聆听音乐(17-20课)
Lecture+9耶鲁大学开放课程《聆听音乐》讲稿+
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《聆听音乐》公开课笔记(第13-16课)
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。
耶鲁大学公开课-聆听音乐笔记
Class1Preposterous=absurdContend=argue, or=maintain/assert (contend that he was right.)Paradigm=example,pattern.Sacrificial lambInstill=to impart gradually.Purvey~purveyor=provide and supply food, drink or other goodsSyllabus教学大纲Verse=poem/poetry/stanza; 独唱部chorus=副歌，合唱Intuition~intuitive=quick and ready insight; immediate apprehension or cognition.Articulate=清楚讲出Pump up=to fill with enthusiam or excitement/inflate/increase.Elevate=raise/ lift up to make higher, raise in rank or status/improve m orally, intellectually/raise the spirit of=elateMandatory=obligatoryPedagogical= of, relating to, or befitting a teacher or educationDrone= to make a sustained deep murmuring, humming, or buzzing soundIntimidate=frightenCoraggio=braveWhy do we listen to classical music?It helps people relax and relieve stress.It helps people center the mind.Classical music provide a vision of a better world. A refuge of beauty, or majesty, of love.Aim of the class: Change your personality; impart you the love of classical music.Week 1~4 element of music:rhythm, melody and harmony.Musical form( Verse and chorus); musical style; melody; rhythm, beatsMusic process by the lobe temporal; if memorize music, by lobe frontal.Music and language is processed in the same way as a gradual assimilation.Beethoven Symphony No.5 and No.9 major and minor.The major and minor chord, the home pitch(tonal key), the conjunct and disjunct music, the direction influence the our response to music.The 2 dimensions of music(the axle of music): pitch and duration(音高和时值)Orchestra管弦乐；brass铜管乐器；percussion intrument打击乐器（timpani/kettledrum定音鼓）；Octave(八度音节) interval（间隔间距）Dominant note（属音）Beat→unit= dupe meter; triple meterJohn Kander约翰肯德尔-作品《芝加哥》bass in the music will help us find the meter.Ritard(减慢) accelerando(渐速) modulation转调Class2Prophet=predictorInterior movement室内乐Serenade小夜曲Parlance=speech/idiomChef d’oeuvre名曲Upbeat= an increase in activityVersitile=varible, revisible 多才多艺的，多功能的Realm=kingdom, sphere, domain.Homage: respect, tributeCut to the chase(开门见山)3 piece of classical music.Beethoven’s Fifth Symphony; Tchaikovsky’s Piano Concerto No.1; Ritchar Strauss’s Zarathustra. Music genre: symphony(4 movements, which are independent and complementary. A fast and opening movement, a slower, more lyrical second movement, a third movement derived from dance, forth movement fast and emphatic conclusion.);Concerto(A soloist will confront the orchestra. 