A motive is just a little cell, a germ, out of which the composer will build other musical material.

动机只是个微小的细胞,一个胚芽,基于它 作曲家会创造新的音乐素材

耶鲁公开课 - 聆听音乐课程节选

We need to deprive, again, the poets, the song makers, the lyricists, the musicians, the mythmakers, the storytellers, all of them, the power to enchant us.

我们必需剥去，诗人、作曲家、抒情诗人、,音乐家、神话创造者、说书人等，这类人迷幻我们的能力。

耶鲁公开课 - 政治哲学导论课程节选

So having said that about musical notation-- something about a cautionary tale about musical notation-- we should think about how it affects the way we compose music in the West and how we perform music in the West.

讲完记谱法的一些,足以为戒的故事之后,我们也该想一下,它是如何影响西方音乐的作曲方式的,以及如何影响西方音乐的演奏方式

耶鲁公开课 - 聆听音乐课程节选

Now let's go on here to listen to some music of Rossini-- composer Gioachino Rossini-- coming after Mozart, and he likes chord progressions too, so we're going to listen to a passage of Rossini and see what he does by way of his chord selection.

我们继续，在莫扎特之后我们要听的音乐来自罗西尼-,作曲家焦阿基诺，罗西尼，他也很喜欢用和弦进行，我们来听一下罗西尼的片段，看看他是怎样选择和弦的。

耶鲁公开课 - 聆听音乐课程节选

It gives a sense of what this music is all--really all about and since, as we were saying, so much classical music doesn't have a text with it we've got to have some markers in there to know what the composer is trying to communicate to us.

让我们了解这段音乐想表达什么，就像我说的，大部分古典音乐并没有文字注解，而我们需要一些标记,来告诉我们作曲家想用这段音乐告诉我们什么。

耶鲁公开课 - 聆听音乐课程节选