Impressionist--the augmented triad, [plays piano] --and we might kind of pile them up [plays piano] in this fashion. [plays piano] It's a different sound, kind of a strange sound. All right. Well, that's a little bit of Clair de Lune of Claude Debussy and that introduces us to the Impressionist style.We're going to move on now to first--the first orchestral piece of Debussy and that's the Prelude to the Afternoon of a Faun that's listed on the board there. In 1894, Debussy lamented that he had never created a masterpiece. Well, he sort of did with this piece. It's really a wonderful, wonderful composition. It goes about ten minutes and you've got the full composition there on your CD No. 5..What can we say about it? Well, first of all, Prelude to the Afternoon of a Faun: its point of inspiration was a poem by Stephane Mallarmé. Mallarmé was an aesthetic mentor of Debussy. They were close friends. Once a week they would meet and talk about aesthetic issues in Paris in the Boulevard Montparnasse area. So he--Mallarmé--had written a poem called "The Afternoon of a Faun." Now this faun here is not f-a-w-n, the little baby deer-type fawn, but f-a-u-n, a sort of randy satyr, half man, half beast, who spends his afternoon in pursuit of sexual gratification in the heat of the midday sun--so it's a bit more sexually supercharged than the story of Bambi.Let's go on and think about the type of music that we're about to hear here. It's a different kind of music, and maybe the best thing to do is just jump into it. For us, it's difficult to appreciate how strange this must have sounded. We're kind of used to this sound. We've gotten--and maybe you've heard [plays piano] augmented triads and there are a lot of [plays piano] major seventh chords in Debussy, sounds a bit like a jazz chord, yeah, because jazz [plays piano] performers like that sound. They heard it in the Impressionists and they drew it into their music. So there are strange chords here, but there's also strange orchestration, and once again we should remember how unusual this must have sounded at the time it was created.So let's listen to a little bit of the Prelude to the Afternoon of a Faun, picking it up about-- it's in ternary form. We're picking it up in returned A. See if you can tell me what the meter is here. [music playing] Okay. Let's just pause it there for a moment.Anybody know what the meter is? No. I don't either. I'd have to look at the score and I never look at the score for this course. That seems like cheating. I shouldn't have any more advantage than you do. So it's a little hard to know what it is there. We--I'd really have to go get the music and find out what it is there.You heard kind of little harp glissandos in the background. We'll be talking more about that--the harp playing away there, arpeggios periodically, [sings] or [sings], just little dabs of color underneath by way of a supporting accompaniment. So let's listen to a little bit more here. Focus on the flute line. That's got the melody but it's a kind of different melody than the melodies that we have been listening to. [music playing] Passed it to the oboe, [music playing], okay, pausing it there. So that melody, [sings] is kind of like a roulade, kind of ill-formed in a way. It's very beautiful, but it's difficult to sing. It's chromatic, it