3 movements.Tone poem(1 movement, to tell a story or history event)OperaSonataBalletCantata…..Melody=motive and theme弦乐演奏技法pizzacato拨奏ornamenting装饰音Instrument:French horn: make sound through a vibrating column of air, “patrials” or the “Harmonic series”泛音列(without hand but a twelve and a half-foot length of vibrating air.)TrumpetOboeLow tuba(低音号)Sousaphone(苏萨大号) different overtonesWoodwind intrument: bassoon: lowest tone, use to show something funny. (Peter and the wolf) Orchestra/string family: viola(中提琴):16 inches long(41cm), violin 12 inches long(31cm), a bow pull across the intrument which is made by horse hair from the tails of horses. Strings are made out of cat or sheep gut in 16, 17 and 18 century, but now are medal. Vibrato(揉弦) wig a little bit. Pizzicato(拨奏) tremolo(碎弓) Tremolo(颤音)Drum: Bass drum; snare drum(小军鼓)Modest Musorgsky.莫戴斯特·莫索尔斯基—picture at the exhibition（展览会上的画作）：Polish Oxcart(波兰牛车) crescendo(渐强) Doppler priciple(多普勒原理). The lowest sound creates the longest sound wave and last longest- lower sounds or lower frequency travel farer.Ritchard Strauss. Death and transfiguration. (a pendant to the Zarathustra).Dissonance resolving to consonance, Dissonance are irrational numbers and Consonance are rational.Class3Nitty-gritty事实真相，本质Cadenza华彩乐章Superimpose添加，双重Musical notation of western culture used in the art music has two advantages: allows the composer to specify rather precisely what he or she wants; allows us to preserve our work of art. Musical notation is the first graph in Western culture.Chuck MangioneWhole note(全音符) representations of durationTwo half notes, 4 quarter notes, 8 8th notes,Rests(休止符) A dot means 50% of the origin note.Bars or measures(小节)Clarinet单簧管Cole Porter 斗牛犬之歌耶鲁Syncopation切分音Pick-up唱头4 ways to tell which is downbeat: duration(downbeat always long); patterns of accoplishment(range音域); chord changes come on the downbeat.Mozart No.40 Symphony g minor Symphony.Maurice Ravel(莫里斯拉威尔) Bolero(波莱罗舞曲)Class4Tempo accelerando(渐速) ritardando(渐慢)Rhythmic devices(节奏类型) syncopation（切分音）来自希腊语Synkope-means to cut short. Scott Joplin斯考特乔普林Tripet三连音Musical Texture: monophonic texture, homophonic texture, and polyphonic texture. Polyphonic texture: imitative polyphonic texture;Imitative counterpoint模仿式对位法；free counterpoint自由对位。
智慧树答案聆听音乐的钥匙知到课后答案章节测试2022年
