世界名校公开课--下载汇总
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.。
世界一流大学公开课
世界一流大学公开课耶鲁大学开放课程：金融市场/topics/2830134/ RMVB格式格式耶鲁大学开放课程：欧洲文明/topics/2815985/ MOV-------------------------------------------------------------------------------------------------------------- 2010-10-10 12:47 | (分类:托福)-------------------------------------------------------------------------------------------------------------- 耶鲁大学开放课程耶鲁大学开放课程：金融市场/topics/2830134/ RMVB格式/topics/2815985/ MOV格式耶鲁大学开放课程：欧洲文明/topics/2831074/ RMVB格式/topics/2823243/ MOV格式耶鲁大学开放课程：博弈论/topics/2832107/ RMVB格式/topics/2819856/ MOV格式/topics/2761377/ 音频耶鲁大学开放课程：心理学导论/topics/2827597/ RMVB格式/topics/2824035/ MOV格式耶鲁大学开放课程：聆听音乐/topics/2832525/ RMVB格式/topics/2814513/ MOV格式耶鲁大学开放课程—哲学：死亡/topics/2824902/ RMVB格式/topics/2761032/ FLV、MOV格式/topics/2837199/ MOV格式/topics/2838567/ MP3耶鲁大学开放课程：古希腊历史简介/topics/2832522/ RMVB格式/topics/2827190/ MOV格式耶鲁大学开放课程：基础物理/topics/2834907/ RMVB格式/topics/2825965/ MOV格式耶鲁大学开放课程：美国内战与重建，1845-1877/topics/2842436/ RMVB格式/topics/2813920/ MOV格式耶鲁大学开放课程：有关食物的心理学，生物学和政治学/topics/2844937/ RMVB格式/topics/2840797/ MOV格式耶鲁大学开放课程：天体物理学之探索和争议/topics/2844166/ RMVB格式/topics/2820193/ MOV格式耶鲁大学开放课程：1648-1945年的欧洲文明/topics/2832611/ RMVB格式耶鲁大学开放课程：罗马建筑/topics/2843229/ RMVB格式/topics/2824114/ MOV格式耶鲁大学开放课程：生物医学工程探索/topics/2834278/ RMVB格式/topics/2832411/ HALFCD /topics/2825693/ MOV耶鲁大学开放课程：1871年后的法国/topics/2835256/ RMVB格式耶鲁大学开放课程：全球人口增长问题/topics/2841042/ RMVB格式/topics/2838166/ MOV格式耶鲁大学开放课程：进化，生态和行为原理/topics/2849314/ RMVB格式/topics/2823010/ MOV格式政治哲学导论/topics/2837222/ [MOV]耶鲁大学开放课程：新约及其历史背景/topics/2826569/ MOV格式耶鲁大学开放课程：新生有机化学/topics/2824129/ MOV耶鲁大学开放课程：旧约全书导论/topics/2834690/ MOV耶鲁大学开放课程: 现代诗歌/topics/2838025/ MOV耶鲁大学开放课程：文学理论导论/topics/2827779/ MOV耶鲁大学开放课程：1871年后的法国/topics/2826754/ MOV耶鲁大学开放课程: 解读但丁/topics/2838417/ MP4耶鲁大学开放课程: 弥尔顿/topics/2838062/ MOV耶鲁大学开放课程：1945年后的美国小说/topics/2813721/ MOV-------------------------------------------------------普林斯顿大学普林斯顿大学开放课程：能源和环境/topics/2838698/ MP4普林斯顿大学开放课程：关于建筑表皮的对话/topics/2837495/ MP4普林斯顿大学开放课程：现代奇迹-未来工程/topics/2837445/ MP4普林斯顿大学开放课程：国际座谈会/topics/2839861/ MP4普林斯顿大学开放课程：自由意志定理/topics/2837397/ MP4普林斯顿大学开放课程：人性/topics/2839858/ MP4普林斯顿大学开放课程：技术世界的领导能力/topics/2837505/ MP4普林斯顿大学开放课程：领导能力简介/topics/2838699/ MP4-------------------------------------------------------麻省理工麻省理工开放课程：线性代数/topics/2841760/ MP4麻省理工开放课程：微积分重点/topics/2840097/ MP4麻省理工开放课程：航天系统工程学/topics/2843378/ MP4麻省理工学院-算法导论/topics/87348/ RM麻省理工开放课程：西方世界的爱情哲学/topics/2843087/ MP4麻省理工开放课程：微分方程/topics/2841771/ MP4麻省理工开放课程：电影哲学/topics/2842735/ MP4麻省理工开放课程：艺术、科学和技术中的情感和想象/topics/2842744/ MP4麻省理工学院开放课程建筑设计：地景中的建筑/topics/2843437/ MP4哥德尔，埃舍尔，巴赫：一次心灵太空漫游/topics/2834837/ RM麻省理工学院MIT“开放式课程网页”西班牙语学习视频Destinos52集全/topics/2768059/ WMV麻省理工开放课程：单变量微积分/topics/2840700/ MP4麻省理工开放课程：多变量微积分/topics/2841533/ MP4美国麻省理工之经典力学/topics/2745060/ FLV麻省理工电磁学视频课程/topics/2807625/ MP4麻省理工学院：电和磁/topics/2834455/ MP4麻省理工开放课程：生物工程学导论/topics/2843203/ MP4微分方程/topics/97179/ RMVB MIT World系列：音乐的各种声音/topics/2835536/ WMV MIT World：领导课程学习最前线/topics/2834612/ WMV MIT World系列：协作和集体智慧/topics/2837230/ WMV MIT开放课程: 振动与波/topics/2843436/ WMV -------------------------------------------------------斯坦福大学斯坦福大学开放课程: 抽象编程/topics/2838167/ WMV 编程模式（斯坦福大学）(C和C++)/topics/2735796/ RMVB 斯坦福大学开放课程: 傅立叶变换及应用/topics/2837973/ MP4斯坦福大学开放课程: 编程方法学/topics/2826147/ WMV 斯坦福大学开放课程：法律学/topics/2843906/ MP4 斯坦福大学iPhone开发教程2010年冬/topics/2836669/ MP4斯坦福大学开放课程：商业领袖和企业家/topics/2841999/ MP4 人类健康的未来：七个颠覆你思想的演讲/topics/2835311/ M4V斯坦福大学开放课程：经济学/topics/2842212/ MP4斯坦福大学开放课程: 达尔文的遗产/topics/2842851/ MP4斯坦福大学开放课程：法学类课程/topics/2843259/ MP4斯坦福大学开放课程: 人机交互研讨/topics/2843432/ MP4斯坦福大学iPhone开发教程/topics/2751791/ MP4斯坦福大学开放课程: 编程范式/topics/2838268/ WMV斯坦福大学开放课程: 线性动力系统绪论/topics/2838296/ MP4斯坦福大学近现代物理专题课程-量子力学/topics/2785010/ MP4编程方法/topics/2820089/ MP4斯坦福大学网络视频课程之机器人学/topics/432023/ WMV 斯坦福大学近现代物理专题课程-宇宙学/topics/2789959/ MP4 斯坦福大学近现代物理专题课程-统计力学/topics/2809139/ MP4 斯坦福大学近现代物理专题课程-量子纠缠-part1 /topics/2811769/ FLV斯坦福大学近现代物理专题课程-量子纠缠-part3/topics/2813882/ FLV斯坦福大学近现代物理专题课程-广义相对论/topics/2780010/ MP4 斯坦福大学近现代物理专题课程-经典力学/topics/2802330/ MP4 斯坦福大学开放课程: 人机交互研讨/topics/2843092/ MP4 斯坦福大学近现代物理专题课程-狭义相对论/topics/2777708/ MP4 斯坦福大学-机器学习课程/topics/2727693/ WMV 斯坦福迷你医学课堂：人类健康之动态/topics/2825599/ M4V 斯坦福迷你医学课堂：医学、健康及科技前沿/topics/2824928/ M4V 斯蒂芬博伊德线性动力系统教程/topics/2735036/ MP4 -------------------------------------------------------哈佛大学公正：该如何做是好？/topics/2803004/-------------------------------------------------------华威大学华威大学开放课程：写作的挑战/topics/2844952/ MP3 饮水思源，感谢人人字幕组的翻译。
世界名校视频公开课列表
本课程涵盖了数据统计分析的基础内容，共四十二节课。Nicholas P. JEWELL教授主要采取ppt授课方式，让同学们更容易看到合记住知识点。并且复习起来非常方便。
8
《经济学》
斯坦福大学
网易、新浪
中英双字幕
课程简介
很多斯坦福商学院的人自豪地认为，哈佛商学院代表比较传统的经营管理培训，培养的是“西装革履式”的大企业管理人才；而斯坦福商学院则更强调开创新科技新企业的“小企业精神”，培养的是“穿T-恤衫”的新一代小企业家。这种说法有没有道理呢？
13
《美联储与金融危机》
乔治华盛顿大学
新浪
中英双字幕
课程简介
美联储主席本-伯南克将于今年3月份在乔治华盛顿大学商学院中担任四堂课的主讲，内容是阐述美联储在美国经济中所扮演的角色。
14
《银行业危机源起与后果》
英国公开
大学
新浪
中英双字幕
课程简介
2008年秋，全球金融危机，全世界的政府采取紧急措施以防止银行系统崩溃。这场自十九世纪三十年代以来最严重的金融危机造成了经济衰退。在英国，攀升的失业率、下降的房价和突增的政府债务，是银行系统临近崩溃造成的令人忧心的后果。本课深入观察了全球金融市场的衰败，解读银行业危机祸起之处。
耶鲁大学
网易、新浪
中英双字幕
课程简介
本课程通过分析在历史文献中最早的基督教运动提供了对基督教的起源历史研究，主要集中在新约集部分。虽然神学主题将占据我们主要的注意力，但是课程不只对新约的圣经神学部分进行研究。
2
《旧约全书导论》
耶鲁大学
网易、新浪
中英双字幕
课程简介
本课程探讨旧约(希伯来圣经)作为宗教生活的表达和古代以色列的思想，对西方文明的基础性文件。
全球十大在线公开课程平台
全球十大在线公开课程平台据国外媒体报道，如今大学学费的不断上升已经成为了摆在所有人面前的一道坎，部分美国国内名牌大学的全程学费甚至可能让你花费掉一半以上的银行存款。
那么，有没有什么办法可以让我们既享受到相同的教育质量，又可以不花费自己一分钱呢?对此，相信许多人都已经听说过美国美国麻省理工学院(Massachusetts Institute of Technology，MIT)所开设的网络公开课程项目了。
这一项目中的科目虽然无法完全替代大学教育内容，但也毫无疑问是我们在免费基础上所能享受到的最高质量教育了。
然而，麻省理工大学也并不是第一所免费对外提供自己的教学资料的大学，德国图宾根大学(University of Tuebingen)早在1999年便开始对外提供自己的教学素材。
而到目前为止，全球已经大约有250所大学和教育机构均采用了“公开课程”的形式免费对外提供自己的教学素材。