doesn't have any regular structure to it, and this is typical of the Impressionists' approach to melody.Well, as I say, this was somewhat shocking at the time. This is Debussy's response to a poem, and you have the poem there. It's given to you on the sheet for today. Everybody got the sheet? We're not going to read it because we don't have time for it. It's a good example, however.It's a wonderful example of the Symbolist poetry, where the meaning comes not from any kind of logical semantic--no--syntactical presentation of ideas, one word following the next in a logical fashion, but just sort of placing key words at interesting moments that stimulate our thinking. These words have resonance in and of themselves. And I think that in some ways gets to the essence of this Symbolist poetry, so you can take a look at that on your own there. So Debussy was not trying to write program music here. He was just trying to use this as a point of inspiration, and here's what he said at the time about his approach to this piece. Quote: "The piece is really a sequence of mood paintings throughout which the desires and dreams of the faun move in the heat of the afternoon."So Mallarméthen went to the first concert of this piece and here's what he said in turn about Debussy's music. Quote: "I never expected anything like it. The music prolongs the emotion of my poem and paints its scenery more passionately than could colors," --paints it, so music as painting.Well, with this idea of music as painting--because these two artistic disciplines can't be separated really from one another--let's turn to our first slide for today and we'll see how this works. What's this? Anybody know this? Kind of a classic of Impressionist painting, "La Grenouillère," the frog pond, painted by Monet. I don't know the date, probably 1874 or 1875, I would guess. And we get this general impression of it. If we look, however, at the brush work of it, and let's go to that, a kind of close-up, we see--here we are--that it's really made up of a series of individual gestures. There's a mark there, a mark there, and so on, but when we--let's go to the next slide--stand back we do get this sort of shimmering impression, and there'll be a lot of that, the same kind of effect, worked out in music. Yes, you can have a chord, but that chord could be played as an arpeggio, and you could pedal with it and you could play it very rapidly and you wouldn't notice the individual notes. You would get the effect of the impression of this general wash of sound so that, in some ways, is a similarity here between these two artistic disciplines [music and painting]. Let's go on to the next or maybe that makes that point. No. This is fine.We're going to go on to a sailboat here now. And we needn't mention where this comes from but this is a picture of sailboats sort of luffing more or less listlessly at anchor here at a harbor probably out near Argenteuil, a few miles to the west of Paris. And with this as something of a visual set-up, let's turn to the next piece by Debussy. It's one that you have on your CDs. It's called Voiles or Sails--from these preludes for piano of 1910. And I'm going to start just by playing and then we'll talk about what it is that I'm playing. [plays piano]All of that music up to that point is made up out of a new