绪论1.音乐对人体的作用答案:开发智力;培养审美人格;改造灵魂;身心建康第一章1.移调目的是为了？答案:通过旋律在不同调性上的演唱或演奏，起到音乐色彩变化2.长音给我们的联觉反应：答案:缓慢、开阔、平和、安静、稳重安静、稳重3.强音给我们的联觉反应：答案:近距离的、热烈的、积极的、兴奋的、激动的等4.不和谐的音响有哪些音程构成答案:含有2度 7度、增、减音程的所有音程与和弦5.快起的演奏方法给我们的联觉感受：答案:生硬的、急躁的、激烈的、凶险的、果断的、不安的第二章1.小提琴音色特点与擅长表现的角色答案:音色甜美、抒情，擅长表现青年女子形象和主旋律声部演奏2.中提琴音色特点与擅长表现的角色答案:音色深沉温和擅长表现中年妇女的形象，常担任和声声部演奏3.大提琴的音色特点与擅长表现的角色答案:音色开朗，擅长表现青年男子形象常担任主旋律演奏4.双簧管音色特点与擅长表现的角色答案:带有鼻音、忧伤感擅长表现忧郁、伤感的青年女性形象5.单簧管音色特点与擅长表现的角色答案:幽默、灵活，犹如抒情女高6.小号音色特点与擅长表现的角色答案:音色嘹亮，擅长表现军队、凯旋等形象7.圆号音色特点与擅长表现的角色答案:宽广温和富有诗意、擅长表现原野、山谷等形象，是乐队的融合剂8.定音鼓的音色与擅长表现的角色答案:音色低沉富有力度变化，是乐队的气氛制造者9.小军鼓音色与擅长表现的角色答案:音色明亮、具有沙沙的响弦声，擅长表现军队行军、舞蹈的场面等10.竖琴的音色与擅长表现的角色答案:音色轻盈剔透，擅长表现流水、水仙、流动的旋律第三章1.什么是织体？织体是答案:音乐在空间上的结构2.复调音乐在西方音乐史上哪个时期达到顶峰答案:巴洛克时期3.和声织体在西方音乐史上哪个时期代替复调织体答案:古典主义时期4.三段体曲式结构的图式答案:ABA或ABC5.三部曲式结构的图式答案:首部 + 中部 +再现部6.变奏曲式结构的图式答案:A+A1+A2+A3…7.回旋曲式结构的图式答案:A+B+A+C+A+D8.回旋曲式主要特点答案:主题段落必须出现三次或三次以上9.奏鸣曲式结构的图式答案:呈示部+展开部+再现部10.奏鸣曲式与三部曲式的不同点答案:主题与副题必须在不同的调上第四章1.交响音乐与交响曲的关系答案:交响曲是交响音乐中一种体裁2.歌剧序曲作用答案:静剧场、概括或暗示剧情作用3.歌剧《奥菲欧》序曲作者答案:蒙特.威尔第4.意大利曲序的结构答案:快板+慢板+快板5.法国序曲的创始人是?答案:吕利6.音乐会序曲特点？答案:脱胎于歌剧序曲，专为音乐会而作的序曲，常与文学、诗歌哲学结合7.《仲夏夜之梦序曲》作者答案:门德尔松8.《仲夏夜之梦序曲》曲式结构是？答案:奏鸣曲式第五章1.古典组曲的特点？答案:由不同风格的舞曲组成2.《法国组曲》作者答案:巴赫3.巴赫《法国组曲》中的第四首加沃特舞曲源于答案:法国4.巴赫《法国组曲》中的第六首卢尔舞曲源于答案:剧院舞曲5.巴赫的作品是由哪位作曲家将其整理弘扬？答案:孟德尔松案6.在西方音乐发展过程中，从哪个时期开始，西方音乐创作从娱乐和炫技转向关注人的生活与情感？答案:古典主义时期7.现代组曲的特点？答案:以故事情节为纽带的若干首乐曲组成8.下面的组曲哪些是属于现代组曲？答案:比才《阿莱城姑娘》组曲;才科夫斯基《天鹅湖》组曲9.《大峡谷》组曲作者答案:美国作曲家格罗非10.《大峡谷》组曲的艺术贡献有答案:将美国本土音乐与欧洲音乐创作技法结合;运用现代和声技法，音乐具有印象派的特点;开创了美国标题音乐和弘扬了民族精神;开创和发展了美国交响爵士音乐第六章1.大协奏曲之父是谁答案:阿尔坎杰罗·科雷利2.小提琴协奏曲《四季》的作者？答案:维瓦尔第3.协奏曲源于？答案:文艺复兴时期的经文歌4.下面哪位作曲家把作为声乐协奏曲改为纯器乐演奏的协奏曲？答案:意大利作曲家、科雷利5.协奏曲是西方音乐史中哪个时期重要的音乐体裁答案:巴洛克时期6.大协奏曲主奏组的乐器乐器组成特点答案:两件或两件以上的乐器组成7.乐队协奏曲特点答案:乐队中各乐器组之间的竞奏8.《勃兰登堡协奏曲》属于哪种协奏曲答案:乐队协奏曲9.中国第一部独奏协奏曲是答案:《梁祝小提琴协奏曲》10.《黄河钢琴协奏曲》的作者答案:殷承宗等第七章1.交响诗一种具有诗意和哲理性的标题音乐，他的结构是答案:一个乐章2.标题音乐与无标题音乐相比有何不同？答案:是否用文字来表述音乐所表达的内容不同3.创立交响诗的著名作曲家是答案:匈牙利作曲家、钢琴家李斯特4.交响诗的特点答案:单乐章的交响音乐5.交响诗《沃尔塔瓦河》的作者答案:捷克作曲家斯美塔纳6.《人生前奏曲》曲式结构答案:奏鸣曲式7.李斯特音乐创作的理念是答案:在音乐中要再现人的感受和心灵的阅历第八章1.被称之为“交响曲之父”的人答案:奥地利作曲家海顿2.交响曲来源于答案:17世纪的意大利序曲3.第一位使交响曲第一乐章具有主题对比的作曲家是哪位？答案:曼海姆乐派的奠基人斯坦密茨4.第一位将交响曲从三个乐章改编为四个乐章的作曲家是答案:维也纳乐派奠基人之一莫恩5.最后完善交响曲乐队编制，并将主调音乐最终代替复调音乐创作的作曲家是答案:维也纳乐派海顿6.《第四十交响曲》的作者答案:奥地利作曲家莫扎特7.被称为“集古典之大成，开浪漫之先河”的人物是答案:贝多芬8.《英雄交响曲》的艺术价值答案:将社会与政治融入交响音乐之中9.伯辽兹《幻想交响曲》的艺术价值答案:是一部为浪漫主义开启了决定性的大门的作品10.伯辽兹《幻想交响曲》属于哪种类型的交响音乐体裁答案:标题交响曲。
[耶鲁大学开放课程：聆听音乐].01.Introduction.中英文字幕
![[耶鲁大学开放课程：聆听音乐].01.Introduction.中英文字幕](https://img.taocdn.com/s3/m/340d8fd5b14e852458fb57e4.png)
Its aim is to teach you how to listen to music
有人可能会说 稍等
Wait a minute, you say
这很荒谬
That's preposterous
我天天听音乐的
I listen to music all the time
你这个老家伙
you old goat
你说的没错
And you're right
可能真是这样
You probably do
但是你听的是什么类型的音乐呢
But what kind of music are you listening to
可能是流行音乐 也不错
Well, probably pop music and that's fine
它使我放松
It relaxes me.
