耶鲁大学《聆听音乐》公开课笔记(第17-20课)PDF
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.。
耶鲁大学公开课 1-17课_《聆听音乐》笔记
耶鲁大学公开课《聆听音乐》讲师：Craig Wright职业：耶鲁大学音乐教授学位：哈佛大学博士学士钢琴乐音乐史双学位第一课：导论流行音乐与古典音乐：古典音乐旋律感强烈。
音乐与语言：颞叶是处理音乐和语言的听觉中枢。
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。
示范曲目贝多芬第五交响曲(命运交响曲)贝多芬第九交响曲(欢乐颂)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，前者焦虑不安消极，后者和谐安全积极。
一：大调和小调。
前者是小和弦，后者是大和弦。
二：前者跳跃，后者连续。
三：前者不断向下，后者基本稳定的回旋。
德彪西月光节拍舒缓，没有鼓点，甚至难以确定节拍。
走向是徐徐向下，直到一小段结束才返回到高处，形成了一个情绪的堆积和小高潮。
音乐的两个维度：音高和时长。
音高相当于纵轴，时长相当于横轴。
理查施特劳斯查拉图斯特拉如是说用管弦乐表现人类力量的觉醒。
使用的乐器是管风琴，接下来是小号，以及打击乐。
二拍子和三拍子二拍子和三拍子是最常见的音乐节奏单元。
二拍子是|强弱|强弱|，三拍子是|强弱弱|强弱弱|。
转调选择一个音高，然后整体转到另一个音高。
第二课乐器与音乐风格示范曲目贝多芬第五交响曲柴可夫斯基第一钢琴协奏曲理查施特劳斯查拉图斯特拉本课介绍了不同的音乐风格，交响曲，协奏曲，交响诗。
以及不同的乐器铜管，弦乐，木管。
贝多芬第五交响曲——交响乐交响乐一般有四个乐章，乐章是交响乐中相对独立的部分，与其他乐章和谐统一。
通常是：一个简短的开始的第一乐章，一个缓慢的抒情的第二乐章，由舞曲衍生的第三乐章，迅速强势的起总结作用的第四乐章。
主题还是动机？theme or motivation主题和动机都属于旋律的范畴，动机是较为短小的，主题是比较长而抒情的。
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。
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。
网易
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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《聆听音乐》公开课笔记(1-4课)PDF版
耶鲁大学公开课《聆听音乐》笔记（第1—4课）讲师：Craig Wright职业：耶鲁大学音乐教授学位：伊斯曼音乐学校钢琴乐音乐史双学士（1966）、哈佛大学音乐学博士（1972）学习资料1、教科书《聆听音乐》（第五版）Dr. Craig Wright著；余志刚、李秀军译；三联书店2012年4月出版（附光盘1张“聆听练习”）；大16开彩印，定价：88元；2、聆听指南：6张CD/套装（收录了150多个音乐作品选段的听力训练是本课的核心内容）可以从网上下载。
目 录第1课 导论第2课 乐器与音乐风格第3课 节奏：音乐的基础第4课 节奏：爵士 流行和古典第一课 导论关键词古典音乐（classical music）流行音乐（popular music）旋律（melody）大调（major）小调（minor）音高（pitch）主音高（home pitch/tonic pitch）两个维度（dimensions）时长/值（time/duration）拍子（beat）为什么听古典音乐第一、帮助人们放松、舒缓压力，这可能是主要的原因；第二、帮助人们集中精力，让听众全神贯注起来；第三、古典音乐提供了一个美好世界的意象，绚丽而庄严的庇护所，或许甚至还有爱的慰藉。
有时候它象征着世上也许会有一些事物超凡脱俗，还有诸如上帝之类的比我们人类更伟大的存在，引发我们去思考客观世界。
这就是伟大艺术的价值，无与伦比的文学、诗歌、绘画、音乐。
它展示了人类所能及之事，人类精神所能承载之力。
它们指引着我们、预示着可能有那么一些超越我们自身的精神存在，指引我们思考并不断追寻自己在这世上存在的意义。
流行音乐与古典音乐区别1、古典音乐（莫扎特作品选段）旋律感强烈；流行音乐（Rave′Til Dawn选段）完全没有旋律，不停地反复、节奏、鼓点，强烈的脉动；2、古典音乐的演奏乐器发出的声音与流行乐的合成音效是截然不同的。
音乐是一种听觉感知的呈现，你不可能像对待英语或历史考试那样，在考试前一天晚上将音乐中的信息或声音死记硬背以便应付考试。
耶鲁大学开放课程《聆听音乐》讲义：印象派音乐和异国情调
耶鲁大学开放课程《聆听音乐》讲义：印象派音乐和异国情调Listening to Music: Lecture 21 TranscriptDecember 2, 2008 << backProfessor Craig Wright: Now today we're going to be talking about musical Impressionism--next time modernism, but today musical impressionism. Impressionism, generally speaking, is a period in the history of music running from 1880 to 1920. It's mostly a French phenomenon although it did expand, as we will see, to England and to Italy and to the United States even to some degree. We have the American Impressionist School of Art, for example. Let's turn to the board here and visit some familiar names and faces.You know of the painters: Manet, Monet, Renoir, Alfred Sisley, Camille Pissarro, and the American--interesting enough--American woman, Mary Cassatt. Any time an art museum needs to raise cash, what sort of exhibition do they put on? A blockbuster exhibition of Impressionist painting. That's what brings everybody in. It is the locus, somehow, of what art is supposed to be. Everybody loves these Impressionist exhibitions whether it's Boston, New York, Chicago, wherever it might be. So we have those artists.We also have the poets--though interestingly enough they're not called so much Impressionist poets. They're called the Symbolist poets, and I'm sure in literature classes and in French classes you have studied some of them: Charles Baudelaire, Paul Verlaine, Arthur Rimbaud, and Stephane Mallarmé.Turning now to the composers, the most important of these, really, is Claude Debussy. He sort of started this school of French composition, the Impressionist style. We list others up there--Maurice Ravel. We've bumped into Bolero of Ravel; Gabriel Fauré wrote some beautiful Impressionist music. You may have heard of parts of the Fauré "Requiem" from time to time; Ottorino Respighi, an Italian, suggesting that this also got to Italy; and the American, Charles Griffes, who died of the influenza in New York City but wrote some Impressionist piano and orchestral music.In terms of the works of these individuals, we've listed more over here for Debussy than any one else--Clair de Lune, that we're going to be talking about today, that's important, Prelude to the Afternoon of a Faun.