kind of scale, a scale we haven't talked about before but now's the time. It's called a whole tone scale. Remember when we have [plays piano] our octave [plays piano] with our--it may take a major scale in there--our octave divided into seven different pitches, five whole steps and two half steps. But supposing we traded in those two half steps for one whole step. So instead of going [plays piano] C to C in that fashion, we would be going [plays piano] --now I got to do a whole step [plays piano] --so that's a whole tone scale, all whole tones within the octave. There are a total of six of them there--just converting two half tones into one whole tone. So all of this business [plays piano] and so on, just running up and down a whole tone scale.All right. Then at this point where we stop, [plays piano] well, underneath there--you're listening to the whole tone scale up above--but underneath we're getting [plays piano], kind of a rocking anchor. What is this in music, when you just repeat something over and over again? [plays piano] A.J.Student: Ostinato.Professor Craig Wright: Ostinato. Thank you very much. So we have ostinatos coming back into music here in the Impressionist period. They were there in Baroque music. They kind of went out of fashion in the Classical period and in the romantic period. Romantic is too expansive for ostinatos, but they come back in here in the Impressionist period and they're really important in the Modernist period. So it's a harbinger of things to come in the Modernist period.All right. Now let's go on just a little bit farther [plays piano] where you can hear the ostinato up above, and that's a good example of [plays piano] parallel motion, all of the chords going up and going down at the same time. [plays piano]What's that? Well, it's a classic example [plays piano] of a glissando. Right? They use a lot in television and stuff. What's behind curtain number three? [plays piano] "Tell us, Vanna," or whatever. So it's simply playing an arpeggio--an arpeggio that's very rapid family, kind of--or fashion. [plays piano> That'd be another sort of glissando, just playing every white note or every [plays piano] black note, okay, up on the keyboard. So we had this glissando [plays piano]. All right.Now let's talk about the scale we have here because he's actually changed scales. We did have [plays piano] whole tone but now we get [plays piano] a pentatonic scale, just using five notes. [plays piano] We've bumped into the pentatonic scale before. Anybody remember when, way back early on? Roger.Student: [inaudible]Professor Craig Wright: I didn't hear that. A little bit loud.Professor Craig Wright: Yes, to some extent. It was in that lecture where we were talking about blues. Blues tends to use more of a six-note scale, but it was at that very point. What kind of music was it? Emily. Student: [inaudible]Professor Craig Wright: Chinese music. Good for you. Chinese music. We had the Moon Reflected in the Distant Pool and it was played by an erhu. [plays piano] Well, here we have another five-note scale that involved whole steps and minor thirds [plays piano]. The simplest way to think of it is just the black notes of the keyboard, and that's kind of what he's using here. [plays piano]Now one other interesting thing going on, and that is the combination [plays