耶鲁大学《聆听音乐》公开课笔记(9-12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。
耶鲁大学开放课程：聆听音乐全集
耶鲁大学开放课程：聆听音乐全集祝福您和您的家人与喜悦平和同在！1、【公开课】耶鲁大学开放课程：聆听音乐一（中文字幕）2、【公开课】耶鲁大学开放课程：聆听音乐二（中文字幕）3、【公开课】耶鲁大学开放课程：聆听音乐三（中文字幕）4、【公开课】耶鲁大学开放课程：聆听音乐四（中文字幕）5、【公开课】耶鲁大学开放课程：聆听音乐五（中文字幕）6、【公开课】耶鲁大学开放课程：聆听音乐六（中文字幕）7、【公开课】耶鲁大学开放课程：聆听音乐七（中文字幕）8、【公开课】从入门到精通的课程——耶鲁大学公开课：聆听音乐（八）9、【公开课】从入门到精通的课程——耶鲁大学公开课：聆听音乐（九）10、【公开课】从入门到精通的音乐课程——耶鲁大学公开课：聆听音乐（十）11、【公开课】从入门到精通的音乐课程——耶鲁大学公开课：聆听音乐（十一）12、【公开课】从入门到精通的音乐课程——耶鲁大学公开课：聆听音乐（十二）13、【公开课】从入门到精通的音乐课程——耶鲁大学公开课：聆听音乐（十三）14、【公开课】从入门到精通的音乐课程——耶鲁大学公开课：聆听音乐（十四）15、【公开课】从入门到精通的音乐课程——耶鲁大学公开课：聆听音乐（十五）16、【公开课】从入门到精通的音乐课程——耶鲁大学公开课：聆听音乐（十六）17、【公开课】从入门到精通的音乐课程——耶鲁大学公开课：聆听音乐（十七）18、【公开课】耶鲁大学公开课：聆听音乐（十八）19、【公开课】耶鲁大学公开课：聆听音乐（十九）歌剧20、【公开课】耶鲁大学公开课：聆听音乐（二十）交响乐的发展21、【公开课】耶鲁大学公开课：聆听音乐（二十一）印象派音乐22、【公开课】耶鲁大学公开课：聆听音乐（二十二）现实主义派音乐23、【公开课】耶鲁大学公开课：聆听音乐（二十三）。
[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
耶鲁大学的公开课
最近一朋友和我讲，YALE大学把他们上课的内容录了下来，并发布在因特网上，供网络传播浏览。
一个全世界排名第二的大学，竟然把自己课程的内容完全录了下来，并在全世界传播，在大学产业化的中国，有些人会觉得不可思议，你没交学费，怎么可以把我的课程免费的给公众提供呢？可是人家并不是这样认为的，本着人不分贵贱，教育不分你我的原则，耶鲁大学做出了这个匪夷所思的举动，实在是非常钦佩。
好了，不说大话，这个公开课真的非常的好，我有义务分享给我的朋友们首先你得会用电驴，具体怎么用百度去ps:我分享的这个是有字幕的，而且这个字幕是非常考究的，所以出的非常慢，理解一下。
＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝音乐学聆听音乐Listening to Music（教授本人著述）课程简介：本课程培养在对西方音乐理解基础上对音乐的感悟。
它会介绍各种类型的音乐是如何搭配，并教导如何聆听各种类型的音乐，从巴赫，莫扎特，格里高利咏叹调到蓝调关于课程主讲人：Craig Wright在1966年于the Eastman School获得钢琴乐和音乐史双学位，在1972年于哈佛大学获得博士学位。
Craig Wright从1973年开始在耶鲁大学任教，目前是the Henry L. and Lucy G的音乐教授。
在耶鲁大学，Craig Wright的成就包括常年流行的入门课程“聆听音乐”和选择性研讨会“探索大自然的天才”。
每年夏天，他都会带领一些耶鲁大学的社团区法国，德国和意大利采风。
他的六本著述包括：巴黎圣母院中的音乐(1989)、西方文明中的音乐(2005)、聆听音乐(5th edition, 2007)、聆听西方音乐(2007).他目前的工作是在写作“莫扎特：探索大自然的天才”在2004年Craig Wright被芝加哥大学授予人文学名誉博士学位。
课程安排：1. Introduction导言2. Introduction to Instruments and Musical Genres介绍乐器和音乐风格3. Rhythm: Fundamentals节奏：音乐的基础4. Rhythm: Jazz, Pop and Classical节奏：爵士流行和古典5. Melody: Notes, Scales, Nuts and Bolts旋律：音符，音节，基本细节6. Melody: Mozart and Wagner旋律：莫扎特和瓦格纳7. Harmony: Chords and How to Build Them和声：和弦和如何创建主题8. Bass Patterns: Blues and Rock贝斯风格：布鲁斯和摇滚9. Sonata-Allegro Form: Mozart and Beethoven奏鸣曲式：莫扎特和贝多芬10. Sonata-Allegro and Theme and Variations奏鸣曲式和主题以及主题变奏11. Form: Rondo, Sonata-Allegro and Theme and Variations (cont.)曲式：回旋曲式，奏鸣曲式，主题变奏曲12. Guest Conductor: Saybrook Youth Orchestra客席指挥：布鲁克青年交响乐团13. Fugue: Bach, Bizet and Bernstein赋格：巴赫，比才和伯恩斯坦14. Ostinato Form in the Music of Purcell, Pachelbel, Elton John andVitamin C帕赫贝尔，艾尔顿·约翰音乐中的固定音型15. Benedictine Chant and Music in the Sistine Chapel本尼迪克特教团圣歌和的音乐西斯廷教堂16. Baroque Music: The Vocal Music of Johann Sebastian Bach波洛克音乐：巴赫的声乐作品17. Mozart and His Operas莫扎特和他的歌剧18. Piano Music of Mozart and Beethoven莫扎特和贝多芬的钢琴音乐19. Romantic Opera: Verdi's La Traviata, Bocelli, Pavarotti and Domingo浪漫派歌剧：威尔第的《茶花女》，波切利，帕瓦罗蒂和多明戈20. The Colossal Symphony: Beethoven, Berlioz, Mahler and Shostakovich巨人的交响乐：贝多芬，柏辽兹，马勒，肖斯塔科维奇21. Musical Impressionism and Exoticism: Debussy, Ravel and Monet印象派音乐和异国情调：德彪西，拉威尔和莫奈22. Modernism and Mahler现代主义和马勒23. Review of Musical Style音乐风格的回顾下载地址，电驴会用吧？/topics/2832525/＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝经济学金融市场Financial Markets课程简介：金融机构是文明社会的重要支柱。
音乐优质课听课笔记
音乐优质课的听课笔记12月17日——18日，我有机会到瑞安参加了“温州市小学音乐优质课评比”活动。
本次活动各地区都推选了优秀选手参赛，可谓百家争鸣、精彩纷呈。
一、以音乐审美为核心，重视音乐实践在今年的13节音乐课中，我们很少看到巫不实的东西，“以韵为本、以学生为本”处处体现在每个环节中，让学生在实践中体验音乐、感受音乐的表现力，教师的创新思维得到了最大程度的发挥。
二、教师独到的设计，营造了生动有趣的课堂几节优秀的课堂设计可谓新颖独特、各具匠心。
例如，来自泰顺的一节《森林的歌声》通过讲故事情景式导入，让喜欢听故事的学生模拟自己来到了森林里，进行了一次森林之旅，既调动了学生的学习积极性，为歌曲再创作打下了基础，学生在听、唱、想、画的愉快轻松的游戏中不知不觉又听懂了歌曲，并通过多种形式进行聆听，使比较长的这首《森林猜想曲》变得简单，学生学得有滋有味。
三、过硬的教学基本功是课堂上不可替代的闪光点教师过硬的专业基本功，对于课堂教学来说，是至关重要的。
本次13节课中每个老师的个人素养非常好。
例如来自温州市实验小学的周晓秋用古筝演奏《茉莉花》、《樱花》带领学生感受音乐，让学生对老师了崇拜，让学生整堂课都陶醉在音乐中。
下面附上市优质课评比听课笔记整理。
第一节：欣赏《牧童之歌》、《孤独的牧羊人》教师的目标为通过对《孤独的牧羊人》的聆听，让学生感受美国乡村音乐的轻松自如的音乐情绪。
课堂中，教师通过聆听《do re mi》导入课堂，并介绍歌曲风格。
通过反复的分段聆听以及学唱，让学生充分地了解作品内容再进行完整的作品表现。
整节课给我的第一感觉是，教师对教材的挖掘不深，欣赏的作品停留在演唱和表演中，而且演唱和表演又不精彩。
所以学生在最后表演的时候暴出了句：“还来啊！”学会的感受很好地说明了课堂效果。
二是教师在动作表现中，让学生自己创编，但在表现时，教师从头到尾都在示范，所以学生只是机械地模仿，没有主动聆听思考并创编。
三是教师多边的聆听过多关注歌曲内容，对音乐的关注太少。
(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。
聆听音乐笔记3第三课节奏：音乐的基础
第三课节奏：音乐的基础课程内容：学习音乐记谱法，二分音符，四分音符等相关知识。
1.音乐记谱法是西方所特有的，将其运用于高雅音乐，除了西方地区的记谱法并没有贯穿文化的始终，比不上音乐记谱法在西方文化中的地位。
2.音乐记谱法的两大优势：(1)音乐记谱法让作曲家更精确的表达他所想表达的东西。
这种作曲方式可以记录下音乐的细节。
（作用：音乐记谱法让作曲家的地位更加突出）(2)记谱法让我们能得以保护艺术成果。
可以比较精确的吻合作曲家的原意。
（这个特点取代了传统模式里的均衡，并把这种均衡完全舍弃）3.流行音乐：爵士，摇滚，嘻哈，蓝调......4.在西方，作曲家的地位是非常重要的，其他文化不是用这样说明性的记谱法。
有一种说法是：音乐记谱法是西方文化中第一种图示法。
（最早的）5.公元九世纪至二十世纪音乐记谱法的历史形成过程，在早期，音高和时值就已经出现了。
音乐欣赏：(1)穆斯林祈祷的圣歌(2)查克曼卓林（萨克斯独奏）（印度尼西亚的加麦兰音乐）（印度经典传统音乐西塔尔音乐）没有乐谱(3)斗牛犬耶鲁的战歌科尔波特（1914 耶鲁）6.教材上第十五页的简单材料7.全音符，等其他音符代表了持续时间，也就是统称的时值。
8.音符的存在是为了证明某个特定的声音频率要持续多长时间（长度）。
附点是加一般的时值。
9.音乐中有种概念称作：拍。
将拍和节奏摆在显要的位置，会让人有音乐的律动，比如流行音乐。
从十五世纪晚期到现在的音乐理论家们，像弗朗西斯加福瑞说，音乐的律动和人类的脉搏节奏基本一致。
（要把素材依照我们的理性有机地整合）10.低音会非常直接地告诉我们乐曲是几拍子。
11.切分音：提前跳入切分节奏，提前介入，并在非常短的时间里打破拍子的平衡。
12.尽管所有音乐都有重拍，不是所有音乐都从重拍开始。
13.作曲家如何将音乐传送到我们的听觉皮层的（四条主要的途径）(1)这和时值有关，音符的时值延长，单纯把持续时间延长，我们就知道哪里是重拍。
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。
耶鲁大学《聆听音乐》讲座笔记
耶鲁大学公开课《聆听音乐》讲座笔记第一课导论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。
我们接受音乐的方式，我们思绪的过程与接受和思考任何其它的信息，如历史或经济学等都是不同的。
音乐与语言大脑中哪部分是处理音乐信息的？颞叶是处理音乐和语言的听觉中枢，颞叶中左右两侧的初级听觉皮层都会参与处理过程。
额叶是短期记忆中枢，用于记忆曲子。
顶叶记忆肌肉工作。
读谱用到视觉中枢。
即兴创作并表演音乐是一个复杂的过程，是多个中枢协同工作的结果。
音乐和语言从本质上都是声音，非常接近。
学习听音乐就像学习语言，要将听力练习每天进行，逐渐同化。
★示范曲目1、贝多芬《第五交响曲》(命运交响曲)2、贝多芬《第九交响曲》(欢乐颂)3、德彪西《月光》贝多芬第五交响曲VS贝多芬第九交响曲：表达出的情绪，前者消极、焦虑、不安，后者积极、愉悦、安详。
为何这两首曲目会表达出不同的情绪呢？1、大调和小调，引出了大和弦和小和弦的概念。
前者是小和弦，后者是大和弦。
聆听音乐
聆听音乐
时间：2018-03-19 12:58:04 | 作者：学霸
总喜欢蜷缩在被子里，享受音乐带给我的安静；总喜欢对着海风，收集音乐经风带来的宁静；总喜欢仰望星空，迷恋从周杰伦嘴里跳出的音符，萦绕在耳边的浪漫。
每一个生物都在与音乐打交道，从他降生到这个世界的那一刻起。
婴儿时期，我们还不懂如何去聆听音乐，甚至都无从得知音乐是什么，但幼小的心已经能够去感受音乐带来的踏实，只要到临睡之际，听妈妈轻哼着摇篮曲我们就会慢慢入睡。
时间悄然流逝，无声无息。
长大后，开始学会聆听，聆听音乐带给我们的一切。
流逝的时间仿佛都聚在我的肩头，不知不觉，压在肩上的重量越来越重，喘息声越来越大，身心越来越疲倦，终有一天，我感觉到我越来越落寞。
于是，我爱上了音乐，渴望在音乐中寻找身心的慰籍，渴望进入一个虚拟的世界，没有压力，没有忧伤，只有快乐与宁静！
我贪婪的享受音乐带来的安稳与宁静，幸福与快乐。
试着不去面对那个令人厌倦的世界。
这不是我对现实的逃避，而是一个脆弱的生命对安稳与宁静的渴望。
不知何时迷恋上了周杰伦的歌，那歌中的每字每句，都不停地拨动着我的心弦。
音乐可以让我哭的一塌糊涂，音乐可以让我迷恋到无法自拔，音乐可以让我神经质一般嗨到疯狂！
我曾埋怨老天何其不公，埋怨他为何不赋予我一副动听的嗓音。
但是我又感谢老天，感谢他赋予了我能够聆听音乐的耳朵与心灵，让我能与音乐为伴。
音乐的世界是单纯的，每一次与音乐的接触，心灵都如被清水洗净，那感觉犹如无边黑暗中的一缕阳光充满生机与希望！
请尝试在落寞时刻，聆听音乐！。
耶鲁大学公开课：巨人的交响乐
耶鲁大学公开课：巨人的交响乐第二十讲巨人的交响乐：贝多芬、柏辽兹、马勒、肖斯塔科维奇主讲简历：克雷格·莱特（Craig Wright），1966年获伊斯曼音乐学校音乐学士，1972年获哈佛大学哲学博士，耶鲁大学音乐系教授，在该校任教已三十余年。
他写有大量的学术专著和文章，内容涉及从雷奥南到巴赫的许多作曲家。
他也是很多奖项的得主，包括古根海姆奖学金，美国音乐学协会的“爱因斯坦和金科迪奖”，以及国际音乐学协会的登特勋章。
2004年，他被授予芝加哥大学人文学科名誉博士学位。
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开彩印巨人交响讲座摘要本课我们开始介绍交响乐的发展，特别是交响乐团在 19 世纪发生了重大的变革。
我们已经讲过的交响乐作品主要有：贝多芬第五交、第六、第九交响曲，海顿的《惊愕交响曲》，莫扎特《G 小调交响曲》，这三位的作品讲得较多，还有一些其他作曲家的交响曲。
在这些人之后，延伸到 20 世纪之初，就是我们今天要讲的从一个 M 到另一个 M 的交响乐作品。
你们已经听说过音乐界的“三B”（即：巴赫、贝多芬、勃拉姆斯），这里还有两个M：从莫扎特至古斯塔夫·马勒（Gustav Mahler）。
这是莫扎特的一首小夜曲，是嬉游曲中的一种。
嬉游曲：是一种流行于 18 世纪的轻组曲。
在当时主要用于上层阶级与宫廷生活的娱乐、社交、庆祝场合，相对于小夜曲是用于室外的演奏，嬉游曲主要用在室内演奏。
作为小型室内合奏器乐曲，它的乐器组合、乐章数目以及曲式都十分自由。
莫扎特《G 大调弦乐小夜曲》这首乐曲非常轻盈、均匀、平衡，在古典时期的音乐中，有很多这样的有因果关系的乐句。
管弦乐队要小一些，主要由弦乐器组成。
我们通常会发现弦乐演奏的是主题，之后管乐会对它们进行附和或者呼应。
这里曲子的结构比较单薄，它不用大型管弦乐队来演奏。
