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Transparency Masters for
Listen, seventh edition
Joseph Kerman and Gary Tomlinson
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13a–b
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26a–b
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32a–b
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Listening Chart 1: Wagner, Prelude to The Valkyrie
Listening Exercise 1: Rhythm, Meter, and Syncopation
Listening Exercise 2: Rhythm, Meter, and Tempo
Listening Exercise 3: Pitch and Dynamics
Orchestral Seating Plan
Listening Exercise 4: The Orchestra in Action
Diatonic and Chromatic Scales
Listening Exercise 5: Melody and Tune
Listening Exercise 6: Texture
Major and Minor Modes
Listening Exercise 7: Mode and Key
Listening Exercise 8: Musical Form
Listening Chart 2: Britten, The Young Person’s Guide to the Orchestra
The Medieval Modes
Plainchant, “In paradisum”
Hildegard of Bingen, “Columba aspexit”
Bernart de Ventadorn, “La dousa votz”
Pérotin, “Alleluia. Diffusa est gratia”
Machaut, “Dame, de qui toute ma joie vient,” rst stanza
Dufay, “Ave maris stella”
Josquin, Pange lingua Mass, Kyrie; from the Gloria
Map: Dispersion of the High Renaissance Style
Josquin, “Mille regrets”
Palestrina, Pope Marcellus Mass, from the Gloria
Gabrieli, “O magnum mysterium”
Monteverdi, The Coronation of Poppea, from Act I
Purcell, Dido and Aeneas, Act III, nal scene
The Basic and Festive Baroque Orchestras
Ritornello Form
Listening Chart 3: Vivaldi, Violin Concerto in G, rst movement
Listening Chart 4: Vivaldi, Violin Concerto in G, second movement
Listening Chart 5: Bach, Brandenburg Concerto No. 5, I
Fugue Form
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71–72
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UNIT I: Fundamentals
UNIT II: Early Music: An Overview
UNIT III: The Eighteenth Century
No. Page(s)Title
CONTENTS
i
34
35
36
37
38
39
40
41
42a–c
43a–b
44
45
46
47a–b
48a–c
49a–b
50a–c
51
52a–b
53
54
55
56a–c
57a–c
58a–e
59a–b
60a–b
61a–b
62a–b
63
64a–b
65a–b
66a–d
67
68a–b
69a–b
70
71
72
73a–b
Listening Chart 6: Bach, The Well-Tempered Clavier, Book 1, Fugue in C Major
Handel, Julius Caesar, “La giustizia”
Handel, Messiah, “There were shepherds”; “Glory to God”
Handel, Messiah, Hallelujah Chorus
Bach, Cantata No. 4, “Christ lag in Todesbanden” (Stanzas 3, 4, and 7)
Map: Centrality of Vienna in the Classical Period
The Classical Orchestra
Sonata Form
Listening Chart 7: Mozart, Symphony No. 40 in G Minor, rst movement
Listening Chart 8: Haydn, Symphony No. 95 in C Minor, second movement
Listening Chart 9: Haydn, Symphony No. 95 in C Minor, third movement
Listening Chart 10: Haydn, Symphony No. 95 in C Minor, fourth movement
Double-Exposition Form
Listening Chart 11: Mozart, Piano Concerto No. 23 in A, rst movement
Mozart, Don Giovanni, from Act I, scene iii
Listening Chart 12: Beethoven, Symphony No. 5 in C Minor, rst movement
Listening Chart 13: Beethoven, Symphony No. 5 in C Minor, complete work
A Typical Romantic Orchestra
Schubert, “Erlkönig”
R. Schumann, Dichterliebe, “Im wunderschönen Monat Mai”
R. Schumann, Dichterliebe, “Die alten, bösen Lieder”
C. Schumann, “Der Mond kommt still gegangen”
Listening Chart 14: Berlioz, Fantastic Symphony, fth movement
Verdi, Rigoletto, from Act III, scene i
Wagner, The Valkyrie, Act I, scene i
Puccini, Madame Buttery, from Act II, “Un bel dì”
Listening Chart 15: Tchaikovsky, Overture-Fantasy, Romeo and Juliet
Listening Chart 16: Brahms, Violin Concerto in D, third movement
Listening Chart 17: Mahler, Symphony No. 1, third movement, Funeral March
Map: Paris and Vienna as Musical Centers
Listening Chart 18: Debussy, from Three Nocturnes, Clouds
Listening Chart 19: Stravinsky, The Rite of Spring, Part I (excerpt)
Berg, Wozzeck, Act III, scenes iii and iv
Listening Chart 20: Ives, Second Orchestral Set, II, “The Rockstrewn Hills Join in
the People’s Outdoor Meeting”
Listening Chart 21: Ravel, Piano Concerto in G, rst movement