piano] of--which is what he's doing here--of parallel motion and the pentatonic scale, because-- [plays piano] Does that conjure up any--Chris is smiling down here. Why are you smiling, Chris? What does that remind you of?Student: [inaudible]Professor Craig Wright: What?Student: The Far East.Professor Craig Wright: All right. The Far East. Indeed. But when I was a kid growing up if I heard [plays piano] I would be watching Indians coming over the horizon in the West and the good guys or the bad guys were chasing--it was a sign of the Indians. What this was--what this became in terms of film music was a kind of racial stereotyping. We had "us" and "us" went along [music playing] in major and minor scales, and then we had these other people [plays piano] who generally moved in parallel motion and used a lot of pentatonic sounds. So the people in Hollywood were painting here ethnically with a very blunt brush. It was "us" in Hollywood in major and minor and functional harmonies and it was "them" who went around in pentatonic scales and in parallel motion. It was a very interesting kind of moment there in the history of American musical culture in a way.So in any event, that's what we have in this particular piece. Debussy is using this here, and I'll come back to this a little bit later on, because Debussy was very much influenced-- and we can document where and why--very much influenced by the Orient, by the East. He was hearing these Eastern sounds in Paris beginning in eighteen eighty-nine. All right.Well, then this thing goes back [music playing] to a whole scale--a whole tone scale and then finally-- [plays piano] And he instructs the pianist there just to leave the foot on that sustaining pedal there, that rightmost pedal, the sustaining pedal, [plays piano] so we get, again, this wash of sound. Okay?Now one other point about pedals, while I've got--while I have the--I'm at the keyboard here--and that is the following: We've talked about the rightmost pedal [plays piano]. It gives us [plays piano] this kind of wash sound. What's it called, once again? What's the rightmost pedal called on the piano? Yeah, I hear it over here. Who's got it? Kristen?Professor Craig Wright: Okay. Who said that, please?Student: [inaudible]Professor Craig Wright: Okay. Thank you. This is the sustaining pedal, right, and it gives us the wash of sound. What's the leftmost pedal do? [plays piano] Frederick.Student: And that's the one that moves it over [inaudible]Professor Craig Wright: That's right. Moves the whole keyboard over so those hammers are only striking two strings rather than striking three strings. It makes it a little softer.The middlemost pedal, however, is a very interesting one. It doesn't get used nearly as much, and I was thinking this morning. I was looking in my office on my Steinway upright and there is no middle pedal. And that's because it doesn't get used very much. But when it does get used, it's used for sort of special effects.I'm going to show you a good example in another prelude of Debussy. And this is a bit, oh, hokey I suppose but it's called La Cathédrale Engloutie, the engulfed, or sunken cathedral. And of course Monet painted the cathedral over and over again, all sorts of different views of this cathedral in different kinds of lights. Which cathedral was it? Notre