--we'll be hearing some of that and you have your Listening Exercise 40 on Prelude to the Afternoon of a Faun, other orchestral pieces, Nocturnes--sort of night mood pieces, La Mer, a big orchestral composition, Images, more orchestral works, and then preludes for piano. And we'll be foregrounding those preludes for piano here today and a couple of pieces that we listed on the board: the "Ondine" from Gaspar de la Nuit [of Ravel] that will be performed for us later in the hour today, and the Bolero that we have mentioned before. So those are the players.Let's take a look now at what this music sounds like. I'm going to start with playing some of this piece that you all know. I'm sure you've heard this before: Clair de Lune (1890) [plays piano] And we'll pick it up from there in just a moment. But obviously-- [plays piano] we've talked a little about this before--this general relaxation caused by the falling down motive only to rise up [plays piano] at this point. But also of interest here is the absence of any kind of clear-cut meter. That's, I think, the big-ticket item here. You'd be hard pressed to tap your foot to this, to conduct this in any way. So that takes us through, oh, the first twelve, fifteen bars of this piece.Now a different kind of music. [plays piano] Let's pause on this for a moment. I'll be emphasizing thephenomenon of parallel motion today--parallelism today--and here is a moment of that. [plays piano], all the voices. They probably have six different notes [plays piano] in that chord, but the next one [plays piano] all six are going in the same direction rather than having--going in the opposite direction. We'll continue to elaborate on that as we proceed. [plays piano] Okay.Now another idea comes in here, [plays piano] lovely, really nice, [plays piano] could be Chopin, right, that kind of rich sound with the [plays piano] almost guitar-like accompaniment underneath it, but something really neat happens here. [plays piano] We have this chord [plays piano] and then we have this chord [plays piano] --kind of a surprising or shocking, unexpected chord. So that's something else we get here with this impressionist style: unexpected chords, new chords. We might have normally [plays piano]. Then we could go [plays piano] and that kind of Beethoven-type sound, but here we get [plays piano], going to, not chords a fourth or a fifth away, but chords just a third away. [plays piano] Okay. [plays piano]Now that's another interesting moment. We've had--we've got this sound here to begin with [plays piano]. Well, that's kind of-- [plays piano] And then the next chord is [plays piano]. We haven't had those chords before. We've had major triads, we've had minor triads, we've had diminished triads and now we've got the kind of flip side of the diminished triad--the augmented triad. This is the fourth of our triads. Major [plays piano] --we've got a major third on the bottom and minor third on top. Minor, [plays piano] changes those around, [plays piano] a minor third on the bottom, major on top, major, [plays piano] minor. Then we could have--we have got this sharp, biting chord called [plays piano] the diminished if we just two minor thirds. It's the most narrow of the triads, [plays piano] but supposing we had two major thirds in this aggregate, [plays piano] yeah, that kind of sound. Well, it's a little bit weird [plays piano] so we get once again a new chord here with the Impressionist--the augmented triad, [plays piano] --and we might kind of pile them up [plays piano] in this fashion. [plays piano] It's a different sound, kind of a strange sound. All right. Well, that's a little bit of Clair de Lune of Claude Debussy and that introduces us to the Impressionist style.We're going to move on now to first--the first orchestral piece of Debussy and that's the Prelude to the Afternoon of a Faun that's listed on the board there. In 1894, Debussy lamented that he had never created a masterpiece. Well, he sort of did with this piece. It's really a wonderful, wonderful composition. It goes about ten minutes and you've got the full composition there on your CD No. 5..What can we say about it? Well, first of all, Prelude to the Afternoon of a Faun: its point of inspiration was a poem by Stephane Mallarmé. Mallarmé was an aesthetic mentor of