聆听音乐中文讲义
聆听音乐中文讲义23. Review of Musical Style音乐风格的回顾那么今天来讲讲现代主义时期So today we're going to engage Modernism.我们今天要着重讲的是We're going to be talking principally about伊戈尔·斯特拉文斯基的作品the music of Igor Stravinsky.也会涉及阿诺尔德·勋伯格I should also mention Arnold Schoenberg.就如同威尔第和瓦格纳是Just as Verdi and Wagner were the principal composers十九世纪最重要的歌剧作曲家一样of opera in the nineteenth century,勋伯格和斯特拉文斯基so Schoenberg and Stravinsky were是二十世纪上半叶的the principal proponents--not only of instrumental music,器乐和声乐的最重要的倡导者but some vocal music--in the first half of the twentieth century. 所以我们会把他们两个放在投影屏幕上So we want to keep them carefully positioned on our radar screen here.伊戈尔·斯特拉文斯基是一位俄国作曲家Igor Stravinsky, of course, was a Russian composer,出生在圣彼得堡born in St. Petersburg.日期可以在黑板上看到You have the dates up there on the board, I'm sure.他师从于尼古拉·里姆斯基-科萨科夫He studied with Nikolai Rimsky-Korsakov,里姆斯基-科萨科夫写过一个很著名的组曲who wrote one famous piece,《天方夜谭》我从小就经常听Scheherazade--which I used to hear all the time as a kid他引起谢尔盖·季亚吉列夫的注意and then caught the eye of Sergei Diaghilev.谢尔盖·季亚吉列夫是一位经理人Sergei Diaghilev was an impresario.什么是经理人What's an impresario?谁能告诉我什么是经理人吗Who can tell me what an impresario is?这是一个花哨的名词意思是--塞德斯It's a fancy word for--Thaddeus.制作人对A producer. Okay.想想百老汇歌舞剧《制作人》Think of the Broadway show "The Producers."他仅仅就是一个制作人He's simply a producer.季亚吉列夫制作俄国现代主义艺术And what Diaghilev was producing and importing into Paris 并把它们带入巴黎包括现代主义绘画from Russia was Modernist art from Russia--Modernist painting,现代主义芭蕾舞现代主义艺术音乐和现代歌剧Modernist ballet, Modernist art music, and Modernist opera.所以我们要记住So that's what we want to关于谢尔盖·季亚吉列夫的这些信息keep in mind with regard to Sergei Diaghilev.还要记住斯特拉文斯基在他职业生涯之初为季亚吉列夫And for Diaghilev, Stravinsky composed, early in his career,写的三部著名的芭蕾舞剧three important ballet scores,名字都写在那边的黑板上了and you have those titles up on the board there:《火鸟》的创作时间是Firebird with its date--what?年--《彼得鲁什卡》是年--Petrushka, ,之后是年的《春之祭》and then The Rite of Spring in .这些芭蕾舞曲中Now,the first of these ballets to really show现代气息更浓郁的并不是第一部《火鸟》a heavy Modernist content is not so much Firebird而是第二部《彼得鲁什卡》but more the second of this troika here, Petrushka.因为其全新的节奏所以十分现代It's modern because of the new approach to rhythm.我们之前听的浪漫主义音乐中In the Romantic music that we have been listening to,我们听到过这种悠长we would hear these long,而有些随意的旋律somewhat amorphous melodies,节奏很不固定amorphous in terms of the rhythm.然而随着二十世纪现代主义时期的到来But now here with the advent of Modernism in the twentieth century我们有了更加强劲的节奏we get a much more driving type of rhythm.这几乎是和巴洛克时期的节奏差不多It almost in some ways goes back to the driving rhythms 只不过有个很大的不同点of the Baroque except with one major difference,那就是现代的节奏非常非常的不规整and that is that these modern rhythms are highly irregular. 大多数都是不规整的拍子What we get oftentimes are irregular meters.所谓的不规整的拍子是指什么呢What would you imagine an irregular meter is?谁能回答不规整的拍子Anyone want to field that one, irregular meters?好吧简单地讲不规整的拍子不是一直重复着四二拍四二拍Well, simply said, it's not a succession of two-four, two-four,四二拍四二拍或者四三拍四三拍而是two-four, two-four or three-four, three-four, but two-four,四五拍四四拍四二拍四六拍八三拍等等five-four, four-four, two-four, six-four, three-eight, and so on.每小节的拍子都可以是不同的Each measure can have a different meter.另外我们还有一个被称为多重节拍的现象In addition, we also have this phenomenon called polymeters in which你可以让单簧管去演奏you could assign to your clarinet to play四三拍的节奏而让大管去演奏四四拍的in three- four and your bassoon to play in four-four,没准还让小提琴演奏八七拍and maybe your violins in seven-eight.结果就是产生一种分离性的So as a result, you get something of a disjunctive,韵律结构是不连贯的节奏rhythmic texture here, disjointed rhythms.现代主义音乐第二个方面的变化And the second aspect of this approach to Modernism与配器有关has something to do with the orchestration.更加注重打击乐的效果There's a great deal more emphasis now on percussive effects.乐队中加入了一些新的乐器New instruments are added to the orchestra,有木琴instruments called the xylophone,钟琴钢片琴the glockenspiel, the celesta.如果你们想看看他们的图片And if you want to see a picture of some of these你可以在此时打开你们课本you could open your textbook at some point把这些记在你们的笔记上看看数字just write this in your notes--see figure--我记得我把他们写下来了数字十不I think I wrote it down here--figure ten--no,抱歉五和十第五章的第十条excuse me--five, number ten, chapter five, number ten.你们可以看看这些打击乐器You can see some of these percussion instruments,基本上他们就是鼓槌或者but basically they're just either sticks or用鼓槌来敲击的几块金属片pieces of metal bars that you beat with sticks,或者像钢片琴这样or, in the case of the celesta,是通过键盘来控制的you activate with a keyboard.我们已经说了两点So we've got these two things here:强劲但不规整的节奏driving but irregular rhythms and和全新的配器we also have this new approach to orchestration.现在让我们来听一小段So let's listen to a bit now of伊戈尔·斯特拉文斯基写于年的芭蕾舞剧《彼得鲁什卡》Igor Stravinsky's ballet of , Petrushka. 雅克布和我在黑板上略略地写了一些东西Jacob and I were fooling around with this in the background,试着来表示出来这些节拍都是什么样的trying to figure out what these meters were,看看我们能否弄明白节拍是怎么变化的see if we could pick up these different changes,但是它们我们做的怎么样呢but they are as--and how'd we do?不太好雅克布说我们做的不太好Not well. Jacob says we did not do well.因为没有乐谱Because without the score,想预知下一节节拍是什么很困难it's difficult to anticipate which meter is going to come next.你们已经听到了节奏强烈的打击乐效果And you heard the intense percussive effects there.但是斯特拉文斯基最激进的But Stravinsky's most radical statement of现代主义宣言不是出现在《彼得鲁什卡》里Modernism occurs not here in "Petrushka"而是出现在两年之后写成的《春之祭》里面but two years later in The Rite of Spring.年五月这部作品在巴黎首演It premiered in Paris in May of ,《春之祭》的整个理念and it's become something of a cultural icon,已经成为了一种文化象征this whole idea of the Rite of Spring.实际上我有这本书Indeed I have this book,这本书我买了很久了and I've had it for quite a while,莫德里斯·艾克斯坦写的《春之祭》Rites of Spring by Modris Eksteins.历史系的人通常要求去读这本书It's often required reading in the history department here,作为历史研究history program.有人碰巧读过吗Has anybody ever run into this,读过莫德里斯·艾克斯坦写的东西吗been asked to read anything by Modris Eksteins?好吧这里的副标题是Well, the subtitle is here:伟大的战争和现代的起源The Great War and the Birth of the Modern Age,用这个标题来描绘but it's not accidental that he is playing off伊戈尔·斯特拉文斯基的芭蕾舞剧并不是偶然of this title of a ballet of Igor Stravinsky,因为斯特拉文斯基的芭蕾舞剧就是because the ballet of Stravinsky was a kind of watershed,a touchstone,现代主义时期的标志和分水岭the benchmark from which Modernism can be calculated是现代主义时期的判断标准and against which it can be measured.所以当听众们走进香榭丽舍大街So when the audience arrived there at the Theatre Champs巴黎剧院的时候--剧院现在依旧在那里Elysees in Paris--and that theatre still is there.你可以沿着蒙特利尔大道往下走You can walk down the Avenue Montagne就是爱马仕和古奇这类高档商店的那条街it's where Hermes is and Gucci and all of these fancy stores;它就在巴黎--走进去在那儿仍然可以听音乐会it's there in Paris--and go in and still hearconcerts there.我曾经在香榭丽舍剧院看过演出I've heard concerts in the Theatre Champs如今你们也可以去这样做Elysees so you can still do that today.它仍然在使用It's still functioning.它是巴黎最主要的音乐厅之一It's one of the major concert halls in Paris.年五月观众抵达剧院So, in any event, May , the audience arrives.他们去那里看一场俄国芭蕾They are there to hear a Russian ballet.他们期望听到的是什么样的音乐呢What kind of music do they expect to hear?