《Lecture 12耶鲁大学开放课程《聆听音乐》讲稿 》.pdfVIP

Yale University Listening to Music Lecture 12 Professor Craig Wright: Let us begin, please. Today should be a fun day for us. Weve got some visitors and its always [so]--this particular exercise is one of the ones that I enjoy most in this course because we get to talk with real performers and find out whats in their head when they perform a concert for us. So our aim today is to continue along this path to make you, in this case, educated critics so that you can go to a concert of classical music and youll be able to engage it in a productive sort of way--in an educated way. Now there are lots of things we could think about in terms of dos and donts when we evaluate material musically in a critical fashion, and were going to be going through some of those in section starting this evening. And well have a big, long list of, this is what you put in a review and its probably not so good to put this in a review. But, generally speaking, when you go to a concert and you review it--whether you do it just for yourself or whether you review it and then write down your thoughts and publish them as a published review--you do the following. Youre essentially reviewing the performance. How well did the performance go? How did the players do? Youre not engaging who the composer is. Youre not engaging when the piece was written, the history of the piece, the historical context. Youre not engaging even--oddly--the meaning of the piece. Now on our concert for Saturday night we have three pieces: one by Mozart, one by Brahms and one by Beethoven. Whats the meaning of the Mozart, the opening piece? Well, the meaning there is its function, in a sense. Its trying to get the concert going. Originally, of course, it was trying to get the opera going. Oddly, the music there in the overture has nothing to do specifically with the music in the opera. Theres no music in the opera thats also used in the overture. But it does have a lot to do psychologically, because