Transcript 课件二

Unit 2
Music
1. I like the exciting rhythms of African drum music .
rhythm n. — a regular repeated pattern of sounds or
movements
节奏，节拍；律动
•
•
•
•
Rhythm of The Rain
rhythmic
a.
rhythmically ad.
押韵诗；押韵
cf. rhyme n./v.
2. The blues was first performed by the black people of
New Orleans.
blues
n. — (pl. of blue) a slow sad style of music
that came from the southern US ; feelings of sadness
布鲁斯音乐；忧郁，沮丧
• rhythm and blues = R & B
• Don’t be surprised if you get the blues for a while after
your baby is born.
• blue
a./n.
• blue with cold, be beaten black and blue,
blue movie/jokes
•
•
•
•
•
•
green hand, green-eyed
yellow belly, yellow dog
black tea， black eye
white lie，white smith
go into the red，the red carpet
gray prospect, a gray day
3. She rocked the baby to sleep.
rock v./n. —to move gently backwards and
forwards or from side to side, sway ；shock
（使）来回摆动，摇摆；使震惊
• rock with laughter 笑得前仰后合
• rock music = rock and roll = rock’n’roll
4. He practiced this song on piano for many times, but
there is still a mistake in one passage.
passage n. [C] — a short piece of writing or music
which is part of a larger piece of work
（文章的）段落；（音乐的）乐段
5. Many of his finest works belong to the genre of
nature poetry.
genre n. — a style, especially in the arts, that
involves a particular set of characteristics
（尤指艺术的）风格，类型，体裁
• a literary/musical/film genre
文学体裁 ／音乐风格／电影类型
6. The scar on her cheek is now barely noticeable.
barely
adv. — by the smallest amount; almost
not
仅；刚好；几乎没有
• rock with laughter 笑得前仰后合
• rock music = rock and roll = rock’n’roll
Section A : Text I
A History of Music
in America
The main idea about this passage：
A History of Music in America
•
•
•
•
•
•
Hillbilly music
Country music
Folk music
Rock ’n’ roll
Soul, disco and rap
New and old
Hillbilly music
山地音乐
• The people who came from the British Isles brought
their folk music to Appalachian Mountains, and this
music, mixed with the blues, became hillbilly music.
• Later, as hillbilly music became more popular, it was
called country music.
Country music
乡村音乐
• Country songs are often sad stories of love and
broken hearts .
• Not only country people (farmers), but also many
worked in the mines and factories loved it. It became
the music of the working people.
Folk music
民间音乐，简称民谣，民歌，民乐
• Folk songs are like country songs, but they don’t just
talk about love, they tell about the lives of ordinary
people .
• During the 1930s, America had many economic
problems. Workers expressed their troubles in it .
• Folk music is the most political of all music in
America.
Rock ’n’ roll
摇滚乐
• In the 1950s, the economic problems of 30s and the
war of the 40s were over. Slow romantic songs were
not able to satisfy American teenagers.
• Rock and roll music had a strong dance beat. The
musicians played electric guitars and the music was
loud and fast.
• Elvis Presley, the king of rock and roll, a white man
who had the Negro sound and the Negro feel, became
a new American hero and young people copied his
hairstyle, his dress, and his music.
黑人灵魂乐，迪斯科和说唱乐
Popular black music had a strong beat for
dancing. At first it was called rhythm and blues
(R&B). By the 1960s it was called soul.
In the 1970s, a new dance music became popular--Disco. It is a kind of soul music, often with Latin
rhythms.
In the 1980s a lot of black musicians became
superstars, e.g.: Prince, Michael Jackson and Whitney
Houston, and made hit records.
Rap is a very skillful kind of fast street talk, when
rap talking is combined with music it is called rap
music. It began with young black people in the big
cities, and became very popular in the 1980s.
Soul, disco and rap
•
•
•
•
New and old
• By the 1970s, young people were bored with Disco;
they preferred a new kind of rock music, which was
loud and simple with a strong beat. It was called
Punk or New Wave. 朋克
• In the1970s and 1980s, new discoveries changed the
way we listened to music. With a walkman people
could take music with them.
• In 1981, a new TV station MTV, was started. And
soon every hit soon needed a music video to go with
it.
• The 1980s was a time of new trends. Like heavy
metal groups, with their long hairs and loud music.