Debussy. They were close friends. Once a week they would meet and talk about aesthetic issues in Paris in the Boulevard Montparnasse area. So he--Mallarmé--had written a poem called "The Afternoon of a Faun." Now this faun here is not f-a-w-n, the little baby deer-type fawn, but f-a-u-n, a sort of randy satyr, half man, half beast, who spends his afternoon in pursuit of sexual gratification in the heat of the midday sun--so it's a bit more sexually supercharged than the story of Bambi.Let's go on and think about the type of music that we're about to hear here. It's a different kind of music, and maybe the best thing to do is just jump into it. For us, it's difficult to appreciate how strange this must have sounded. We're kind of used to this sound. We've gotten--and maybe you've heard [plays piano] augmented triads and there are a lot of [plays piano] major seventh chords in Debussy, sounds a bit like a jazz chord, yeah, because jazz [plays piano] performers like that sound. They heard it in the Impressionists and they drew it into their music. So there are strange chords here, but there's also strange orchestration, and once again we should remember how unusual this must have sounded at the time it was created.So let's listen to a little bit of the Prelude to the Afternoon of a Faun, picking it up about-- it's in ternary form. We're picking it up in returned A. See if you can tell me what the meter is here. [music playing] Okay. Let's just pause it there for a moment.Anybody know what the meter is? No. I don't either. I'd have to look at the score and I never look at the score for this course. That seems like cheating. I shouldn't have any more advantage than you do. So it's a little hard to know what it is there. We--I'd really have to go get the music and find out what it is there.You heard kind of little harp glissandos in the background. We'll be talking more about that--the harp playing away there, arpeggios periodically, [sings] or [sings], just little dabs of color underneath by way of a supporting accompaniment. So let's listen to a little bit more here. Focus on the flute line. That's got the melody but it's a kind of different melody than the melodies that we have been listening to. [music playing] Passed it to the oboe, [music playing], okay, pausing it there. So that melody, [sings] is kind of like a roulade, kind of ill-formed in a way. It's very beautiful, but it's difficult to sing. It's chromatic, it doesn't have any regular structure to it, and this is typical of the Impressionists' approach to melody.Well, as I say, this was somewhat shocking at the time. This is Debussy's response to a poem, and you have the poem there. It's given to you on the sheet for today. Everybody got the sheet? We're not going to read it because we don't have time for it. It's a good example, however.It's a wonderful example of the Symbolist poetry, where the meaning comes not from any kind of logical semantic--no--syntactical presentation of ideas, one word following the next in a logical fashion, but just sort of placing key words at interesting moments that stimulate our thinking. These words have resonance in and of themselves. And I think that in some ways gets to the essence of this Symbolist poetry, so you can take a look at that on your own there. So Debussy was not trying to write program music here. He was just trying to use this as a point of inspiration, and here's what he said at the time about his approach to this piece. Quote: "The piece is really a sequence of mood paintings throughout which the desires and dreams of the faun move in the heat of the afternoon."So Mallarméthen went to the first concert of this piece and here's what he said in turn about Debussy's music. Quote: "I never expected anything like it. The music prolongs the emotion of my poem and paints its scenery more passionately than could colors," --paints it, so music as painting.Well, with this idea of music as painting--because these two artistic disciplines can't be separated really from one another--let's turn to our first slide for today and we'll see how this works. What's this? Anybody know this? Kind of a classic of Impressionist painting, "La Grenouillère," the frog pond, painted by Monet. I don't know the date, probably 