耶鲁大学《聆听音乐》公开课笔记(9-12课)

Professor Craig Wright: Okay. Let us start, ladies and gentlemen. We're going to pursue the issue of musical form today. It's an important thing to talk about because it allows us to follow a particular piece of music, and we'll be--I am using this metaphor of a musical journey and wanting to know where we are in music throughout the day today. Form is particularly important in all types of music--popular music as well as classical music--and we have this complex of material coming at us, this sonic material. And we try to make sense of it, and we say that it has a particular form. And we say it could have a particular structure even, so we tend to use metaphors having to do with architecture and things such as this.What we are really doing here is taking all of this sonic information that's coming into our brain and getting sorted, and makes us want to dance around or clap or be sad or happy, and make sense of it in terms of a few rather simple patterns. And musicians like to have forms because oftentimes it tells them what they ought to do next and where--here--I'm here but what ought to happen next? Well, if you've got a tried and true musical form that other musicians have used over the years, you might be inclined to use it too because your know your listener will be able to follow you.Now the other day, I asked early on in the course about the form in popular music, and I threw this out not really knowing what the answer would be. What's the most common form that one encounters when dealing with pop songs? And for the most part there was silence across the room, but one student--I have tracked him down--Frederick Evans, gave a very good answer--really a better answer than I could have given. So, clearly Frederick knew something about this idea of what he I think referred to as "verse and chorus" structure.I might call it "strophe and refrain," but it's the same thing whether you have it in a Lied of Franz Schubert or in a piece that I know nothing about. And Frederick is going to show us--introduce us--to a piece that I know nothing about. I sent him an e-mail last night saying, "Frederick, you gave a really good answer. Why don't you pick a piece, come up and demonstrate this?" So this is Frederick Evans. We're going--or excuse me. Yeah, Frederick Evans. He's going to come up here. I'm told we have to give him a microphone and he is going to introduce us to this particular piece. Now you probably all know what this piece is. How many of you have heard the piece we were just listening to? Everybody knows it. Who is the one person in the room that's never heard this piece before--has no clue what's happening? Moi. Okay? So Frederick, tell me about this piece, please.Frederick Evans: All right. This is a piece by 'N Sync--back when I was in fifth grade--and it's "Bye Bye Bye," and the pattern that it follows is really the archetype of a lot of popular songs. It's half of the chorus or so when it starts and then there's verse, chorus, verse, chorus and then what I call the bridge, which is like an emotional climax. And then the last one is a really powerful chorus where they just bring it home and then the music fades away.Professor Craig Wright: Okay. So it's this idea of changing text, then coming back to familiar text and familiar music, then changing, going back to the familiar new text, and then coming back to the familiar in terms of the chorus. Is that a fair shake?Frederick Evans: Yes, Sir. Yes.Professor Craig Wright: Okay. So shall we play--what are we going to hear first?Frederick Evans: So first you'll hear from seconds twenty-four to forty. This is an example of the verse where they have the beginning of the plot and then you have the chorus at seconds--about fifty-six--and that's where you get your repeating idea, which is what the piece is based on. And then last but not least, you have the emotional buildup where the background and the chord progression changes, a little more solemnly, and then there's the last chorus that just brings it home.Professor Craig Wright: Okay. Great. Let's listen to the-yeah. [music plays] Okay.Frederick Evans: Yep. So that was the first verse and that's when they really get you into what they're talking about.[music playing]Professor Craig Wright: What really interests me here is what they're using is a baroque ostinato "Lament bass" but that's--we'll get on to that in another week or so. So that's--okay. Now we'll go to the bridge, Frederick?Frederick Evans: Yes. There at the bridge is where they really sum up all their emotions and they really just want to tell you what they're building towards. [music playing]Professor Craig Wright: Okay. That's wonderful. Thank you, Frederick. That's exactly what I wanted. [laughs] [applause] Okay. How many want Craig to continue teaching this course and how many want Frederick? Let's hear it for Craig. [laughter] Let's hear it for Frederick. [applause] I knew it. Okay, but that's a good way of getting introduced to the idea of musical form.Let's talk about form now in classical music. The forms are a little more difficult in classical music because the music is more complex. And before we launch into a discussion of these musical forms, I want to talk about the distinction of genre in music and form in music. So we're going to go over to the board over here and you can see that I've listed the standard classical genres. What do we mean by genre in music? Well, simply musical type. So we've got this type called a symphony and this type of music called a string quartet and concerto, and so on. We could add other types: ballet, opera, things such as that. In the popular realm we've got genres too. We've got--classical New Orleans jazz would be a genre. Blues would be a genre. Grunge rock would be another sort of genre.A genre presupposes a particular performing force, a particular length of pieces and even dress and mode of behavior of the auditors--the listeners. If we were going to listen to the genre of a symphony, we would dress up one particular way, go to Woolsey Hall and expect to be there from eight o'clock until ten o'clock. If you were going to hear the Rolling Stones play at Toad's--where they do play occasionally--obviously one would not come at eight o'clock. One would come later, and one would dress in a particular sort of way and one would behave, presumably, in a different sort of way. So that's what we mean by genre, a kind of general type of music.Now today we'll start to talk about form in music, and what I need to say here is that each of these genres is made up of a--of movements, and each of the movements is informed by a particular form.So with the symphony we have four movements there: fast, slow, then either a minuet or a scherzo, and a final, fast movement, and each of these movements can be in one of the number of different forms and we'll talk about what they are in just a moment.So when we come to the string quartet, same sort of thing: fast, slow, minuet, scherzo, fast. Any one of those can be in a particular form. Concerto, generally, as mentioned before, has just three movements and sonata, a piano sonata, something played on a piano, or a violin sonata with violin and piano accompaniment--they generally have just three movements: fast, slow, fast. Okay.Let's talk about our forms now. In classical music things go by very quickly and it's difficult to kind of get a handle on it, and we, generally in life, don't like to be lost. We like to know where we are, we like to know what is happening, and this is what form allows us to do. So that if we're hearing a piece of music and all this stuff is coming at us we want to make sense of it by knowing approximately where we are. Am I still toward the beginning? Am I in the middle of this thing? Am I getting anywhere near the end of it? How should I respond at this particular point? Well, if we have in mind what I've identified here, we will be referring to as our six formal types, and we can think of these as templates that, when we're hearing a piece of music we make an educated decision about which formal type is in play. And then we drop down the model of this formal type, or the template of this formal type, and we sort of filter our listening experience through this template, or through this model.So here are our six models: ternary form, sonata allegro form, theme and variations, rondo, fugue, and ostinato. And they developed at various times in the history of music. Theme and variations is very old. Sonata-allegro is a lot more recent. Now of these, the ones that we'll be working with today are ternary form and sonata-allegro form, and sonata-allegro is the hardest, the most complex, the most difficult of all of these forms. It's so-called because it usually shows up in the first movement of a sonata, concerto, string quartet, symphony, so--and the first movements are fast so that's why we have allegro out there, and it most is associated with this idea of the sonata. It didn't necessarily originate there. It originated there and in the symphony, but for historical reasons we call this sonata because of its association with the sonata and the fact that it goes--and the fact that it goes fast--sonata-allegro form. So that in a symphony, usually your very first movement will be in sonata-allegro form.Your