-
With the Tchaikovsky they--all the intervals are the--the durations are the same, but with the Beethoven, short, short, short, long.
柴可夫斯基的乐曲中,所有和弦的时值都是一样的,但贝多芬的乐曲里,却是短音,短音,短音,长音
-
So what I'd like to do now is focus on a piece that emphasizes--foregrounds-- just the first axis, pitch.
那么现在我要做的是集中精力于一首乐曲,它所强调的,突出的,只是这第一维,音高
-
There's a finite number of notes but a limitless number of musical compositions.
音符的数量是有限的,但乐曲的数量却是无限的
-
All right? Now let's listen to a little bit more of this, and something interesting happens to the beat.
明白了吗,现在让我们再听一段,有趣的是乐曲的节拍
-
So, this is some of the last music that Beethoven wrote in the setting that we're about to listen to.
因此,它也是,我们这套唱片里,贝多芬最后的那些乐曲
-
Okay. So let's--I'm going to ask them to queue the next piece here while we talk about that just for a moment.
我先问问题然后再放下面的一段乐曲,我们刚刚才谈到的
-
It's kind of a disintegration of the sound at the end, disintegration of the sound at the end.
乐曲的最后像声音的瓦解,声音的瓦解
-
Now there's another kind of counterpoint called "Free counterpoint" where it's highly independent lines are sounding but they're not imitating one another.
现在又有了另外一种,对位法叫作,自由对位,乐曲里独立的声线同时进行,但是没有彼此模仿
-
What an odd thing to say, but in any event here is how this works.
说起来这是多么古怪的事,但这里,我们要讲乐曲的原理
-
A lot of music is made up of these two-four and four-four sorts of aggregates.
很多乐曲是由,这些二四拍和四四拍的小节组合而成的
-
It begins with what I always hear as a kind of funeral cortege idea.
乐曲的一开始,我总听着觉得像列队出殡的乐句
-
It kind of brings us to the end of Richard Strauss, our discussion of Richard Strauss.
我们对理查·施特劳斯的探讨,将由这首乐曲画上句号
-
It happens to be the first of these three movements and it's pretty spectacular music.
上面的片段出自三个乐章中的第一乐章,它是首相当的宏大的乐曲
-
Now this is a piece that's always interested me because the painting is very pedestrian.
于是就有了这首总是让我产生兴趣的乐曲,因为画本身非常单调
-
It's the most important thing and our conducting pattern always has to have the downbeat of the hand in sync with the strongest impulse in the music , the strong.
这是最为重要的,而我们的指挥手势,总是和着乐曲的强音,做出重拍的动作
-
So the direction that music goes can also affect how we feel about it, our mood about it, so I think the next question-- I play another piece for you.
所以乐曲的走向,同样可以影响我们对它的感受,影响我们的情绪,因此我觉得下一个问题,我为你们弹奏另外一曲
-
The composer-- Anybody know the composer of this?
曲作者,谁知道刚刚这段乐曲的作曲是谁
-
So he's coming up initially just through octaves.
开始的时候乐曲按着八度音阶升高
-
So those are the three pieces and the issues there had to do with musical genre that we're going to talk a little bit more about in a moment, and the instruments.
就是这三首乐曲,与它们的音乐风格相关的知识,我们接下来会进一步探讨,还有关于乐器的知识
-
It's another piece by Richard Strauss.
是理查·施特劳斯的另一首乐曲
-
Who is playing the beat?
哪个来确定整个乐曲的拍
-
The theme comes back.
乐曲的主题回归了
-
What happy music. Right?
多么欢快的乐曲,不是吗
-
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
-
Let's pause it there, and as we said last time, it operates in that fashion, and that beginning gives us a good opportunity to make a distinction between two types of melody, between this idea of a motive and a theme.
稍微停一下,就像我们上次所说的那样,它是这样,编排的,乐曲的开始乐段给了我们很好的范例,来区分两种旋律类型,区分动机和主题
-
Let's go on to the finale now, and as we listen to the finale let's think about what we heard at the very beginning and talked about last time, about the mood that the beginning of the Fifth Symphony created for it.
现在要接近终曲了,当我们听最后乐章时,让我们想想在乐曲开头听到了什么,还有上次我们谈到的内容,关于第五交响曲开头的感情基调
-
Let's see how these play out by means of a quick review of Beethoven's Fifth Symphony so all we're going to do here is going to go from the beginning of the track for the first movement to the second movement and so on, and well, let's just start here.
让我们通过迅速回顾贝多芬的第五交响曲,看乐章是如何表现的,我们现在要从,乐曲的第一乐章开头开始,听到第二乐章,以此类推,好,让我们从这开始
-
Music gets us to do particular kinds of things, gets us to feel particular kinds of ways, and I think these two pieces by the same composer get-- cause--us to feel very, very different, cause a different mood, a different psychological state, to come over us.
音乐赋予我们别样的行为方式,让我们通过别样的途径来感受,还有我觉得这两首来自同一个作者的乐曲,给予我们截然不同的感受,两种截然不同的情绪,两种截然不同的精神状态,笼罩着我们
-
So what we want to do now is to begin to think about counting measures, and we're going to do this by staying with this piece of Louis Armstrong here, and we need to be able to count measures so that we can figure out the syntax of music.
现在我们想做的,是大家开始想一下怎么数小节,我们通过,路易斯·阿姆斯特朗的这段乐曲,来做这个活动,我们需要能够数好小节才能弄清楚,音乐的句法
-
Okay, so that gives you a flavor of that and you have that, of course, on your CD number six, fifteen.
好啦,这就是那种风味了,乐曲在你们6号CD的第15首
应用推荐