好的
Oting.
国家公共广播电台问过
National Public Radio asked
完全相同的问题
exactly this question
在一次一年前的民意调查中
in a survey a year or so ago and
我听了后 接着说 好吧
So I listened to it and I said, "All right
就是这里 你听听这个然后告诉我
Here, you listen to this and tell me
你听到了什么
what you're hearing."
他在录什么
电子工业版(安徽)信息技术三上第6课《聆听音乐唱儿歌》教学设计
电子工业版（安徽）信息技术三上第6课《聆听音乐唱儿歌》教学设计一. 教材分析本课的主题是《聆听音乐唱儿歌》，选自电子工业版（安徽）信息技术三年级上册。
本课的主要内容是通过聆听和唱儿歌，让学生感受音乐的魅力，提高音乐素养。
教材中包含了多种类型的儿歌，有传统的、现代的，有中文的、英文的，还有各种乐器演奏的儿歌。
这些儿歌内容丰富，形式多样，能够激发学生的学习兴趣，培养他们的音乐审美能力。
二. 学情分析三年级的学生已经具备了一定的音乐基础，他们能够辨识简单的音符，能够唱一些简单的歌曲。
但是，他们对音乐的认知和欣赏能力还有待提高。
因此，在教学过程中，教师需要引导学生仔细聆听，感受音乐的美妙之处，并通过唱儿歌的方式，提高他们的音乐表现力。
三. 教学目标1.让学生通过聆听和唱儿歌，感受音乐的魅力，提高音乐素养。
2.让学生能够积极参与课堂活动，提高合作意识和团队精神。
3.让学生通过音乐学习，培养良好的审美情趣和高尚的情操。
四. 教学重难点1.重点：让学生能够正确地唱出儿歌，提高音乐表现力。
2.难点：让学生能够理解并欣赏不同类型的儿歌，提高音乐欣赏能力。
五. 教学方法1.聆听法：让学生仔细聆听音乐，感受音乐的魅力。
2.示范法：教师通过示范，引导学生正确唱儿歌。
3.讨论法：让学生在小组内讨论，分享对音乐的感受和理解。
4.激励法：通过鼓励和表扬，激发学生的学习兴趣和自信心。
六. 教学准备1.准备相关的儿歌资料，包括音频、视频和乐谱。
2.准备多媒体教学设备，如音响、投影仪等。
3.准备录音设备，以便在课堂上进行录音。
七. 教学过程1.导入（5分钟）教师通过播放一首欢快的儿歌，吸引学生的注意力，然后向学生介绍本课的主题《聆听音乐唱儿歌》。
2.呈现（10分钟）教师向学生展示几首不同类型的儿歌，让学生初步感受音乐的魅力。
教师可以播放儿歌的音频，让学生听一听，分辨出不同类型的儿歌。
3.操练（10分钟）教师引导学生跟唱儿歌，让学生通过唱的方式，体验音乐的美妙。
初中音乐_我的祖国教学设计学情分析教材分析课后反思
《我的祖国》教学设计【教学目标】一、情感态度价值观：1. 学生通过学唱歌曲《我的祖国》，感受音乐作品所表达的爱国主义情感，唤起学生对祖国的热爱之情。
2. 学生通过听赏交响诗《沃尔塔瓦河》主题片段，从旋律、节奏、音色等音乐要素的角度去感受、分析、理解作品，从而提高音乐审美能力，理解世界文化的多样性。
二、过程与方法：1. 通过聆听、分析、体验、探究、模仿等教学方法，体会作曲家斯美塔那对民族、对祖国的深厚感情。
从而使学生用舒缓的呼吸、优美圆润的歌声，满怀深情地演唱歌曲《我的祖国》。
2. 通过欣赏主题旋律，启发学生的形象思维，使学生从旋律、节奏、音色等方面感受音乐要素，理解音乐作品，丰富想象力，感受到河水奔流不息的情景。