让我们来听听他们当时期望的音乐是什么样的Well, let's listen to what they were expecting to hear.这段音乐是谁作曲的[music playing] So whose music is this?柴可夫斯基的Tchaikovsky.有没有人知道利亚Anybody--Leah,你知道它的名字是什么吗you know the title of it?《天鹅湖》"Swan Lake,"很多芭蕾舞短裙和芭蕾双人舞在翩翩起舞so lots of tutus and pas de deux up there and moving around.这是当时他们脑海中的俄国芭蕾舞So this is what they thought Russian ballet was.他们到了剧院在座位上坐好So they arrive and take their seats.灯光逐渐暗下来The lights go down.他们还为了这场演出正装出席Everybody is properly dressed for this particular occasion这是他们当时听到的音乐and here is the kind of music that they hear.这是一种彻头彻尾的新音乐So that's a radically new sound,现代艺术的彻底体现a radically new approach to modern art,重申一下如果你要问的话and indeed, once again, if you ask, generally,文化历史学家将这一个时刻普遍cultural historians to put their finger on the moment定义为现代主义的开端that constitutes the beginning of Modernism大概就是《春之祭》演出的那个时刻it would probably be this moment of the performance of The Rite of Spring.斯特拉文斯基是怎么创作这样彻底的新音乐的呢How did Stravinsky create these radically new sounds?他用了很多方法Well, he did so in a couple of ways.我们之前讲过关于不规整节拍的问题We've been talking before about this idea of irregular meters.让我们来看看它是怎么演奏出来的Let's see how these play out.你们刚刚听到的音乐The music that you were just listening to黑板上表示的是它的时值而不是音高not the pitches but the durations--are up here on the board, 都写在这里了and they're all,正如你们所见都是四分音符as you can see, quarter notes,但是他们被分成了不同的小组but they are grouped in different sorts of ways,按照这些重音分的组grouped by these accents.我请雅克布上来带来了他的中提琴So I've asked Jacob--Jacob's up here--to grab his viola now.他会来这里为我们He's going to come over and play按重音节拍演奏这个片段the sequence for us following the accents,之后我们的特邀艺术家会一起加入演奏and then he will be joined by our guest artist.好的它就是这样在演奏Okay. So that's the way it goes.所有的小提琴小提琴手或者是中提琴手That's all the violin--or the violist or violinist,所有的弦乐都是这样在演奏all the strings do.我们让特邀艺术家再来演示一遍Let's do that one more time with our guest artist.现在我们还要加入打击乐We're going to add percussion now.多么棒的二重奏啊[music playing] Ah, what a virtuoso duo.好的[laughs] Okay.所以那就是雅克布先别走So that was--Jacob, don't go away completely here.还有一点要讲One other point:等他演奏的时候注意一下他的手watch Jacob's hand when he is doing this.这不是演奏弦乐的一般方法This is not the way string players normally play.他的演奏方法不同寻常这也告诉了我们He's doing something extraordinary here and it tells us当你听柴可夫斯基的音乐时we don't hear--when you play Tchaikovsky [sings],不是用的他现在的这种演奏方式but that ain't what he's playing now.好的[music playing] Okay.他是怎么做的So what's he doing?他演奏的时候He's playing all with--用的全部都是下弓每一次都是下弓Down bows, everything down bow,这有悖于你们正常情况下学的弦乐演奏方法and that's counterintuitive to your normal string teaching.所以我们用这些弦乐器时So we've taken these string instruments用的不再是很温柔的and instead of using them as these warm,一直都在揉弦的演奏方法vibrato-filled communicators we're我们现在把弦乐器家族in the string family we're sort of改造成了现在的这种打击乐器turning them in now to percussion instruments.具有打击乐效果That's a very percussive effect.所以说我们不仅有了新的打击乐器So not only do we have new percussion instruments;也把现有的乐器加上了打击乐的效果we have percussive effects with the existing instruments. 也许最重要的一点是和弦And perhaps most important here is the chord,斯特拉文斯基在这里采用的the music that Stravinsky is setting forth here.是一个奇怪的和弦It's an odd chord.听起来也很古怪It's an odd occurrence.他在这里用的是很和谐的E大调三和弦What he's got here is a perfectly innocuous E major triad.我得把这个降低一个八度[plays piano] I'll put it down here an octave.之后他又再上面加了一个降E调的七和弦And then on top of it he's got a seventh chord starting on E-flat.这两个和弦本身都是很和谐的And either--each of those--each by itself is rather consonant,但是当你把他们两个放在一起的时候but you put the two of them together [plays piano].所以这就是现代主义音乐So this is a good example of another way表现方法的一个例子that Modernism in music is created,这就是and that's for the use of,很明显的very obviously,一个复合和弦的用法a polychord.很有意思Interesting point.现在我要来放几个幻灯片I'm going to go to some slides now因为与此同时的艺术历史里because it's exactly at this time in the history of画家们也在做着同样的事情art that painters started doing this same kind of thing.让我们来看看第一个幻灯片So we're going to go to the first slide here.这是谁画的Who painted this, please?响亮的说出来Nice and loud.我听到后面有人说对了I hear it in the back.毕加索Picasso.对巴勃罗·毕加索的画作《三个音乐家》Okay. "Three Musicians" by Pablo Picasso.这里其中一个音乐家自身And what we have here is sort of one musician kind of表现出某种不协调out of phase with himself另外两个音乐家处在稍稍one musician and then another musician slightly与之对立的位置in an irregular position against that.下一张幻灯片Next type of slide here:这是乔治·布拉克[法国画家]的画作This is Georges Braque,《拿小提琴的妇女》"Woman with Violin,"不太容易辨别出女人a little bit difficult to see the woman there她隐藏在这些杂乱的小提琴碎片里in the context of this highly fragmented violin.看看胡安·格里斯[西班牙画家]的作品Now we're going to go on to Juan Gris'《小提琴》"Violin"接下来的一张来自and now we're going to阿尔伯特·格列兹[法国画家]go on to a slide taken一九一六出版的一本书from a book published in by Albert Gleizes.我们可以看见这里有一个点But we can see the point here.左边只有一个正方形Off to the left we have just a square.正方形顺着自身开始旋转And that square then is being rotated against itself.它旋转着到了与自己相对的位置上It's being rotated itself--against itself in another position, 旋转到另一个位置rotated itself in yet another position,这就是那些音乐家所做的事情and that's all these musicians are doing.他们让使用一个三和音然后使用They're taking one triad and then taking the triad right 一个接着一个的三和音next to each other so the triads以至于它们彼此之间略微有些不协调are slightly out of phase with each other.今天幻灯片先看到这里Okay. That's all we need here by way of the slides.《春之祭》的公演就如Well, the premiere of The Rite of Spring was这些画作一样存在不协调just as dissonant as some of these paintings are.的确它引发了流言蜚语Indeed, it caused a scandal.引发了骚乱It caused a riot.它引发了音乐史上It created the most infamous我认为最声名狼藉的暴乱I guess--riot in the history of music,然而幸运的是and we have, fortunately,我们有一些and they are contained here第一手资料in Modris Eksteins's book among other places,来自莫德里斯·艾克斯坦的书some primary source accounts而这些资料又来自于那些people who were there at the time telling亲历了公演的人们的口述what it was like to be at this premiere.这里有一些直接的引用So here are a couple of direct quotes."引起了一连串的尖叫"Then ensued a battery of screams countered by接着被一阵鼓掌声打断a foil of applause.我们为了艺术而战"We warred over art."我喜欢那句"为了艺术而战"I like that: "warred over art.""有些人认为是艺术其他人则认为不是"Or what some thought was art but others didn't. 大概有四成的抗议者About forty of the protesters were forced out被警察赶出了剧院of the theater by the police,但那样并没有平息骚乱but that did not quell the disturbance.观众席里的灯全亮了The lights in the auditorium were turned fully on,但是也无法平息一群愤怒的暴民们but that did not still the disjointed ravings of疯狂的咆哮"a mob of angry men and women."引用完毕End quote.还有一条And here's another direct quote."我坐在我租的包厢座位上"I was sitting in a box in which I had rented one seat.有三位女士坐在我的前面Three ladies sat in front of me一个年轻男人在我后面and a young man occupied the place behind me.演出芭蕾舞剧的时候他站了起来He stood up during the course of the ballet以便看得更清楚to see more clearly.由于音乐中强烈的力量The intense excitement under which he was laboring,使他受到强烈兴奋的刺激thanks to the potent force of the music,为了发泄他的兴奋portrayed itself presently他开始随着节奏when he began to beat rhythmically用他的拳头击打我的头顶"with his fists on the top of my head."引用完毕End quote.好吧再问一遍是什么Well, what is it, again,特别是在specifically in斯特拉文斯基的这首曲子里this music of Stravinsky引起了这种反应呢that causes this kind of reaction?