1874 or 1875, I would guess. And we get this general impression of it. If we look, however, at the brush work of it, and let's go to that, a kind of close-up, we see--here we are--that it's really made up of a series of individual gestures. There's a mark there, a mark there, and so on, but when we--let's go to the next slide--stand back we do get this sort of shimmering impression, and there'll be a lot of that, the same kind of effect, worked out in music. Yes, you can have a chord, but that chord could be played as an arpeggio, and you could pedal with it and you could play it very rapidly and you wouldn't notice the individual notes. You would get the effect of the impression of this general wash of sound so that, in some ways, is a similarity here between these two artistic disciplines [music and painting]. Let's go on to the next or maybe that makes that point. No. This is fine.We're going to go on to a sailboat here now. And we needn't mention where this comes from but this is a picture of sailboats sort of luffing more or less listlessly at anchor here at a harbor probably out near Argenteuil, a few miles to the west of Paris. And with this as something of a visual set-up, let's turn to the next piece by Debussy. It's one that you have on your CDs. It's called Voiles or Sails--from these preludes for piano of 1910. And I'm going to start just by playing and then we'll talk about what it is that I'm playing. [plays piano]All of that music up to that point is made up out of a new kind of scale, a scale we haven't talked about before but now's the time. It's called a whole tone scale. Remember when we have [plays piano] our octave [plays piano] with our--it may take a major scale in there--our octave divided into seven different pitches, five whole steps and two half steps. But supposing we traded in those two half steps for one whole step. So instead of going [plays piano] C to C in that fashion, we would be going [plays piano] --now I got to do a whole step [plays piano] --so that's a whole tone scale, all whole tones within the octave. There are a total of six of them there--just converting two half tones into one whole tone. So all of this business [plays piano] and so on, just running up and down a whole tone scale.All right. Then at this point where we stop, [plays piano] well, underneath there--you're listening to the whole tone scale up above--but underneath we're getting [plays piano], kind of a rocking anchor. What is this in music, when you just repeat something over and over again? [plays piano] A.J.Student: Ostinato.Professor Craig Wright: Ostinato. Thank you very much. So we have ostinatos coming back into music here in the Impressionist period. They were there in Baroque music. They kind of went out of fashion in the Classical period and in the romantic period. Romantic is too expansive for ostinatos, but they come back in here in the Impressionist period and they're really important in the Modernist period. So it's a harbinger of things to come in the Modernist period.All right. Now let's go on just a little bit farther [plays piano] where you can hear the ostinato up above, and that's a good example of [plays piano] parallel motion, all of the chords going up and going down at the same time. [plays piano]What's that? Well, it's a classic example [plays piano] of a glissando. Right? They use a lot in television and stuff. What's behind curtain number three? [plays piano] "Tell us, Vanna," or whatever. So it's simply playing an arpeggio--an arpeggio that's very rapid family, kind of--or fashion. [plays piano> That'd be another sort of glissando, just playing every white note or every [plays piano] black note, okay, up on the keyboard. So we had this glissando [plays piano]. All right.Now let's talk about the scale we have here because he's actually changed scales. We did have [plays piano] whole tone but now we get [plays piano] a pentatonic scale, just using five notes. [plays piano] We've bumped into the pentatonic scale before. Anybody remember when, way back early on? Roger.Student: [inaudible]Professor Craig Wright: I didn't hear that. A little bit loud.Professor Craig Wright: Yes, to some extent. It was in that lecture where we were talking about blues. Blues tends to use more of