Listening to Music聆听音乐| Craig Wright克雷格•奈特 Lecture 15-20
Lecture 15: Gregorian Chant and Music in the Sistine Chapel 圣歌和西斯廷清唱乐
The periods in the history of music 音乐史中的各个时期
1. Medieval 中世纪
2. Renaissance 文艺复兴时期
3. Baroque 巴洛克时期
4. Classical 古典主义时期
5. Romantic 浪漫主义时期
6. Impressionist 印象派时期
7. Modernism 现代派时期
*Medieval 中世纪 约公元476-1453年(西罗马帝国灭亡到东罗马帝国灭亡)
Gregorian chant 格里高利圣歌:
monophonic, unaccompanied, one-line music of the Roman Catholic Church, no meter and regular rhythm, a medium for the projection of sacred text, and a vehicle for spiritual contemplation. 天主教派中的单音的、无伴奏的、只有一条旋律线的音乐，没有韵律和固定节奏(Hildegard: "like a feather on the breath of God" 就像轻羽漂浮于上帝的气息之上)用来更好地传递天主教意和教会信息(syllabic chant 音节式圣歌: each syllable has just one note 每个音节只有一个音符)，使人们有时间来思考之前所听到的东西(melismatic chant 花腔式圣歌: one syllable could be conveyed by 30 notes)
polyphonic music, multi-voice music 多声部音乐:
早期的教堂复调音乐被称为平行复音(organum)，建立在当时已存在的格里高利圣歌之上，最初出现在法国城市中的哥特式大教堂，尤其是巴黎圣母院(Notre-Dame of Paris)；男高音(tenor)的作用是引领和保持(Latin word "teneo" 保持)
*Renaissance 文艺复兴时期 14-17世纪
A Cappella (Sistina) 西斯廷教堂清唱(无伴奏)，全体歌唱团员为男性，高音部靠男性唱头音(head voice)，即假音(falsetto)，或让少年歌者演唱(choirboy)，或有阉伶演唱(castrato). Alessandro Moreschi 历山德罗•莫雷斯奇，最后一位阉伶
Lecture 16: Baroque Music: The Vocal Music of Johann Sebastian Bach 巴洛克音乐
3. Baroque 巴洛克时期 1600-1750
Handel 亨德尔 Bach 巴赫 Scarlatti 斯卡拉第
exemplified by J.S.Bach, one of this long-lived clan of musicians: Vocal&Instrumental music 以J.S.巴赫(1685-1750)为代表，声乐和器乐作品
His death gives us a nice, clean cut-off by which to end the Baroque era. 他的逝世完美而清晰地结束了巴洛克时期
ten generations of Bachs were musicians, goes back to 16th C to 19th C, the word “Bach” was eponymous with musician.
orphaned, raised by his older brother Johann Christoph Bach, a student of Johann Pachelbel帕赫贝尔与巴赫们关系紧密
self-taught by copy music of e.g. Corelli's"La Folia" and Vivaldi's "the four seasons" 通过抄写乐谱自学音乐
Bach's devotion to his profession was legendary.对音乐事业的投入是出了名的
Bach in his day was recognized and valued not so much as acomposer but a great virtuoso organist 著名管风琴大师
moved to Leipzig in 1723 and spent the rest of his career there.在莱比锡度过余下的音乐生涯，那里可以获得一座大房产还能免费让所有儿子上大学（巴赫共有20个孩子）...