slow movement, well, that could be in theme and variations; it could be in rondo; it could be in ternary form. Your minuet and scherzo is almost always in ternary form and your last fast movement could be in sonata-allegro form. It could also be in theme and variations; could be in rondo; could be in fugue. Sometimes it's even in ostinato form. So you can see that these forms can show up and control--regulate--what happens inside of each of these movements. Okay? Are there questions about that? Does that seem straightforward enough? We have a big picture of genre here, movements within genre, and then forms informing each of the movements. Yes.Student: Did you say that the ternary form is normally used for the second movement?Professor Craig Wright: No. I said it's possible that it is--could be--used for the second movement. A ternary form is one of the forms that could be used with the slow second movement. We could also have theme and variations. We're going to hear one of those later in our course. It could also be a sortof slow rondo. So it's just one of really three possibilities there, but thanks for that question. Anything else? Okay.If not, let's talk then about ternary form because ternary form has much in common with what we experience in sonata-allegro form. Let me take a very straightforward example of ternary form. It's from Beethoven's "Für Elise," the piece--the piano piece that Beethoven wrote for one of his paramours at one time or another. Here. I'm going to tell you a story about this. My cell phone broke the other day.My cell phone broke the other day so I had to buy a new one. I was really happy about that. I hated to lose my old Mozart theme, but I then had to find a new Mozart theme. And nowadays my selections are more limited. So when you go on to these things--and in truth, I actually had my youngest son do this because I'm hopelessly incompetent with this kind of thing--you go on to these things, and now they only have one option for classical music, one option for--but it's called "Mozart" so good choice. Mozart has become the icon of classical music and I think it's the individual that should be the icon for classical music. All classical music now has been reduced down to just Mozart. Okay. I have no idea what that was about, but, well, who's calling?All right. So we have this piece in ternary form by Beethoven, and ternary form is--conveys to us simply the idea of presentation, diversion, re-presentation or statement, digression, restatement--anything like this. We like to diagram these in terms of alphabetical letters. You can think just A, B, A. [plays piano] All right. I'm going to pause here. We started out here. [plays piano] We are in this key. Major or minor? What do you think? Minor. All right. So were coming to the end of this A section. Here--The A section is very short [plays piano] but then [plays piano] we--major or minor? Major. Right. [plays piano] So what happened there? What do we call this? [plays piano] It's a very quick modulation. We've changed keys.And I'm going to digress here just for a moment to talk about this, which is this concept of relative major and minor. You may have noticed in music--and it's discussed briefly in the textbook--that there are pairs of keys, pairs of keys that have something in common. The members of the pairs have the same key signature, and we could take any key signature--three flats or two sharps, whatever--but there's going to be one major key with three flats and one minor key with three flats.And I think we have up on the board here an example of just that so you can see written in here the three flats, and this is a minor scale with three flats. Now we could also have three flats over here, but we encounter three flats where we have the major scale. This happens to work out so that it's pitched on C. If we come up three half steps in the keyboard, we come up to E-flat so the relative major--the major key in this pair--is always three half steps--[plays piano] one, two, three--three half steps up above its paired minor. Here's another one down at the bottom--happens to have one sharp in it. We have the key of G major here with one sharp but if we come down three half steps [plays piano] we get its relative minor down here, and the reason I mentioned this is not because we actually hear this very much.I'm not sure that I hear modulations to relative major because I don't have absolute pitch and I'm not tracking keys when I listen to pieces--and my guess is you're not either. So for the average listener, we may not hear the actual pitch relationship but we may hear that we've had a modulation and you cankind of make an educated guess: that about fifty percent of the time if it's going minor to major, it's coming in this relative arrangement-- where major down to minor; it's going in this relative arrangement, so this happens a lot.So here we are in the mid section of our ternary form, A B A. Here's the B part [plays piano] and then back to [plays piano] the minor A. [plays piano] Now that's just the opening section of this piece. It goes on to do other things, but it's a very succinct example of ternary form, and ternary form is a useful way of introducing a larger concept, which is sonata-allegro form.So let me flip the board here, and here we go on to this rather complex diagram. As I say, it's the most complex one of all the six forms that we'll be working with. It consists of three essential parts: exposition, development and recapitulation. So you could think you were coming out of ternary form. You've got an A here, you've got a B idea here and then you've got an A return back here--but this is a lot more complicated. There are things--lots of things--going on.And I should say also--in terms of fairness in advertising--that this is a model. This is also something of an abstraction or an ideal. Not every piece written in sonata-allegro form conforms to this diagram in all particulars. Composers wouldn't want to do that--they'd have to assert their independence or originality in one way or another--but it's a useful sort of model. It tells us what the norm is, what we can generally expect. So we've got these three sort of sine qua non here and then we've got two optional parts of this that we'll talk about as we proceed.So this is the way we set out then sonata-allegro form: exposition, development, recapitulation. So we start out with the first theme, in the tonic key of course. It might even have subsets to it so that we could have one A and one B and one C up here. I won't put them up there but it can happen. Then we have a transition in which we have a change of key, moving to the dominant key. Transitions tend to be rather unsettled. It gives you the sense of moving somewhere, going somewhere. That's why it's called a transition. It could also--musicians like--quickly--like to call it a "bridge." It's sort of leading you somewhere else--and maybe in that way it is similar to the type of bridge that Frederick was talking about earlier. So we have a transition or bridge that takes us to a second theme in--now in the dominant key. If, however, our symphony happened to begin in a minor key, then the second theme would come in in the relative major. So if we had C minor as Beethoven does in his Fifth Symphony-- [plays piano] So there we are there in C minor, but the second theme [plays piano] is in the relative major of E-flat. Both have three flats in it. So if you have the start in minor, then composers traditionally modulate, not to the dominant, but to the relative major--which is up on the third degree of the scale. That's why there's a big three (III) there.So then the second theme comes in. It's usually contrasting, lyrical, sweeter. You heard the difference there--more song-like in the Beethoven--not so much of that musical punch in the nose as I like to refer to it, but a more relaxed sort of second theme, and there is oftentimes some filler or what we might call an interstice and we come to a closing theme. That's abbreviated up here, just CT, closing theme of the exposition, closes the exposition.Closing themes tend to be rather simple in which they rock back and forth between dominant and tonic so that you could end on the tonic and that gives you a sense of conclusion of the exposition.Now what happens? Well, you see these dots up on the board. Anybody know what these dots mean? I think we--actually we talk about this if you read ahead in the textbook Can somebody tell me what the dots mean> Jerry?Student: Repeat?Professor Craig Wright: Okay. Repeat. Okay. So that's what dots in music do-- when we have these double bars and dots that means repeat so we got to repeat the whole exposition. If we didn't like it the first time, we get a second pass at it in the repeat. Then we go on to the development and as the term "development" suggests, we're going to develop the theme here, but it is oftentimes more than that. It could be something other than just the development and the expansion. It could actually be a contraction. Beethoven likes to strip away things and sort of play with particular subsets of themes or play with parts of motives.Generally speaking, your development is characterized by tonal instability--moves around a lot. You can't tell what key you're in--tonal instability--and