这里我列举了五点Let me list for you--let me enumerate five things here.一强烈的不和谐音One: heavy dissonance.我们刚才听了一些We just heard some of that,这类声音that kind of sound,几乎是一连串的不协调的声音almost a cluster-type dissonance,复合和弦制造了这些强烈的不和谐音heavy dissonance created by polychords in which这些三和弦它们相距不过半音we have triads and these triads are only a half step apart. 基础音之间只有半音的距离The roots are only a half step apart.因此第一点强烈的不和谐音So one: heavy dissonance.二更多地依赖打击乐器Two: much greater reliance on percussion:比如定音鼓钟琴钢片琴tympani, glockenspiel, celesta,等等类似的打击乐器that sort of thing.三正如我们看见雅各布演奏的那样Three: as we saw with Jacob,把弦乐器当打击乐器来使the use of stringed instruments as percussion instruments, 这是在传统乐器的用法上的全新尝试so a new use of these traditional instruments, 惨遭强烈重击this banging on the piano.技术上来说钢琴也算打击乐器The percussion--the piano is technically但它是特别轻柔抒情的一种a percussion instrument but it's a particularly lyrical one. 不过经过现代人的洗礼Well, it's not so lyrically used here它已经不那么轻柔了in the modern idiom.四增加了木管乐器的使用Number four: an increased use of woodwinds.弦乐器退到了背后The strings fall into the background.木管乐器带着它明亮而尖利的声音The woodwinds with their potentially bright,走到了引人注目的前台brittle sound are now foregrounded.第五节奏的概念And fifth: this idea of rhythm,强劲的节奏对吧driving rhythms, yes,不规则的节奏和多重节拍but irregular rhythms and polymeters以及不规则的节拍and irregular meters共同导致了这种分离的效果all creating this kind of disjunctive effect.现在我们来听一小段So let's listen now to a passage斯特拉文斯基的《春之祭》out of Stravinsky's Rite of Spring.你们之前听过一段You heard one of them.而现在听到的这段Let's listen to another one in which all five of these包含了这全部五个因素elements sound at once.你们觉得怎么样So what do you think?喜欢这种音乐吗Do you like that music?布莱恩你在课上的表现一直很好Brian, you've been a good student here.几乎每节课都没缺You've shown up virtually every lecture.我看见你在那儿I see you out there.你怎么想What do you think of this?觉得这个Is this--有什么不同吗It's different?更快的节奏More fast paced,更多的弱拍more sort of upbeat,有点像扇耳光kind of like a slap in the face.有谁不喜欢吗Who doesn't like it?后面好End--okay.凯若琳很诚实Caroline, honest person out there.她不喜欢She doesn't like it.一天结束以后At the end of the day,当你回到家开始享受闲暇的时候are you going to go home when it's time to relax你会听这种音乐吗and put on this music?大概不会Probably not.我喜不喜欢这种音乐呢Do I like this music?那还用问当然是很喜欢啦Yeah, I really do like this music.非常喜欢当然我听了很多次I love this music but I've heard it a lot,但其实我第一次听的时候也不喜欢and when I first heard it I didn't like it.感觉就像菠菜什么的It's one of these things like sort of aural spinach or whatever.或者像蘑菇什么的You've got to really get used to it over the years,要很多年以后才能适应mushrooms or whatever it might happen to be.我第一次听的时候是一九六七年I first heard this piece in nineteen sixty-seven,那时我还只是个助教when I was a TA.我要教这段曲子I had to teach it于是我很荣幸地听了现场演奏and then I had the honor and pleasure of那是一九七零年在巴黎hearing it performed live in Paris in .但是自己却不怎么知道and I didn't really know it,因为我坐在现场所以感受深刻And it was really an epiphany because I was sitting there 我记得非常清楚I remember it distinctly.是在一个拳击场It was in a boxing arena,四周都是看台of all places,有一个架起来的舞台but they had an elevated stage and the dancers跳舞的人纷纷出场然后开始表演came out and they started going [sings],这样that kind of thing,接着整个竞技场开始沸腾我兴奋地说and the whole arena began to shake and I said, "哇我现在明白了懂了"Whoa. I now understand. I get it.那不只是音乐It's not just the music.音乐只是整个艺术体验的一部分Music is just part of this total artistic experience.和动感的舞蹈一起It's a kind of sympathetic vibration in conjunction彼此协调的共振with the kinetic experience of the dance让生命充满美好的艺术感受that really brings all of this to life."所以音乐在这里只是一种芭蕾舞催化剂So music here is just a kind of catalyst它引导我们开始欣赏for the ballet and to really begin to appreciate something such as this, 斯特拉文斯基的现代主义风格Stravinsky's approach to Modernism,我们应该实际上也有we've kind of--we do,完整地去欣赏去感受in fact--have to see it to experience it fully.这也是接下来我们要做的And that's really what we're going to do here next.从今天开始我们会在分组课里进行We're going to do that in section starting today.我们有很棒的视频We have a wonderful video for you of the reconstruction是《春之祭》的改编版of The Rite of Spring because the initial choreography,因为其中很重要的初版舞蹈设计which is an important part of this,已经失传了was lost.所以后来有个女的舞蹈编导So a woman choreographer came along,名叫米莉森特·霍德森Millicent Hodson,她重编了其中所有的舞蹈and she reconstructed all the choreography for this dance他们把新版拍摄下来and then they filmed it以便人们可以观看so this is a wonderful opportunity to see this.我们会在今天小组课开始谈到这个We'll be talking about this in section starting today.好Okay.关于现代主义的简单介绍我们就谈到这里We're finished with our brief introduction to Modernism就连钢琴也没能幸免and even the piano,我们就到了这门课的哪个阶段了呢and where do we stand now in our course?很明显地已经接近尾声了Well, obviously we're pretty much at the end of it.接下来还有什么呢What do you have to do--what remains for you to do?扎克你觉得呢Zach, what do you got to do?要完成最后的论文You got to do your last paper.助教们会给你们布置最后的论文Each TA will assign that last paper.还有什么是需要做What else do you have to do?准备期末考试Prepare for the final exam.我们会为大家准备复习清单We will be sending you a prep sheet.期末考试安排在星期三The final exam I believe is Wednesday,十七号下午两点the seventeenth, at two p.m.就在这间教室and will be in this room.还有别的吗Other things?最后六个听力练习Yeah, the last six Listening Exercises,我想差不多就这些了吧and I think that's about it.当然And, of course,还有一个复习分组课in addition there's a review section that I我以及一到两个助教会在and one or two of the TAs will今天之后的一周内都在这里be doing a week from today right back in here.那么今天就结束了吗So is that the end of today?当然不是No, that's not the end of today.我们还有美妙的半个小时We have a good half hour left and I'd like to work我想让大家来欣赏一位作曲家的作品just with one piece and one composer.在这门课程快要结束的时候At the end of the course,我想让大家来听一首我真的很喜欢的曲子I like to do a piece that's really--that I love.可能并不会教给或启发你们更多的东西It doesn't really teach you much of anything.那只是一种奇特的感动It's an odd sensation.经常会遇到一些很动人的曲子Oftentimes there are really lovely pieces that我都会很想把它们添加进课本里I would like to incorporate in the textbook但一般来说我又不能那么做and in this program generally but因为它们可能真的不会教给我们很多东西I can't do it because they don't really teach us anything.我们在分组课里听过一首We were listening to one in section,这首序曲this intro music,塞穆尔·巴伯[美国作曲家]的曲子the other day by Samuel Barber.有谁知道巴伯很有名的Anybody know who wrote a famous piece那首曲子叫什么名字吗or what the name of that famous piece by Samuel Barber is?撒迪厄斯伊丽莎白拉乌尔Thaddeus, Elizabeth, Raoul.《弦乐柔版》"The Adagio of--for Strings"巴伯创作by Samuel Barber,美国人非常美妙American--it's beautiful.我们必须每个人必须花九十九美分下载We should--everybody should download it for ninety-nine cents.它美极了It's just gorgeous,但是我们从中学不到什么东西but we don't really learn anything from it.这就是那段曲子我们来听听Well, this is a piece that we--we're about to hear that我们真要学一样东西we will learn only really one thing about,就是关于管弦乐艺术歌曲的概念and that is the idea of an orchestral Lied.那么回过头来说我最喜欢一位作曲家So I'm going to go back to one of my favorite composers 古斯塔夫·马勒and that is Gustav Mahler.我们讲到过古斯塔夫·马勒We talked a little bit about Gustav Mahler就是在讲十九世纪交响乐的那堂课上when we had our lecture on the symphony in the nineteenth century,我们讲过马勒是犹太人的后裔and we said that Mahler was of Jewish descent,出生地是在现捷克共和国境内from what is now a portion of the Czech Republic,在维也纳学习音乐who came in to Vienna to study music.