the Sanctus of the B Minor Mass 《B小调弥撒》三圣颂:
filled with imitation and fugal subjects that recombine and different kinds of permutations. It can be inverted,backwards and forwards充满了不断重组的模仿音以及赋格主题还有各种重复组合，它可以倒过来，来回变化。Whatever he did, he prosecuted maniacally不管做什么都会做得疯狂彻底, and what he ended up with was stuff taht is very dense and compact他的结尾总是很密集 But it's not necessarily the most popular sort of music in that regard但这却不一定是大众最想要听到的音乐。
Contatas, a sung thing, as opposed to a sonata, sounded thing康塔塔，一种歌唱作品，和奏鸣曲等器乐作品形成对比:
multi-movements, go on for about 25-30mins多乐章
religious in subject matter, written in German 就主题而言是宗教的，用德语写成，巴赫创造了将近300首康塔塔
Layout of a typical Contata: 7 movements
1.chorus 合唱2.recitatitive 宣叙调 sort of spoken dialogue, accompanied a little bit by a basso continuo独白，伴随有持续低音3.a Da Capo(DC) aria返始咏叹调 三段式4.chorus 合唱 chorale tune 1,4,7乐章的合唱采用了赞美诗 foregrounding a major triad which sounds secure. 突出大三和弦创造了安全感, consists of 3 textures——bass, melody, chorale that interweave with his given melody. He was able to hear one thing and size up its implications to know what it could become. 这是一种伟大的天赋，能够听到一个东西并领会它的内涵，知晓它能如何变化。5.recitatitive 宣叙调6.aria 咏叹调7. chorus 合唱
Lecture 17 Mozart and His Operas 莫扎特和他的歌剧
4. Classical 古典主义时期（1750-1820）
we now get some change in a movement. 一个乐章中开始产生变化
e.g. the beginning of Mozart's Symphony No.25 in G Minor 莫扎特《G小调交响曲》开头:
minor, lots of syncopation, agitation 小调，大量躁动的切分音 within 40sec Mozart has morphed into a completely diff. mood 40秒内莫扎特就演变成一种截然不同的基调→major, oboe solo, lyrical 双簧管演奏大调，抒情的曲子
Mozart was fond of billiards and had an excellent billiard table in his home他非常喜欢打弹球(with angles there!),房间里也有一个精致的弹球桌；one of his other interests was arithmetic 他的另一爱好就是做算术；he loves anagrams 热衷于字谜游戏——fascinated with numbers and shapes and patterns 迷恋数字和图形；Another aspect of this is Mozart mimic, he had an incredible capacity to imitate others. We know more about him from the tons of letters he left, he was always writing letters to principally his father 经常写信给父亲，留下大量手稿信件使得我们可以了解莫扎特
4 things that are peculiar about Mozart's music 4个莫扎特音乐的独到之处：
* infallible sense of balance and proportion 可靠的平衡感和均匀感
* the capacity to make sth very beautiful out of the simplest of materials 化平凡为神奇的能力
* wild swings of mood, swing quickly between major and minor, go between diatonic and chromatic really quickly, and he likes to play off diff. dynamic levels, loud&soft, that's the essence of drama 猛烈波动基调，喜欢在大小调间摇摆得很迅速, 在全音阶和半音阶之间快速转换,想要展现不同的强弱变化程度，强烈和柔软，这正是戏剧的本质
* inexhaustible melodic supply, fecundity of imagination when it comes to melody 脑海中有无穷无尽的旋律，带来无穷尽的想象—— divine Mozart 天才莫扎特, stalwart&industrious Bach坚定而勤劳的巴赫, powerful Beethoven 强大的贝多芬
e.g.Concerto No.21 II:
phrase 1: triad, goes up and comes down the scale, a chromatic inflection 大三和弦，音阶，半音阶转折
phrase 2: a dominant seventh chord 属七和弦模式 CEGB跨越了7个音的和弦, back to the tonic 回到主音