Listening Chart 22: Bartók, Music for Strings, Percussion, and Celesta, second
movement
Listening Chart 23: Prokoev, Alexander Nevsky Cantata, 5, “The Battle on Ice”
Listening Chart 24: Ligeti, Lux aeterna
Listening Chart 25: Reich, Music for 18 Musicians (excerpts)
Saariaho, From the Grammar of Dreams (Songs 1, 3, and 4)
135
144
147
148
152
155
162
169
173
179
182
185
189
191
198–199
218
220
232
241
243
244
248
258
266–267
276–277
280
285
294
299
318
320
324
332–335
338
342
346
353
364
369
372
UNIT IV: The Nineteenth Century
UNIT V: The Twentieth Century and Beyond
ii
74a–c
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80
Adams, El Niño, “Pues mi Dios ha nacido a penar,” “When Herod Heard,” and
“Woe unto Them That Call Evil Good”
Navajo song, “K’adnikini’ya’”
Inca processional music, “Hanaq pachap kusikuynin”
Japanese gagaku, Etenraku
Balinese gamelan, Bopong
Japanese kabuki, Dojoji
South African popular song, “Anoku Gonda”
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409
Copyright © 2012 by Bedford/St. Martin’s
ISBN-13 978-0-312-67212-6
ISBN-10 0-312-67212-8
All rights reserved.
Manufactured in the United States of America.
For information, write:
Bedford/St. Martin’s, 75 Arlington Street, Boston, MA 02116 (617-399-4000)
Instructors who have adopted Listen, Seventh Edition, as a textbook for a course are authorized to
duplicate portions of this set of transparency masters for their students.
iii
Transparency 1 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson
Copyright © 2012 by Bedford/St. Martin’s
Wagner, Prelude to The Valkyrie
2 min., 41 sec.
0:00 A Scale theme in low strings; crescendo and rise in pitch
0:48 B Preliminary climax: Lightning theme in horns and woodwinds
0:59 A Scale theme, brie y subsiding; then crescendo
1:20 B Main climax: Lightning theme, extended, in full brass
1:45 Collapse: Timpani roll; sporadic lightning strikes; diminuendo
2:09 A Scale theme
Access Interactive Listening
Chart 1 at bedfordstmartins
.com/listen
DVD
9
LISTENING CHART 1
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Transparency 2 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson
Copyright © 2012 by Bedford/St. Martin’s
16
Rhythm, Meter, and Syncopation
In Unit I of this book, we illustrate the concepts that are introduced with listening
examples drawn from the Companion DVD. Follow the timings in these Listening
Exercises, which are simpli ed versions of the Listening Charts provided for complete
compositions later in the book. The charts are explained on page xxviii.
For samples of duple, triple, and compound meters, listen to the following tracks
on the DVD.
Duple meter Count two | two . . . etc., for about half a minute.
Duple meter Count two
THREE four | two THREE four . . . etc.
Triple meter Count two three | two three . . . etc.
Compound meter Count two three
FOUR ve six | two three FOUR ve
six . . . etc.
Syncopation: In Scott Joplin’s “Maple Leaf Rag,” listen to the piano left hand, with its
steady two | two beat in duple meter, while the right hand cuts across it with
syncopations in almost every measure.
DVD
10, 14
LISTENING EXERCISE 1
12, 19
17
10
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Transparency 3 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson
Copyright © 2012 by Bedford/St. Martin’s
Rhythm, Meter, and Tempo
A more advanced exercise: Our excerpt, from the middle of Rhapsody on a Theme by
Paganini, for piano and orchestra, by Sergei Rachmaninov, consists of four continuous
segments in different meters and tempos, here labeled A, B, C, and D. (If you note a
family likeness among the segments, that is because they are all variations on a single
theme. See page 174.)
0:00 A The piano starts in duple meter ( two | two). The loud orchestral interruptions
are syncopated. (After the interruptions the meter is somewhat obscured, but it gets clearer.)
0:33 Clear duple meter by this time; then the music comes to a stop.