他学习的是钢琴演奏He started as a pianist,后来成为指挥became a conductor,基本上靠指挥来谋生and basically he earned his living as a conductor.他在外省做过一些零碎的工作He got small-time jobs out in the provinces and最后还是回到维也纳then ultimately worked his way back to Vienna,成为维也纳国家歌剧院的指挥where he became the conductor of the Staatsoper in Vienna,如果你们去过维也纳--你们都应该去去维也纳and if you ever go to Vienna--and you should all go to Vienna.那是一座难以置信的音乐之城It's an incredibly musical city.无论走到哪里都看得到莫扎特的雕像Everywhere you go you see these silhouettes of Mozart. 棒极了It is so cool.你可以去--你可以不看莫扎特步行到另一个街区去So you have to go to--you can't walk a block without seeing Mozart.很值得一去It's to die for.那条大街就是歌剧院所在So there we are on the Ringstrasse with the great Staatsoper,就是马勒曾经当指挥的地方至今仍在耸立在那儿and this is where Gustav Mahler conducted and it's still there,但是马勒是个很不好相处的人but Mahler was a difficult person to get along with.我觉得艺术大师们天才们I suppose oftentimes great artists are,总是这样geniuses are.他非常自我也许没什么错They tend to be self-referential and maybe rightly so,但是这样一来but in any event,他在乐队里就很专横he was an orchestral tyrant.他的乐手们都不喜欢为他演奏His players didn't like playing for them,十年以后他们没给他续约and after ten years they didn't renew his contract.实际上他就是被维也纳解雇了In effect, he was fired in Vienna but,但是塞翁失马焉知非福as good fortune had it,他因此得以--亦或那时he was able--or at that time there was纽约正好有空缺因此他到了纽约an opening in New York City so he comes to New York。
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.。
聆听音乐
聆听音乐，欣赏不同于当代的美。
当我们迷失在充满节奏的摇滚乐中时，当我们沉迷在词句优美的流行音乐时，你可有那么短暂的一瞬间，心头有一种想念？那是，对于古典音乐的想念。
不知道多久没听人提过古典音乐了，那些美妙的钢琴曲，幽静的小提琴，空明的笙箫，早已不知何时被电子音乐所取代。
当周围的人哼唱着诸如《自由飞翔》、《东风破》之类充满节奏的歌曲，可曾有人心里有过莫名的烦躁？可曾有人心中渴望听到贝多芬的《月光》、莫扎特的《小夜曲》？
贝多芬、莫扎特，巴赫、肖邦，这些陌生的熟人，貌似早已从我们的世界中远去；《卡门》、《卡农》，《蓝色多瑙河》、《月光奏鸣曲》，仿佛只是一些陌生的词语。
当人人手中能听音乐的工具越来越多时，却慢慢发觉听过的经典音乐越来越少……
闲暇时，我也把课程中提到的《第五交响曲》和《第九交响曲》听了一遍，虽然不了解当时的历史背景，未免牛嚼牡丹，但仍然感受得到其中的魅力。
《第五交响曲》又称《命运交响曲》，简略一听，即感受到其中金戈铁马之声。
对命运的不屈，对敌人的抵抗，在各种乐器的交相中表现的淋漓尽致。
而《第九交响曲》则完全不同，在这又被称作《合唱交响曲》的舒畅音乐中，立马使人精神畅快，欢快的钢琴，轻快的打击乐，无不体现作者创作时的愉悦，并把人带入心灵的静地。
这就是音乐的魅力，洗涤心灵，陶冶情操，让心灵放松一刻吧。
《聆听音乐之美》课件
音乐是一种迷人而灵感迸发的艺术形式，通过本课程，我们将探索音乐的美 丽力量与人类情感
音乐具有独特的能力，可以触动人的情感和刺激我们的心灵。让我们一起探 索音乐在不同情绪和情感状态下的影响。
音乐的组成要素
了解音乐的不同组成要素，如旋律、和声、节奏和音色，将帮助我们更好地 欣赏和理解音乐作品的美丽。
音乐在不同文化中的角色
探索音乐在不同文化和社会中的重要性，了解它在仪式、庆典和日常生活中 的角色和意义。
提高音乐聆听技巧
学习一些技巧和策略，帮助我们更好地聆听音乐，如专注听、主动分析和情 感共鸣等。
聆听音乐的重要性
聆听音乐不仅仅是一种娱乐活动，它还具有培养情感、提高专注力和增强大脑功能的重要作用。
不同类型音乐的独特特点
探索各种音乐类型，如古典音乐、流行音乐、爵士乐等，并了解它们独特的 艺术风格和音乐元素。
音乐作为表达和交流的形式
音乐是一种无需言语的表达方式，它可以帮助我们表达情感、沟通思想，并 与他人建立深厚的情感联系。
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##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.Louis ArmstrongSyntax句法picture at an exhibition〔展览会上的画作〕Great gate of Kiev基辅的城门Mozart 1791 in 维也纳Requiem Mass<安魂弥撒曲> is a special kind of mass used for death and burialDies irae-The day of Wrath天谴日Apocalypse启示录/RevelationConfutatis<羞愧无地> Lacrimosa dies illa<落泪之日>Class5Ethnomusicologist民族音乐学家Melody shows in the top part of the texture.Pitch notation goes back to the 9 century.10 century with 2 lines, then up to 4, up to 5 and even 6, finally to 5.In 1000 AD,The string is vibrating higher when it is exactly twice what the lower one is.Octave duplication<重复八度ABCDEFG>Ravi Shankar拉维香卡sitar player锡塔尔琴印度曲式raga拉格Nora Jones诺拉琼斯布鲁斯音节Erhu-two string instrument.Why 7 notes scale? Date back to the Ancient Greek music theory.Leimma林马半音the scale is not equal. Mixolydian混合第利亚调式等等16~17century Major and minorSharp升调flat降调Tonic note主音leading note导音〔总是第七个音〕Luciano Pavarotti slide leading note into tonic note.Major: happy, bright, optimistic; Minor: somberKlezmer music-犹太音乐被称为克莱梅兹尔音乐Chromatic mode add tension to music.Conjunct melody级进旋律1803 Beethoven Symphony No.9 1823~1824 finished. Antecedent phrase先行乐句Disjunct melody跳进旋律Class6Pornography##Drop-dead让人窒息的Enumerate列举Palpitation躁动不安Antecedent and consequent 前置和后置Macarena玛卡丽娜Giacomo Puccini吉雅卡摩·普契尼Aria from Gianni SchicchiCadence: Deceptive cadence假中止authentic cadence正格中止Amen cadence变格中止Richard Wagner理查德·瓦格纳Tristan and Isolde特里斯坦和伊索尔德1865 Tristan is a English Knight. Isolde is an Irish princess. It is Tristan’s job to bring Isolde to marry King Mark Liebestod--Death of loveMelodic sequence旋律模进is the repetition of a musical motive at a successively higher or lower degree of the scale.Dynamic; tempo; consequence; dissonanceTessitura音域1786 The Marriage of Figaro- aria Voi che sapete你可知道什么是爱情-Cherubino凯卢比诺Trouser role女扮男装Class7Ipso facto事实上Harmony has two things:Chord-the fundamental is triad三和弦Sub-dominant→Dominant→tonicArpeggio琶音/竖琴Alberti bass阿贝低音1535Boogie-woogie bass布基伍基低音take octave and roll it.Major and minor thirdsJ.S Bach Well-tempered clavier bookFranz Liszt弗朗兹·李斯特The moonlight sonata of BeethovenU2 Love is blindnessOstinato-Ostinare固定音型Occam’s razor奥卡姆剃须刀原则The concept of key and modulation调性和变调Class8Obfuscate=darken=confuseCEG C is the root of the triad.Chord ProgressionCEG→EGC chord inversion转位和弦WagnerComposer use the rate of harmonic change to give us a sense of what this music is all about.G minor Symphony from Mozart. The rate of harmonic changes faster and highly irregular. Beethoven Pastrol Symphony doing just the opposite.Root-position chord原位和弦What’s the difference between Classical music and pop music?The pop music tends to have simpler harmonies, and those harmonies tend to be more repetitious and they tend to have chords in root position and often the chords are triads.The classical music tends to have more complex chordsPop music tends to have the vocal part. Pop music is short. In classical music, you can have rather wide mood swings. Whereas in pop music, one song only has a single ethos ora single feeling. Accoustical instruments verus electrified sound sent to mixer or perhaps a synthesizer.I chord IV chord V chord and to a I chordI VI IV V IMozart Symphony No.5 in B flat has the same base line with Duke of Earl厄尔公爵Gioachino Rossini阿基诺·罗西尼Absolute pitch绝对音高Pachelbel bass pattern帕赫贝尔低音模式Class9Metaphor=比喻Be inclined to do倾向于Presuppose预示Paramours情妇情夫Succinct简要的Assert=posit=postulateWoodpecker啄木鸟Pernicious=deadlyLurk=to lie in wait in a place of concealment especially for an evil purpose b : to move furtively or inconspicuously c : to persist in stayingSine qua non=something absolutely indispensable or essential必要因素Interpretation=explanationMusical form音乐曲式Verse and chorus主歌和副歌=strophe and refrain主句和叠句Baroque ostinato巴洛克固定低音-Lament bass哀叹低音Distinction of genre in music and form in musicGenre:Symphony; String Quartet; Concerto; Ballet; opera;Symphony has four movements:Fast; slow; minuet or scherzo<谐谑曲>; final: fast.String Quartet: Fast;slow; minuet or scherzo<谐谑曲>; final: fast.Sonata: fast; slow; fastConcerto: fast; slow; fastSix Models: ternary form, sonata allegro form, theme and variations〔主题变奏曲〕, rando<回旋曲>, fugue〔赋格〕, and ostinato〔固定低音〕Minuet or scherzo is always ternary form.Ternary Form: Presentation, diversion, re-presentation; statement; disgression; restatement. The major key is always three half steps higher its paired minor.Sonata allegro form:exposition呈示部, development展开部, recapitulation再现部Exposition: I theme<Tonic key>→transition<change key><bridge>→moving to the dominant key<II theme>→closing theme<conclusion between dominant and tonic and end in tonic>If it starts in minor, it will modulate not to the dominant but to the relative major. Development: characterized by tonal instability in the most polyphonic texture.