Beethoven’s Fifth Symphony in C minor Op.67
Tchaikovsky’s Piano Concerto Number One in B flat minor Op.23
Richard Strauss‘s Also Sprach Zarathustra
distinguishing songs from pieces
song with lyrics. eighty percent of classical music is purely instrumental music.
Symphonies generally have four movements. 【四个乐章】
What’s a movement? Well, a movement is simply an independent piece that works oftentimes. They are independent yet they are complementary.
symphonies have these four movements and they usually operate in the following way:
- A fast opening movement;
- a slower, more lyrical second movement;
- then a third movement that’s derived from dance;
- and then a fourth movement that’s sort of again “up tempo,” fast, emphatic conclusion.
Beethoven’s Fifth Symphony 有 4 个movement【四乐章交响曲】，总时长在30-40分钟。
- 有生气的快板（Allegro con brio）
- 稍快的行板（Andante con moto）
- 谐谑曲：快板（Scherzo: Allegro）
Genres, Motives, and Themes
A motive is just a little cell, a germ, out of which the composer will build other musical material.【动机】
【聆听 Beethoven’s Fifth Symphony第一乐章开头部分，short, short, short, long】
Themes tend maybe a little bit more lyrical.
【聆听 Beethoven’s Fifth Symphony 第二乐章】
Beethoven’s Fifth Symphony第三乐章 呼应着 第一乐章的motive, 还挺明显的。
Beethoven’s Fifth Symphony第四乐章，小号trumpets 加入， sort of upbeat, positive.
in this 40-minute interval we’ve gone sort of through an emotional musical journey here from despair, despondency, uncertainty, to whatever- to personal triumph, and in a way that mirrors some of the things that were going on in Beethoven’s life.
Tchaikovsky’s Piano Concerto Number One【柴可夫斯基第一钢琴协奏曲】，总时长在30分钟左右。
第1乐章：不太快的和极其庄严的快板—生气勃勃的快板（Allegro non troppo e molto maestoso - Allegro con spirito）
第2乐章：朴素的小行板—最急板—初速（Andantino simplice - Prestissimo）
第3乐章：火热的快板（Allegro con fuoco）
Introduction to the French Horn and Partials
展示了乐器：French Horn, Eva Heater 老师吹了下 Zarathustra 开头的小号部分。
The Bassoon and the Viola
Mussorgsky and the Basic Principles of Acoustics
播放 Modest Musorgsky work Pictures at an Exhibition 中的Polish Oxcart【牛车来了又去了……】
Doppler principle： 多普勒效应。
Dissonance and Consonance in Strauss’s Death and Transfiguration
Richard Strauss’s Death and Transfiguration中的Dissonance and Consonance 【完全懵逼……】
With dissonant intervals they tend to be frequencies that are sounding right next to each other, very close-by frequencies [间隔很短？]
If you allow a little bit of spacing, a little more space between your frequencies, they’re a little bit farther apart, then you can move from closeness to spacing and you get the consonance.
【这里Mark下，期待后期听多了可以 get 到点上】