The first three or four weeks or so we'll be following the elements of music: rhythm, melody and harmony-- and then a test.

开始的三或四周,我们会逐个介绍,音乐中的元素,节奏,旋律,和声,然后有一个考试

耶鲁公开课 - 聆听音乐课程节选

So the whole piece,then,would be a piece involving irregular rate of change-- the entire piece.

所以整首歌曲中和声都有不规则的改变-,整首歌曲都是。

耶鲁公开课 - 聆听音乐课程节选

Socrates never says Simmias, here's what your objection goes wrong: harmony is not really invisible or can't be destroyed, whatever it is, so we don't have a counterexample.

苏格拉底从没说过，西米亚斯,你的观点在这里有错,和声并非无形或者不可毁灭，所以我们没有了反例。

耶鲁公开课 - 死亡课程节选

This is a harmony with a very simple rhythm here.

这是个和声,有一点简单的节奏

耶鲁公开课 - 聆听音乐课程节选

So we'll focus on the bass and we'll try to sing the bass, and if we find that in singing the bass our voice is not changing, probably the harmony hasn't changed.

现在把我们的注意力放到低声部上，尽量唱出低声部，如果在唱的过程中我们觉得自己的声音没有变化，那和声就很有可能没有改变。

耶鲁公开课 - 聆听音乐课程节选

So if what Socrates means by invisibility is the first notion: can't be seen with your eyes, then the argument is not any good, harmony is a pretty compelling counterexample.

所以如果苏格拉底说的无形,是第一个意思：，眼睛看不见，这个论证就不好，和声是个很有说服力的反例。

耶鲁公开课 - 死亡课程节选

I want to make one other point before we launch into that, and that is the following: that composers use the rate of harmonic change-- whether it's changing or not changing-- to sort of make us feel different ways about the music that we are listening to.

在此之前我还要说一个问题，不管和声有没有改变，作曲家都能通过和声改变的频率-,让我们对所听的音乐有不同的感受-,它能让我们感受到这段音乐。

耶鲁公开课 - 聆听音乐课程节选