<there is a lot of counterpoint对位>Recapitulation: I theme and tonic key< sit on one dominant chord>→the bridge stays in the tonic<sometimes the end is here>→coda<static harmonically>V and I<coda comes from the latin word cauda. Italian word coda means tail.The other optional component is introduction.Mozart’s Eine kleine Nachtmusik<a little night music>弦乐小夜曲Unison= identity in musical pitchBeethoveen’s Fifth Symphony. Leonard Bernstein/ Bernard HaitinkDiminish triad减三和弦〔2 minor third〕more dissonant4 note→2 note→1 note<1 octave>Classs10Adventitious非同源Rhetorical修辞的Monotonous单调Cascade down层层向下Sledgehammer大锤Virginity贞操Deviate from偏离Hardcore science基础科学Concert master首席Staccato断奏Verse and chorusVerse has different lyric, but the chorus just repeat the lyric.Sonata-allegro form is first used by Joseph Haydn.Thematic,transitional,developmental and cadential〔终止性的〕music.Theme and variation form dates back to the Middle Ages, often has a patrotic〔爱国的〕themes. God save the King.Charles Ives〞Variations on America〞查尔斯·艾夫斯《美国变奏曲》Walking bass行进低音Corelli’s tune and bass "La Folia〞坎修〔耶鲁交响乐团小提琴首席〕Class11Prototypical模X,典型Be obsessed with受困扰Permutation序列,排列Primordial原始的,初发的,原始的=primevalPalindromic回文Marriage of Figaro’s overtureJohannes Brahms.One of the three Bs, Bach and Beethoveen4 Symphonies, two piano concertos, a violin concerto, many overtures, many songs, much great chamber music <室内乐>Antecedent<前置句>Consequent<后置句>Extension<扩展句>Consequent<后置句>What’s the meter? Is it major or minor? What’s the mode? What’s the bass doing?Pedal point踏板音〔持续音〕Oboe双簧管12 34 56Hemiola 希米奥拉节奏Ostinato〔固定音型〕Rondo, English call it rondo form. French call it Rondeau. Italian call it RitornelloVivaldi维瓦尔第Spring ConcertoHorn concerto by MozartClass12Encapsulated囊括,总结Romp无忧无虑,快活Hymn赞美诗,颂歌Subvert颠覆=countermandPinnacle顶峰Lynchpin关键Repertoire全部节目Zillion庞大无法计算的数字Providence天道,天意Hubris傲慢Rehearsal排练Mantra颂歌,咒语roughshod铁蹄上装有防滑钉的gruffly粗声的Critic: How well did the performance go?Leisurely embrace of the countrysideWhat is it take to be a good conductor?Conservatiive safe tempoSectional声部合演Fret回文装饰Class13Paradigm样式,X例Indicative指示的,象征的Foreground 前景,突出的地方,显著的位置Heyday最繁荣的时期Simultaneously同时地Intricacy复杂Dwell on详述Gambit开局让棋法,诡计,策略Gamut全音阶Dandy 1 : a man who gives exaggerated attention to personal appearance2 : something excellent in its classSonorous感人的,堂皇的,圆润低沉的Resurrect复兴,复活Freestanding独立的Choerography编舞Consummate使结束,使完美,完婚,完美的Nifty俏皮的Fugue赋格Come from the old Latin word fuga, which means flight or to flyOne voice<声部>leading ahead, and another voice following it.J.S Bach The well-tempered clavier平均律钢琴曲集〔键盘乐上的圣经〕Fugue has its heyday in the Baroque period.<1600~1750>, the heyday of Bach and Handel. Round轮唱,Canon卡农one voice imitating the other exactly from the beginning to end.After the subject<主题>Exposition呈示部all voices present the subjuctEpisode插句〔tends to be contrapuntal对位的〕like the development in sonata-allegero form. Ends with a strong affirmation of the tonic keyPolyphony non-imitative texture; imitative texture-Canon/FugueAlto中音Soprano高音bass低音tenor次中音Invertible counterpoint复对位Picardy third皮卡迪三度from old French picartJ.S Bach is the greatist organ virtuoso艺术大师Clavierchord古钢琴harpsichord羽管键琴〔大键琴〕Pedal point持续音Double bass低音提琴pizzicato拨弦pluckSegue继续〔演奏〕Fugato赋风曲Musical often try out in New Haven.Bernstein : Prelude, fugue, and Jazz Riff即兴重复Saxophones萨克斯管baritone上低音〔男中音〕Double Fugue双重赋格Stretto叠奏Music Offering 音乐的奉献BachClass14Bludgeon 1 : a short stick that usually has one thick or loaded end and is used as a weapon2 : something used to attack or bullyLento=at a slow tempoHoorey万岁Orchestration编曲Curtain raiser拉开序幕Embedded in存在于Churn away= to stir or agitate violentlyVernacular当地话Ditch=to get rid of: DISCARD *ditch an old car* b : to end association with : LEAVE*ditched school* *his girlfriend ditched him*Moniker名字、绰号Lamentation悲叹,哀悼Xerox复印,影印Jumble混沌Indistinctive难以区分的Grind away underneath????Eroica Symphony英雄交响曲finale终曲Treble= the highest voice part in harmonic music: SOPRANOCall and response idea渔樵问答方式Retardanto=slow downAugmentation主题延长〔double the note value〕Hector Berlioz柏辽兹Diminution主题缩减<chop all in half>Ostinato固定音型〔最后一种music form〕Obsessive compulsive disorder applied to music音乐上的强迫症〔形容固定音型〕Maurice Ravel拉威尔Bolero《波莱罗舞曲》1928The heyday of ostinato form is in two periods in the history of music-one in the Baroque, and two is right now.Tetrachord四度音节Ostinato is often used in bass.Passacaglia帕萨卡里亚舞曲Basso Ostinato固定低音Henry Purcell亨利·普赛尔English composer at the end of 17th centuryDido and Aeneas狄多和埃涅阿斯Dido’s Lament狄多的悲歌At the end of opera the soprano’s got to die.Traviata《茶花女》Violetta维奥莱塔Tosca《托斯卡》Vibrato颤音Baroque tuning has lower pitch and non vibrato singing.The more people, the slower the tempoMonteverdi’s "Lamento della Ninfa〞宁芙女神的悲歌Bach’s Cantata巴赫的康塔塔BWV12《为悲哀流泪》Weinen, Klagen, Sorgen, ZagenBach’s Crucifixus in B Minor Mass Crucifixion在十字架上钉死,耶稣受难像Sorry is the saddest thing to say. Lament bassPachelbel bass帕赫贝尔低音Pachelbel Canon巴哈贝尔卡农You will never hear canon in Pachelbel Canon.Taco Bell Canon塔克贝尔卡农Vitamine CClass15Chant吟诵,咏唱Nudity裸体,赤裸Theologian##研究家,神学家Stucco粉饰灰泥Impel推动、推进或敦促某人做某事Sermon布道,说教Contemplation深思Sequester隔绝的sequestered僻静的Monastery修道院〔男〕Convent or nunnery女修道院Enjoin命令Salvation拯救〔灵魂〕救赎Denominational受教派控制的Clergy牧师Perplex一头雾水Transpire发生、泄露Pristine本来的,原本的；未受破坏的Botany植物学Peek in偷窥Phantasmagoria一连串梦幻的景象Slay杀死,杀戮Trample踩、踏Honeysuckle忍冬,金银花Lilac丁香花、淡紫色的Rebirth=resurgencePlatinum白金,铂The Angel Records天使唱片公司Knockoff仿制品Etymological语源学的Esoteric神秘的copes斗篷式长袍,法衣MedievalRenaissanceBaroqueClassicalRomanticImpressionistModernismPost-ModernistBegin with Gregorian chant格里高丽亚圣歌talking about traditional music of Roman Catholic Church. Gregorian chant is monophonic, one line music. Exist from the time of the earliest church fathers up until the time of the Council of Trent特伦托会议Conclave秘密会议,红衣主教团Held in the northern Intalian town of Trento, Italy from 1545 to 1563.Gregorian chant, named after Gregory the Great, has nothing to do with Gregoy.Two functions of Gregorian chant: communicate the message of the church, it allowed for the transmission of the word of God; it also transmitted the theology, the message of the church. The second function: allowed for a period of reflection upon the subject of the preceding reading. Melismatic 花唱〔指歌词一个音节配以一组音〕Simple chanting for reading-syllabic chant音节式圣歌；More complex chant for moment of personal feeling and reflection-Melismatic chant花腔式圣歌.Liber Usualis常用歌集Alleluia哈利路亚The highest order is the Benedictine Order by Benedict of