And, of course, there's this-- another acoustical phenomenon here we've talked about before, what's the relationship within an octave?

当然,就是这个,我们以前谈论过的,另一种声学现象,八度的内部联系是什么呢

耶鲁公开课 - 聆听音乐课程节选

So there are a lot of acoustical things and sort of tricks of synthetic things going on in pop music.

所以在流行音乐中有很多声学的东西以及合成的技巧在里面。

耶鲁公开课 - 聆听音乐课程节选

No, not really. There's nothing in the laws of acoustics here that cause that to be the case.

没有,算不上,没有任何的声学法则,是它的成因

耶鲁公开课 - 聆听音乐课程节选

So Musorgsky knew this law of acoustics because he was a professional musician and was playing off of it to create this rather unusual and remarkable musical sound-scape here.

穆索尔斯基明白这个声学规律,因为他是位专业的音乐家,他通过制造这非凡卓越的音乐场景,表达了这个规律

耶鲁公开课 - 聆听音乐课程节选

We don't have time to review that, but let's go on to say the following, that what Musorgsky knew there was a very basic principle of acoustics, and what is that principle?

我们没时间回顾,我们继续讲接下来的内容,穆索尔斯基知道,一个基本的声学原理,是什么原理呢

耶鲁公开课 - 聆听音乐课程节选

What's happening and interests me acoustically, and again we'll come back to it, is that we're getting up toward here, and notice how these pitches in terms of the ratio frequencies are getting very close together.

这段乐曲从声学的角度上让我很感兴趣,我们再看看它,音乐升高到这里,然后我们注意到这些音高,是如何根据频率比最后汇合在一起的

耶鲁公开课 - 聆听音乐课程节选

French horn, yeah,but notice that if we take this aggregate-- and we're back to that same idea of the octave,the fifth,the fourth and the third, sort of,so it's again sort of primordial, this particular acoustical basis of so much of music.

法国号，对，但是注意，从总体的角度来看-,我们又回到了八度的概念，第五，第四，第三，大概是这样，所以这依然是是很基础的形式，许许多多音乐都是以这一种形式为声学基础的。

耶鲁公开课 - 聆听音乐课程节选

And this point-- that it is culture rather than acoustics-- was brought home to me once in a discussion with a student here at Yale who said to me, "Yeah, but over there at the Slifka Center, we Jews have lots of happy melodies and they are all in minor--what you would call minor."

还有一点,大小调是文化差异,而非声学,有个耶鲁的学生上我家里去讨论,他对我说,哈,就在这个斯利夫卡中心,我们犹太人有很多快乐的旋律,都是小调,就是你说的那种小调

耶鲁公开课 - 聆听音乐课程节选