it also tends to be, in terms of texture, the most polyphonic of any section in the piece. There's a lot of counterpoint usually to be found in the development section. Then towards the end of the development section we want to get back here to the return and we want to get back to our first theme and our tonic key. So composers oftentimes will sit on one chord. What they will sit on will happen to be the dominant. So I could put that up here. We could put a five (V) up here because we want a long period of dominant preparation. [sings] is where we're going, back over here. But we're going to set this up as preparation in terms of the dominant that wants to push us in to the tonic.So there we are back in the tonic now and all the first themes come back as they did before. We also have a bridge but this time it does not modulate. It stays in the tonic key. We don't want it to modulate because we've got to finish in the tonic here. So I was thinking just a moment ago it's kind of the "bridge to nowhere." It really is a bridge to nowhere. You go right back to where you were. You stay in that tonic key and the second theme material comes in, your closing theme comes in, and you could end the composition here.Sometimes Mozart as we will see in our course will end a piece right at this point--the end, right there--but more often than not composers will throw on a coda. What's a coda do? Well, it really says to the listener that "hey, the piece is sort of at an end here." Codas generally are very static harmonically. They're--there's not a lot of movement. It's--and I keep--maybe I should have got--come up a different metaphor here--the idea of throwing an anchor over, slowing the whole thing down, simplifying it to say we're at the end. So you get a lot of the [sings] kind of things in the coda just to tell the listener it's time to think about clapping at this point, or reaching for your coat. And the other optional--Coda--What's that come from? The Latin cauda (caudae) I guess. . Italian coda means tail, and these can be, like all tails, long or short. Mozart happened to like short codas. Beethoven liked longer codas. And the other optional component here is the introduction. My guess is--Jacob, what would you guess? How many--what portion of classical symphonies--you're an orchestral player--what portion of classical symphonies would begin with an introduction, would you say?Student: Most of them.Professor Craig Wright: Most of them? Well, we'll consider that. Let's go for fifty percent at the moment. We'll consider fifty percent at the moment, so we'll see. Now let's jump into a classical composition that begins with a movement in sonata-allegro form. We're going to open here with Mozart's "Eine kleine Nachtmusik," "A Little Night Music." This is sort of serenade stuff that he wrote for Vienna--sort of night music, evening music. Let's listen to a little of it. We're going to start with the first theme idea, and before she does let me play this. [plays piano] What about that? Conjunct or disjunct melody?Students: Disjunct.Professor Craig Wright: Disjunct, yeah. There's a lot of jumping around [plays piano] and that kind of thing. Notice it's mostly [plays piano] just a major triad with [plays piano] underneath. So if we were at a concert and we wanted to remember this, we'd probably have a lot of skippy Xs here. We don't have time to get into the particulars of this, but that's why we're doing all of this diagramming stuff. So we got a lot of these skipping Xs.All right. So let's listen to the first theme of Mozart's "Eine kleine Nachtmusik." [music plays] A little syncopation there. And a sort of a counterpoint to this, so maybe we've got a couple of little ideas in here: A, B and C. [music playing] Ah, agitation, movement. [music playing] Here goes the bass. [sings] Pause. So we had a cadence there, [sings]. That would be the end of the musical phrase, a cadence, and the music actually stopped. I used to like to think of this in terms of almost a drama. We've got a change of scene here the--where some characters have gone off, the stage is now clear, and other characters are going to come on. So what characters are going to come on? Well, a more lyrical second theme. I'm going to play just a bit of it for you. [plays piano]What about this? Is this a conjunct melody? Obviously, it's descending. Conjunct or disjunct? [plays piano] Very conjunct. Actually, it's just running down the scale. Now we don't have time, because this music is going by so fast. We've got our skippy opening theme going around like that. We don't have time to sort of write down all those Xs so maybe just--yeah. [sings] And maybe something-- [sings] something like that. So this is our first skippy theme. Our second theme [sings] has a nice sort of fall to it. Okay. Here's the second theme. [music playing] Repeat. [music playing] Now closing theme already. [music playing]What's the most noteworthy aspect of that theme? [sings] What do you think? Thoughts--what would you remember about that? How would you graph that? Yeah.Student: [inaudible]Professor Craig Wright: Okay. Yeah. It starts out [plays piano] and then it's really conjunct, right, because it's staying on one pitch level, sort of the ultimate conjunct joined to the point that it's a unison pitch, [sings]. So I'd remember that just like this idea. So our closing theme, [sings] almost is the "woodpecker" idea. Sorry. But think of that kind of [sings] or maybe even a machine gun--whatever sort of silly analogy you want to construct to help you remember that. Okay. So here we are almost at the end of the exposition. Let's listen now to the end of exposition and then we'll stop. [music playing] Okay. So we're going to stop there.Now on this recording what do you think? Well, I think--reasons for time--let's go ahead and we'll advance it up to the beginning of the development section. So now we should listen to this whole complex once again, but we're not going to do that. We're going to proceed here and we're going to go in to the development section. And it's kind of fun the way Mozart starts the development section here. [plays piano] Let me ask you this. We started here. [plays piano] The development begins higher or lower? [plays piano] Yeah?Student: Lower.Professor Craig Wright: Lower so he's dropped down to the dominant. He's now in the dominant [plays piano] and if he continued as he had, [plays piano] that's what he would have done. That's not what he does, however. [plays piano] He's sitting here [plays piano] and he ends up there [plays piano] so we get this sort of dissonant shift, and it's a signal. It's like the composer holding up a sign: "development---time for the development now!" Okay? So something--we've shifted, we--or a sort of slap in the face telling us that we're at a new point in our form, a new section in our form, the development section. So as we listen to this we'll hear Mozart move quickly through some--lots of different keys. I wouldn't be able to tell you what keys they are. I really wouldn't. But I do know that he moves through different keys. Then we will hear a re-transition start, but here is my challenge to you and why I'm sort of putting all these things up here. Which theme does he choose to develop here? Kind of interesting. Does he go with the first theme, [sings] or the [sings] or the [sings]? So which one? [music playing] [sings]Professor Craig Wright: Now he is all the way--first of all, what's the answer to the question? Which theme did he use here? We're now at the re-transition, we're almost finished this short development. Which one did he use? Who thinks they know? Raise your hand. Elizabeth?Student: The closing theme.Professor Craig Wright: Used just the closing theme [sings] so nothing but the closing theme in this short development section. Now we are at the re-transition and you're going to hear the violins come down [sings] but if I could sing the harmony--Maybe we should all sing it together. We'll be singing [sings]. It's the implied bass line. [sings] Then it's going to go [sings] back to the tonic. Then we're going to go [sings]. Then that first theme is going to come back in here. So let's listen to Mozart write a re-transition, and I'm going to sing the implied--or then sounded dominant that's going to lead to the tonic. [music playing] [sings] So all of the first theme material coming back--nothing new. [music playing] Here goes our bridge now--movement. [music playing] And he just cut it short. The first time he went there [sings]. That was what the bass did. This time he just stops the thing and stays in the tonic key. And then the rest of the material will come back in in the proper order in the tonic key. All right, but we need not hear that. Let's go on now to the coda and we're just going to listen generally to what happens in the coda here--typical coda with Mozart. [music playing] Tonic. [sings] [music playing] It's almost stereotypical. Right? [plays piano] You could have written that. I--even I could have written that--not so hard, but as they say, it's just a load of bricks to bring this thing to a conclusion. But it's a beautiful example of sonata-allegro form. It does what our model requires in all particulars in an unusually rapid rate here--about six minutes for this particular movement.。