Dame de Paris? No. Any art folks here? Sure. Jacob, which cathedral is it that Monet--show the next slide, please.It's an impression of the Cathedral of Rouen, which is about a hundred miles or so up river--no--down river toward the mouth of the Seine so you go the Seine toward Harfleur and you come to Rouen. And he painted this, and Debussy also constructed a musical equivalent of it. It goes this way. [plays piano] Notice all the parallel motion here. [plays piano] All right. So then the sun comes up on the cathedral. Let's see if we can get the sun to come up here a little bit on our cathedral. There we go, a little bit sunnier, and we get this kind of music and we'll get to our middle pedal here. [plays piano]Well, now Debussy is going to show you what the bells sound like on the cathedral. But as is the case with most of these French cathedral bells, there is one bell. It's called the bourdon, this huge, big, low bell, and he's trying to give us the impression of the bourdon here and he instructs that we should use the sostenuto pedal. This is a bit counterintuitive because we have the sustaining pedal to the right; now we've got this thing called the sostenuto pedal that also sustains but it sustains in a different way. It allows you to hit a note [plays piano] and hold that note [plays piano] and then you can play other stuff and clear that other stuff with your sustaining pedal while that note is still sounding down there. And he uses it here to get the effect of this large bell [plays piano] as the other bells sound above it [plays piano] and then a fade-out at that point. [plays piano]Okay. So that takes us to the end of this particular prelude, and I have a lot of other things I'd like to say about Impressionist music, very interesting stuff. I think I'm going to cut to the chase, however, with just showing you a few slides because we have a guest that we want to talk with and she is here, and we want tomove on to that. In the textbook, and you can read about this in the Impressionist chapter in the textbook--let's go on, Jacob, to the next slide. And the point here is the association of color.So we're going to make a point here and that is that musicians in this Western tradition of Bach, Beethoven, and Mozart and so on always tie line to color. In a section one day, I think it was Roger--where's my Roger--asked me--there he is back there--"How do we know it's a melody?" Well, one reason we know in all this complex of music that something is a melody is that in orchestrated pieces when it's melody time the composer will bring in a new instrument. It's like telling you, holding up a sign again, "Hey, here's the melody." The instruments are quiet. Then they come in to play the melody so let's listen to a famous passage of Tchaikovsky here out of "Romeo and Juliet" where you work up nicely in the strings. When we get to "melody" time, in comes the flute playing the melody and a French horn now enters to play an accompaniment with it. [music playing] Melody time. [music playing]Now that's one approach, but Debussy starts doing something a little bit different. He's going to start working just with color--a little bit, if we can get to it, of an orchestral piece with Debussy where he's using a new instrument. It's the human voice. What's the instrument singing