日前，美国知名科技媒体就我们盘点了“全球十大在线公开课程平台”，具体如下：1. 美国麻省理工学院(Massachusetts Institute of Technology，MIT)麻省理工学院并不是首家采用网络公开课程的大学，但其在2002年开始加入这一行列后有更多其他大学都在随后纷纷效仿了这一做法。
目前，麻省理工学院总共对外免费提供了涵盖商业、工程学、数学、科技在内的多达2150课时的课程材料，并且是全球网络公开课程质量最出色的大学之一。
与此同时，麻省理工学院对外免费提供诸如设计、音乐理论、艺术、视频、音频，甚至是互动类的在线课程材料。
更令人兴奋的是，麻省理工学院还和其他许多机构达成了合作伙伴关系，而这些机构会负责将其网络在线教程翻译成七种语言供外界学习。
2. 国际开放课件联盟(OpenCourseWare Consortium)国际开放课件联盟是一个全球性合作组织，该组织成功将6大洲的公开课程内容集中起来，学员可以通过语言和课程来源选择自己想要学习的课程。
公开课优秀完整课件PPT
Part
04
课程总结总结了本次公开课的 主要内容，包括主题、重 点、难点等。
教学方法分析
评估了所采用的教学方法 和手段，如案例分析、小 组讨论等的效果。
时间安排评价
对课程的时间安排进行了 评估，包括每个环节的时 长、节奏等。
学习收获
知识增长
列举了学生在本次公开课 后所获得的新知识、新技 能。
课程内容
01
02
03
课程章节安排
详细介绍课程的章节和内 容，包括主题、知识点、 案例、实践等。
课程重点与难点
指出课程中的重点和难点 ，并给出相应的学习建议 和方法。
课程实践环节
介绍课程中包含的实践环 节，如实验、项目、社会 调查等，并给出实践环节 的具体安排和要求。
Part
02
教学方法与技巧
互动式教学
教学经验
总结词
教师的教学经验和教学方法是公开课效果的关键因素。
详细描述
教师具有丰富的教学经验，能够根据学生的需求和特点灵活调整教学方法和策略。他们采用启发式、 互动式等多种教学方法，激发学生的学习兴趣和思考能力，提高学生的学习效果。
研究成果
总结词
教师的研究成果是公开课内容的重要补充和支撑。
详细描述
THANKS
感谢您的观看
动探索和学习。
改进建议
增加互动环节
在课件中增加一些互动环节，如问答、讨论等，可以更好地调动 学生的学习积极性和参与度。
个性化学习资源
根据学生的学习需求和水平，提供更加个性化和定制化的学习资源 ，以满足不同学生的需求。
强化实践应用
在课件中增加更多的实践应用环节，如实验、项目等，可以帮助学 生更好地理解和应用所学知识。
公开课完整版PPT课件
汇报人：文小库
2023-12-29
目录
• 课程介绍与背景 • 教学内容与方法 • 互动环节与实践活动 • 课程总结与回顾 • 拓展资源与学习支持
01
课程介绍与背景
公开课的目的和意义
01 知识传播与共享
公开课打破了地域和学校的限制，使得优质教育 资源得以更广泛地传播和共享，促进了教育的公 平性和普及性。
基本概念与原理
详细阐述本课程所涉 及的基本概念、原理 和理论，为后续内容 的学习打下基础。
重点知识点
系统讲解本课程的核 心知识点，包括定义 、性质、特点、分类 、应用等方面。
案例分析与讨论
结合具体案例，深入 剖析相关知识点在实 际问题中的应用，提 高学生的分析问题和 解决问题的能力。
教学方法与手段
03
互动环节与实践活动
提问与回答环节
01
02
03
鼓励学生提问
在课程中设置专门的提问 时间，鼓励学生提出与课 程内容相关的问题，增加 学生参与感和主动性。
及时回答问题
对学生的问题给予及时、 准确的回答，帮助学生解 决疑惑，加深对知识点的 理解。
引导深入思考
针对学生的问题，教师可 以进一步引导学生进行深 入思考，拓展学生的思路 和视野。
04
课程总结与回顾
主要知识点总结
课程核心内容
涵盖了课程的主要概念、理论和 方法，为学生提供了全面的学习
体验。
重点知识点
深入解析了课程中的关键概念和 重要理论，帮助学生更好地理解
和掌握课程内容。
难点与疑点
针对课程中难以理解或存在争议 的知识点进行了详细的阐述和解
释，帮助学生消除困惑。
史上最全的国外知名高校课件下载 数百个网站推荐
史上最全的国外知名高校课件下载数百个网站推荐一、伯克利加州大学伯克利分校 /courses.php作为美国第一的公立大学，伯克利分校提供了许多优秀教授的播客和视频讲座，可以跟踪最新的讲座。