耶鲁大学公开课《聆听音乐》笔记（第13-16课）目录第13课赋格：巴赫，比才和伯恩斯坦第14课帕赫贝尔，艾尔顿·约翰音乐中的固定音型第15课本尼迪克特教团圣歌和西斯廷教堂音乐第16课巴洛克音乐：巴赫的声乐作品第十三课赋格：巴赫，比才和伯恩斯坦关键词赋格（fugue）平均律钢琴曲集（The Well-Tempered Clavier）前奏（prelude）卡农（canon）复音织体（polyphonic texture）非模仿复调（non-imitative polyphony）模仿复调（imnitative polyphony）插句（episodes）复对位(invertible counterpoint) 皮卡迪三度(the Picardy third)赋格段（fugato）管风琴（pipe organ）萨克斯管（saxophone）双重赋格（double-fugue）叠奏（stretto）持续音（pedal point）导引赋格是个富有智慧的曲式并广泛出现于其它许多领域。

在诗歌领域如果你看过T.S.艾略特的诗《四首四重奏》(T.S.Eliot’s THE FOUR QUARTETS)其中就频繁参考了赋格的结构；在文学领域一本写于同时代的小说阿道斯·赫胥黎的《针锋相对》（Aldous Huxley’s POINT COUNTER POINT）是以赋格的形式来构架的；在地理学界学者们有时会说“这种晶体有特殊的赋格结构”；在绘画领域20世纪的许多画家，比如弗朗兹·库布卡（Franz Kupka）、享利·瓦伦西（Henry Valensi）、约瑟夫·亚伯斯（Josef Albers）他们都有赋格式的作品。