• In the 1980s, musicians and music fans became
concerned about many problems in the world
艾维斯·普利斯莱（英语：Elvis Presley，1935年1月
－1977年8月），每当他演唱情歌时，总会吸引一堆女
性歌迷，就像公猫会吸引一堆母猫，因此昵称猫王（
The Hillbilly Cat and King of the Western Pop）
，知名美国摇滚乐歌手与演员，是20世纪最受欢迎的音
乐家之一，常被称为「摇滚乐之王」。
Reading Comprehension
1. Country songs are often sad stories of love and broken
hearts
True (Fact: country songs are often sad stories of love
and broken hearts. l. 6)
2. Like country songs, folk songs just talk about love
False (Fact:… They don’t just talk about love, they
tell about the lives of ordinary people. l. 14)
3. Folk music is the most political of all music in
America
True (Fact: Folk music continued to be the most
political of all music in America. l. 21)
4. Rock ’n’ roll had a strong dance beat.
True (Fact: Rock and roll music had a strong dance
beat. L. 32)
5. Elvis Presley became popular because he was a white man with a
black sound and the black feel.
True (Fact: About the same time, the owner of Sun Record
Company, Sam Phillips said “If I could find a white man who had
the Negro (black) sound and the Negro fell, I could make $1
billion.” He found his wish in Elvis Presley, the king of rock and
roll. l. 34)
6. R & B was also called soul.
True (Fact: By the end of 1960s, it (rhythm and blue) was
also called soul. L. 46)
7. Punk is a kind of rock music which is loud and simple with
strong beat.
True (Fact: They preferred a kind of rock music. It was
loud and simple with a strong beat. This music is called Punk or
New Wave. l. 62)
8. MTV was started in 1980.
False (Fact: In 1981 a new TV station MTV, was
Vocabulary Building
Word Search (p. 24)
l. folk
2. capacity
3. sensuous
4. qualified
5. abuse
6. stuff
7. mood
8. clarity
9. instinctively
Vocabulary Building
Semantic Variations (p. 24-25)
l. B
2. B
3. B
4. B
5. A
6. B
Stem (p.25)
1．compose ： to make up of；to constitute or form
2．contract ： to reduce in size by drawing together
；to shrink
3．dispose of ：to get rid of；to throw out
4．impose ： to force(oneself，for example)on
another or others
5．subtract ：to take away；to deduct
6．deposit ： to put(money)in a bank or financial
account
pos(e) = put, place 表示“放, 放置”
expose v. 暴露; 揭露（ex 出, 外面+pose→放在外面→使暴露）
compose v. 构成; 组成 (com一起+pose→放到一起→组成;构成)
dispose v. 布置;安排 (dis分开+pose→分开放置→布置;安排）
impose v. 征税; 强加于[im(=in在…上)+pose放置→放置在…上
→强加于，征税]
oppose v. 反对 [op (=ob反)+pose放置→被放置在相反的位置→
反对]
depose v. 罢免，革职 (de下+pose放置→被从高位上放置下来→
革职
propose v. 提出; 建议（pro向前+pose放置→(把建议)向前放置
→提建议）
deposit v. 储存 n. 矿藏（de 下面+posit→放在下面不用→储存
）
tract = draw , 表示“拉”
attract v.
吸引（at朝着+tract→朝着拉→吸引）
contract n. 合同 v. 收缩 （con共同+tract→共同拉(回去)→收
缩；对大家都有制约→合同）
distract v. 分散; 使混乱[dis分开+tract→[思想]被拉开→分心,
分散]
subtract v. 减去; 扣除（sub下+tract→拉下去→减去）
abstract v. 抽出, 提取 a. 抽象的 [abs离开+tract→拉(抽)出]
Synonyms (p.26)
1．discriminating
2．widespread
3．compatibility
4．clearness
5.
association
Cloze (p. 26)
music
form
south
dance
interest
instruments
voice
roots
Beethoven was the link with a new period. His first
compositions were in the classical style. However, he soon
found the old forms too restrictive ,and he burst forth with
creations of a new kind. He composed music in a way
that was shocking in his day.
Several of Beethoven’s nine symphonies（九大交响
曲） are among the most famous of all musical
compositions. These include the “Eroica,” which he
originally called the “Bonaparte” but later renamed
when he withdrew the dedication to Napoleon; the
“Fifth,” which was inspired by man’s struggle against fate;
the “Pastoral,” which has five rather than four movements
(乐章); and the “Choral,” which uses a chorus(合唱)in the
last movement. His final piece, The Ninth Symphony, is
considered one of the greatest musical pieces of all time.
