研究生英語閱讀教程Unit12.ppt

Unit 12,2019/7/14,2,Contents,Introduction Text (A) analysis Some comments on writing Text (B) analysis Further reading Exercises,2019/7/14,3,Introduction,Both Text A and Text B are excerpts from his book What to Listen for in Music (1939), in which Copland tries to give some suggestions on intelligently listening to music and achieving a deeper understanding of the most rewarding of all art forms.,2019/7/14,4,Aaron Copland (亞倫柯普蘭),(1) An American composer of film scores, opera, piano, chamber music, and other forms. Copland is best known for his ballet music (“Appalachian Spring,“ 1944; “Rodeo,“ 1942) and his orchestral works (“Lincoln Portrait,“ 1942; “Fanfare for the Common Man,“ 1942).,2019/7/14,5,(2) Sincerely concerned about relating to a wide public without compromising his music, Copland succeeded brilliantly both with more complex works like the “Piano Variations“ and “Twelve Poems of Emily Dickinson“ (1949-1950) and the subtle simplicity of his highly popular ballet music suites. He was the quintessential American nationalist composer. Blue Gene Tyranny, Rovi,2019/7/14,6,Chamber music,(1)室內(nèi)樂(Chamber music)，原意是指在房間內(nèi)演奏的“家庭式”的音樂，后引伸為在比較小的場(chǎng)所演奏的音樂?，F(xiàn)在指由一件或幾件樂器演奏的小型器樂曲，主要指重奏曲和小型器樂合奏曲，區(qū)別于大型管弦樂。,2019/7/14,7,(2) 顧名思義，室內(nèi)樂(Chamber music)，是在室內(nèi)演奏或演唱的音樂。但是，這“室”原指歐洲貴族城堡中的音樂室，常是金碧輝煌而且寬敞的大“廳”。由此而言，只有編制龐大，不得不在大戲院、大音樂廳或大教堂作公共演出的(例如：華格納、威爾第的歌劇)，才不能算是室內(nèi)樂。如此，幾乎所有的巴洛克的器樂曲(甚至早期的歌劇)都可以算作室內(nèi)樂。,2019/7/14,8,Text analysis,Text A From Composer to Interpreter to Listener,2019/7/14,9,Text Structure,Part I (para 13) A composer gives us himself. Questions 1. What of himself does a composer express in his music? 2. What results in the formation of a composers style?,2019/7/14,10,Part II (para 47) The role of the interpreter is to assimilate and recreate the composers “message”. The interpreter must be faithful to every composition. Questions 3. How do you understand the “poor” and “tender mercies” in the sentence “the poor composer”? 4. How can interpreters solve the problem presented by the notes themselves?,2019/7/14,11,Part III (para 810) The listeners responsibility is to try hard to make our understanding of the art more profound. The future of music is in the listeners hands. Questions 5. What kind of listener can be important to music and the makers of music? 6. How should we listen to music for the furtherance of an art?,2019/7/14,12,Jean Baptiste Lully (1632-1687): French court and operatic composer who once controlled court music and whose style of writing was widely imitated throughout Europe. He was known to be shrewd and unscrupulous, a man of insatiable ambition; his rise from violinist in Louis XIVs court band was meteoric and was accomplished by brazen and merciless intrigue.,Point 1,2019/7/14,13,呂利（Jean-Baptiste Lully，16321687年），原名喬萬尼巴蒂斯塔呂利（GiovanniBattista Lulli），意大利籍法國作曲家。1632年11月28日生于佛羅倫薩，1687年3月22日卒于巴黎。呂利于1661年加入法國籍，因一個(gè)偶然的機(jī)會(huì)青云直上，從宮廷芭蕾舞團(tuán)的演員成長為皇家音樂舞蹈學(xué)校的首任校長。他與大劇作家莫里哀（Molire）相識(shí)，又受到盧梭思想的影響，創(chuàng)作了許多用法語演唱的歌劇，成為法國歌劇的創(chuàng)始者。代表作有阿爾西斯特、愛神與酒神的節(jié)日等。,2019/7/14,14,Artistic achievements,（1） 創(chuàng)造出一種被稱為“抒情悲劇”（Tragedie lyrique）的法國歌劇形式。 （2） 在歌劇中采用了與意大利歌劇序曲相反的“慢快慢”法國式序曲。 （3） 在歌劇中大量運(yùn)用芭蕾，服裝華麗。 （4）歌劇采用法語，以有伴奏的宣敘調(diào)代替意大利式的干念宣敘調(diào)，使宣敘調(diào)具有歌唱性；歌劇中大部分用宣敘調(diào)，很少用詠嘆調(diào)。