《Lecture 13耶鲁大学开放课程《聆听音乐》讲稿 》.pdfVIP

Yale University Listening to Music Lecture 13 Professor Craig Wright: Let us begin then with the subject of today, which is the fugue. Every educated person should know what a fugue is. Why? Because its an intellectual model, an intellectual paradigm that surfaces in a number of disciplines--for example, in poetry, oddly. If youve ever peeked at Thomas--T.S. Eliots The Four Quartets, the structure of the fugue is referenced there frequently. We could go to literature--a novel written about the same time, Aldous Huxleys Point Counter Point. Its framed in the shape of a fugue. We could go to geology. Geologists occasionally will say, This particular crystal has a fugue-like structure to it. Turning to painting, there are painters of the twentieth century. I can name at least three, Franz Kupka, Henry Valensi, and Josef Albers, who used to be the dean of our own Yale School of Art and Architecture. They all painted fugues and we will be looking at Albers fugue--which actually happens to be in your textbook--when we come to section this week, so be sure to bring your textbooks to section this week cause well--we will be using them. Im interested in the fugue also because of this book, Douglas Hofstadters Godel, Escher, Bach. Oh, my. Thats heavy. My--mine--I didnt bring in my copy. This is the Bass copy that Lynda was kind enough to pull over. Mine is a paperback. Its not this heavy, but in a way this is indicative, because its heavy reading. Anybody ever peeked at this book and any other--good. Is it Adam? Student: Yeah. Professor Craig Wright: Yeah. Adam, what course did you read this in? Student: It was recommended by a friend. Professor Craig Wright: Recommended by a friend. I can follow about the first twenty-five or thirty pages or so. Then