The deep and varied emotion of Beethoven is also
evident in his 32 piano sonatas （钢琴奏鸣曲）including
the “Moonlight,” “Pathetique,” and “Appassionata” as well
as in his 17 string quartets（弦乐四重奏）, many
composed after he had become deaf.
As a result of Beethoven's hearing loss, his
conversation books became an unusually rich written
resource, used primarily in the last ten or so years of his
life. The books contain discussions about music and other
matters, and give insights into Beethoven's thinking.
路德维希·凡·贝多芬（Ludwig van
Beethoven），德国最伟大的音乐
家之一。出生于德国波恩的平民
家庭，很早就显露了音乐上的才
能，八岁开始登台演出。贝多芬
信仰共和，崇尚英雄，创作了大
量充满时代气息的优秀作品，如
：交响曲《英雄》、《命运》、
《田园》、 《合唱》 ；钢琴奏鸣
曲《悲怆》、《月光》、《热情
》等。
(1770—1827)
一生坎坷，没有建立家庭。二十
六岁开始耳聋，晚年全聋，只能
通过谈话册与人交谈。但孤寂的
生活并没有使他沉默和隐退，在
一切进步思想都遭禁止的封建复
辟年代里，依然坚守“自由、平
等”的政治信念，通过言论和作
品，为共和理想奋臂呐喊，写下
不朽名作《第九交响曲》。
说到贝多芬的这部《第三“英雄”交响曲》就不得不提到一个人——拿
破仑。在十九世纪初，欧洲大陆最风云的人物当属这个法国人。贝多芬从法
国大革命中看到了“自由”的曙光，同样他又从一个法国军人身上看到了“
共和”的希望，那个人正是一代风云人物——拿破仑.波拿巴（法语：
Napoléon Bonaparte）。拿破仑向欧洲封建帝制发起了最强烈的冲击，并且几
近获得成功。所以贝多芬一度把拿破仑视为偶像、英雄乃至神的化身。就是
在这样一个情形下，1798年的时候有一位非常赞赏贝多芬音乐才华的法国将
军登门拜访他，而交谈间贝多芬也表达了对拿破仑的敬重，所以那位将军便
提议，是不是可以写作一首名为“波拿巴”的交响曲，贝多芬自然欣然应允
。
此时，发生了一个变故——拿破仑背叛了革命。拿破仑推翻了法国封建
王朝之后，并没有实行人们期盼已久的“共和”，而是重新恢复帝制，自己
当上了皇帝。更加丑陋的是，在加冕典礼上他自己为自己戴上了皇冠。这种
背叛革命的行为，使得所有向往自由的革命志士痛心疾首。而这个消息传到
贝多芬这里的时候，《第三交响曲》的创作已经完成了，并且特意命名为《
拿破仑.波拿巴大交响曲》，还恭恭敬敬地写了献给拿破仑的题词。此刻，当
得知拿破仑如此卑劣的行径之后，简直无法表述自己当时愤怒的心情，贝多
芬冲动的撕下了写有题词的交响曲总谱首页，大骂拿破仑是“凡夫俗子、野
性暴君”。经过了这次打击，贝多芬对拿破仑的好感似乎一下子烟消云散了
，据说为此还病了一场、1806年总谱出版发行，而这部曾经是为拿破仑“度
身定做”的交响曲标题也被改为了“《英雄交响曲》——为纪念一位伟大人
The audio players（音频播放器） of today have their roots in the Sony
Walkman brand. Aside from radio devices, Sony was the first to introduce a
portable music player. The first Walkman devices used magnetic audio cassettes
（录音带） and were kind of bulky（=large & heavy） at first. Sony first
advertised the series in Japan, in 1979. Walkmans were usually powered by two AA
batteries and provided good music output provided the source (cassette) was of
good quality.
Later on came the CD Walkman (=Compact Disc光盘). It featured the same
basic concept: a portable audio player that, instead of audio cassettes, used CDs.
The main problem of this device was that, despite being indeed considered
"portable," its size was nowhere near comfortable to use on a daily basis. The best
way to carry the device was probably in a backpack.
An important problem related to CD players was their limited music
storage. A CD could store on average around 20 audio tracks and users would
either have to limit themselves to this number or carry with them more CDs. This
problem was not solved by the next wave of audio players, but rather the
solution gave birth to the next generation of devices.
MP3 greatly reduced the amount of data needed to store audio track
information. Compared to a CD, an average-sized MP3-encoded song provides an
improved compression ration of 1/10. This achievement paved the way of digital
music （数字音乐）as we know it today.