我阅读道格拉斯·郝夫斯台特的《哥德尔埃舍尔巴赫》（Douglas Hofstadter’s GODEL,ESCHER,BACH），大概在前25-30页还能跟上，之后的数学部分我就很难看懂了。

耶鲁大学开放课程：聆听音乐全集祝福您和您的家人与喜悦平和同在！1、【公开课】耶鲁大学开放课程：聆听音乐一（中文字幕）2、【公开课】耶鲁大学开放课程：聆听音乐二（中文字幕）3、【公开课】耶鲁大学开放课程：聆听音乐三（中文字幕）4、【公开课】耶鲁大学开放课程：聆听音乐四（中文字幕）5、【公开课】耶鲁大学开放课程：聆听音乐五（中文字幕）6、【公开课】耶鲁大学开放课程：聆听音乐六（中文字幕）7、【公开课】耶鲁大学开放课程：聆听音乐七（中文字幕）8、【公开课】从入门到精通的课程——耶鲁大学公开课：聆听音乐（八）9、【公开课】从入门到精通的课程——耶鲁大学公开课：聆听音乐（九）10、【公开课】从入门到精通的音乐课程——耶鲁大学公开课：聆听音乐（十）11、【公开课】从入门到精通的音乐课程——耶鲁大学公开课：聆听音乐（十一）12、【公开课】从入门到精通的音乐课程——耶鲁大学公开课：聆听音乐（十二）13、【公开课】从入门到精通的音乐课程——耶鲁大学公开课：聆听音乐（十三）14、【公开课】从入门到精通的音乐课程——耶鲁大学公开课：聆听音乐（十四）15、【公开课】从入门到精通的音乐课程——耶鲁大学公开课：聆听音乐（十五）16、【公开课】从入门到精通的音乐课程——耶鲁大学公开课：聆听音乐（十六）17、【公开课】从入门到精通的音乐课程——耶鲁大学公开课：聆听音乐（十七）18、【公开课】耶鲁大学公开课：聆听音乐（十八）19、【公开课】耶鲁大学公开课：聆听音乐（十九）歌剧20、【公开课】耶鲁大学公开课：聆听音乐（二十）交响乐的发展21、【公开课】耶鲁大学公开课：聆听音乐（二十一）印象派音乐22、【公开课】耶鲁大学公开课：聆听音乐（二十二）现实主义派音乐23、【公开课】耶鲁大学公开课：聆听音乐（二十三）。

