托福阅读TheDevelopmentofInstrumentalMusicT58P1Word文件下载.docx
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托福阅读TheDevelopmentofInstrumentalMusicT58P1Word文件下载.docx
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托福阅读TheDevelopmentofInstrumentalMusicT58P1@#@TheDeVeIOPmentOfInStrUmentaIMUSiC@#@【ParagraPh1】UntiltheSiXteenthcentury,almostallmusicWaSWrittenfortheVOiCeratherthanformusicalinstruments・EVenduringtheRenaissance(fromthefourteenthtotheSiXteenthcentury),inStrUmentalmusicwas,forthemostpart,theresultOfSUbStitUtinganinstrumentforaVOiCeinmusicWrittenforSingingOrCIanCing.TheSeVenteenthCenturymarkedtheriseOfmusicthatIaCkedextramusicalmeaning.LikeamathematicalequationOrgeometricformula,theinstrumentalmusicOftheearlymoderneraCarriednoexplicitnarrativeCOntent■—itWaSneitheraVehiCIeOfreligiousexpressionnorameansOfSUPPOrtingaSeCUlar(nonreligious)VOCaIiZedtext.SUChmusicWaSWrittenWithOUtCOnSideratiOnfortheassociationalCOntenttraditionallyPrOVidedbyaSetOfSunglyrics.TheideaOfmusicasanaestheticexercise,COmPOSedforitsOWnSakeratherthantoSerVeareligiousOrCOmmUnalpurpose,WaSanotablefeatureOftheSeVenteenthCenturyandOnethathasdistinguishedmodernWeSternEUrOPeanmusicfromthemusicaltraditionsOfASiaandAfriCa・@#@【ParagraPh2】NOtsurprisingly,theriseOfinstrumentalmusicWaSaccompaniedbyimprovementsininStrUmentsandrefinementsintuning・Indeed,instrumentalmusicCametodominatemusicalCOmPOSitiOnattheVerymomentthatWeSternmusiciansWerePerfeCtingSUChStringed-instrumentsastheViOIin,viola,andCeIIOandSUChkeyboardinStrUmentSastheOrganandharpsichord・BytheearlyeighteenthCentury,musiciansWereadoptingtheSyStemOftuningknownasequaltemperament,WherebytheOCtaVeWaSdividedintotwelvehalf-stepsOfequalSiZe・JOhannSebaStianBach,sWell-TemPeredClaVier(1722)WaSanattempttoPOPUIariZethisSyStemtoaSkePtiCalmusicalPUbIiC・ThenewattentionPaidtoimprovinginstrumentsandSyStematiZingtuningmirroredtheeffortsOfSCientistsandPhilOSOPherStobringPreCiSiOnandUnifOrmitytothetoolsandmethodsOfSCientificinquiry.@#@【ParagraPh3)IntheSeVenteenthCentury,northernItaIyWaStheWOrldCenterforthemanUfaCtUreOfviolins.TheAmati,Guarneri,andStradiVarifamiliesOfCremOna,Italy,establishedthetechniquesOfmakinghigh-qualityViOlinSthatWereSOUghtinallOfthegreatCOUrtSOfEUrOPe・TranSmittedfromfathertoSOnztheCOnStrUCtiOntechniquesUSedtoPrOdUCetheseinstrumentsWereguardedSOSeCretIythatmodernViOlinmakerShaveneverSUCCeSSfUIlyimitatedthem・EISeWhere,around1650,earlierinstrumentsWereStandardizedandrefined.AISOduringthisPeriOdamateurmusicmakingWaSWideSPread,andPrOfeSSiOnalPerfOrmancealsotookagreatIeaPforward,asanewbreedOfVirtUOSiinSPiredtheWritingOftreatisesOnPerfOrmancetechniques・@#@【ParagraPh4]ThreemaintypesOfCOmPOSitiOn■一theSOnata,thesuite,andtheCOnCertO-ClOminatedSeVenteenth-centuryinstrumentalmusic・AllthreereflectthebaroquetasteforClramatiCCOntraStSintempoandtexture・TheSOnata(fromtheItaIianWOrdforl,soundecΓ*thatis,musicPlayedandnotSUng)isaPieCeWrittenforafewinstruments-oftennomorethanOneOrtwo.ItUSUaIIyCOnSiStedOfthreemovementsOfCOntraStingtempo-一fast/slow/fast■一eachbasedOnaSOngOrdanceformOfthetime・Thesuite,WrittenforanyCOmbinationOfinstruments,isaSeqUenCeOrSerieSOfmovementsderivedfromVariOUSEUrOPeanCOUrtOrfolkdances-forexample,theSarabande7thePaVaneZtheminuet,andgigue,Orjig・HenryPUrCeIl(1659-1695)inEnglanCI,FranCOiSCOUPerin(1668-1733)inFranCeZandJOhannSebaStianBaCh(1685-1750)inGermanyallCOntribUtedtothedevelopmentOftheSUiteasamusicalgenre.Finally,theCOnCertO(fromtheSamerootasCOnCertato,WhiChdescribesOPPOSingOrCOntraStingbodiesOfSOUnd)isaCOmPOSitiOnCOnSiStingOftwogroupsOfinstruments,OneSmallandtheOtherlarge,Playingindialogue・ThetypicalbaroqueCOncerto,theCOnCertOgrosso("@#@largeCOnCertO,,)featuredSeVeralmovementsWhOSenUmberandkindVariedCOnSiderably.@#@【ParagraPh5]TheIeaclingItalianinstrumentalCOmPOSerOfthebaroqueeraWaSAntOniOViValdi(1678-1741).ViValdiWrOteSOme450concertos.HeSyStematiZedtheCOnCertOgrossointoathree-movementform(fast/slow/fast)andinCreaSedthedistinctionsbetweenSOlOandenSembIegroupsineachmovement.OfthemanyexcitingCOmPOSitiOnsViVaIdiWrOteforSOlOViOIinandenSemble・themostgloriousisTheFOUrSeasons,agroupOffourViOlinCOnCertOSzeachOfWhiChmusicallydescribesaSingIeSeaSon.@#@【ParagraPh1】UntiltheSiXteenthcentury,almostallmusicWaSWrittenfortheVOiCeratherthanformusicalinStrUmentS・EVenduringtheRenaissance(fromthefourteenthtotheSiXteenthcentury),inStrUmentalmusicWaSZforthemostPartZtheresultOfSUbStitUtinganinstrumentforaVOiCeinmusicWrittenforSingingOrdancing.TheSeVenteenthCenturymarkedtheriseOfmusicthatIaCkedextra
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