Trumpet (喇叭) is one of the world's oldest instruments. Long ago, people
use animal horns or shells as crude trumpets. The point of these instruments wasn't
to make music, it was to amplify the voice or make rudimentary sounds. Today's
trumpet is really the result of many centuries of development. Although it looks
nothing like its ancestors, there are many similarities. All trumpets are hollow
tubes. They are all blown. And they all use the player's lips to produce the basic
sound.
The trumpet developed as players and makers worked to improve its design,
size, shape, material, and method of construction. They wanted to create an
instrument that would produce a beautiful and attractive tone, enable the performer
to play all the notes of scale, extend the range higher and lower, make it possible to
play more beautiful music, and, in general, be easier to play well. The remarkable
way in which the modern trumpet achieves these goals is a measure of the success
of all those who struggled to perfect this glorious instrument.
The trumpet is actually the leading member of an entire family of related
instruments. There are trumpets of several different sizes, and in several
different keys. There are cornets(短号), bugles, flugelhorns, and a number of
others that are all similar to the trumpet in the way they are made and played.
Most people want to know how things are made. They frankly
admit, however, that they felt completely at sea when it comes to
understanding how a piece of music is made. Where a composer
begins, how he manages to keep going – in fact, how and where he
learns his trade – all are shrouded in impenetrable darkness. The
composer, in short, is a man of mystery, and the composer’s
workshop an unapproachable ivory tower.
One of the first things the layman wants to hear about is the part
inspiration plays in a composer’s work. He finds it difficult to
believe that composers are not much preoccupied with that
question, that composing is as natural for the composer as eating or
sleeping. Composing is something that the composer happens to
have been born to do; and because of that, it loses the character of
a special virtue in the composer’s eyes.
The composer, therefore, does not say to himself: “Do I feel
inspired?” He says to himself: “Do I feel like composing today?”
and if he feels like composing, he does. It is more or less like saying
to himself: “Do I feel sleepy?” If you feel sleepy, you go to sleep. If
you don’t feel sleepy, you stay up. If the composer doesn’t feel like
composing, he doesn’t compose. It’s as simple as that.
The erhu is a kind of violin (fiddle) with two strings which,
together with zhonghu, gaohu, sihu, etc, belongs to the “huqin”
family. It is said that its origin would be dated up to the Tang
dynasty (618-907) and related to the instrument, called xiqin
originated from a Mongolian tribe Xi. During the Song dynasty (9601279), the second generation of the huqin was among the instruments
played at the imperial banquets. During the Dynasties of Ming (13681644) and Qing (1644-1911), the erhu underwent a great development
at the time of the golden age of the local operas. The erhu then
developed in different “schools”. Two famous artists Hua Yanjun
(1893-1950) and Liu Tianhua (1895-1932) made an exceptional
contribution to the improvement of the erhu, and it was indeed
due to the latter that the erhu, an instrument mainly for
accompaniment（伴奏） in an opera, becomes a solo（ 独奏）
instrument.
The erhu sounds similar to human voice, and can imitate many
natural sounds such as birds and horse. It is a very expressive
instrument, most well-known for playing melancholic tune, but
also capable of play merry melody.
The erhu often plays an important role in the national
orchestras（中央民族乐团）. In the smaller orchestras, there are
usually 2 to 6 erhus, in the largest, 10 to 12. In fact, the erhu plays
the same role as the violin in the western orchestras（交响乐团）.
Listening to music
We all listen to music according to our own capacities. But the
whole listening process may become clearer if we break it up into
parts. In a certain sense we all listen to music on three separate
levels. For lack of a better term, one might name these: (1) the
sensuous level, (2) the expressive level, (3) the musical level. The
only advantage to be gained from mechanically breaking up the
listening process into these levels is the clearer view we may have
about the way in which we listen.
The simplest way of listening to music is to listen for the
pleasure of the musical sound itself. That is the sensuous level. It
is the level on which we hear music without thinking, without
considering it in any way. One turns on the radio while doing
something else and absent-mindedly listens to the sound.
You may be sitting in a room reading a book. Imagine one note
struck on the piano. Immediately that note is enough to change the
atmosphere of the room — proving that the sound element in music is
powerful and mysterious.
The surprising thing is that many people who consider
themselves qualified music lovers abuse that level in listening.
They go to concerts in order to lose themselves. They use music as
an escape from the realities of everyday life. Music allows them to
have a chance to dream, dreaming because of music yet never
quite listening to it.
