And we talked about a triad being a configuration of three pitches where you take the first, the third and the fifth.

三和弦是由三个音高配置成的，你们可选取第一，第三和第五个音。

耶鲁公开课 - 聆听音乐课程节选

And so around this time,the third,fourth,and fifth century, we get different codices,different codexes,that is books.

所以在主后第三至第五世纪，出现了各种抄本，也就是书。

耶鲁公开课 - 新约课程节选

And that you might look at, for example, that first example, and say, man by this stage it was already sorted, yet it had to go through and check that the third element was in the right place, and then the fourth and then the fifth and then the six.

你可能会去看看例如第一个例子，然后要抱怨，到这里,它已经是排好序的了,但他还是得去遍历查看,第三个元素是不是在正确的位置,然后第四个，第五个，第六个。

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So we could say this is the root, maybe this is the third and that's the fifth.

我们可以说这个是根音，或许这个是三音，且那个是五音。

耶鲁公开课 - 聆听音乐课程节选

And fixed versus variable speaks to whether you give a reward on a fixed schedule, every fifth time, or variable, sometimes on the third time, sometimes on the seventh time, and so on.

固定与变化则是相对于,你是否根据固定时程给予奖励而言的，每五次就给予奖励，或者是变化的，有时候在第三次上给予奖励，有时候则在第七次上给予奖励。

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So we're talking about the third,fourth and fifth,sixth centuries.

大约是主后第三世纪,至第六世纪。

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It's interesting,though,he does list the letters of Paul last, behind the other letters,rather than before them, as we have in our list. And then, we don't really start getting any kind of consistency with this until into the third and fourth and fifth and sixth centuries.

有趣的是他把保罗的书信放到了最后，它被列在其他书信后面而非前面，这跟现代的书目一样，书目最终的确定时间,是在主后第三至第六世纪。

耶鲁公开课 - 新约课程节选

French horn, yeah,but notice that if we take this aggregate-- and we're back to that same idea of the octave,the fifth,the fourth and the third, sort of,so it's again sort of primordial, this particular acoustical basis of so much of music.

法国号，对，但是注意，从总体的角度来看-,我们又回到了八度的概念，第五，第四，第三，大概是这样，所以这依然是是很基础的形式，许许多多音乐都是以这一种形式为声学基础的。

耶鲁公开课 - 聆听音乐课程节选