here? [music playing] Not singing much of anything, just singing "ah." It's just--what he wants there is the warm sound, the stable, warm sound of the human voice, and--as Thomas Mann said--and he just brings that in, a little dab of color there, a little dab of color there. What's interesting him is not line but just color.He's going to pull in color away from line, and that begins to happen here in the painting of the period. They begin to intensify color and separate color from line. Here we have Matisse, nineteen oh-nine, "The Dancers." This is version one of this. You may not know that he actually painted this particular scene twice. Version one, notice just the kind of flesh-tone colors; notice the position of the knees. Now we're going to go to version two, two years later, much more intense. The position of the legs and the hamstrings here is much more angular and we have a much more visceral response to this because of the addition of the red color to it. And red becomes a very important color with the painters of this period and they begin to take this color and just play with the color itself outside of line, which is what Debussy is doing.So let's go on to the next slide here. Here is Matisse's "Red Studio," for example, where the color red begins to overrun everything or in musical terms let's go to Duffy's "Red Violin" here where the red varnish quality of the violin is spilling out--outside of the line or normal confines of the instrument. So that's an interesting point, I think--to watch these two arts work in tandem at this particular moment in history.All right. I'm going to stop here and introduce our guest, Naomi Woo. Naomi, come on up. I've never met Naomi, right. But it's nice to see you. Thank you for joining us today. So you're a pianist here at Yale, and we'll--So here's Naomi and we're going to turn the lights back on. So tell us about yourself nice and loud if you would, please. Are you a music major?Naomi Woo: I'm not sure yet. I'm a freshman--Professor Craig Wright: You're a freshman.Naomi Woo: Yes, I am. [inaudible]Professor Craig Wright: Interesting. So why didn't you go to Juilliard then, or Eastman?Naomi Woo: I actually decided to come here 'cause I wanted to do a liberal arts degree [inaudible] Juilliard and then realized that I didn't want to be sort of at a vocational school like that [inaudible]Professor Craig Wright: That's a smart move. I did it the wrong way. I went to--and it was a wrenching experience to go to the Eastman School of Music first and then go to Harvard after that because you really felt like a dummy. At least I did and rightfully so. So you're doing it the correct way. I think generally, whatever your trajectory is in terms of your particular profession, get your broad liberal arts background first and then focus more and more intensely on your specialty and then subspecialty and on it will go. So here you are taking piano lessons. With whom do you study?Naomi Woo: With Wei-Yi YangProfessor Craig Wright: So he is a faculty member of the School of Music across the street and our most talented undergraduates go over there to get their lessons and they do their practicing. How many hours a day do you get to practice?Naomi Woo: I try to practice two hours a day but I usually can't do that more than a couple times a week.。