0:49 B No meter. The piano seems to be engaged in a meditative improvisation, as if it is dreaming
up the music to come.
1:45 Orchestral instruments suggest a slow duple meter? Not for long.
2:24 C Slow triple meter ( two three | two three)
3:47 Ritardando (getting slower)
3:56 D Fast triple meter, assertive (note one or two syncopated notes)
4:26 Faster triple meter
LISTENING EXERCISE 2
DVD
11
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Transparency 4 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson
Copyright © 2012 by Bedford/St. Martin’s
Pitch and Dynamics
High and low pitch and loud and soft dynamics are heard so instinctively that they
hardly need illustration. Listen, however, to the vivid way they are deployed in one
of the most famous of classical compositions, the “Un nished” Symphony by Franz
Schubert. Symphonies usually consist of four separate big segments, called movements;
musicologists are still baf ed as to why Schubert wrote two superb movements for this
work and started but never nished the rest.
0:00 Quiet and mysterious Low range pp
0:15 Rustling sounds Middle range
0:22 Wind instruments High
0:35 Single sharp accent sf
0:47 Gets louder Higher instruments Long crescendo, leading to f, then ff,
added more accents
1:07 Sudden collapse piano followed by diminuendo
1:15 New tune First low, then high (Marked pp by Schubert, but usually
played p or mp)
1:52 Cuts off sharply; big sound ff, more accents
(Similar pitch and dynamic effects for the rest of the excerpt)
3:07 Sinking passage Individual pitches, lower and lower
3:45 Ominous Lowest pitch of all pp
LISTENING EXERCISE 3
12
DVD
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Transparency 5 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson
Copyright © 2012 by Bedford/St. Martin’s
Timpani
Trumpets
Percussion
Harps
French horns
Trombones Tuba
Double
basses
Clarinets
Bassoons
Second violins
Flutes
Oboes
Violas
Cellos
First violins
Conductor
ORCHESTRAL SEATING PLAN
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Transparency 6 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson
Copyright © 2012 by Bedford/St. Martin’s
DVD
The Orchestra in Actio n
Take a break from reading now and listen to
The Young Person’s Guide to the Orchestra, a
work devised by Benjamin Britten in 1946 to
introduce the many tone colors of orchestral
instruments. A full chart of this work is given on
page 45. For now, the chart below will lead you
one by one through the various sections and
instruments of the orchestra.
0:00 Full orchestra
0:42 choir
1:11
choir
1:42 choir
2:07
2:26 Full orchestra
2:50 Flutes and piccolo
3:29 Oboes
4:32 Clarinet family: bass clarinet (1:42),
clarinet (1:57), and E- at clarinet
(1:46)
5:14 Bassoon
19–24
2:24
19
20
0:39
1:42
LISTENING EXERCISE 4
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6:11 Violins
6:56 Violas
7:45 Cellos
8:43 Double bass
9:40 Harp
10:31 French horns
11:11 Trumpets
11:47 Trombones, tuba
12:48
14:43 Full orchestra
21
22
23
24
0:45
1:34
2:32
3:29
0:40
1:16
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Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson
Copyright © 2012 by Bedford/St. Martin’s
Transparency 7
B
Ł
ŁŁ²
Ł
ŁŁ²
Ł
Ł
Ł
ŁŁ²
Ł
ŁŁ²
Ł
ŁŁ²
Ł
Ł
Ł
Ł
CHROMATIC SCALE
(one octave)
DIATONIC SCALE
(one octave) C
Half
step
Whole
step
Half
step
D
Half
step
Whole
step
Half
step
E
Half
step
Half
step
F
Half
step
Whole
step
Half
step
G
Half
step
Whole
step
Half
step
A
Half
step
Whole
step
Half
step
Half
step
Half
step
C
DEFGABCC
D
²
(E
−
)
C
²
(D
−
)
F
²
(G
−
)
G
²
(A
−
)
A
²
(B
−
)
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Diatonic and Chromatic Scales