想看教授布置的作业和课堂笔记，可以点击该教授的网页，通常，他/她都会第一堂课留下网址。
实在不行，用google搜搜吧！伯克利的视频都是.rm格式，请注意转换二、麻省麻省理工学院 /OcwWeb/web/courses/courses/index.htm麻省理工是免费开放教育课件的先驱，计划在今年把１８００门课程的课件都放在网站上，提供课程与作业的ＰＤＦ格式下载。
三是，麻省理工只提供少数的视频讲座。
坐过学生上麻省有一个绝对优势，麻省理工在中国大陆和中国台湾都建立了镜像网站，把麻省的课程都翻译成立中文。
鉴于ＰＤＦ格式，推荐使用ＦｏｘＩｔＲｅａｄｅｒ。
（中国大陆）推荐（中国台湾）二、卡耐基梅隆 /oli/卡耐基梅隆针对初入大学的大学生，提供１０门学科的课程视频。
与其他大学的免费课程一样，非卡耐基梅隆的学子能学习课程，但是为了使学生能够及时了解自己的课程进度，卡耐基梅隆建议造访者在网站上注册，建立自己的资料库。
这样一来，你得在有限的时间内完成一门课程，还要参加几次考试，当然，即使你得了１００分，卡耐基梅隆也不会给你开证明，更不会给你学分。
四、犹他犹他大学 /front-page/Courese_listing犹他大学类似于麻省理工，提供大量的课程课件五、塔夫茨塔夫茨大学 塔夫茨大学也是“开放式教育课程”的先驱之一，初期提供的课程着重在本校专长的生命科学、跨领域方法、国际观点以及对美国地区性、全国性社群服务的基础理论。
六、公开英国公开大学 /course/index.php英国十几所大学联合起来，组建了英国公开大学。
有一部分课程是对注册学生开放的，但是有一批很好的课程是免费的，并提供视频。
每门课还设立了论坛，在社区中，大家发表意见，提供其他的学习资源，互相取经。
国外名校公开课资源
国外名校公开课资源简介抛砖引玉幻灯片2背景●本学期第一周学院开学工作会议上，围绕教育教学中心工作，黄冬梅院长提出了将世界最顶尖的优质教育资源引入我们的教学工作中的理念。
●重点课程建设、双语课程建设、日常教学工作中应改充分利用网络教学平台等现代教育手段，吸收消化世界最顶尖的开放课程，为我所用。
●站在巨人的肩上，迅速提高我们的教学水平、教育质量。
●为此我们对“国外名校公开课”资源作了初步梳理，在这里汇报，与大家共享。
●关注重点：计算机科学与技术、数学、物理●获得资源的途径：公开的、开放的、获授权的网络资源幻灯片3内容提要● 1 校园网--网络教学综合平台—教学资源库● 2 中国开放教育资源协会● 3 各大学网站公开课● 4 iTunes U （apple）● 5 网易公开课● 6 新浪公开课●7 在线学习课程1 校园网—网络教学综合平台—教学资源库（1）●由我校校园网的“网络教学综合平台”，进入“教学资源库”，可见一些知名大学开的开放课程，如：●斯坦福大学开放课程●耶鲁大学开放课程●英国格雷莎姆学院讲座●约翰霍普金斯开放课程●日本开放课程●麻省理工开放课程●圣母大学开放课程●索非亚开放课程●塔夫茨开放课程●还有我国的精品课程●清华精品课、台湾国立交通大学课程幻灯片51 校园网—网络教学综合平台—教学资源库（2）下载/浏览数极少幻灯片61 校园网—网络教学综合平台—教学资源库（3）●注意●网页左侧“红色加重字符”表示资源的“学科范围”，右侧“资源类型”由“红色字符”表示；●网页右下方列出相关“课程”，点“下载”后可以“保存”或“打开”含该课程全部文件的“zip”压缩包, 点击其中的“index.html”文件，即可浏览课程。
●国外大学的课程所用语言一般为英文。
一般包括：Course Home （课程主页）、Syllabus（大纲）、Calendar（日历）、Readings（阅读）、Lecture Notes（讲稿pdf）、Assignments （作业pdf）、Exams（考试pdf），以及教师和课程简介等内容。
- 1、下载文档前请自行甄别文档内容的完整性，平台不提供额外的编辑、内容补充、找答案等附加服务。
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世界名校公开课--下载汇总
第一部分：全是有中文字幕的
更新的香港公开大学开放课程：投资者教育讲座：/topics/2849967/