a six-note scale, but it was at that very point. What kind of music was it? Emily. Student: [inaudible]Professor Craig Wright: Chinese music. Good for you. Chinese music. We had the Moon Reflected in the Distant Pool and it was played by an erhu. [plays piano] Well, here we have another five-note scale that involved whole steps and minor thirds [plays piano]. The simplest way to think of it is just the black notes of the keyboard, and that's kind of what he's using here. [plays piano]Now one other interesting thing going on, and that is the combination [plays piano] of--which is what he's doing here--of parallel motion and the pentatonic scale, because-- [plays piano] Does that conjure up any--Chris is smiling down here. Why are you smiling, Chris? What does that remind you of?Student: [inaudible]Professor Craig Wright: What?Student: The Far East.Professor Craig Wright: All right. The Far East. Indeed. But when I was a kid growing up if I heard [plays piano] I would be watching Indians coming over the horizon in the West and the good guys or the bad guys were chasing--it was a sign of the Indians. What this was--what this became in terms of film music was a kind of racial stereotyping. We had "us" and "us" went along [music playing] in major and minor scales, and then we had these other people [plays piano] who generally moved in parallel motion and used a lot of pentatonic sounds. So the people in Hollywood were painting here ethnically with a very blunt brush. It was "us" in Hollywood in major and minor and functional harmonies and it was "them" who went around in pentatonic scales and in parallel motion. It was a very interesting kind of moment there in the history of American musical culture in a way.So in any event, that's what we have in this particular piece. Debussy is using this here, and I'll come back to this a little bit later on, because Debussy was very much influenced-- and we can document where and why--very much influenced by the Orient, by the East. He was hearing these Eastern sounds in Paris beginning in eighteen eighty-nine. All right.Well, then this thing goes back [music playing] to a whole scale--a whole tone scale and then finally-- [plays piano] And he instructs the pianist there just to leave the foot on that sustaining pedal there, that rightmost pedal, the sustaining pedal, [plays piano] so we get, again, this wash of sound. Okay?Now one other point about pedals, while I've got--while I have the--I'm at the keyboard here--and that is the following: We've talked about the rightmost pedal [plays piano]. It gives us [plays piano] this kind of wash sound. What's it called, once again? What's the rightmost pedal called on the piano? Yeah, I hear it over here. Who's got it? Kristen?Professor Craig Wright: Okay. Who said that, please?Student: [inaudible]Professor Craig Wright: Okay. Thank you. This is the sustaining pedal, right, and it gives us the wash of sound. What's the leftmost pedal do? [plays piano] Frederick.Student: And that's the one that moves it over [inaudible]Professor Craig Wright: That's right. Moves the whole keyboard over so those hammers are only striking two strings rather than striking three strings. It makes it a little softer.The middlemost pedal, however, is a very interesting one. It doesn't get used nearly as much, and I was thinking this morning. I was looking in my office on my Steinway upright and there is no middle pedal. And that's because it doesn't get used very much. But when it does get used, it's used for sort of special effects.I'm going to show you a good example in another prelude of Debussy. And this is a bit, oh, hokey I suppose but it's called La Cathédrale Engloutie, the engulfed, or sunken cathedral. And of course Monet painted the cathedral over and over again, all sorts of different views of this cathedral in different kinds of lights. Which cathedral was it? Notre Dame de Paris? No. Any art folks here? Sure. Jacob, which cathedral is it that Monet--show the next slide, please.It's an impression of the Cathedral of Rouen, which is about a hundred miles or so up river--no--down river toward the mouth of the Seine so you go the Seine toward Harfleur and you come to Rouen. And he painted this, and Debussy also constructed a musical equivalent