Yes, the sound appeal of music is a strong and primitive force,
but you must not allow it to take hold of the most part of your
interest. The sensuous level is an important one in music, a very
important one, but it is not the whole story.
There is no need to talk further about the sensuous level. Its
appeal to human being is self-evident. However, people can be
more sensitive to the different kinds of sound stuff as used by
various composers. Don’t get the idea that the value of music is
equal to its sensuous appeal or that the loveliest sounding music is
made by the greatest composer. If that were so, Ravel would be a
greater creator than Beethoven. The sound element and the usage of
sound must be taken into consideration when listening.
The second place on which music exists is what I have called
the expressive one. Here, immediately, we meet with problems.
Composers have a way of staying away from any discussion of
music’s expressive side. Did not Stravinsky himself claim that his
music was an “object,” a “thing,” with a life of its own, and with no
other meaning than its own purely musical existence? This attitude
may be due to the fact that so many people have tried to read
different meanings into so many pieces. Heaven knows it is difficult
enough to say precisely what is the meaning of a piece of music. But
that should not lead one to the other extreme of denying to music
the right to be “expressive.”
My own belief is that all music has an expressive power,
some more and some less, but that all music has a certain meaning
behind the notes and that this meaning behind the notes makes up
what the piece is saying, what the piece is about. This whole
problem can be stated quite simply by asking, “Is there a meaning to
music?” My answer to that would be, “Yes.” And “Can you state
what the meaning is?” My answer to that would be, “No.”
Simple-minded people will never be satisfied with the answer to
the second question. They always want music to have a meaning.
The more concrete it is, the better they like it. The more the music
reminds them of a train, a storm, a funeral, or any other familiar
things, the more expressive it appears to be to them. This popular
idea of music’s meaning should be discouraged wherever and
whenever it is met.
Still, the question remains. How close should the music lover
wish to determine a meaning of any particular work? No closer than
a general idea, I should say. Music expresses, at different moments,
peacefulness or excitement, regret or triumph, anger or delight. It
expresses each of these moods, and many others, in a variety of
subtle differences. It may even express a state of meaning for which
there exists no proper word in any language. In that case, musicians
often like to say that it has only a purely musical meaning. What
they really mean is that no proper word can be found to express the
music’s meaning.
But whatever idea the musician may have, most musical
lovers still search for specific words with which to express their
musical reactions. That is why they always find Tchaikovsky
easier to “understand” than Beethoven. In the first place, it is
easier to pin a meaning-word on a Tchaikovsky piece than on a
Beethoven one. Much easier. Moreover, with the Russian
composer, every time you come back to a piece of his, it almost
always says the same thing to you, whereas with Beethoven it is
often quite difficult to decide what he is saying. And any musician
will tell you that that is why Beethoven is the greater composer —
music which always says the same thing to you will soon become
dull music, but music whose meaning is slightly different with
each hearing has a greater chance of remaining alive.
The third level on which music exists is the musical level. Besides
the pleasant sound of music and the expressive feeling that it gives
off, music does exist in terms of the notes themselves and of their
arrangements. Most listeners are not conscious enough of this third
level.
When the man in the Street listens to the “notes themselves’ with
any degree of concentration, he is most likely to mention the
melody. Either he hears pretty melody or he does not, and he
generally lets it go at that. Rhythm is likely to gain his attention
next, particularly if it seems exciting. But harmony is generally
taken for granted, if they are thought of consciously at all. As for
music’s having a definite form of some kind, that idea seems
never to have occurred to him.
It is very important for all of us to become more alive to music
on its musical level. The intelligent listener must be prepared to
increase his awareness of the musical material and what happens to
it. He must hear the melodies, the rhythms and the harmonies in a
more conscious way. But above all he must, in order to follow the
line of the composer’s thought, know something of principles of
musical form. Listening to all of these elements is listening on the
musical level.
Let me repeat that I have broken up the three separate levels on
which we listen merely for the sake of clarity. Actually, we never
listen to one or the other of these levels. What we do is to listen
in all three ways at the same time. We do it instinctively.
What the reader should strive for, then, is a more active kind of
listening. Whether you listen to Mozart or Duke Ellington, you can
deepen your understanding of music only by being a more
conscious listener — not someone who is just listening, but
someone who is listening for something.
Key to Section B: (p. 27-30)
1. F 2. T 3. F 4. F
5. F 6. T 7. T 8. F
9. F 10.F 11.F 12.T
13.T 14. F 15.T
Key to Section C: (p. 31-33)
1. D 2. A 3. D 4. D
5. D 6. D 7. D 8. A