电子工业版(安徽)信息技术三上第6课《聆听音乐唱儿歌》说课稿
电子工业版（安徽）信息技术三上第6课《聆听音乐唱儿歌》说课稿一. 教材分析《聆听音乐唱儿歌》这一课的内容主要围绕着音乐的欣赏和演唱展开。
教材以儿歌为主题，让学生在聆听和演唱的过程中，感受音乐的韵律和美感，培养他们对音乐的兴趣和热爱。
教材还结合了电子信息技术，让学生通过多媒体设备，更加直观地感受音乐的魅力。
二. 学情分析学生在学习这一课时，已经具备了一定的音乐基础，他们能够理解和欣赏简单的音乐作品。
但同时，学生对音乐的认知和理解程度各不相同，有的学生对音乐有浓厚的兴趣，而有的学生则对音乐较为陌生。
因此，在教学过程中，我需要关注每一个学生的学习情况，尽量让每一个学生都能在课堂上得到锻炼和提升。
三. 说教学目标1.知识与技能目标：让学生了解和掌握儿歌的基本韵律和演唱技巧。
2.过程与方法目标：通过聆听和演唱，培养学生的音乐素养和审美能力。
3.情感态度与价值观目标：激发学生对音乐的热爱，提高他们对音乐的鉴赏能力。
四. 说教学重难点1.教学重点：儿歌的基本韵律和演唱技巧。
2.教学难点：对音乐作品的深入理解和鉴赏。
五. 说教学方法与手段在教学过程中，我将采用讲授法、示范法、分组合作法等教学方法，结合多媒体设备，让学生在聆听和演唱中，感受音乐的魅力。
六. 说教学过程1.导入：以一首儿歌《小星星》导入课堂，让学生在聆听中，感受音乐的韵律和美感。
2.新课教学：讲解儿歌的基本韵律和演唱技巧，让学生在实践中，掌握这些知识。
3.课堂练习：分组让学生进行儿歌演唱，互相观摩和评价，提高演唱能力。
4.音乐鉴赏：让学生聆听不同风格的儿歌，培养他们的音乐审美能力。
5.课堂小结：总结课堂教学内容，强调儿歌演唱的重要性和技巧。
七. 说板书设计板书设计将以儿歌演唱技巧为核心，突出重点，简洁明了。
主要包括以下几个部分：1.儿歌基本韵律2.演唱技巧要点3.音乐鉴赏方法八. 说教学评价教学评价将从学生的演唱、欣赏和课堂参与度等多方面进行，力求全面、客观地评价学生的学习情况。
第6课聆听音乐唱儿歌
第6课聆听音乐唱儿歌
教学目标：
【知识与技能】
1、熟悉“我的电脑”窗口。
2、了解音乐播放器的一般性操作。
3、了解任务栏及其任务栏中的图标。
【过程与方法】
1、熟练通过“我的电脑”窗口打开指定文件夹。
2、使用快捷菜单运行相应的音乐播放软件。
3、尝试使用音乐播放软件来欣赏音乐。
4、尝试使用任务栏来切换任务窗口。
【情感态度价值观】
1、在音乐中感受生活的美，让学生选择自己喜欢的音乐，更增强学生使用电脑的兴趣。
2、以唱学生耳熟能详的儿歌，使学生积极乐观的学习。
教学重点：
1、音乐播放软件的基本操作。
2、通过任务栏切换到不同的任务窗口。
教学难点：
1、音乐播放软件的基本操作。
课时：1课时
教学过程：。
高中音乐湘教版(2019)必修音乐鉴赏第一单元 学会聆听音乐 教学设计
学会聆听音乐教学目标：1．在高中的起始单元的课上，能认真欣赏音乐作品，从中得到精神上的享受，从而增进对音乐的兴趣和爱好，同时期待今后的音乐课。
2．根据已有的经验，尝试运用比较的观点，探究音乐艺术的非具象性和非语义性特征，以及音乐是声音、听觉、时间和情感的艺术。
3．通过欣赏《我爱你中国》的感受与认识，了解一些听懂音乐的方法，能用简单的语言说出音乐表现要素（节奏、旋律、力度、节奏、音色等）在作品中的作用，同时增强学习音乐的自信心。
教学内容：探究音乐艺术的表现特征，分析音乐的基本要素，欣赏《我爱你中国》《弥渡山歌》等。
教学重点：通过欣赏《我爱你中国》等歌曲，了解听懂音乐的基本方法。
教学难点：通过分析音乐要素来培养音乐的耳朵。
教学方法：欣赏、谈话、表演、比较启发、发现法等教学过程一．导入1．自我介绍：同学们，你们喜欢音乐吗？平时有空听音乐吗？听哪些的音乐呢？请学生讲讲听哪些音乐。
无论你们喜欢听哪一类音乐，你们一定有个愿望——听得懂音乐，对吗？要想听得懂音乐，我们就要有一双音乐的耳朵，今天，我们就一起来探讨怎样培养音乐的耳朵。
二．感受音乐的物理属性我们先来听三组音，同学们来对比一下。
老师在钢琴上弹奏第一组音，一高一低——音的高低老师在钢琴上弹奏第二组音，一长一短——音的长短老师在钢琴上弹奏第三组音，一强一弱——音的强弱学生听由钢琴与长笛演奏的两段《土耳其进行曲》，得出第四个属性——音色。
音的这四个属性是构成音乐的物理要素，所以，我们认为“音乐是声音的艺术”。
那么，是不是我们能听出音的高低、长短就能听得懂音乐呢？答案当然不是。
每一个健康的人，都能感知音乐，这只是听得懂音乐的第一步。
（音乐与耳朵）通过展示画作和文字进行对比。
绘画艺术的表现形式非常直观，具有具象性；文学艺术具有语义性。
我们对他们的理解大致相同。
然而，听音乐后，觉得它会把我们带到不同的意境，所以，我们认为，音乐艺术具有非具象性和非语义性的表现特征。
- 1、下载文档前请自行甄别文档内容的完整性，平台不提供额外的编辑、内容补充、找答案等附加服务。
- 2、"仅部分预览"的文档,不可在线预览部分如存在完整性等问题,可反馈申请退款(可完整预览的文档不适用该条件!)。
- 3、如文档侵犯您的权益，请联系客服反馈,我们会尽快为您处理(人工客服工作时间：9:00-18:30)。
耶鲁大学《聆听音乐》公开课笔记（第17-20课）目录第17课莫扎特和他的歌剧第18课莫扎特和贝多芬的钢琴音乐第19课浪漫派歌剧：威尔第的《茶花女》，波切利，帕瓦罗蒂和多明哥第20课巨人的交响乐：贝多芬、柏辽兹、马勒、肖斯塔科维奇第十七讲莫扎特和他的歌剧关键词利奥波德·（Leopold Mozart）古典主义（Classical）（triad）属七和弦（dominant seventh 莫扎特三和弦chord）减三和弦（diminished chord）神童（divine）歌剧（opera）戏剧（drama）序曲（overture）洛伦佐·达·蓬特（Lorenzo da Ponte）导引古典主义作为一个音乐术语有两个分开的但却有联系的含义。
我们用古典主义这个词来指西方的“严肃”音乐或“艺术”音乐，与民间音乐、流行音乐、爵士乐、各种民族的传统音乐相区别。
我们称这种音乐为古典是因为它的形式和风格都极佳，具有超越时空的美。
但同时我们也可以把一个特定历史时期（1750-1820）的音乐叫做“古典主义”音乐（Classical中的C，这是海顿与莫扎要大写）特写出伟大作品、贝多芬写出早期杰作的时期。
这些艺术家的创作在公众心目中一致被认为比例均衡，形式准确，是完美音乐的标准。
所以这个比较短的时期在所有具有持续审美价值的音乐中被冠以古典主义时期，我们今天就来讲讲莫扎特。
古典主义音乐与巴洛克音乐的区别先听一首莫扎特的《G小调交响曲》，这首曲子是莫扎特创作于古曲主义时期。
我们与上周分组聆听的巴赫等人的曲子进行一下比较，巴赫的那首协奏曲是从他使用一系列相同方式的音乐声（大约持续9分多钟）开始的，所有的音乐使用了相同的主旨、情绪、感觉，这就是巴洛克音乐。
巴洛克音乐的曲风，从头至尾特定的乐章、片段总体来说没什么变化。
古典主义时期音乐出现了一些不同，在一个特定的乐章中会有一些变化。
比如说，节奏会从规则到不规则，声音从很大声响到很安静，并且这种改变到了浪漫主义时候更为明显。
浪漫主义时期你可以感觉到情绪上的猛烈波动，这类音乐风格就是19世纪的一种两极分化的音乐，而它却是发源于古典主义时期。
★示范曲目：莫扎特《G（Little G Minor Symphony）小调交响曲》这首乐曲以小调开始，有大量的燥动的切分音，在短短40秒内莫扎特就演变成一种截然不同的基调——开始由双簧管独奏大调。
这是一首抒情的曲子，现在的节拍或说是节奏都是整齐合拍而不散乱，就完全是另一种的音乐类型了，请注意他是如何在这么短时间内转变基调的。
刚才播放的这段音（Amadeus）的片头曲。