最近一朋友和我讲，YALE大学把他们上课的内容录了下来，并发布在因特网上，供网络传播浏览。

一个全世界排名第二的大学，竟然把自己课程的内容完全录了下来，并在全世界传播，在大学产业化的中国，有些人会觉得不可思议，你没交学费，怎么可以把我的课程免费的给公众提供呢？可是人家并不是这样认为的，本着人不分贵贱，教育不分你我的原则，耶鲁大学做出了这个匪夷所思的举动，实在是非常钦佩。

好了，不说大话，这个公开课真的非常的好，我有义务分享给我的朋友们首先你得会用电驴，具体怎么用百度去ps:我分享的这个是有字幕的，而且这个字幕是非常考究的，所以出的非常慢，理解一下。

＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝音乐学聆听音乐Listening to Music（教授本人著述）课程简介：本课程培养在对西方音乐理解基础上对音乐的感悟。

它会介绍各种类型的音乐是如何搭配，并教导如何聆听各种类型的音乐，从巴赫，莫扎特，格里高利咏叹调到蓝调关于课程主讲人：Craig Wright在1966年于the Eastman School获得钢琴乐和音乐史双学位，在1972年于哈佛大学获得博士学位。

Craig Wright从1973年开始在耶鲁大学任教，目前是the Henry L. and Lucy G的音乐教授。

在耶鲁大学，Craig Wright的成就包括常年流行的入门课程“聆听音乐”和选择性研讨会“探索大自然的天才”。

每年夏天，他都会带领一些耶鲁大学的社团区法国，德国和意大利采风。

他的六本著述包括：巴黎圣母院中的音乐(1989)、西方文明中的音乐(2005)、聆听音乐(5th edition, 2007)、聆听西方音乐(2007).他目前的工作是在写作“莫扎特：探索大自然的天才”在2004年Craig Wright被芝加哥大学授予人文学名誉博士学位。

课程安排：1. Introduction导言2. Introduction to Instruments and Musical Genres介绍乐器和音乐风格3. Rhythm: Fundamentals节奏：音乐的基础4. Rhythm: Jazz, Pop and Classical节奏：爵士流行和古典5. Melody: Notes, Scales, Nuts and Bolts旋律：音符，音节，基本细节6. Melody: Mozart and Wagner旋律：莫扎特和瓦格纳7. Harmony: Chords and How to Build Them和声：和弦和如何创建主题8. Bass Patterns: Blues and Rock贝斯风格：布鲁斯和摇滚9. Sonata-Allegro Form: Mozart and Beethoven奏鸣曲式：莫扎特和贝多芬10. Sonata-Allegro and Theme and Variations奏鸣曲式和主题以及主题变奏11. Form: Rondo, Sonata-Allegro and Theme and Variations (cont.)曲式：回旋曲式，奏鸣曲式，主题变奏曲12. Guest Conductor: Saybrook Youth Orchestra客席指挥：布鲁克青年交响乐团13. Fugue: Bach, Bizet and Bernstein赋格：巴赫，比才和伯恩斯坦14. Ostinato Form in the Music of Purcell, Pachelbel, Elton John andVitamin C帕赫贝尔，艾尔顿·约翰音乐中的固定音型15. Benedictine Chant and Music in the Sistine Chapel本尼迪克特教团圣歌和的音乐西斯廷教堂16. Baroque Music: The Vocal Music of Johann Sebastian Bach波洛克音乐：巴赫的声乐作品17. Mozart and His Operas莫扎特和他的歌剧18. Piano Music of Mozart and Beethoven莫扎特和贝多芬的钢琴音乐19. Romantic Opera: Verdi's La Traviata, Bocelli, Pavarotti and Domingo浪漫派歌剧：威尔第的《茶花女》，波切利，帕瓦罗蒂和多明戈20. The Colossal Symphony: Beethoven, Berlioz, Mahler and Shostakovich巨人的交响乐：贝多芬，柏辽兹，马勒，肖斯塔科维奇21. Musical Impressionism and Exoticism: Debussy, Ravel and Monet印象派音乐和异国情调：德彪西，拉威尔和莫奈22. Modernism and Mahler现代主义和马勒23. Review of Musical Style音乐风格的回顾下载地址，电驴会用吧？/topics/2832525/＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝经济学金融市场Financial Markets课程简介：金融机构是文明社会的重要支柱。

音乐优质课的听课笔记12月17日——18日，我有机会到瑞安参加了“温州市小学音乐优质课评比”活动。

本次活动各地区都推选了优秀选手参赛，可谓百家争鸣、精彩纷呈。

一、以音乐审美为核心，重视音乐实践在今年的13节音乐课中，我们很少看到巫不实的东西，“以韵为本、以学生为本”处处体现在每个环节中，让学生在实践中体验音乐、感受音乐的表现力，教师的创新思维得到了最大程度的发挥。

二、教师独到的设计，营造了生动有趣的课堂几节优秀的课堂设计可谓新颖独特、各具匠心。

例如，来自泰顺的一节《森林的歌声》通过讲故事情景式导入，让喜欢听故事的学生模拟自己来到了森林里，进行了一次森林之旅，既调动了学生的学习积极性，为歌曲再创作打下了基础，学生在听、唱、想、画的愉快轻松的游戏中不知不觉又听懂了歌曲，并通过多种形式进行聆听，使比较长的这首《森林猜想曲》变得简单，学生学得有滋有味。

