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The music for the mask, which still exists at least, the melody still exists, was written by Henry Lawes, the most important musician working in England.
现在流传下来了的《面具》的音乐，亨利劳斯写的旋律依然存世，亨利是英国最伟大的作曲家。
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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
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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。
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Who is the composer of the piece that you're about to hear and what is its title or what's it called?
下面你们要听到的片段的作曲家是谁,曲名是什么
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The first, you can see on the board up there, is by another Russian composer, Modest Musorgsky.
首先,你可以看到那边的黑板上,是另一位俄罗斯作曲家,莫戴斯特·穆索尔斯基的作品
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So the composer in the West is very important, more important than the composer in other cultures.
所以在西方,作曲家的地位是非常重要的,比其他文化中的作曲家更重要
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If he's going to sit there on one chord for that amount of time, it's going to go on for a long period of time.
既然作曲家能放任一个和弦行进这么久，他一定有的是时间。
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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
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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
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Who is the composer of this and what--in what composition is this piece used?
作曲者是谁,片段出自哪部作品
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I don't hear most of it. But there are moments, and they're moments that give me pleasure when I can say, "Oh,yeah. That's what he's doing there."
我也只能听出一小部分，但是有时候，这些时候总是让我激动，我会发现，哦对，这正是作曲家在做的“
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We can kind of freeze dry this thing and store it and then bring it back to life more or less exactly as the composer had intended.
我们相当于把这件作品干燥冷藏起来,并能够还原作品,比较精确地吻合作曲家的原意
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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
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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
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So again the process of notation allows the composer to loom larger.
所以再一次强调记谱法的作用,它让作曲家的地位更加突出
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Maurice Ravel was a French composer writing in the early twentieth century.
莫里斯·拉威尔是法国作曲家,是二十世纪早期的
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So we've got four chords operating here and they're changing regularly.
这一段作曲家一共调用4个不同的和弦，它们不断有规则地改变。
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Now the master of syncopation, of course, in music was Scott Joplin, African American composer writing a lot around the area of St. Louis in the turn of the twentieth century.
说到使用切分音的大师,我们自然想到斯考特·乔普林,是位多产的美国黑人作曲家,二十世纪初居住在圣路易斯地区
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The composer-- Anybody know the composer of this?
曲作者,谁知道刚刚这段乐曲的作曲是谁
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The great architect, the thinker is the composer and the performer, the violinist, gets this piece of-- gets this blueprint or black print in the case of musical notation and is expected simply to replicate the black print.
伟大的建筑师,构想者,是作曲家,而演奏者,比如小提琴手,拿到这张,拿到这张蓝图之后,对音乐记谱法来说该叫,黑图,他只是被要求简单地把黑图复制出来
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That's a one-movement work in which the composer tries to tell a story or play out an historic event or, in the case of the Strauss, to give us the beginning of the contents of a philosophical novel through music.
交响诗是类单乐章作品,作曲家试图从中讲述一个故事,或是再现一个历史事件,而施特劳斯,通过音乐,为我们讲述了一部哲学小说开头的内容
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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
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Okay. Debussy, a French composer writing at the end of the nineteenth century in the Impressionist style, and the piece is called Moonlight-- Clair de Lune--but again you may- you'll come out of this course-- four months from now you'll know all of this stuff.
好的,德彪西,是一位法国作曲家,创作于,十九世纪末期,采用印象主义的手法,还有就是它叫做月光,月光,再说一遍,当你完成这个课程后,也就是四个月后,你会掌握到这方面所有的知识
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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。
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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
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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。
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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。
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I want to play this one with the piano a little bit and I ask you the name of the composer of this piece-- it's a bit less well known but maybe not-- what it's called and when in the history of music it was written.
我会用钢琴演奏一小段,然后我会问它的作曲是谁,这曲子有点不太知名,也说不准,它叫什么,在音乐史上是什么时期创作出来的
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Okay.So that's an example of a classical composer, admittedly in a pretty straightforward situation, using the same three-chord chord progressions we find in the Beach Boys.
好，以上我们举了一个古典作曲家的例子，诚然这个选段的结构比较简单，直接了当，它所用的包含三个和弦的和弦进程与我们在Beach，Boys音乐中分析的相同。
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Let's listen to an erhu play a melody by a traditional Chinese composer— we call him in English "Abbing" and you can read about him there in your textbook.
让我们听听一段二胡旋律吧,它由一位中国早年的作曲家创作,英语中我们称呼他Abbing,当然,课本上有他相关的信息
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