1 耶鲁大学开放课程：心理学导论：
/topics/2827597/
2 耶鲁大学开放课程：博弈论：
/topics/2832107/
3 耶鲁大学开放课程—哲学：死亡：
/topics/2824902/
4 耶鲁大学开放课程：金融市场：
/topics/2830134/
5 耶鲁大学开放课程：聆听音乐：
/topics/2832525/
6 哈佛大学开放课程：公正：该如何做是好？：/topics/2803004/
7 耶鲁大学开放课程：有关食物的心理学，生物学和政治学：/topics/2844937/
8 耶鲁大学开放课程：天体物理学之探索和争议：/topics/2844166/
9 耶鲁大学开放课程：美国内战与重建，1845-1877：/topics/2842436/
10 耶鲁大学开放课程：1871年后的法国：
/topics/2835256/
11 耶鲁大学开放课程：古希腊历史简介：
/topics/2832522/
12 耶鲁大学开放课程：1648-1945年的欧洲文明：/topics/2832611/
13 耶鲁大学开放课程：基础物理：
/topics/2834907/
14 耶鲁大学开放课程：生物医学工程探索：/topics/2834278/
15 耶鲁大学开放课程：欧洲文明：
/topics/2831074/
16 耶鲁大学开放课程：罗马建筑：
/topics/2843229/
第二部分：纯英文的教程给牛人准备的呵呵
17 牛津大学开放课程：批判性推理入门：/topics/2844091/
18 哈佛幸福课：
/topics/2837645/
19 剑桥大学开放课程：人类学：
20 普林斯顿大学开放课程：领导能力简介：/topics/2838699/
21 普林斯顿大学开放课程：人性：
/topics/2839858/
22 斯坦福大学开放课程：人类健康的未来：/topics/2835311/
23 沃顿商学院开放课程：沃顿知识在线：/topics/2847137/
24 牛津大学开放课程：哲学入门：
/topics/2835454/
25 普林斯顿大学开放课程：领导能力简介：/topics/2838699/
26 斯坦福大学开放课程：经济学：
27 斯坦福大学开放课程：商业领袖和企业家：/topics/2841999/
28 普林斯顿大学开放课程：技术世界的领导能力：/topics/2837505/
29 耶鲁大学开放课程——哲学：死亡26课全：/topics/2761032/
30 普林斯顿大学开放课程：国际座谈会：
/topics/2839861/
31 普林斯顿大学开放课程：现代奇迹-未来工程：/topics/2837445/
32 麻省理工开放课程：线性代数：
/topics/2841760/
33 普林斯顿大学开放课程：自由意志定理：/topics/2837397/
34 普林斯顿大学开放课程：能源和环境：
/topics/2838698/
35 哥伦比亚大学开放课程：房地产金融学：
/topics/2847173/
36 剑桥大学开放课程：人类学：
/topics/2842377/
第三部分计算机类的当然还是纯英文的
37 哈佛大学开放课程：构设动态网站：
/topics/2854463/
38 加利福尼亚大学伯克利分校开放课程: 操作系统和系统编程：/topics/2839035/
39 斯坦福大学开放课程: 抽象编程：
/topics/2838167/
40 斯坦福大学开放课程: 编程方法学：
/topics/2826147/
41 斯坦福大学iPhone开发教程2010年冬：/topics/2836669/
42 编程模式（斯坦福大学）(C和C++) ：/topics/2735796/
43 MIT计算机科学及编程导论：
/topics/2830263/
44 斯坦福大学开放课程: 编程范式：
/topics/2838268/
45 斯坦福大学开放课程: 傅立叶变换及应用：/topics/2837973/
部分美国大学公开课资源
■ 加州大学伯克利分校
/courses.php
■ 麻省理工学院
/OcwWeb/web/courses/courses/index.ht m
■ 卡耐基梅隆大学
/oli/
■ 约翰·霍普金斯大学
/topics.cfm
■ 华盛顿大学
/education/course-webs.html。