Well, there are four principal ways that composers signal to us the whereabouts of the down beat.

以下有四条主要途径,是作曲家用来告诉我们重拍在哪里的

耶鲁公开课 - 聆听音乐课程节选

Most frequently, chord changes come on the downbeat so composers signal to us in a fourth way the downbeat by means of chord change.

通常,和弦的变化都在重拍上,所以作曲家们用这第四种途径,通过和弦的变化告诉我们重拍的位置

耶鲁公开课 - 聆听音乐课程节选

I think it's been set by a number of composers over the years.

它是由许多作曲家在数年间相继完成的

耶鲁公开课 - 聆听音乐课程节选

The third way that we--that composers signal to us that we pick up almost intuitively the whereabouts of downbeats is through patterns of accompaniment. We'll call it range.

第三条途径,是作曲家给我们的信号,让我们几乎能马上挑出,哪个是重拍的途径,是通过伴奏的样式,我们称之为音域

耶鲁公开课 - 聆听音乐课程节选

We talked about the auditory cortex the first section and maybe there are other parts of the brain that are factoring in here as well but how is it that composers send this information to let's say, our auditory cortex here?

我们在第一节课的时候谈到过听觉皮层,也许大脑的其他部分,也参与了进来,但作曲家是怎么做到把这些信息,传送到我们所谓的听觉皮层的呢

耶鲁公开课 - 聆听音乐课程节选

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