diminished chord 减和弦, throws a little trill on at the end 在结尾处加上一点颤音
Mozart's 3 great operas 莫扎特的3部伟大的歌剧:
Marriage of Figaro 《费加罗的婚礼》
Don Giovanni《唐璜》
The Magic Flute 《魔笛》
Lecture 18 Piano Music of Mozart and Beethoven 莫扎特和贝多芬的钢琴音乐
Central limitation of the harpsichord: no dynamics, it's cumbersome and you cannot shade a scale and cannot reach for a climax 大键琴的最大缺陷——没有强弱，很笨重，无法产生渐变的音节，无法达到高潮
Pianoforte (piano: 弱 forte: 强) =piano 钢琴，可以使音量有强弱之分，大约与1700年发明于佛罗伦萨 by Bartolomeo Cistofori 巴尔托洛奥▪克里斯托弗里
Mozart: the 1st composer to switch from the harpsichord over to the piano 莫扎特是第一位从大键琴转而为钢琴谱曲的作曲家
in 1781 he has had it with the "Archbooby" of Salzburg and breaks free of him and establishes himself as a freelance musician in the city of Vienna. He was trying to patch togther with living through giving piano lessons to the aristocracy and playing the piano in public concerts 1781年莫扎特再也无法忍受萨尔茨堡主教与他决裂，来到维也纳成为一名自由音乐家，通过教贵族弹钢琴和在公众音乐会上演奏钢琴来养家糊口。
Because of that, he perfected or contributed greatly to 2 important genres in the history of music: piano sonata(mostly for his pupils)& piano concerto(23 pieces in total wrote principally for himself as a kind of showpiece for public concerts) 也因此，他对音乐史中两种总要体裁的发展作出了极大的贡献——钢琴奏鸣曲（为学生而写）和钢琴协奏曲（为自己在演奏会上的重点曲目而创作）
Mozart's piano: shallow, doesn't have much resonance; punchy, doesn't lend itself to legato lines, because the harmers are made of hard leather rather than felt until 19th C. 单薄缺少共鸣；生硬，无法弹奏出连奏效果，因为击弦槌是由硬皮革而非19世纪后的毛毡制成
Beethoven: he astonished the aristocracy by the power of his playing, the aggressive nature of it, the physicality of it, the virtuosity of it. It was much more technical than anything that Mozart had ever created on the piano. 他以演奏时的激情和狂野以及精湛的技艺使那些贵族们倍感震撼。他的作品（32首钢琴奏鸣曲和5首钢琴协奏曲，最著名的是第五号皇帝协奏曲）在技巧上要远超莫扎特的任何一首钢琴作品，一方面是因为这个时期的钢琴本身的体积和音量都逐渐变大。
Franz Schubert 弗朗兹▪舒伯特
Franz Liszt 弗朗兹▪李斯特
Fredric Chopin 弗雷德里克▪肖邦
Sustaining pedal 延音踏板，使制音器（dampers 琴弦上的毛毡）抬起
The left pedal: makes the sound softer and more quiet by shifting the whole keyboard and hammer mechanism so only 2 strings are engaged instead of 3. 左踏板，使声音变弱变柔和
Lecture 19 Romantic Opera: Verdi's La Traviata, Bocelli, Pavarotti and Domingo 浪漫派歌剧: 威尔第《茶花女》，波切利，帕瓦罗蒂和多明戈
5. Romantic 浪漫主义时期，19世纪歌剧
Richard Wagner 理查德▪瓦格纳
Giuseppe Verdi 朱塞佩▪威尔第 he in a way is more representative of 19th C opera generally than Wagner. Verdi, Mozart and Puccini are sort of staples of most opera companies around the world. 威尔第 莫扎特和普契尼是全世界歌剧院的主打明星
La Traviata 《茶花女》一个误入歧途离经叛道的女人：
→the beginning Aria "Libiamo" by Alfredo at the top there, a Waltz and dringking song 阿尔弗雷德领唱的咏叹调《饮酒歌》，一首华尔兹
a fast triple, happy major 快速的三拍子，大调
→the first major Aria "Un Di Felice" , a duet 第一首咏叹调《美丽的一天》，二重唱：
a nice, slow triple meter, mostly major but tinged a little bit with minor for Alfredo 阿尔弗雷德演唱舒缓的三拍，多数时候为大调，中间穿插了一些小调；a faster temper and lighter voice of Violetta 维奥莱塔轻浮的音乐；at the end, Alfredo won in music wills or musicial characterization, Violetta turns down her voice and shifted to a slightly minor-tinted sound and then the tempo of the music slow down. 最终阿尔弗雷德在音乐意志的较量中获胜，女声音量降低并转入类似小调的唱腔。