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[...]... Trumpets 2 Timpani (kettledrums) Harpsichord or organ Transparency 29 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson Copyright © 2012 by Bedford/St Martin’s RIT [RIT] Solo 1 TONIC KEY [RIT] Solo 2 [RIT] Solo 3 OTHER KEYS [RIT] Solo 4 TONIC KEY Transparency 30 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson Copyright © 2012 by Bedford/St Martin’s L I S T E N I N G C H A RT 3 Vivaldi,... Spirit: Three honored as one Amen Transparency 21 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson Copyright © 2012 by Bedford/St Martin’s LISTEN Josquin, Pange lingua Mass, Kyrie 0:09 Kyrie eleison Lord have mercy 0:53 Christe eleison Kyrie eleison 1 8 2 Christ have mercy 2:10 1 Lord have mercy (continued) Transparency 21 (continued) LISTEN Listen, Seventh Edition, by Joseph Kerman and Gary... adversity: (Section 3) 1:08 3:26 Per me guerreggia, guerreggia, Per me guerreggia Amor, guerreggia Amor e la Fortuna, e la Fortuna I have fighting for me, I have fighting for me Love and Fortune Transparency 27 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson Copyright © 2012 by Bedford/St Martin’s LISTEN Purcell, Dido and Aeneas, Act III, final scene (Italics indicate repeated words and lines.)... long as I care for you and you care for me 1:55 Tune played by the jazz band, today’s “big band” (with saxophone breaks: see page 382) Free sequence (“I care for you”/ “You care for me”) — cadence kerman_ch04_032-038.indd Page 35 10/14/10 3:14:46 PM user-f499 /Users/user-f499/Desktop/KERMAN Transparency 9 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson Copyright © 2012 by Bedford/St Martin’s... keys in a more complicated way than before kerman_ch05_039-045.indd Page 42 9/12/10 1:15:04 PM user-f499 Transparency 12 /Users/user-f499/Desktop/KERMAN:207:BSM003 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson Copyright © 2012 by Bedford/St Martin’s LISTEN IN G EXE RCI S E 8 DVD Musical Form 16, 18 “The Star-Spangled Banner” has one of the simplest forms, a a b “Oh, say can you see ... then oboe, clarinet (same order as above!) 1:47 16:30 THEME Full orchestra Climax: slower than before The tune is superimposed on the fugue Access Interactive Listening Chart 2 at bedfordstmartins.com/listen Transparency 14 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson Copyright © 2012 by Bedford/St Martin’s The Medieval Modes Middle C C Ł DORIAN Ł Ł Ł D Focal point P H RY G I A N Ł Ł... sprang forth In the building of the temple Of the most pure loving heart 0:56 B Iste turis He is the high tower of Lebanon 1:29 B Ipse velox The swift hart sped to the fountain 2:03 C O pigmentarii O you makers of incense 3:15 D O Maximine O Maximinus (two more stanzas) Transparency 17 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson Copyright © 2012 by Bedford/St... Diffusa est gratia in labiis tuis; propterea benedixit te deus Grace has been poured out upon your lips; therefore, God has blessed you 2:36 Chant in aeternum eternally 3:06 alleluia, alleluia—— 1 4 Transparency 19 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson Copyright © 2012 by Bedford/St Martin’s LISTEN Guillaume de Machaut, “Dame, de qui toute ma joie vient” 0:00 a Dame, de qui toute... cent fois plus de bien et de joie Qu’en cent mille ans desservir ne porroie For the gracious hope, Sweet lady, I have of seeing you, Gives me a hundred times more joy and boon Than I could deserve in a hundred thousand years 1 6 Transparency 20 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson Copyright © 2012 by Bedford/St Martin’s LISTEN 0 :00 Dufay, “Ave maris stella” STANZA 1 : Plainchant... the tune transformed into a slow, romantic melody in oboe 1; oboe 2 joins in two-part polyphony 1:42 4:32 Variation 3 Clarinet family Solos for bass clarinet (1:42), clarinet (1:57), and E-flat clarinet (1:46) 2:24 5:14 Variation 4 Bassoon Typical qualities of the bassoon: staccato (comic effect) and legato (melodious) Piccolo and flute play in harmony Transparency 13b Listen, Seventh Edition, by Joseph . adopted Listen, Seventh Edition, as a textbook for a course are authorized to duplicate portions of this set of transparency masters for their students. iii Transparency 1 Listen, Seventh Edition, . Transparency Masters for Listen, seventh edition Joseph Kerman and Gary Tomlinson 1 2 3 4 5 6 7 8 9 10. AM user-f494kerman _transparency_ 001-119.indd Page 1 12/1/10 2:08:04 AM user-f494 volume 208/FREE058/work/indd/volume 208/FREE058/work/indd/ Transparency 2 Listen, Seventh Edition, by Joseph Kerman
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