三、知识与技能：1. 了解捷克民族音乐之父斯美塔那的生平及贡献，知道民族乐派的作品具有强烈爱国主义精神和深厚民族情感的音乐共性。
2. 通过赏析，提高自身的音乐审美能力、想象力和艺术修养。
【教学重点】学唱歌曲《我的祖国》，体会作者对民族、对祖国的深厚感情。
【教学难点】把握歌曲演唱的音准、力度、节拍及调式色彩的变化，感受和体验音乐家所塑造的音乐形象。
【教学准备】多媒体课件、钢琴【教学过程】一、导入1. 请同学们看两个词语“音乐”“情感”，有什么关系？音乐创作者，他们源于内心、生活的感受，激发了创作的灵感，于是有了音乐。
而我们通过聆听音乐，联想到音乐描绘的内容，后产生情感。
2. 下面请同学们充分展开想象力，听听这段音乐描绘了一幅流动还是静止的画面？二、《沃尔塔瓦河》主题1. 聆听音乐（引子）谁感受到了？这幅流动的画面像什么呢？让我们再次聆听2. 再次聆听（引子）画面中两条曲折交错的线条，不仅代表着波西米亚群山中涌出的两股清泉，更代表了水的各种形态，它们终将汇成条条江河，最后奔腾的涌入波涛汹涌的大海。
3. 聆听主题4. 作者及作品简介这两段音乐的作者是捷克的作曲家、钢琴家、指挥家——斯美塔那。
捷克是一个美丽富饶的小国家，几千年来深受周围大国的压迫与侵略，但捷克人民面对强大的侵略势力毫不畏惧。
(完整版)耶鲁大学《聆听音乐》公开课笔记(9-12课)
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。
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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·（Leopold Mozart）古典主义（Classical）（triad）属七和弦（dominant seventh 莫扎特三和弦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，这是海顿与莫扎要大写）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。
浪漫主义时期你可以感觉到情绪上的猛烈波动，这类音乐风格就是19世纪的一种两极分化的音乐，而它却是发源于古典主义时期。
★示范曲目：莫扎特《G（Little G Minor Symphony）小调交响曲》这首乐曲以小调开始，有大量的燥动的切分音，在短短40秒内莫扎特就演变成一种截然不同的基调——开始由双簧管独奏大调。
这是一首抒情的曲子，现在的节拍或说是节奏都是整齐合拍而不散乱，就完全是另一种的音乐类型了，请注意他是如何在这么短时间内转变基调的。
刚才播放的这段音（Amadeus）的片头曲。
这是一部非常精彩的电影：其一，当一个平庸之人遇到乐是电影《莫扎特传》了一个完美的天才时会做什么？其二似乎有些讽刺意味，上帝所赐的天赋却降临在这样一个幼稚糊涂的莫扎特身上，电影的编剧彼得·谢弗尔（Peter shaffer）是根据什么创作的这部电影？在我看来，电影对莫扎特的描写是彻底的误解。
虽然电影的剧情发展很精彩，但其中对莫扎特的塑造和展现实在是不靠谱。
莫扎特的爱好：《莫扎特传》里有这样一个场景，他经常在一张台球桌上写曲。
这的确是事实，如果你们看到过莫扎特的一份遗嘱认证名单，这是在他死后人们在他的公寓里清点所有家具开列的清单，（pool table）(billiards 那里确实有张台球桌，但那不是真正意义上的“台球桌”而是一张“弹球桌”table)，（Michael Kelly，这有很大的差别，因为弹球游戏涉及到角度。