*Bel canto singing 威尔第歌剧时代的美声歌剧唱法，重点在歌手的演唱上，乐队只在下面伴奏，与瓦格纳的乐队主导大相径庭
*tempo rubato 弹性速度，节奏明显放慢，浪漫派的重要表现手法，用变化的节奏表达音乐情感
*In Don Giovanni, it's crucial to the effect of the duet: as the duet goes on the length of those rests get smaller and smaller and eventually they disappear. What Mozart is telling us is that just as physical sonic space is disappearing, so too the distance between these two individuals is disappearing. They are getting closer musically right togther in parallel thirds chords there as they're getting closer physically. 二重唱中一个重要手法是：随着二重唱的进行，休止符的长度越来越短，最后完全消失。莫扎特想表达的是，就像现实中的距离一样，随着声音中的缝隙消失转而成并行重叠的三度和弦，身体上的距离也逐渐消失。
→a scena: an amalgam of 3 items—— an aria, followed by a recitative and then the final fast aria(cabaletta 卡巴列塔咏叹调，慷慨激昂地陈述一般，然后让主角满腔热情地退场的一种惯例) 一个歌剧场景包括三部分，一个咏叹调，接着一段宣叙调，最后一段快速的咏叹调
a 19th C recitative, but recitative fully accompanied by the orchestra rather than a simple recitative 19世纪由整个乐队伴奏的宣叙调
*What constitute a good operatic voice? a nice, rich and smooth tone quality 漂亮丰富的音质，在高音区和低音区的音质要一致；powerful vocie 响亮的嗓子，歌剧院里不用麦克风；a well-focused voice 清晰的嗓音，歌剧院越大越需要颤音vibrato，缺点是音准下降
Tenors 男高音:
Domingo (b.1941) 多明戈
Pavarotti (b.1935) 帕瓦罗蒂，巅峰期为1978-80年
Bocelli (b.1958) 波切利
Sopranos 女高音
Mezzo-Soprano 女中音
Contralto 女低音
Lecture 20 The Colossal Symphony: Beethoven, Berlioz, Mahler and Shostakovich 巨人的交响乐：贝多芬，柏辽兹，马勒，肖斯塔科维奇
Development of Orchestra:
→Strings: violin, viola, cello, double bass, but different from the instruments that Mozart was playing, they're more powerful 弦乐器变得更强大更有张力音量更大，琴头更高，琴弦由肠线变成金属线，琴弓更宽
→Woodwinds: new instruments were introduced in 19th C, piccolo up at the top 高音上的短笛e.g.the storm scene of the “Pastoral Symphony”贝多芬《田园交响曲》中暴风雨的场景; double bassoon 低音巴松；English horn 英国管，源于法国和德国的木管乐器，属于一种低音或高音双簧管，音质非常又没和丰富，稍有换就音质 (nostalgic quality) e.g. the slow movement Dvorak's "New World Symphony" written in Iowa 德沃夏克的《自新大陆》交响曲写于美国爱荷华州
→Brass: trumpet, French horn, trombone tuba 小号，圆号，长号（贝多芬在第五交响曲中引入，直到19世纪才被加入到乐队中。为达到英雄效果，贝多芬在finale中由minor转入major，bring in newly invented heavy artillery the trombone 引入长号重炮）大号（1825或1830年左右引入，Hector Berlioz in the Symphonies Fantastique 柏辽兹在《幻想交响曲》中第一次使用）
Mozart's dinky little orchestra, with about 30-33
Haydn's first orchestra had 16 people in it
Beethoven in Vienna up to 50-60
later by the end of 19th C more instruments and players getting up to 80, 90 100.
the huger orchestra, sound, per se, is replacing musical idea. e.g. Wagner, knowing how to use the orchestra v.s. Mozart using terrific music ideas.
The big orchestra has led to longer symphonies. A Mozart's movement about 5-10min; an entire symphony Mahler might go on for an hour and a half. And the sound obviously is very luxuriant and opulent. 更大的管弦乐队使交响乐曲更长，声音也更加华丽，富丽堂皇。