三、过硬的教学基本功是课堂上不可替代的闪光点教师过硬的专业基本功，对于课堂教学来说，是至关重要的。

本次13节课中每个老师的个人素养非常好。

例如来自温州市实验小学的周晓秋用古筝演奏《茉莉花》、《樱花》带领学生感受音乐，让学生对老师了崇拜，让学生整堂课都陶醉在音乐中。

下面附上市优质课评比听课笔记整理。

第一节：欣赏《牧童之歌》、《孤独的牧羊人》教师的目标为通过对《孤独的牧羊人》的聆听，让学生感受美国乡村音乐的轻松自如的音乐情绪。

课堂中，教师通过聆听《do re mi》导入课堂，并介绍歌曲风格。

通过反复的分段聆听以及学唱，让学生充分地了解作品内容再进行完整的作品表现。

整节课给我的第一感觉是，教师对教材的挖掘不深，欣赏的作品停留在演唱和表演中，而且演唱和表演又不精彩。

所以学生在最后表演的时候暴出了句：“还来啊！”学会的感受很好地说明了课堂效果。

二是教师在动作表现中，让学生自己创编，但在表现时，教师从头到尾都在示范，所以学生只是机械地模仿，没有主动聆听思考并创编。

三是教师多边的聆听过多关注歌曲内容，对音乐的关注太少。

耶鲁大学公开课《聆听音乐》笔记（第9—12课）目录第09课奏鸣曲式：莫扎特和贝多芬第10课奏鸣曲式和主题以及主题变奏第11课曲式：回旋曲式、奏鸣曲式、主题变奏曲第12课客席指挥：布鲁克青年交响乐团第九课奏鸣曲式：莫扎特和贝多芬关键词曲式（form）反复（repetition）对比（contrast）主题与变奏（theme and variations）奏鸣曲-快板式（sonata-allegro form）弦乐四重奏（string quartet）协奏曲（concerto）三部曲式（ternary form）关系大调（relative major）回旋曲式（rondo form）赋格（fugue）固定低音（ostinato）呈示部（exposition）连接部（transition or bridge）发展部（development）再现部（recapitulation）尾声（coda）导引这节课我们探讨音乐形式的问题。

曲式对于所有音乐都是很重要的，它能让我们跟上一首乐曲的步伐，更形象地比喻，可以让我们在音乐之旅中明白我们身处何方。

曲式对所有音乐同等重要，无论是流行还是古典音乐。

我们周身充斥着各种复杂的素材，像音乐这种素材。

我们尝试着去理解它们的含义，甚至可以判定出它特定的结构，因而我们趋向于用建筑结构或诸如此类的事物来进行类比。

我们将进入大脑的信息分类整理，音乐带给我们的种种情绪反应是通过简单的模式达到效果的。

音乐家们喜欢运用曲式，因为曲式能告诉他们接下来如何做，怎么做更合适。

当你掌握了一种曲式并屡试不爽，它被其它音乐人经年累月地使用，你可能更倾向于使用它，以使你的听众跟随着你的音乐。

曲式曲式就是乐曲的结构形式。

曲调在发展过程中形成各种段落，根据这些段落形成的规律性，而找出具有共性的格式便是曲式。

流行音乐的曲式教授：对于流行音乐的曲式，弗雷德里克·埃文思同学给了一个很满意的答案，即主歌与副歌的结构，无论是在舒伯特的德文艺术歌曲中，还是在我们陌生的音乐中。

第三课节奏：音乐的基础课程内容：学习音乐记谱法，二分音符，四分音符等相关知识。

1.音乐记谱法是西方所特有的，将其运用于高雅音乐，除了西方地区的记谱法并没有贯穿文化的始终，比不上音乐记谱法在西方文化中的地位。

2.音乐记谱法的两大优势：(1)音乐记谱法让作曲家更精确的表达他所想表达的东西。

这种作曲方式可以记录下音乐的细节。

（作用：音乐记谱法让作曲家的地位更加突出）(2)记谱法让我们能得以保护艺术成果。

可以比较精确的吻合作曲家的原意。

（这个特点取代了传统模式里的均衡，并把这种均衡完全舍弃）3.流行音乐：爵士，摇滚，嘻哈，蓝调......4.在西方，作曲家的地位是非常重要的，其他文化不是用这样说明性的记谱法。

有一种说法是：音乐记谱法是西方文化中第一种图示法。

（最早的）5.公元九世纪至二十世纪音乐记谱法的历史形成过程，在早期，音高和时值就已经出现了。

音乐欣赏：(1)穆斯林祈祷的圣歌(2)查克曼卓林（萨克斯独奏）（印度尼西亚的加麦兰音乐）（印度经典传统音乐西塔尔音乐）没有乐谱(3)斗牛犬耶鲁的战歌科尔波特（1914 耶鲁）6.教材上第十五页的简单材料7.全音符，等其他音符代表了持续时间，也就是统称的时值。