of it. It goes this way. [plays piano] Notice all the parallel motion here. [plays piano] All right. So then the sun comes up on the cathedral. Let's see if we can get the sun to come up here a little bit on our cathedral. There we go, a little bit sunnier, and we get this kind of music and we'll get to our middle pedal here. [plays piano]Well, now Debussy is going to show you what the bells sound like on the cathedral. But as is the case with most of these French cathedral bells, there is one bell. It's called the bourdon, this huge, big, low bell, and he's trying to give us the impression of the bourdon here and he instructs that we should use the sostenuto pedal. This is a bit counterintuitive because we have the sustaining pedal to the right; now we've got this thing called the sostenuto pedal that also sustains but it sustains in a different way. It allows you to hit a note [plays piano] and hold that note [plays piano] and then you can play other stuff and clear that other stuff with your sustaining pedal while that note is still sounding down there. And he uses it here to get the effect of this large bell [plays piano] as the other bells sound above it [plays piano] and then a fade-out at that point. [plays piano]Okay. So that takes us to the end of this particular prelude, and I have a lot of other things I'd like to say about Impressionist music, very interesting stuff. I think I'm going to cut to the chase, however, with just showing you a few slides because we have a guest that we want to talk with and she is here, and we want tomove on to that. In the textbook, and you can read about this in the Impressionist chapter in the textbook--let's go on, Jacob, to the next slide. And the point here is the association of color.So we're going to make a point here and that is that musicians in this Western tradition of Bach, Beethoven, and Mozart and so on always tie line to color. In a section one day, I think it was Roger--where's my Roger--asked me--there he is back there--"How do we know it's a melody?" Well, one reason we know in all this complex of music that something is a melody is that in orchestrated pieces when it's melody time the composer will bring in a new instrument. It's like telling you, holding up a sign again, "Hey, here's the melody." The instruments are quiet. Then they come in to play the melody so let's listen to a famous passage of Tchaikovsky here out of "Romeo and Juliet" where you work up nicely in the strings. When we get to "melody" time, in comes the flute playing the melody and a French horn now enters to play an accompaniment with it. [music playing] Melody time. [music playing]Now that's one approach, but Debussy starts doing something a little bit different. He's going to start working just with color--a little bit, if we can get to it, of an orchestral piece with Debussy where he's using a new instrument. It's the human voice. What's the instrument singing here? [music playing] Not singing much of anything, just singing "ah." It's just--what he wants there is the warm sound, the stable, warm sound of the human voice, and--as Thomas Mann said--and he just brings that in, a little dab of color there, a little dab of color there. What's interesting him is not line but just color.He's going to pull in color away from line, and that begins to happen here in the painting of the period. They begin to intensify color and separate color from line. Here we have Matisse, nineteen oh-nine, "The Dancers." This is version one of this. You may not know that he actually painted this particular scene twice. Version one, notice just the kind of flesh-tone colors; notice the position of the knees. Now we're going to go to version two, two years later, much more intense. The position of the legs and the hamstrings here is much more angular and we have a much more visceral response to this because of the addition of the red color to it. And red becomes a very important color with the painters of this period and they begin to take this color and just play with the color itself outside of line, which is what Debussy is doing.So let's go on to the next slide here. Here is Matisse's "Red Studio," for example, where the color red begins to overrun everything or in musical terms let's go to