Gustav Mahler 古斯塔夫▪马勒
a Jew born in Moravia, a section of Czechoslovakia, got his musical education in Vienna, was a pianist and principally earned his living conducting, composed mostly in the summer time. He would go out to the Alps and retreats in. 犹太人，在维也纳接受音乐教育，钢琴家，著名指挥家，多于夏季隐居于阿尔卑斯山中作曲。
Cosmic quality of Mahler's music 宇宙性——open, hollow 开阔空旷无尽的风格
e.g. Symphony No.1 in 1888 马勒《第一交响曲》
It starts in an unusual way with a kind of homage to Beethoven, the beginning of it sounds like the beginning of Beethoven's Ninth Symphony. 以一种不同寻常的方式向贝多芬致敬，其开头与贝九开头相像。
Mahler is a developer, develop a nexus of musical material 马勒善于发展，善于音乐素材的连结
缓慢的第三乐章：引用《两只老虎》的旋律，但使用了变体——小调，变得忧郁， a weird movement in a way 一个怪诞的乐章，使熟悉的旋律变得陌生
*Violin has the capacity for vibrato and to slide between pitches and so it could gives this kind of romantic effect. 小提琴的颤音和滑音适合表现浪漫的效果
The periods in the history of music 音乐史中的各个时期
1. Medieval 中世纪
2. Renaissance 文艺复兴时期
3. Baroque 巴洛克时期
4. Classical 古典主义时期
5. Romantic 浪漫主义时期
6. Impressionist 印象派时期
7. Modernism 现代派时期
*Medieval 中世纪 约公元476-1453年(西罗马帝国灭亡到东罗马帝国灭亡)
Gregorian chant 格里高利圣歌:
monophonic, unaccompanied, one-line music of the Roman Catholic Church, no meter and regular rhythm, a medium for the projection of sacred text, and a vehicle for spiritual contemplation. 天主教派中的单音的、无伴奏的、只有一条旋律线的音乐，没有韵律和固定节奏(Hildegard: "like a feather on the breath of God" 就像轻羽漂浮于上帝的气息之上)用来更好地传递天主教意和教会信息(syllabic chant 音节式圣歌: each syllable has just one note 每个音节只有一个音符)，使人们有时间来思考之前所听到的东西(melismatic chant 花腔式圣歌: one syllable could be conveyed by 30 notes)
polyphonic music, multi-voice music 多声部音乐:
早期的教堂复调音乐被称为平行复音(organum)，建立在当时已存在的格里高利圣歌之上，最初出现在法国城市中的哥特式大教堂，尤其是巴黎圣母院(Notre-Dame of Paris)；男高音(tenor)的作用是引领和保持(Latin word "teneo" 保持)
*Renaissance 文艺复兴时期 14-17世纪
A Cappella (Sistina) 西斯廷教堂清唱(无伴奏)，全体歌唱团员为男性，高音部靠男性唱头音(head voice)，即假音(falsetto)，或让少年歌者演唱(choirboy)，或有阉伶演唱(castrato). Alessandro Moreschi 历山德罗•莫雷斯奇，最后一位阉伶
Lecture 16: Baroque Music: The Vocal Music of Johann Sebastian Bach 巴洛克音乐
3. Baroque 巴洛克时期 1600-1750
Handel 亨德尔 Bach 巴赫 Scarlatti 斯卡拉第
exemplified by J.S.Bach, one of this long-lived clan of musicians: Vocal&Instrumental music 以J.S.巴赫(1685-1750)为代表，声乐和器乐作品
His death gives us a nice, clean cut-off by which to end the Baroque era. 他的逝世完美而清晰地结束了巴洛克时期
ten generations of Bachs were musicians, goes back to 16th C to 19th C, the word “Bach” was eponymous with musician.
orphaned, raised by his older brother Johann Christoph Bach, a student of Johann Pachelbel帕赫贝尔与巴赫们关系紧密
self-taught by copy music of e.g. Corelli's"La Folia" and Vivaldi's "the four seasons" 通过抄写乐谱自学音乐
Bach's devotion to his profession was legendary.对音乐事业的投入是出了名的
Bach in his day was recognized and valued not so much as acomposer but a great virtuoso organist 著名管风琴大师
moved to Leipzig in 1723 and spent the rest of his career there.在莱比锡度过余下的音乐生涯，那里可以获得一座大房产还能免费让所有儿子上大学（巴赫共有20个孩子）...