Nursia near Rome about 5th CommonEra.Pray, Sing, chant, read scriptureCanonical Hours祷告时刻Canon in Latin literally means "rule〞.4 o’clock in the morning called "Matins〞晨祷Celebrate Lauds晨经,赞美经,赞美课at daybreakEnd with Vespers晚祷〔晚课〕and Compline晚祷9 o’clock in the morning at the high altar圣坛of the churchSolesmes索雷姆the most authentic Benedict.Abbot男修道院院长,神父acolyte侍僧The washing of the hands is the traditional gesture by the Benedictines of hospitality.Cloche=clock in medieval French Ora=Hour in Latin means to pray Orazio=prayerRefectory修道院、学校的食堂、餐厅The daily timetable of worship was kept, but the idea of eating and sleeping together was abandoned.Cathedral主教区,总教堂Chartres沙特尔大教堂Stained Glass玫瑰窗Crypt教堂地下室1020 Fulbertus福伯图丝marginalized边缘化的Hildegard of Bingen宾根的希尔德加德12th century a polymath博学者O Greenest BranchChant is similar to the so-called "New Age〞music. It is non-confrontational, non-assertive, non-authoritarian, allowed you to comtemplate.Early Polyphony-Multi-voice Music-Organum平行复音, first created in the great urban Gothic Cathedrals of France, particularly at Notre-Dame of Paris〔巴黎圣母院〕All organum is built above the pre-existing Gregorian chant.Tenor-teneo, I hold or tenir in mordern French means to holdRenaissance and Rome< specifically to the Sistine Chapel西斯廷教堂-the most famous church in the late 15th and early 16th centuries, the core of the Renaissance. It is the privaty chapel of the pope罗马教皇Michelangelo米开朗基罗was involved in the design of St. Peter’s.Sistine Chapel was constructed in 1477 during the region of Pop Sixtus IV, hence the name Sistine Chapel. Sixtus, Sistine is 132 feet long,45 feet wide. The famous ceiling of Michelangelo is sevety feet off the floor. 1530s Michelangelo Last judgement sceneJosquin des Prez若斯坎·德普雷Giovanni Pierluigi da Palestrina帕莱斯特里娜Loggia凉廊Cappella清唱Cappella Sistina西斯廷教堂唱法sing without instuments.Choir is composed of male cleries. Who will sing the soprano? Three ways to do with this problem: Man could sing in head voice头音,高音区嗓音, which is called falsetto假音. Option 2: let the choirboys. The third possiblities: 16th Castrato阉伶1905 the last catrato: Alessandro Moreschi: Bach Gounod "Ave Maria〞巴赫古诺《圣母颂》Palestrina write in 1905 for Sistine Chapel. Sanctus三圣颂Kyrie求怜经、垂怜经Gloria荣耀颂歌4 voices polyphonyClass16Inexorable不可阻挡的,无情的,不屈的modus operandi做法,惯例ritornello引子refrain副歌exhume挖掘出〔尸体〕Baroque period 1600-1750 exemplified by J.S. BachVocal music and instrumental musicBach’s Biography: Goes back to the old Veit Bach in 16th century 10 generations of musician. Eisenach. Organ piece: G minor Fugue; ToccataConsole操作台A stop〔音栓〕Weimar 1708-1717 Coethen The Duke of Weimar throw Bach into the jail for a monthCoethen the Crystal Room of the palace Brandenburg Concerto No.51723 LeipzigDied in 1750 <the end of Baroque era.> age 65 died of stroke1895, exhumed Bach and repositioned himPreludes and fugues for harpsichord and keyboardThe Well-Tempered ClavierThe G minor organ fugue<the art of the fugue>BrandenburgSonatas for flutes and violinsDance suites or orchestra "Air on a G string〞Solo concertos for violin and harpsichordConcerti grossi大协奏曲The Brandenburg ConcertosThe Goldburg VariationsReligious vocal music: the B Minor Mass.Run music for all of the Lutheran Churches in that town. Saint Thomas Church. Cantata-sung thing, as opposed to sonata-sounded thing. Multi movements-recitative〔宣叙调〕aria〔咏叹调〕chorus〔合唱〕300 hundreds of CantataWachet auf, ruft uns die Stimme醒来吧,一个声音在呼唤7 movements: Chorus, recitative<spoken dialogue with basso continuo持续的低音>, aria<Da capo aria反始咏叹调, da capo meas the beginning of the music D.C=da capo>, chorus<chorale tune赞美诗, hymn<example: A Mighty Fortress is Our God>the full congregation<教堂里的>会众> It was sung right after the reading of the gospel福音书.This cantata was written for Advent. <降临节> Adventitious=something comes, something about to arrive. I t’s the birth of Christ, roughly the four weeks before Christmas.The text of the Chorale: Awake, a voice is calling, from the w atchman from higher in the tower. Awake Jerusalem; midnight is the hour. <午夜将近> They call us with a clarionvoice. Where are the wise virgins? Get up. The bridegroom comes. Stand up and take your lamps. Alleluia. Provide yourself for the wedding. Go-you must go out-go forth to meet him.Walking bass行走低音give sort of secure foundation.J.S Bach’s wife: Anna Magdalena Bach.Class17Lout笨人Billiard檯球的,彈子戲的Autograph手稿Algebraic代數的Formulation公式Anagrams字謎遊戲Mimic模仿=imitateHippocampus海馬Nourish培養Peculiar奇怪的,異常的Symmetrical勻稱Classical period 1750-1820MozartLittle G minor Symphony No.25Amadeus莫扎特傳Mozart likes to play balls and arithmetic算術Mozart’s view in death: Death is the true goal of our lives, and I have made myself so well acquainted with it during the past two years that I see it the true and best friend of mankind. Indeed, the idea of it no longer holds any terror of for me but rather much that is tranquil and comforting, and I thank God that he was granted me the good fortune to obtain the opportunity of the regarding death as the key to our true happiness. I never retire at night without considering that, as young as I am, perhaps I may be no more on the morrow, yet not one of those who knows me could say that I am morose<孤獨> or melancholy充滿悲哀的and for this I thank my creator daily and wish heartily the same happiness may be given to my fellow man. I clearly explained my way of looking at the matter on the occasion of the death of my very dear best friend, Count von Hatzfeld. He was just 31. I do not grieve for him but from the bottom of my heart for myself and for all who knew him as well as I.4 points of the peculiar about Mozar t’s music: this infallible極準確的,萬無一失的sense of balance and proportion均衡,相稱,協調Oxymoron矛盾形容法；逆喻Elvira Madigan鴛鴦戀協奏曲Triad goes up, comes down the scale, a chromatic inflectionDominant seventh chord屬七和絃CEG ♭B,Confutatis羞愧無地Dies Irae of the Requiem Bass 末日經〔安魂曲〕Fecundity富饒的,多產的Wrestle搏斗, 扭成一团; 扭打Facsimile副本,傳真Erasure删掉的词,擦除C minor Mass by MozartAbduction from the Seraglio<土耳其的閨房>後宮誘逃Neither more nor less one notesDon Giovanni唐璜Divine神賜的,極好的The divine Mozart神童莫扎特Stalwart Bach堅定地巴赫Vernacular crap俗不可耐的Quotidian每日發生的Gustav Mahler古斯塔夫·馬勒Kepler said Man, the ape of the creator, has discovered the art of music so that he might play theeverlastingness of all created time in some short part of an hour by means of an artistic concord of many voices and instruments, that he might to some extent taste the satisfaction of God, the workman throuman music.Verbatim逐字的,完全照字面的Gist要點,主旨Music is a bridge to my distant memories. When I hear a piece, it reminds me of a time or an event of my childhood or of my youth. Music carries me back there. It is a line that links me into the deep reservoir of my memory.Proustain普魯斯特《追憶似水年華》Load the dice不擇手段3 opera: Marriage of Figaro, Don Giovanni, The Magic Flute.Overture, recitatives宣敘調Lorenzo da Ponte洛倫佐·達·彭特Don GiovanniDemonic惡魔的,有魔力的Misogynist厭惡女人的人Sadistic性虐待狂的Villian惡棍1788 the year before the Frech RevolutionRichard LalliNumero uno最优秀人物；头号人物；头等大事；最重要的事Leporello, the servant of Don Giovanni.Highfalutin自大的,驕傲的Donna AnnaRebuff斷然拒絕Commendatore意大利勋位骑士Duel兩男子决鬥Spry充滿生氣的Peasant Girl Zerlina若兒麗娜La Ci Darem La Mano讓我們攜手同行duetGoetterdaemmerung眾神的黃昏Class18The question of the PianoFrom the time of Mozart through Beethoven through Chopin and through Liszt up to the modern grand pianoMozart is the first who switch from the harpsichord over to the piano. 