莫扎特一位好朋友迈克尔·凯利男高音歌手）曾回忆说“他很喜欢打弹球，并且在房间里摆放了一张很精致的弹球桌，我们一起玩过很多次，但每次基本都是我输”。
莫扎特的另一爱好就是做算术，如果看到过莫扎特乐谱手稿，就会发现在纸的边缘写满了数字，都是各种基本的计算，有时还会有基本的代数公式。
为什么他会如此迷恋数字与图形呢？如果他走进一家餐厅，人们会看见他在用不同的方式反复折叠餐巾纸。
他写信的时候总是习惯倒着写，他热衷于字迷游戏等等。
再有就是莫扎特善于模仿，并有令人难以置信的模仿别人的能力，模仿他人的面目表情、方言等，他能说很流利的意大利语、法语、英语（他的母语是德语）；他有超强的音乐记忆能力，他14岁时在罗马的西斯廷小教堂听到一首从未在其它任何地方演奏过的经文歌时，就能凭记忆把整首曲子全部默写出来，这是一种特殊的能力。
这首经文歌大约有两分钟长，并有好几个声部。
我们第一次听到一段4、5秒钟的音乐时可以记住多少？显然莫扎特可以在他“内心听觉”中储存和处理大量的音乐。
如果你有绝对音准有时你就会明显地缩短整个过程，因为会被脑干识别到。
耶鲁神经系统科学家的一篇文章《你的大脑合调吗？》（Is you brain in tune）中说到，绝对音准在世界上的发生率估算为万分之一的人拥有。
由于莫扎特留下了很多手札，他常常写信，大部分是写给他的父亲利奥波德·莫扎特，这些文献有助于我们深入了解他。
莫扎特对死亡的理解：1781年莫扎特的一位好友冯·哈茨菲尔德伯爵（Count von Hatzfeld）突然去世，他在写给父亲的一封信中讲述了对死亡的看法：“死亡是生命的真正目的，在过去的两年里我对此深有体会，因此，我将死亡视作人类最真诚的朋友。
这样的想法让我对死亡再也没有了恐惧，取而代之的是安宁和欣慰。
我感谢上帝赐于我如此觉悟，让我有幸明白，死亡是通往真正幸福之路。
我每个夜晚从未厌倦地在思考，像我一样的年轻人也许明天再也不会醒来，但了解我的人没有任何人会说，我的一生是孤独或充满悲哀的。
那么我将无比感激造物主，并由衷希望他能将这样的幸福赐于我的朋友。
我很清晰地阐述了我对至交冯·哈茨菲尔德伯爵突然去世的看法，他和我一样只有31岁，我并不为他悲伤，却发自内心地为像我一样了解他的人难过。
”具有讽刺意味的是，莫扎特在此后只活了四年就去世了，而他却在如此短暂的人生中创作了众多丰富而优秀的音乐作品。
莫扎特从未进过学校或接受除音乐艺术以外的系统教育，他很小就显露出了非凡的音乐天赋，他的父亲便把他留在家中培养，并带他去世界各地演出展示他的音乐天赋，某种意义上可以说他上的是社会大学。
莫扎特音乐的特点1、可靠的平衡感和均匀感。
我们现在谈到的是音乐史上的古典主义时期，因为每一件事情似乎都处于平衡状态，这种风格你不会发现装饰物的过多点缀，不像巴洛克艺术那样充满了宏大、奢侈、戏剧性和明显的感官色彩，音乐中我们第一次感觉到这种平衡就是在古典主义时期。
我们在学习小节、拍子、乐句时，我让你们数拍子时总会发现它都是二加二、四加四、八加八等等非常匀称。
在古典主义时期这种形式第一次大规模地出现在音乐中，平衡、有形、完美的匀称。
★示范曲目（Voi che sapete）罗兰·莉宝（Lauren Libaw）演唱：莫扎特的咏叹调《你们可知道》我们只听其中的一小段，让听觉感受一下什么是结束乐句的前提。
前提有三次展开，然后嵌入，全部是“四加四”，纵观整个咏叹调都是这样的组织结构。
这是莫扎特音乐特点的第一点。
2、化平凡为神奇的能力。