the Sanctus of the B Minor Mass 《B小调弥撒》三圣颂:
filled with imitation and fugal subjects that recombine and different kinds of permutations. It can be inverted,backwards and forwards充满了不断重组的模仿音以及赋格主题还有各种重复组合，它可以倒过来，来回变化。Whatever he did, he prosecuted maniacally不管做什么都会做得疯狂彻底, and what he ended up with was stuff taht is very dense and compact他的结尾总是很密集 But it's not necessarily the most popular sort of music in that regard但这却不一定是大众最想要听到的音乐。
Contatas, a sung thing, as opposed to a sonata, sounded thing康塔塔，一种歌唱作品，和奏鸣曲等器乐作品形成对比:
multi-movements, go on for about 25-30mins多乐章
religious in subject matter, written in German 就主题而言是宗教的，用德语写成，巴赫创造了将近300首康塔塔
Layout of a typical Contata: 7 movements
1.chorus 合唱2.recitatitive 宣叙调 sort of spoken dialogue, accompanied a little bit by a basso continuo独白，伴随有持续低音3.a Da Capo(DC) aria返始咏叹调 三段式4.chorus 合唱 chorale tune 1,4,7乐章的合唱采用了赞美诗 foregrounding a major triad which sounds secure. 突出大三和弦创造了安全感, consists of 3 textures——bass, melody, chorale that interweave with his given melody. He was able to hear one thing and size up its implications to know what it could become. 这是一种伟大的天赋，能够听到一个东西并领会它的内涵，知晓它能如何变化。5.recitatitive 宣叙调6.aria 咏叹调7. chorus 合唱
Lecture 17 Mozart and His Operas 莫扎特和他的歌剧
4. Classical 古典主义时期（1750-1820）
we now get some change in a movement. 一个乐章中开始产生变化
e.g. the beginning of Mozart's Symphony No.25 in G Minor 莫扎特《G小调交响曲》开头:
minor, lots of syncopation, agitation 小调，大量躁动的切分音 within 40sec Mozart has morphed into a completely diff. mood 40秒内莫扎特就演变成一种截然不同的基调→major, oboe solo, lyrical 双簧管演奏大调，抒情的曲子
Mozart was fond of billiards and had an excellent billiard table in his home他非常喜欢打弹球(with angles there!),房间里也有一个精致的弹球桌；one of his other interests was arithmetic 他的另一爱好就是做算术；he loves anagrams 热衷于字谜游戏——fascinated with numbers and shapes and patterns 迷恋数字和图形；Another aspect of this is Mozart mimic, he had an incredible capacity to imitate others. We know more about him from the tons of letters he left, he was always writing letters to principally his father 经常写信给父亲，留下大量手稿信件使得我们可以了解莫扎特
4 things that are peculiar about Mozart's music 4个莫扎特音乐的独到之处：
* infallible sense of balance and proportion 可靠的平衡感和均匀感
* the capacity to make sth very beautiful out of the simplest of materials 化平凡为神奇的能力
* wild swings of mood, swing quickly between major and minor, go between diatonic and chromatic really quickly, and he likes to play off diff. dynamic levels, loud&soft, that's the essence of drama 猛烈波动基调，喜欢在大小调间摇摆得很迅速, 在全音阶和半音阶之间快速转换,想要展现不同的强弱变化程度，强烈和柔软，这正是戏剧的本质
* inexhaustible melodic supply, fecundity of imagination when it comes to melody 脑海中有无穷无尽的旋律，带来无穷尽的想象—— divine Mozart 天才莫扎特, stalwart&industrious Bach坚定而勤劳的巴赫, powerful Beethoven 强大的贝多芬
e.g.Concerto No.21 II:
phrase 1: triad, goes up and comes down the scale, a chromatic inflection 大三和弦，音阶，半音阶转折
phrase 2: a dominant seventh chord 属七和弦模式 CEGB跨越了7个音的和弦, back to the tonic 回到主音
diminished chord 减和弦, throws a little trill on at the end 在结尾处加上一点颤音
Mozart's 3 great operas 莫扎特的3部伟大的歌剧:
Marriage of Figaro 《费加罗的婚礼》
Don Giovanni《唐璜》
The Magic Flute 《魔笛》
Lecture 18 Piano Music of Mozart and Beethoven 莫扎特和贝多芬的钢琴音乐