Duffy's "Red Violin" here where the red varnish quality of the violin is spilling out--outside of the line or normal confines of the instrument. So that's an interesting point, I think--to watch these two arts work in tandem at this particular moment in history.All right. I'm going to stop here and introduce our guest, Naomi Woo. Naomi, come on up. I've never met Naomi, right. But it's nice to see you. Thank you for joining us today. So you're a pianist here at Yale, and we'll--So here's Naomi and we're going to turn the lights back on. So tell us about yourself nice and loud if you would, please. Are you a music major?Naomi Woo: I'm not sure yet. I'm a freshman--Professor Craig Wright: You're a freshman.Naomi Woo: Yes, I am. [inaudible]Professor Craig Wright: Interesting. So why didn't you go to Juilliard then, or Eastman?Naomi Woo: I actually decided to come here 'cause I wanted to do a liberal arts degree [inaudible] Juilliard and then realized that I didn't want to be sort of at a vocational school like that [inaudible]Professor Craig Wright: That's a smart move. I did it the wrong way. I went to--and it was a wrenching experience to go to the Eastman School of Music first and then go to Harvard after that because you really felt like a dummy. At least I did and rightfully so. So you're doing it the correct way. I think generally, whatever your trajectory is in terms of your particular profession, get your broad liberal arts background first and then focus more and more intensely on your specialty and then subspecialty and on it will go. So here you are taking piano lessons. With whom do you study?Naomi Woo: With Wei-Yi YangProfessor Craig Wright: So he is a faculty member of the School of Music across the street and our most talented undergraduates go over there to get their lessons and they do their practicing. How many hours a day do you get to practice?Naomi Woo: I try to practice two hours a day but I usually can't do that more than a couple times a week.。
耶鲁大学《聆听音乐》公开课笔记(5-8课)PDF版
耶鲁大学公开课《聆听音乐》笔记（第5—8课）目 录第5课 旋律：音符、音节，基本细节第6课 旋律：莫扎特和瓦格纳第7课 和声：和弦和如何创建主题第8课 贝斯风格：布鲁斯和摇滚第五课 旋律：音符、音节，基本细节关键词五线谱（staff）八度（octave）谱号（clef）高/低音谱号（treble/bass clef）音阶（scale）大调音阶（major scale）小调音阶（minor scale）半音阶（chromatic scale）主音（tonic）调性（tonality）导音（leading tone）升号（sharp）降号（flat）还原号（natural）跳进（leap）级进（step）转调（modulation）调式（mode）乐句（phrase）前句（antecedent）后句（consequent phrases）终止式（cadence）五声音阶（pentatonic scale）导引前面讲完了音乐坐标的横轴即第一维度的时值、拍子，开始谈论纵向，即第二维度的音高和旋律。
在音乐织体中，旋律通常在高音部分，因为在高音区域声波更容易听到、更清晰，其波长更短，频率更快，更容易让人听清细节。
五线谱的历史整套高音记谱法最早可以追溯到公元9世纪，在瑞士、法国、意大利北部的本笃会修道院里的修士和修女们开始在羊皮纸和石板上标记出旋律的大致走向，最终他们把这些曲调线分割安排在更确切的位置或更确切的音高上。
公元10世纪在意大利北部，一位叫阿莱佐·圭多的青年人发明了以水平线组成的网格标记出音高，开始是四线谱，后来也有过六线谱，到15世纪最终固定为五线谱，到公元1000年左右他们还制定出了规范，来标记每一个点、间和线。
八度音乐中相邻的音组中相同音乐的两个音，包括变化音级称为八度。
音高可以用字母来标注：C D E F G A B。
到B然后又从C开始重复，这是因为高音C的频率是低音C的两倍。
这样一个轮回构成音乐的八度。
《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。
耶鲁大学开放课程公开课Open Yale course 25科目目录(附高清中英字幕视频截图)麻省理工哈佛牛津斯坦福大学
耶鲁大学： 聆听音乐 麻省理工开：音乐的各种声音
心里学课程：
哈佛大学：幸福 耶鲁大学：心理学导论 耶鲁大学：有关食物的心理学、生物学和政
人文类课程：
耶鲁大学：旧约全书导论 耶鲁大学：1945 年后的美国小说 耶鲁大学：现代诗歌 哈佛大学：公正 麻省理工：西方世界的爱情哲学
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耶鲁大学开放课程聆听音乐配套6CD下载地址
中文名: "耶鲁大学开放课程:聆听音乐"配套6CD英文名: 6-CD Set for Wright's Listening to Music, 5th and Listening to Western Music学校: 耶鲁大学主讲人: Craig Wright发行日期: 2002年地区: 美国对白语言: 英语简介:引用More than any other music appreciation text, LISTENING TO MUSIC, 5th Edition, helps students to develop and refine their listening skills. Wright covers traditional Western music from medieval to modern and integrates non-Western music throughout the text where appropriate, drawing comparisons between Western andnon-Western musical cultures. Concluding chapters discuss popular music and its impact on musical globalization. Musical examples from each historical period are discussed within their social context, giving students a broad sense not only of the construction of a piece, but also of its historical and cultural meaning. This chronological text offers instructors and students particular help in developing listening skills in three ways: First, a free "Introduction to Listening" CD comes packaged with each student copy of the text. This CD plays all of the musicdiscussed in the music fundamentals chapters in Part I of the text, providing numerous demonstrations and quizzes, as well as an audio guide called "Instruments of the Orchestra." Second, Wright's text is the only one to provide Listening Exercises built into the book; a total of 47 Exercises delve deeply into the core repertory. Third, computer-enhanced Active Listening Guides and listening quizzes for all of the music in the text are available at no extra cost from the Thomson Schirmer website to further challenge and test your students.这套CD与《耶鲁大学开放课程:聆听音乐(Open Yale course:Listening to Music)》相配套(见下图)该课程培养在对西方音乐理解基础上对音乐的感悟。