这是一部非常精彩的电影：其一，当一个平庸之人遇到乐是电影《莫扎特传》了一个完美的天才时会做什么？其二似乎有些讽刺意味，上帝所赐的天赋却降临在这样一个幼稚糊涂的莫扎特身上，电影的编剧彼得·谢弗尔（Peter shaffer）是根据什么创作的这部电影？在我看来，电影对莫扎特的描写是彻底的误解。
虽然电影的剧情发展很精彩，但其中对莫扎特的塑造和展现实在是不靠谱。
莫扎特的爱好：《莫扎特传》里有这样一个场景，他经常在一张台球桌上写曲。
这的确是事实，如果你们看到过莫扎特的一份遗嘱认证名单，这是在他死后人们在他的公寓里清点所有家具开列的清单，（pool table）(billiards 那里确实有张台球桌，但那不是真正意义上的“台球桌”而是一张“弹球桌”table)，（Michael Kelly，这有很大的差别，因为弹球游戏涉及到角度。
莫扎特一位好朋友迈克尔·凯利男高音歌手）曾回忆说“他很喜欢打弹球，并且在房间里摆放了一张很精致的弹球桌，我们一起玩过很多次，但每次基本都是我输”。
莫扎特的另一爱好就是做算术，如果看到过莫扎特乐谱手稿，就会发现在纸的边缘写满了数字，都是各种基本的计算，有时还会有基本的代数公式。
为什么他会如此迷恋数字与图形呢？如果他走进一家餐厅，人们会看见他在用不同的方式反复折叠餐巾纸。
他写信的时候总是习惯倒着写，他热衷于字迷游戏等等。
再有就是莫扎特善于模仿，并有令人难以置信的模仿别人的能力，模仿他人的面目表情、方言等，他能说很流利的意大利语、法语、英语（他的母语是德语）；他有超强的音乐记忆能力，他14岁时在罗马的西斯廷小教堂听到一首从未在其它任何地方演奏过的经文歌时，就能凭记忆把整首曲子全部默写出来，这是一种特殊的能力。
这首经文歌大约有两分钟长，并有好几个声部。
我们第一次听到一段4、5秒钟的音乐时可以记住多少？显然莫扎特可以在他“内心听觉”中储存和处理大量的音乐。
如果你有绝对音准有时你就会明显地缩短整个过程，因为会被脑干识别到。
耶鲁神经系统科学家的一篇文章《你的大脑合调吗？》（Is you brain in tune）中说到，绝对音准在世界上的发生率估算为万分之一的人拥有。
由于莫扎特留下了很多手札，他常常写信，大部分是写给他的父亲利奥波德·莫扎特，这些文献有助于我们深入了解他。
莫扎特对死亡的理解：1781年莫扎特的一位好友冯·哈茨菲尔德伯爵（Count von Hatzfeld）突然去世，他在写给父亲的一封信中讲述了对死亡的看法：“死亡是生命的真正目的，在过去的两年里我对此深有体会，因此，我将死亡视作人类最真诚的朋友。
这样的想法让我对死亡再也没有了恐惧，取而代之的是安宁和欣慰。
我感谢上帝赐于我如此觉悟，让我有幸明白，死亡是通往真正幸福之路。
我每个夜晚从未厌倦地在思考，像我一样的年轻人也许明天再也不会醒来，但了解我的人没有任何人会说，我的一生是孤独或充满悲哀的。
那么我将无比感激造物主，并由衷希望他能将这样的幸福赐于我的朋友。
我很清晰地阐述了我对至交冯·哈茨菲尔德伯爵突然去世的看法，他和我一样只有31岁，我并不为他悲伤，却发自内心地为像我一样了解他的人难过。
”具有讽刺意味的是，莫扎特在此后只活了四年就去世了，而他却在如此短暂的人生中创作了众多丰富而优秀的音乐作品。
莫扎特从未进过学校或接受除音乐艺术以外的系统教育，他很小就显露出了非凡的音乐天赋，他的父亲便把他留在家中培养，并带他去世界各地演出展示他的音乐天赋，某种意义上可以说他上的是社会大学。
莫扎特音乐的特点1、可靠的平衡感和均匀感。
我们现在谈到的是音乐史上的古典主义时期，因为每一件事情似乎都处于平衡状态，这种风格你不会发现装饰物的过多点缀，不像巴洛克艺术那样充满了宏大、奢侈、戏剧性和明显的感官色彩，音乐中我们第一次感觉到这种平衡就是在古典主义时期。
我们在学习小节、拍子、乐句时，我让你们数拍子时总会发现它都是二加二、四加四、八加八等等非常匀称。
在古典主义时期这种形式第一次大规模地出现在音乐中，平衡、有形、完美的匀称。
★示范曲目（Voi che sapete）罗兰·莉宝（Lauren Libaw）演唱：莫扎特的咏叹调《你们可知道》我们只听其中的一小段，让听觉感受一下什么是结束乐句的前提。
前提有三次展开，然后嵌入，全部是“四加四”，纵观整个咏叹调都是这样的组织结构。
这是莫扎特音乐特点的第一点。
2、化平凡为神奇的能力。
在莫扎特的驾驭之下就像矛盾修辞法，有时候越是简单就越惊艳。
★示范曲目：莫扎特《C大调钢琴协奏曲》（即：鸳鸯恋协奏曲Elvira Madigan)片段这个别名来源于一部电影将它作为背景音乐，是根据《鸳鸯恋》小说改编而成。
莫扎特对一个简单的大三和弦只做了小小的修饰，而对下行的级进音阶Ⅴ、Ⅳ、Ⅲ、Ⅱ、Ⅰ加了一点有趣的东西——嵌入半音音阶，这就是我们这节课开始时谈到的。
三和弦，继续上升，再回落音阶，之后一个半音阶的转折，然后回到开始时的音型。
而他是如何做到的呢？这个被称之为属七和弦模式。
（白板上的谱表标有属七和弦音阶）这个是我们的基础C大调三和弦：C-E-G，但并没满只到2/3的位置，如果加上另外1/3就是七和弦，因为它跨越了7个音：C、D、E、F、G、A、B。
但它只是一个三和弦，以另外一个1/3推到顶端。
我们继续分析这段音乐下面的乐句：回到主音后继续，然后一个减和弦，在最后结束的地方加上一点点颤音。
尽管这是非常简单的素材，但却非常美妙而婉转。
3、莫扎特的猛烈波动基调，它开始于古典主义时期。
这种基调的变化包含在一首单独的乐曲中，但莫扎特把它表现得异常强烈，让它在大调和小调之间摇摆得非常迅速，在全音阶和半音阶之间转换得也一样快。
他想要展现不同的强弱变化程度，响亮而温柔，这是戏剧的本质所在，就是反差与冲突。
★示范曲目（Requiem Mass CONFUTATIS)片段：莫扎特《安魂曲：羞惭无地》我们从低音开始，小调的恶魔之地，振荡，然后扶摇直上到高音的天国，全新的环境；再回归到源头。
这就是第三点，非常强烈的，有时甚至是非常突兀的反差。
4、无穷无尽的旋律而带来无限的想象，这也是最近我在自己的研究中关注的一点。
当莫扎特在自己思绪有些混乱的时候不得不写下一些东西，但大部分东西都在他的脑子里，他只是要简单列一下对位关系，而旋律则无需草稿。
如果你们看到贝多芬的草稿，可以发现贝多芬力图精确地雕琢出旋律，他会一遍遍地尝试重来，《聆听音乐》教科书中有一张贝多芬创作第五交响曲时的草稿，上面有许多不同颜色的修改处，显示出他创作过程中的内心骚动和不断的演变，他甚至花了20年的时间来推敲直到他满意为止。
但莫扎特绝不是这样，他的创作如同行云流水、浑然天成。
★示范曲目：莫扎特《C大调弥撒》（C Minor Mass)片段这是莫扎特写的教堂音乐实例，为女高音创作（而这位女高音就是他的妻子）的这首曲子旋律的韵味堪称完美，而且是那样自然地继续着。
完美的曲式、比例，没有在此争斗的感觉，一切都那样悠然松弛，莫扎特可以让这样优美的旋律连续不断地持续下去。
有时这会让他惹上一些麻烦。
莫扎特的一生有两段佳话，一是《后宫诱逃》from the Seraglio）上演时，国王看后赞叹道：（Abduction “亲爱的莫扎特，这太美妙了，但是音符太多了！”而莫扎特答道：“一个不多，一个不少，绝对合适，殿（Don Giovanni）第一次在维也纳演出时，在结尾部分还是那个国王约瑟夫二世（Joseph 下。
”《唐璜》Ⅱ）说：“亲爱的莫扎特，这音乐就像太多的肉，对维也纳人的牙齿来说太难咀嚼了！”莫扎特这次回答说：“让他们多咀嚼一会吧，他们会习惯的。
”后来维也纳人的确习惯了，但不幸的是，那时候他却不在了，他未能在有生之年看到自己的成功。
听莫扎特音乐有种感觉：完美的曲式，完美的比例，变奏中音符的数量恰到好处。
那个时期他被称为“神童莫扎特”，现在我们仍然这样称呼他。
一个作曲家被贴上标签是很有意思的，比如巴赫，我们不称他为“神童巴赫”而称他为坚定的巴赫、勤劳的巴赫等等；称贝多芬是强大的、努力的作曲家。