Central limitation of the harpsichord: no dynamics, it's cumbersome and you cannot shade a scale and cannot reach for a climax 大键琴的最大缺陷——没有强弱，很笨重，无法产生渐变的音节，无法达到高潮
Pianoforte (piano: 弱 forte: 强) =piano 钢琴，可以使音量有强弱之分，大约与1700年发明于佛罗伦萨 by Bartolomeo Cistofori 巴尔托洛奥▪克里斯托弗里
Mozart: the 1st composer to switch from the harpsichord over to the piano 莫扎特是第一位从大键琴转而为钢琴谱曲的作曲家
in 1781 he has had it with the "Archbooby" of Salzburg and breaks free of him and establishes himself as a freelance musician in the city of Vienna. He was trying to patch togther with living through giving piano lessons to the aristocracy and playing the piano in public concerts 1781年莫扎特再也无法忍受萨尔茨堡主教与他决裂，来到维也纳成为一名自由音乐家，通过教贵族弹钢琴和在公众音乐会上演奏钢琴来养家糊口。
Because of that, he perfected or contributed greatly to 2 important genres in the history of music: piano sonata(mostly for his pupils)& piano concerto(23 pieces in total wrote principally for himself as a kind of showpiece for public concerts) 也因此，他对音乐史中两种总要体裁的发展作出了极大的贡献——钢琴奏鸣曲（为学生而写）和钢琴协奏曲（为自己在演奏会上的重点曲目而创作）
Mozart's piano: shallow, doesn't have much resonance; punchy, doesn't lend itself to legato lines, because the harmers are made of hard leather rather than felt until 19th C. 单薄缺少共鸣；生硬，无法弹奏出连奏效果，因为击弦槌是由硬皮革而非19世纪后的毛毡制成
Beethoven: he astonished the aristocracy by the power of his playing, the aggressive nature of it, the physicality of it, the virtuosity of it. It was much more technical than anything that Mozart had ever created on the piano. 他以演奏时的激情和狂野以及精湛的技艺使那些贵族们倍感震撼。他的作品（32首钢琴奏鸣曲和5首钢琴协奏曲，最著名的是第五号皇帝协奏曲）在技巧上要远超莫扎特的任何一首钢琴作品，一方面是因为这个时期的钢琴本身的体积和音量都逐渐变大。
Franz Schubert 弗朗兹▪舒伯特
Franz Liszt 弗朗兹▪李斯特
Fredric Chopin 弗雷德里克▪肖邦
Sustaining pedal 延音踏板，使制音器（dampers 琴弦上的毛毡）抬起
The left pedal: makes the sound softer and more quiet by shifting the whole keyboard and hammer mechanism so only 2 strings are engaged instead of 3. 左踏板，使声音变弱变柔和
Lecture 19 Romantic Opera: Verdi's La Traviata, Bocelli, Pavarotti and Domingo 浪漫派歌剧: 威尔第《茶花女》，波切利，帕瓦罗蒂和多明戈
5. Romantic 浪漫主义时期，19世纪歌剧
Richard Wagner 理查德▪瓦格纳
Giuseppe Verdi 朱塞佩▪威尔第 he in a way is more representative of 19th C opera generally than Wagner. Verdi, Mozart and Puccini are sort of staples of most opera companies around the world. 威尔第 莫扎特和普契尼是全世界歌剧院的主打明星
La Traviata 《茶花女》一个误入歧途离经叛道的女人：
→the beginning Aria "Libiamo" by Alfredo at the top there, a Waltz and dringking song 阿尔弗雷德领唱的咏叹调《饮酒歌》，一首华尔兹
a fast triple, happy major 快速的三拍子，大调
→the first major Aria "Un Di Felice" , a duet 第一首咏叹调《美丽的一天》，二重唱：
a nice, slow triple meter, mostly major but tinged a little bit with minor for Alfredo 阿尔弗雷德演唱舒缓的三拍，多数时候为大调，中间穿插了一些小调；a faster temper and lighter voice of Violetta 维奥莱塔轻浮的音乐；at the end, Alfredo won in music wills or musicial characterization, Violetta turns down her voice and shifted to a slightly minor-tinted sound and then the tempo of the music slow down. 最终阿尔弗雷德在音乐意志的较量中获胜，女声音量降低并转入类似小调的唱腔。
*Bel canto singing 威尔第歌剧时代的美声歌剧唱法，重点在歌手的演唱上，乐队只在下面伴奏，与瓦格纳的乐队主导大相径庭
*tempo rubato 弹性速度，节奏明显放慢，浪漫派的重要表现手法，用变化的节奏表达音乐情感
*In Don Giovanni, it's crucial to the effect of the duet: as the duet goes on the length of those rests get smaller and smaller and eventually they disappear. What Mozart is telling us is that just as physical sonic space is disappearing, so too the distance between these two individuals is disappearing. They are getting closer musically right togther in parallel thirds chords there as they're getting closer physically. 二重唱中一个重要手法是：随着二重唱的进行，休止符的长度越来越短，最后完全消失。莫扎特想表达的是，就像现实中的距离一样，随着声音中的缝隙消失转而成并行重叠的三度和弦，身体上的距离也逐渐消失。