在莫扎特的驾驭之下就像矛盾修辞法，有时候越是简单就越惊艳。
★示范曲目：莫扎特《C大调钢琴协奏曲》（即：鸳鸯恋协奏曲Elvira Madigan)片段这个别名来源于一部电影将它作为背景音乐，是根据《鸳鸯恋》小说改编而成。
莫扎特对一个简单的大三和弦只做了小小的修饰，而对下行的级进音阶Ⅴ、Ⅳ、Ⅲ、Ⅱ、Ⅰ加了一点有趣的东西——嵌入半音音阶，这就是我们这节课开始时谈到的。
三和弦，继续上升，再回落音阶，之后一个半音阶的转折，然后回到开始时的音型。
而他是如何做到的呢？这个被称之为属七和弦模式。
（白板上的谱表标有属七和弦音阶）这个是我们的基础C大调三和弦：C-E-G，但并没满只到2/3的位置，如果加上另外1/3就是七和弦，因为它跨越了7个音：C、D、E、F、G、A、B。
但它只是一个三和弦，以另外一个1/3推到顶端。
我们继续分析这段音乐下面的乐句：回到主音后继续，然后一个减和弦，在最后结束的地方加上一点点颤音。
尽管这是非常简单的素材，但却非常美妙而婉转。
3、莫扎特的猛烈波动基调，它开始于古典主义时期。
这种基调的变化包含在一首单独的乐曲中，但莫扎特把它表现得异常强烈，让它在大调和小调之间摇摆得非常迅速，在全音阶和半音阶之间转换得也一样快。
他想要展现不同的强弱变化程度，响亮而温柔，这是戏剧的本质所在，就是反差与冲突。
★示范曲目（Requiem Mass CONFUTATIS)片段：莫扎特《安魂曲：羞惭无地》我们从低音开始，小调的恶魔之地，振荡，然后扶摇直上到高音的天国，全新的环境；再回归到源头。
这就是第三点，非常强烈的，有时甚至是非常突兀的反差。
4、无穷无尽的旋律而带来无限的想象，这也是最近我在自己的研究中关注的一点。
当莫扎特在自己思绪有些混乱的时候不得不写下一些东西，但大部分东西都在他的脑子里，他只是要简单列一下对位关系，而旋律则无需草稿。
如果你们看到贝多芬的草稿，可以发现贝多芬力图精确地雕琢出旋律，他会一遍遍地尝试重来，《聆听音乐》教科书中有一张贝多芬创作第五交响曲时的草稿，上面有许多不同颜色的修改处，显示出他创作过程中的内心骚动和不断的演变，他甚至花了20年的时间来推敲直到他满意为止。
但莫扎特绝不是这样，他的创作如同行云流水、浑然天成。
★示范曲目：莫扎特《C大调弥撒》（C Minor Mass)片段这是莫扎特写的教堂音乐实例，为女高音创作（而这位女高音就是他的妻子）的这首曲子旋律的韵味堪称完美，而且是那样自然地继续着。
完美的曲式、比例，没有在此争斗的感觉，一切都那样悠然松弛，莫扎特可以让这样优美的旋律连续不断地持续下去。
有时这会让他惹上一些麻烦。
莫扎特的一生有两段佳话，一是《后宫诱逃》from the Seraglio）上演时，国王看后赞叹道：（Abduction “亲爱的莫扎特，这太美妙了，但是音符太多了！”而莫扎特答道：“一个不多，一个不少，绝对合适，殿（Don Giovanni）第一次在维也纳演出时，在结尾部分还是那个国王约瑟夫二世（Joseph 下。
”《唐璜》Ⅱ）说：“亲爱的莫扎特，这音乐就像太多的肉，对维也纳人的牙齿来说太难咀嚼了！”莫扎特这次回答说：“让他们多咀嚼一会吧，他们会习惯的。
”后来维也纳人的确习惯了，但不幸的是，那时候他却不在了，他未能在有生之年看到自己的成功。
听莫扎特音乐有种感觉：完美的曲式，完美的比例，变奏中音符的数量恰到好处。
那个时期他被称为“神童莫扎特”，现在我们仍然这样称呼他。
一个作曲家被贴上标签是很有意思的，比如巴赫，我们不称他为“神童巴赫”而称他为坚定的巴赫、勤劳的巴赫等等；称贝多芬是强大的、努力的作曲家。