8.音符的存在是为了证明某个特定的声音频率要持续多长时间（长度）。

附点是加一般的时值。

9.音乐中有种概念称作：拍。

将拍和节奏摆在显要的位置，会让人有音乐的律动，比如流行音乐。

从十五世纪晚期到现在的音乐理论家们，像弗朗西斯加福瑞说，音乐的律动和人类的脉搏节奏基本一致。

（要把素材依照我们的理性有机地整合）10.低音会非常直接地告诉我们乐曲是几拍子。

11.切分音：提前跳入切分节奏，提前介入，并在非常短的时间里打破拍子的平衡。

12.尽管所有音乐都有重拍，不是所有音乐都从重拍开始。

13.作曲家如何将音乐传送到我们的听觉皮层的（四条主要的途径）(1)这和时值有关，音符的时值延长，单纯把持续时间延长，我们就知道哪里是重拍。

耶鲁大学《聆听音乐》公开课笔记（第17-20课）目 录第17课 莫扎特和他的歌剧第18课 莫扎特和贝多芬的钢琴音乐第19课 浪漫派歌剧：威尔第的《茶花女》，波切利，帕瓦罗蒂和多明哥第20课 巨人的交响乐：贝多芬、柏辽兹、马勒、肖斯塔科维奇第十七讲 莫扎特和他的歌剧关键词利奥波德·莫扎特（Leopold Mozart）古典主义（Classical）三和弦（triad）属七和弦（dominant seventh chord）减三和弦（diminished chord）神童（divine）歌剧（opera）戏剧（drama）序曲（overture）洛伦佐·达·蓬特（Lorenzo da Ponte）导引古典主义作为一个音乐术语有两个分开的但却有联系的含义。

我们用古典主义这个词来指西方的“严肃”音乐或“艺术”音乐，与民间音乐、流行音乐、爵士乐、各种民族的传统音乐相区别。

我们称这种音乐为古典是因为它的形式和风格都极佳，具有超越时空的美。

但同时我们也可以把一个特定历史时期（1750-1820）的音乐叫做“古典主义”音乐（Classical中的C要大写），这是海顿与莫扎特写出伟大作品、贝多芬写出早期杰作的时期。

这些艺术家的创作在公众心目中一致被认为比例均衡，形式准确，是完美音乐的标准。

所以这个比较短的时期在所有具有持续审美价值的音乐中被冠以古典主义时期，我们今天就来讲讲莫扎特。

古典主义音乐与巴洛克音乐的区别先听一首莫扎特的《G小调交响曲》，这首曲子是莫扎特创作于古曲主义时期。

我们与上周分组聆听的巴赫等人的曲子进行一下比较，巴赫的那首协奏曲是从他使用一系列相同方式的音乐声（大约持续9分多钟）开始的，所有的音乐使用了相同的主旨、情绪、感觉，这就是巴洛克音乐。

巴洛克音乐的曲风，从头至尾特定的乐章、片段总体来说没什么变化。

古典主义时期音乐出现了一些不同，在一个特定的乐章中会有一些变化。

比如说，节奏会从规则到不规则，声音从很大声响到很安静，并且这种改变到了浪漫主义时候更为明显。

耶鲁大学公开课《聆听音乐》讲座笔记第一课导论为什么听古典音乐第一、帮助人们放松、舒缓压力，这可能是主要的原因；第二、帮助人们集中精力，让听众全神贯注起来；第三、古典音乐提供了一个美好世界的意象，绚丽而庄严的庇护所，或许甚至还有爱的慰藉。

有时候它象征着世上也许会有一些事物超凡脱俗，还有诸如上帝之类的比我们人类更伟大的存在，引发我们去思考客观世界。

这就是伟大艺术的价值，无与伦比的文学、诗歌、绘画、音乐。

它展示了人类所能及之事，人类精神所能承载之力。

它们指引着我们、预示着可能有那么一些超越我们自身的精神存在，指引我们思考并不断追寻自己在这世上存在的意义。

流行音乐与古典音乐区别1、古典音乐（莫扎特作品选段）旋律感强烈；流行音乐（Rave′Til Dawn选段）完全没有旋律，不停地反复、节奏、鼓点，强烈的脉动；2、古典音乐的演奏乐器发出的声音与流行乐的合成音效是截然不同的。

音乐是一种听觉感知的呈现，你不可能像对待英语或历史考试那样，在考试前一天晚上将音乐中的信息或声音死记硬背以便应付考试。

我们接受音乐的方式，我们思绪的过程与接受和思考任何其它的信息，如历史或经济学等都是不同的。

音乐与语言大脑中哪部分是处理音乐信息的？颞叶是处理音乐和语言的听觉中枢，颞叶中左右两侧的初级听觉皮层都会参与处理过程。

额叶是短期记忆中枢，用于记忆曲子。

顶叶记忆肌肉工作。

读谱用到视觉中枢。

即兴创作并表演音乐是一个复杂的过程，是多个中枢协同工作的结果。

音乐和语言从本质上都是声音，非常接近。

学习听音乐就像学习语言，要将听力练习每天进行，逐渐同化。

★示范曲目1、贝多芬《第五交响曲》(命运交响曲)2、贝多芬《第九交响曲》(欢乐颂)3、德彪西《月光》贝多芬第五交响曲VS贝多芬第九交响曲：表达出的情绪，前者消极、焦虑、不安，后者积极、愉悦、安详。

为何这两首曲目会表达出不同的情绪呢？1、大调和小调，引出了大和弦和小和弦的概念。

前者是小和弦，后者是大和弦。