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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。
浪漫主义时期你可以感觉到情绪上的猛烈波动，这类音乐风格就是19世纪的一种两极分化的音乐，而它却是发源于古典主义时期。
★示范曲目：莫扎特《G小调交响曲》（Little G Minor Symphony）这首乐曲以小调开始，有大量的燥动的切分音，在短短40秒内莫扎特就演变成一种截然不同的基调——开始由双簧管独奏大调。
这是一首抒情的曲子，现在的节拍或说是节奏都是整齐合拍而不散乱，就完全是另一种的音乐类型了，请注意他是如何在这么短时间内转变基调的。
刚才播放的这段音乐是电影《莫扎特传》（Amadeus）的片头曲。
这是一部非常精彩的电影：其一，当一个平庸之人遇到了一个完美的天才时会做什么？其二似乎有些讽刺意味，上帝所赐的天赋却降临在这样一个幼稚糊涂的莫扎特身上，电影的编剧彼得·谢弗尔（Peter shaffer）是根据什么创作的这部电影？在我看来，电影对莫扎特的描写是彻底的误解。
虽然电影的剧情发展很精彩，但其中对莫扎特的塑造和展现实在是不靠谱。
莫扎特的爱好：《莫扎特传》里有这样一个场景，他经常在一张台球桌上写曲。
这的确是事实，如果你们看到过莫扎特的一份遗嘱认证名单，这是在他死后人们在他的公寓里清点所有家具开列的清单，那里确实有张台球桌，但那不是真正意义上的“台球桌”（pool table）而是一张“弹球桌”(billiards table)，这有很大的差别，因为弹球游戏涉及到角度。
莫扎特一位好朋友迈克尔·凯利（Michael Kelly，男高音歌手）曾回忆说“他很喜欢打弹球，并且在房间里摆放了一张很精致的弹球桌，我们一起玩过很多次，但每次基本都是我输”。
莫扎特的另一爱好就是做算术，如果看到过莫扎特乐谱手稿，就会发现在纸的边缘写满了数字，都是各种基本的计算，有时还会有基本的代数公式。
为什么他会如此迷恋数字与图形呢？如果他走进一家餐厅，人们会看见他在用不同的方式反复折叠餐巾纸。
他写信的时候总是习惯倒着写，他热衷于字迷游戏等等。
再有就是莫扎特善于模仿，并有令人难以置信的模仿别人的能力，模仿他人的面目表情、方言等，他能说很流利的意大利语、法语、英语（他的母语是德语）；他有超强的音乐记忆能力，他14岁时在罗马的西斯廷小教堂听到一首从未在其它任何地方演奏过的经文歌时，就能凭记忆把整首曲子全部默写出来，这是一种特殊的能力。
这首经文歌大约有两分钟长，并有好几个声部。
我们第一次听到一段4、5秒钟的音乐时可以记住多少？显然莫扎特可以在他“内心听觉”中储存和处理大量的音乐。
如果你有绝对音准有时你就会明显地缩短整个过程，因为会被脑干识别到。
耶鲁神经系统科学家的一篇文章《你的大脑合调吗？》（Is you brain in tune）中说到，绝对音准在世界上的发生率估算为万分之一的人拥有。
由于莫扎特留下了很多手札，他常常写信，大部分是写给他的父亲利奥波德·莫扎特，这些文献有助于我们深入了解他。
莫扎特对死亡的理解：1781年莫扎特的一位好友冯·哈茨菲尔德伯爵（Count von Hatzfeld）突然去世，他在写给父亲的一封信中讲述了对死亡的看法：“死亡是生命的真正目的，在过去的两年里我对此深有体会，因此，我将死亡视作人类最真诚的朋友。
这样的想法让我对死亡再也没有了恐惧，取而代之的是安宁和欣慰。
我感谢上帝赐于我如此觉悟，让我有幸明白，死亡是通往真正幸福之路。
我每个夜晚从未厌倦地在思考，像我一样的年轻人也许明天再也不会醒来，但了解我的人没有任何人会说，我的一生是孤独或充满悲哀的。
那么我将无比感激造物主，并由衷希望他能将这样的幸福赐于我的朋友。
我很清晰地阐述了我对至交冯·哈茨菲尔德伯爵突然去世的看法，他和我一样只有31岁，我并不为他悲伤，却发自内心地为像我一样了解他的人难过。
”具有讽刺意味的是，莫扎特在此后只活了四年就去世了，而他却在如此短暂的人生中创作了众多丰富而优秀的音乐作品。
莫扎特从未进过学校或接受除音乐艺术以外的系统教育，他很小就显露出了非凡的音乐天赋，他的父亲便把他留在家中培养，并带他去世界各地演出展示他的音乐天赋，某种意义上可以说他上的是社会大学。
莫扎特音乐的特点1、可靠的平衡感和均匀感。
我们现在谈到的是音乐史上的古典主义时期，因为每一件事情似乎都处于平衡状态，这种风格你不会发现装饰物的过多点缀，不像巴洛克艺术那样充满了宏大、奢侈、戏剧性和明显的感官色彩，音乐中我们第一次感觉到这种平衡就是在古典主义时期。
我们在学习小节、拍子、乐句时，我让你们数拍子时总会发现它都是二加二、四加四、八加八等等非常匀称。
在古典主义时期这种形式第一次大规模地出现在音乐中，平衡、有形、完美的匀称。
★示范曲目：莫扎特的咏叹调《你们可知道》（Voi che sapete）罗兰·莉宝（Lauren Libaw）演唱我们只听其中的一小段，让听觉感受一下什么是结束乐句的前提。
前提有三次展开，然后嵌入，全部是“四加四”，纵观整个咏叹调都是这样的组织结构。
这是莫扎特音乐特点的第一点。
2、化平凡为神奇的能力。
在莫扎特的驾驭之下就像矛盾修辞法，有时候越是简单就越惊艳。
★示范曲目：莫扎特《C大调钢琴协奏曲》（即：鸳鸯恋协奏曲 Elvira Madigan)片段 这个别名来源于一部电影将它作为背景音乐，是根据《鸳鸯恋》小说改编而成。
莫扎特对一个简单的大三和弦只做了小小的修饰，而对下行的级进音阶Ⅴ、Ⅳ、Ⅲ、Ⅱ、Ⅰ加了一点有趣的东西——嵌入半音音阶，这就是我们这节课开始时谈到的。
三和弦，继续上升，再回落音阶，之后一个半音阶的转折，然后回到开始时的音型。
而他是如何做到的呢？这个被称之为属七和弦模式。
（白板上的谱表标有属七和弦音阶）这个是我们的基础C大调三和弦：C-E-G，但并没满只到2/3的位置，如果加上另外1/3就是七和弦，因为它跨越了7个音：C、D、E、F、G、A、B。
但它只是一个三和弦，以另外一个1/3推到顶端。
我们继续分析这段音乐下面的乐句：回到主音后继续，然后一个减和弦，在最后结束的地方加上一点点颤音。
尽管这是非常简单的素材，但却非常美妙而婉转。
3、莫扎特的猛烈波动基调，它开始于古典主义时期。
这种基调的变化包含在一首单独的乐曲中，但莫扎特把它表现得异常强烈，让它在大调和小调之间摇摆得非常迅速，在全音阶和半音阶之间转换得也一样快。
他想要展现不同的强弱变化程度，响亮而温柔，这是戏剧的本质所在，就是反差与冲突。
★示范曲目：莫扎特《安魂曲：羞惭无地》（Requiem Mass CONFUTATIS)片段我们从低音开始，小调的恶魔之地，振荡，然后扶摇直上到高音的天国，全新的环境；再回归到源头。
这就是第三点，非常强烈的，有时甚至是非常突兀的反差。
4、无穷无尽的旋律而带来无限的想象，这也是最近我在自己的研究中关注的一点。
当莫扎特在自己思绪有些混乱的时候不得不写下一些东西，但大部分东西都在他的脑子里，他只是要简单列一下对位关系，而旋律则无需草稿。
如果你们看到贝多芬的草稿，可以发现贝多芬力图精确地雕琢出旋律，他会一遍遍地尝试重来，《聆听音乐》教科书中有一张贝多芬创作第五交响曲时的草稿，上面有许多不同颜色的修改处，显示出他创作过程中的内心骚动和不断的演变，他甚至花了20年的时间来推敲直到他满意为止。
但莫扎特绝不是这样，他的创作如同行云流水、浑然天成。
★示范曲目：莫扎特《C大调弥撒》（C Minor Mass)片段这是莫扎特写的教堂音乐实例，为女高音创作（而这位女高音就是他的妻子）的这首曲子旋律的韵味堪称完美，而且是那样自然地继续着。
完美的曲式、比例，没有在此争斗的感觉，一切都那样悠然松弛，莫扎特可以让这样优美的旋律连续不断地持续下去。
有时这会让他惹上一些麻烦。
莫扎特的一生有两段佳话，一是《后宫诱逃》（Abduction from the Seraglio）上演时，国王看后赞叹道：“亲爱的莫扎特，这太美妙了，但是音符太多了！”而莫扎特答道：“一个不多，一个不少，绝对合适，殿下。
”《唐璜》（Don Giovanni）第一次在维也纳演出时，在结尾部分还是那个国王约瑟夫二世（Joseph Ⅱ）说：“亲爱的莫扎特，这音乐就像太多的肉，对维也纳人的牙齿来说太难咀嚼了！”莫扎特这次回答说：“让他们多咀嚼一会吧，他们会习惯的。
”后来维也纳人的确习惯了，但不幸的是，那时候他却不在了，他未能在有生之年看到自己的成功。
听莫扎特音乐有种感觉：完美的曲式，完美的比例，变奏中音符的数量恰到好处。
那个时期他被称为“神童莫扎特”，现在我们仍然这样称呼他。
一个作曲家被贴上标签是很有意思的，比如巴赫，我们不称他为“神童巴赫”而称他为坚定的巴赫、勤劳的巴赫等等；称贝多芬是强大的、努力的作曲家。