1770-1780.The harpsichord has no dynamics.沒有強弱Pianoforte弱<piano>強<forte> 1700 in FlorenceMozart came from the city of Salzburg, Austria.archbishop大主教archbooby對大主教輕蔑的稱呼Papa Haydn海頓老爹Composed most in billiard table and in bedFreelance自由職業者vGig演奏會,特約演奏Piano Sonatas<wrote mostly to his pupils>and Piano Concerto<23>Casino賭場,娛樂場and Burgtheater城堡劇院The pitch in the time of Mozart is lower<down a half a step> A=440 vibrations per secondThe piano of Mozart is shallow, it doesn’t have a lot of resonance. So the sound dissipates very quickly.Punchy生硬的Staccato斷奏legato連奏ligare:smooth, connectedBecause the hammers擊弦錘are made of leather rather than felt毛氈.1791 Mozart dies.Beethoven, his teacher was his father, kind of a unscrupulous不擇手段的Wunderkind神童,有巨大成就的年輕人1797 Beethoven settled in ViennaGhoulish食尸鬼似的,殘忍的1799 Konige piano1817 Broadwood piano<English> Lizst purchase it when Beethoven died. National Museum in Budapest. Celebrity endorsement名人廣告代言Broadwood gave the piano to Beethoven. Two strings per note.32 piano sonatas and five piano concertos Emperor ConcertoEmperor Quartet by HaydnHis play is not much clean. He has much fire, but he pounds a bit too much. He overcomes diabolical惡魔的difficulties, but he does not do so neatly.Graf Piano格拉夫鋼琴Graf gave Beethoven another piano. The soundboard共鳴板,響板was getting bigger. Iron frame. Pin block線軸板〔anchor the strings〕<If you wanna buy a piano, check its pin block first> the pin block should be very secure.Franz Schubert-Graf Piano The Graf Piano is given to Beethoven, Schubert and Lizst. Georges Sand喬治桑, Alexander Dumas pere亞歷山大大仲馬,Victor Hugo維克多雨果,Rossini 羅西尼, Paganini帕格尼尼〔Marketing paint〕Hodgepodge大雜燴拼圖Fredric Chopin弗雷德裡克·蕭邦Pleyel Piano普裡耶牌鋼琴Lizst-Erard Piano伊拉德鋼琴Transcendental Etude超級技巧練習曲Holy Schomoly天哪Chickering Piano查克林鋼琴〔made in Boston〕1860-1870 major manufacturing centre for piano. Liszt’s son-in-law is Richard Wagner. Bechstein Piano貝奇斯泰因Steinweg斯坦威格-Steinway-Steinway Piano Manufacturers of New York CityInstitute the idea of cross-stringing, gives a much more homogenous kind of soundGilded Steinway from the Gilded Age Two pedals to three pedals- The right most pedal is sustaining pedal 延音踏板damper制音器〔the damper pedal〕The left most pedal- It makes the sound softer by shifting the whole keyboard and hammer mechanism so only two strings are engaged instead of three.Beta-blockers to relax them and lower their heart rateScarlatti斯卡拉第in the Baroque Period. Binary form雙段式Spanish quick soundClass19Opera in 19th Century concerns with 2 figures in particular: Richard Wagner, Giuseppe Verdi朱塞佩·威爾第Tristan。
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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。
弗雷德里克同学将给我们演示一段我并不了解的音乐。
弗雷德里克·埃文思：这是超级男孩表演的歌曲《再见》。
它采用的曲式是很多流行音乐的典型模式。
首先是以半截副歌开始，然后是主歌-副歌-主歌-副歌，接下来是连接段部分，在其中达到情绪的高潮，最后部分是段相当有感染力的副歌带回到歌的主题，然后音乐逐渐淡出。
教授：这个想法就是变换歌词，然后回复到相似的歌词和相似的乐章，接着再变化回到新歌词，接下来又回归到相似的副歌。
这样算公平分配吗？（弗同学答“是”）★示范曲目：超级男孩'N Sync《Bye Bye Bye》这首歌曲的曲式是很多流行歌曲的原型。
首先从24秒听到40秒是一个主歌的例子，在这里展开了叙事；在第56秒时听到副歌，这是被反复的地方，整首曲子都是建立在复述的基础上。
最后情绪被推高，背景音乐与和声行进变得有些庄严，最后的副歌将曲子带回到主题（副歌进行到一半→开始独唱→副歌→独唱→副歌→过渡音节(就像情绪的高潮)→最后是有力的副歌回到原点，再慢慢的减小消失）。
有趣的是，它用了一个巴洛克固定低音——哀叹低音（挽歌低音），以后会讲授此内容。
古典音乐的曲式古典音乐的曲式稍显困难，因为音乐本身更加复杂。
1、音乐体裁与曲式的区别体裁：简单来说就是一种常规的音乐类型。
标准古典乐体裁：交响乐、弦乐四重奏、协奏曲、芭蕾、歌剧等；流行乐体裁：经典新奥尔良爵士乐、布鲁斯、摇滚等。
一种特定的音乐类型预示着一种特定的表现力，特定的乐章长度甚至特定的演出服饰，以及观众或者听众的行为模式。
曲式：每一种体裁的音乐都由乐章组成，每个乐章由特定的曲式来表现。
曲式让我们知道，我们进行到了乐曲的哪个部分，是开头、中间还是结尾。
交响乐：有四个乐章：快乐章、慢乐章、然后是小步舞曲或谐谑曲、终曲也是快乐章。
其中每个乐章可能是不同曲式中的一种。
弦乐四重奏：同交响乐一样四个乐章，快、慢、小步舞曲或谐谑曲、快，每个都能采用特定曲式。
协奏曲：通常有三个乐章，快、慢、快。
奏鸣曲：如钢琴奏鸣曲、小提琴奏鸣曲、小提琴加钢琴伴奏，三个乐章，快、慢、快。
2、古典音乐的曲式古典音乐中音乐元素行进的速度很快，很不容易把握，我们也不喜欢迷失。
我们习惯于知道我们身在何方以及正发生着什么，这也正是曲式可以帮助我们做到的。
当音乐奏响各种信息纷至沓来时，通过了解自身所处位置来把握这首乐曲。
是在开头、一半或是接近尾声？在这个特定的点上我该做何反应？我们将会涉及六种曲式，可以把它想象成模板，当聆听音乐时先用学术的眼光做判断：这段音乐使用了哪种曲式，就把那种曲式的模型套下去，然后用这种模版来过滤我们的听觉体验。
六种曲式模板：三部曲式、奏鸣曲-快板式、主题和变奏曲、回旋曲、赋格、固定低音。
它们是音乐史上不同时期发展起来的，变奏曲式相当古老，奏鸣曲-快板式更近代些。
这些曲式中我们今天仍然会用到的是三部曲式和奏鸣曲-快板式。
奏鸣曲-快板式是这些曲式中最难、最复杂的。
它经常出现在奏鸣曲、协奏曲、弦乐四重奏或交响乐的第一章，第一乐章节奏相当快，也被称为“奏鸣曲快板式”，最重要是它能与奏鸣曲理念相协调。
奏鸣曲快板式并不一定源于奏鸣曲，交响曲也是其发源地之一。
但由于历史的原因和它与奏鸣曲相关联，我们才称之为奏鸣曲快板式。
交响曲中第一乐章是快板，因此称为奏鸣曲快板式，而第二乐章是慢板可以是主题与变奏曲式、回旋曲式或是三部曲式。
小步舞曲和谐谑曲几乎总是三部曲式，最后的快板乐章可以是奏鸣曲快板式，也可以是变奏曲式，或者回旋曲、或者赋格，有时也可是固定低音。
了解这些可以控制每个乐章的进行。
○音乐知识：奏鸣曲与奏鸣曲-快板式的区别奏鸣曲是多乐章的体裁，而奏鸣曲-快板式是一个乐章；古典时期的奏鸣曲是指一部为钢琴独奏或其它独奏乐器加钢琴伴奏而作的作品。
典型的古典奏鸣曲包括三个乐章（快-慢-快）。
一些其它的古典体裁并不叫做奏鸣曲，一般由四个乐章组成：快板-慢板-小步舞曲-快板。
例如，如果以这种乐章顺序写成弦乐四或五重奏，它就叫做弦乐四/五重奏，如果是为大管弦乐队创作就叫做交响曲。
我们有个大概的体裁的概念，每种体裁的乐章最后是由曲式决定乐章的进行。
三部曲式三部曲式与我们介绍的奏鸣曲式很相似，它表达音乐的形式为：呈示、变化、再现，或者说陈述、变幻、再陈述诸如此类，用字母来表示：A-B-A模式，总、分、总。
关系大调和关系小调。
在音乐中，调都是成对出现的。
成对的调有共同点，即它们用同一个调性符号表示(五线谱上有相同的升降号数目和位置)。
我们可以用任何一个音符做调性，但必定有一个调性是包括了三个降号的。
白板上的谱例是三个降号的小调音阶，同样的大调音阶也是三个降号。
这个谱例是C小调，如果我们把它升高三个半度，就是降E大调。
因此，关系大调要比和它成对的关系小调高出三个半音。
白板上的另一个例子，有一个升号的大调是G大调，如果我们降低三个半音，就得到了G大调的关系小调E小调。
一般情况我们没能听出音高的相对关系，但当音乐转调时候总还是能听出来的，对于受过训练的人是可以猜到的。
假如音乐是从小调转到大调，也就是转到了它的关系大调上，或者从大调转调也会转到它的关系小调上，这种情况很常见。
★示范曲目：贝多芬《致爱丽丝》 (三部曲式)A很短，是小调，进入B，转调，是大调,又回到A。
我弹奏的是这部乐曲的开篇，后面还有很多内容，这是一部很典型的三部曲式音乐。
三部曲式通常是一个介绍更宏大的曲式方式，即奏鸣曲式。
奏鸣曲式的形式由三个重要部分组成：呈示部、发展部和再现部，可以将它看作由三部曲式A-B-A发展而来的，但是它比三部曲式更复杂，其中包含其它很多因素。
这只是个抽象的模式，但并非所有奏鸣曲式的音乐都包括列出的所有部分。
作曲家也不会完全这样做，他们更想体现的是独到的想法和原创的因素。
这三个部分可以称作必要因素，剩下的是可选择部分（前奏、尾声），以后的课程会涉及到这两部分内容。
奏鸣曲的每个部分都有更细致的结构划分。
呈示部通常从主题主调Ⅰ开始，然后是过渡转调，转到属调Ⅴ上去。
过渡部分是不稳定的，给人一种向某方向移动的感觉（作曲家通常称作“桥段”，这与弗德里克提出的“连接段”相似）。
如果交响乐是从小调开始，副部主题就是在关系大调上了。
例如贝多芬第五交响曲从C小调开始，但在第二主题就是它的关系大调降E大调，这两个调都有三个降号。
作曲家通常在小调开始第一主题转调时不是向属调转，而是变到关系大调上，即音阶上升三个半音。
副部主题开始通常音乐会更抒情更甜美，还经常会出现填充段或插部，然后就是结束主题了。
这里是缩写CT，呈示部结束主题通常比较简单，无非是在主音和属音之间变换，最后能以主音结束，给人一种呈示部结束的感觉。
这里有双竖线加点（‖: :‖）表示反复。
展开部就是将主题变化，但不仅是发展和延伸，也可能是缩减成几个音，贝多芬就喜欢去掉一部分只保留表现主题的某些特别部分，或者只表现某部分动机。
展开部的特点是频繁转调，这种转调通常以织体的形式体现，是乐曲中复调程度最高的部分，可以发现大量的对位手法。
展开部的结尾部分回到主调的主题和主调上。
因此作曲家会使用一个和弦，即使用属（Ⅴ）和弦，因为我们想要一大段由属音构成的准备，从属音Ⅴ推向主音Ⅰ。
再现部由属音回到主音后，主部主题与前面的都一样。
这里也有连接段，但没有转调，乐曲保持在主调上，因为要用主音作结束，可以说是“不通往任何地方的桥”，回到主调并停留在主调上，进入第二个主题再进入结束主题。
莫扎特会在这里结束主题，但有些作曲家会再加上一个尾声。
尾声通常是要告诉听众，乐曲要到这里结束了。
尾声在和声上通常是很稳定的，换句话说就像把锚抛出去一切都慢了下来，该结束了。
Coda这个词来自拉丁语cauda，意大利语coda的意思是尾巴。
引子大约有50%的古典音乐使用引子。
★奏鸣曲示范曲目一：莫扎特《G大调弦乐小夜曲》主部（呈示部）主题是跳进和类似的东西，这段音乐基本上只是一个大三和弦。
如果我们在音乐中想记住音高和旋律，需要在相应的位置标记许多小“X”，因为我们没时间一一记录旋律，所以要用这些标识出音高和走向。
在大三和弦的跳进之后，有一个小切分音，然后这里算是对位。
这段主部主题里有这样一些乐思：A、B、C。
在一段兴奋、运动后，低音出现然后是暂停，这里有个终止式，它是A主题乐思的结尾，就像戏剧一样看到场景变化，一些演员离场、空台，然后其它演员即将上场。
一个更为抒情的副部主题（B）出现，以下行的级进方式呈现。
在主题进入结束时最值得注意的是，非常连续地保持在同一音高上最终走到一点（结束主题是乐思C）。
展开部的开头降到了属音上，然后有个不协和的转变是个标志——进入新乐章即展开部。
莫扎特在不同的调性中迅速转换，然后会听到一个再过渡的开头，只用了结束部的主题（即连续地保持在同一音高上，但在不同调性转换），即这个短暂的展开部是用的呈示部结束时的乐思C，现在我们进行到再过渡时会听到小提琴下行了，隐含的低音线是属音走向主音，然后回归到主部主题，所有主题材料没有创新，到了连接部分，运动的，他用了较短的篇幅。