,2019/7/14,15,Richard Wagner (1813-1883): leading German composer of the late 19th century who was not simply a composer but a musical dramatist whose state works have a far-reaching significance; He lived wildly. In spite of his princely salary, he had to flee from Vienna to avoid imprisonment for debt because he had the inveterate habits of borrowing and living on others.,Point 2,2019/7/14,16,Point 3,Musical notation: consists of symbols which deal mostly with two of the seven parameters-pitch and duration. These are the two most important parameters in music notation and, probably not coincidentally, the first ones to evolve.,2019/7/14,17,Point 4,(1) Musical intelligence: the ability to enjoy, perform or compose a musical piece. Musical/Rhythmic Intelligence includes sensitivity to pitch, timbre rhythm of sounds, as well as responsiveness to the emotional implications of these elements. Numerous computer programs have been written that use a very simple notation for pitch and duration the vertical position (up or down) represents the pitch.,2019/7/14,18,(2) The length of the note is symbolized by the length of the line anywhere from a sixteenth of an inch to five or six inches or more. A functional piece of music can be notated using just these two parameters. Most of the other ones, such as loudness, instrumentation, or tempo, are usually written in English or Italian somewhere outside of the main musical framework.,2019/7/14,19,Point 5,Virgil Thomson (1896-1989) : a many-faceted American composer of great originality and a music critic of singular brilliance. He composed in almost every genre of music.,2019/7/14,20,Point 6,Always remember that when you listen to a composers creation you are listening to a man, to a particular individual, with his own special personality. How do you understand the saying?,2019/7/14,21,Point 7,The poor composer, having finished his composition, must turn it over to the tender mercies of an interpretive artist who, it must always be remembered, is a being with his own musical nature and his own personality. How do you understand the “poor” and “tender mercies” in the sentence?,2019/7/14,22,Point 8,The combined efforts of composer and interpreter have meaning only in so far as they go out to an intelligent body of hearers. That bespeaks a responsibility on the part of the hearer. How important is the responsibility of the listener compared with the composer and interpreter ?,2019/7/14,23,Point 9,Discussion How necessary is the knowledge of music with a graduate student?,2019/7/14,24,Its important to find what music form works best for your situation. Please write an essay of 300 words on the music form that strikes you most and focus on its characteristics or your feelings derived from it.,Writing,2019/7/14,25,According to the text, what are the three planes on which we listen to music? Does the value of music have much to do with its sensuous appeal? Why or why not? What does the author think about the meaning of music? What is the popular idea of musics meaning stimulated by musical commentator?,Text B,How We Listen to Music,2019/7/14,26,5. Laymen often associate music with different moods. Please give some examples. 6. How could a person listen to music on the sheerly musical plane? 7. What do you think makes an active and acute listener of music?,2019/7/14,27,(1) the sensuous plane, (2) the expressive plane, (3) the sheerly musical plane,No. 1,2019/7/14,28,Yes. It does. It is on the sensuous plane that we hear music without thinking, without considering it in any way. One turns on the radio while doing something else and absent-mindedly bathes in the sound. A kind of brainless but attractive state of mind is engendered by the mere sound appeal of the music.,No. 2,2019/7/14,29,It is difficult enough to say precisely what it is that a piece of music means. My