→a scena: an amalgam of 3 items—— an aria, followed by a recitative and then the final fast aria(cabaletta 卡巴列塔咏叹调，慷慨激昂地陈述一般，然后让主角满腔热情地退场的一种惯例) 一个歌剧场景包括三部分，一个咏叹调，接着一段宣叙调，最后一段快速的咏叹调
a 19th C recitative, but recitative fully accompanied by the orchestra rather than a simple recitative 19世纪由整个乐队伴奏的宣叙调
*What constitute a good operatic voice? a nice, rich and smooth tone quality 漂亮丰富的音质，在高音区和低音区的音质要一致；powerful vocie 响亮的嗓子，歌剧院里不用麦克风；a well-focused voice 清晰的嗓音，歌剧院越大越需要颤音vibrato，缺点是音准下降
Tenors 男高音:
Domingo (b.1941) 多明戈
Pavarotti (b.1935) 帕瓦罗蒂，巅峰期为1978-80年
Bocelli (b.1958) 波切利
Sopranos 女高音
Mezzo-Soprano 女中音
Contralto 女低音
Lecture 20 The Colossal Symphony: Beethoven, Berlioz, Mahler and Shostakovich 巨人的交响乐：贝多芬，柏辽兹，马勒，肖斯塔科维奇
Development of Orchestra:
→Strings: violin, viola, cello, double bass, but different from the instruments that Mozart was playing, they're more powerful 弦乐器变得更强大更有张力音量更大，琴头更高，琴弦由肠线变成金属线，琴弓更宽
→Woodwinds: new instruments were introduced in 19th C, piccolo up at the top 高音上的短笛e.g.the storm scene of the “Pastoral Symphony”贝多芬《田园交响曲》中暴风雨的场景; double bassoon 低音巴松；English horn 英国管，源于法国和德国的木管乐器，属于一种低音或高音双簧管，音质非常又没和丰富，稍有换就音质 (nostalgic quality) e.g. the slow movement Dvorak's "New World Symphony" written in Iowa 德沃夏克的《自新大陆》交响曲写于美国爱荷华州
→Brass: trumpet, French horn, trombone tuba 小号，圆号，长号（贝多芬在第五交响曲中引入，直到19世纪才被加入到乐队中。为达到英雄效果，贝多芬在finale中由minor转入major，bring in newly invented heavy artillery the trombone 引入长号重炮）大号（1825或1830年左右引入，Hector Berlioz in the Symphonies Fantastique 柏辽兹在《幻想交响曲》中第一次使用）
Mozart's dinky little orchestra, with about 30-33
Haydn's first orchestra had 16 people in it
Beethoven in Vienna up to 50-60
later by the end of 19th C more instruments and players getting up to 80, 90 100.
the huger orchestra, sound, per se, is replacing musical idea. e.g. Wagner, knowing how to use the orchestra v.s. Mozart using terrific music ideas.
The big orchestra has led to longer symphonies. A Mozart's movement about 5-10min; an entire symphony Mahler might go on for an hour and a half. And the sound obviously is very luxuriant and opulent. 更大的管弦乐队使交响乐曲更长，声音也更加华丽，富丽堂皇。
Gustav Mahler 古斯塔夫▪马勒
a Jew born in Moravia, a section of Czechoslovakia, got his musical education in Vienna, was a pianist and principally earned his living conducting, composed mostly in the summer time. He would go out to the Alps and retreats in. 犹太人，在维也纳接受音乐教育，钢琴家，著名指挥家，多于夏季隐居于阿尔卑斯山中作曲。
Cosmic quality of Mahler's music 宇宙性——open, hollow 开阔空旷无尽的风格
e.g. Symphony No.1 in 1888 马勒《第一交响曲》
It starts in an unusual way with a kind of homage to Beethoven, the beginning of it sounds like the beginning of Beethoven's Ninth Symphony. 以一种不同寻常的方式向贝多芬致敬，其开头与贝九开头相像。
Mahler is a developer, develop a nexus of musical material 马勒善于发展，善于音乐素材的连结
缓慢的第三乐章：引用《两只老虎》的旋律，但使用了变体——小调，变得忧郁， a weird movement in a way 一个怪诞的乐章，使熟悉的旋律变得陌生
*Violin has the capacity for vibrato and to slide between pitches and so it could gives this kind of romantic effect. 小提琴的颤音和滑音适合表现浪漫的效果
