A second point is it's beautifully written and you're not also, not allowed to write that way anymore either.

二是，这描述的很美,你不能,同样，不允许你以这种方式写。

耶鲁公开课 - 心理学导论课程节选

It's the bass because it's organizing itself very strongly in duple patterns.

是低音,因为低音非常明确地以二拍子的方式组成

耶鲁公开课 - 聆听音乐课程节选

I would hope that how you lead your life ten years from now, twenty years from now, thirty years from now, would have been significantly influenced by this particular experience in this course.

我憧憬着,十年,二十年,三十年后,你们会怎样经营自己的生活,你们的生活方式,会怎样被这门课深深影响

耶鲁公开课 - 聆听音乐课程节选

What we've got here is the following, this idea of partials that Eva was talking about with ratios, two to one, three to two, four to three, five to four, six to five and so on, and the point here is that the way we differentiate between instruments.

接下来,我们要讲的是,伊娃刚谈到的泛音的高低比率,二比一,三比二,四比三,五比四,六比五,等等,这里我要讲的是,我们区分乐器的方式

耶鲁公开课 - 聆听音乐课程节选

This would be? Well let's think through this in one additional way and that is--notice that in duple meter we have a strong beat, right "Strong, weak, strong, weak, strong, weak, strong weak" in that sense or if we have triple it would be "Strong, weak, weak, strong, weak, weak."

是什么呢,我们用另一种方式来想,这个,你们知道二拍子,有很强的鼓点,对吧,强,弱,强,弱,强,弱,强,弱,那在这种情况下如果我们拿一段三拍子,那就会是,强,弱,弱,强,弱,弱

耶鲁公开课 - 聆听音乐课程节选