own belief is that all music has an expressive power, some more and some less, but that all music has a certain meaning behind the notes and that that meaning behind the notes constitutes, after all, what the piece is saying, what the piece is about.,No. 3,2019/7/14,30,The more the music reminds them of a train, a storm, a funeral, or any other familiar conception, the more expressive it appears to be to them.,No. 4,2019/7/14,31,(1) Music expresses, at different moments, serenity or exuberance, regret or triumph, fury or delight. It expresses each of these moods, and many others, in a numberless variety of subtle shadings and differences.,No. 5,2019/7/14,32,(2) Laymen often associate music with different moods. For example, If you can Listen to the forty-eight fugue themes of Bachs Well Tempered Clavichord. You will soon realize that each theme mirrors a different world of feeling. Now study the sad one a little closer. Try to pin down the exact quality of its sadness, youll find that it is hard to distinguish whether it is pessimistically sad; fatefully sad or smilingly sad.,2019/7/14,33,(3) Take such a theme as the first main one of the Ninth Symphony, for another example. It is clearly made up of different elements. It does not say only one thing. Yet anyone hearing it immediately gets a feeling of strength, a feeling of power. The extraordinary strength and vigor of the theme results in the listeners receiving an impression that a forceful statement has been made.,2019/7/14,34,An actual musical material is being used. The intelligent listener must be prepared to increase his awareness of the musical material and what happens to it. He must hear the melodies, the rhythms, the harmonies, the tone colors in a more conscious fashion. But above all he must, in order to follow the line of the composers thought, know something of the principles of musical form.,No. 6,2019/7/14,35,No. 7,(1) He should be able to listen to music on the three planes at the same time. In a sense, the ideal listener is both inside and outside the music at the same moment, judging it and enjoying it, wishing it would go one way and watching it go another almost like the composer at the moment he composes it; because in order to write his music, the composer must also be inside and outside his music, carried away by it and yet coldly critical of it.,2019/7/14,36,(2) What the listener should strive for, then, is a more active kind of listening. Whether you listen to Mozart or Duke Ellington, you can deepen your understanding of music only by being a more conscious and aware listener not someone who is just listening, but someone who is listening for something.,2019/7/14,37,heroic exploited Vienna, court organist accepted rules and conventions social status establishing humiliation great, composer,Further reading,2019/7/14,38,無論是小說或是音樂，最基礎(chǔ)的東西在于韻律。你的風(fēng)格需要有優(yōu)良、自然且持續(xù)的律動(dòng)，否則人們不會(huì)持續(xù)地想要閱讀你的作品。我從音樂主要是爵士樂中認(rèn)識(shí)韻律的重要性。接下來的旋律-在文學(xué)上的形式代表著將我們的語言加以適當(dāng)?shù)慕M織實(shí)現(xiàn)韻律的契合。如果文字與韻律的契合平滑而優(yōu)美，你將別無所求。接下來的和聲-心靈內(nèi)部的聲響，作為支持語言的效用。接下來就是我最喜歡的部分：自由即興創(chuàng)作。通過一些特別的途徑，一個(gè)故事可以從內(nèi)在無拘地延展。,E-C,2019/7/14,39,所有我寫作的小說均依照這種流程發(fā)展。最終這項(xiàng)可能是最重要的事情：你所完成一項(xiàng)作品的經(jīng)驗(yàn)-在于你的“表現(xiàn)“，以及可以感受到當(dāng)你實(shí)現(xiàn)此等創(chuàng)作高度的歷程是嶄新且有意義的。假如這一切發(fā)展良好，你有機(jī)會(huì)與你的讀者(你的聽眾)分享這等高度下的自我認(rèn)知。這是一種唯有這種方式可以滿足的非凡頂點(diǎn)。,E-C,2019/7/14,40,The turning point of my life was my decision to give up a promising business career and study music. My parents, although sympathetic, and sharing my love of music, disapproved of it a