约翰: 欢迎回到音乐239 JOHN: Welcome back to music 239
世界音乐入门 这次我们将结束 intro to world music. We will be finishing our unit
印度音乐单元 在此之前我们将讨论 on India at this time with a discussion of
当代美国作曲家大卫·阿姆拉姆的一篇作品 a composition by a contemporary American composer
他曾经在2007年春到访本校 named David Amram who was here on campus
你们中的一些人可能在那时 during the spring of 2007. Some of you may have met him
就已经见过他了 提及大卫·阿姆拉姆 during that time and David got to talking
他作曲时有使用 as he has a tendency to do about the composition
印度音乐中的拉格和塔拉的倾向 that he had written involving Indian raga and tala
而我认为可以向你们展示这一点 that I thought I would show you as part of
作为本章讲演的一部分 关于拉格和塔拉 the presentation on this chapter. The interesting thing
有趣一点是 当它们相互结合时 about raga and tala is that in combination with
和中世纪音乐颇有相似之处 each other they have a very interesting comparison
这一点非常有意思 to be made to medieval music that many of you
你们在音乐史课上应该已经对此有所了解 may have learned about in your music history classes.
音乐史课上 你们可能已涉及 In music history you may have learned about something
13世纪的等节奏经文歌 in the 13th century called an isorhythmic motet and
等节奏经文歌由称作克勒的旋律段 the isorhythmic motet was made up of melodic fragments
和称作塔里的节奏段组成 called color and rhythmic fragments called talea
这两者共同组成乐段 which were put together to create patterns.
观察印度音乐 Now if you look at Indian music
你们就会发现拉格和塔拉 you have the raga and the tala
等节奏经文歌中的塔里同印度音乐中的 the talea of the isorhythmic motet corresponds
塔拉相呼应 我认为 to the tala of the Indian music and I think that
这两者词源相同 there is a common root word there
而它在这两种文化中都传承了下来 that came down in both cultures.
这种语言方面的发现 It's a very interesting combination of cultures
展现了一种很有意思的文化融合 that we see in those linguistic kinds of things.
这与考试无关 只是一个提醒 This is not information for the test but just an aside
特别是针对这个班里可能在此之前 particularly for the music majors in the class
就已经上过音乐史课的 that might have taken a music history class
音乐专业学生 我们从披头士和东方一瞥 prior to this time. So we saw from the Beatles example
这两个乐队的例子中可以看出 印度音乐大概 and from Pieces Of East that Indian music is probably
是对西方音乐 尤其是 one of the most influential cultures on the music
近40年间的流行音乐 of the west and particularly on the popular music
影响最为深远的文化之一 值得指出的 of the west in the last 40 years. What is also fair
另外一点是 其他文化的音乐 to point out is that music of other cultures
影响着西方古典音乐 has an effect on the classical music of the west.
我这儿有大卫·阿姆拉姆创作的《查克拉》 I have a composition called Chakra by David Amram
在这篇作品中 我们将看到能如何借助 in which we will see how the raga and the tala
拉格和塔拉来创作一篇古典音乐作品 are used to create a classical piece of music.
这是他十年前的一篇 This is a piece that he wrote about 10 years ago
管弦乐作品 其中使用的拉格 for orchestra, and the raga that is being used
是伯巴利拉格 你们可以在PPT上 is the bhopali raga and you can see it
看到 它并不具有 on your PowerPoint there, it doesn't have
拉格的所有音调 这些我们目前已经 all of the tones that the ragas that we have studied
学过了 实际上它只是五音拉格 so far have. In fact it's only a 5 note raga
并且这五个音和本课开始时 and the notes that are there are the same 5 notes
所讨论过的美洲土著音乐 that you saw in the pentatonic scale
非洲音乐美国黑人音乐的 back at the beginning of this course
五声音阶中的五音 when we talked about Native American music
完全一致 African music, African American music
这种五声音阶同样存在于印度音乐中 that same pentatonic scale is available to Indian music
不过它不是唯一的音阶 as well, it's just that it's not the only scale,
也不是唯一的拉格 然而 it's not the only raga that is available. In this case
本例中大卫·阿姆拉姆选择了这一拉格 however, David Amram chose that particular raga
是因为他想让这篇作品的这一部分 because he wanted to write a very pentatonic sounding
具有鲜明的五音听感 piece in this particular part of the piece
所以他运用了这一拉格 并将其同 so he used that raga and then he combines it
加坡达尔塔拉结合 我们马上就在这儿 with jhaptal tala and we're going to practice that here
这么干试试 PPT上的X标记着 in a minute because the Xs on the PowerPoint show
节奏分段的位置 where the division of the pulses are
以及这一塔拉中的重音位置 so where the accents in this particular tala occur.
我们现在就来试试吧 开始喽 十拍 准备 Let's try it shall we, here we go, in 10 beats, ready.
一二三四二五七十一三四五六七 1, 2, 3, 4, 2, 5, 7, 10, 1, 3, 4, 5, 6, 7.
好 他以拉格为基础作曲 Ok, then he writes his melody based on the raga
听管弦乐版时 and when you hear the orchestral version
你们会听到木鱼敲击出我们刚才听的 there is a wood block that is playing those accents
加坡达尔塔拉中的重音 from the jhaptal tala that we just heard and the raga
在乐章中段 你们会听到 in the melody in the oboe that you are going to hear
双簧管演奏这段曲子中的拉格 comes about midway through this movement
而这一小段曲子调到了G调 and the little tune there has been transposed to G
把我之前播放的C调拉格 so if you took the raga in C that I played before
调成G调 就是 and you transposed it to G you would have, and that's
你们将要听到的双簧管演奏乐段 what you're going to hear the oboe play and then
而我们刚刚打拍子标出的 the wood blocks are playing the accents
加坡达尔塔拉的重音 将由木鱼演奏出 that we just clapped from the jhaptal tala.
我们来听听这些元素如何 Let's listen to how this comes together
在大卫·阿姆拉姆的作曲中融合 in this David Amram composition.
这儿是双簧管演奏 Here's the oboe.
这儿是重音 Here is the accents.
这听起来完全不像印度音乐 This music doesn't sound Indian at all
音乐很少有非常印度风格的元素 there are very few Indian elements here but
然而他将拉格和塔拉的构建手法 what he has done is to take the constructing devices
融合入管弦乐结构 of the raga and the tala and put them together in the
并借以构建出一段 orchestral texture and to use it as a building block
听起来并不像 for a piece that basically doesn't really sound like
来自印度的音乐 it is from India when you hear it
起码不像我们刚刚听的那段 at least not the section that we just heard.
再一次 这种跨文化现象 So once again that kind of cross-cultural thing
就是我们将在这一课程中 is the element that we are going to be studying
逐渐深入研究的元素 即 more and more in the course in terms of
文化如何相互融合 产生出 how cultures have combined to create interesting kinds
有趣的效果 其实大半音乐史 of effects. That's really what a lot of the history
就是讲这个 将文化如何相互结合 of music is all about, is how cultures combine to
创造出前所未有的事物 create something that wasn't there in the first place
比如美国黑人音乐 thus African American music for example
自16世纪开始 which combined multi cultures beginning in
融合了多种文化 形成了 around the 16th century and then resulted in
我们学习美国黑人音乐时 all of the various manifestations that we studied
学习过的诸多表现形式 when we studied African American music.
在16世纪之前 这些都不存在 None of that happened before the 16th century
因此部分看来 是音乐的跨文化结合 so cross-cultural kinds of combinations of music
使音乐史如此令人兴致盎然 are part of what makes music history so interesting.
我想让你们看一场十分特别的演出 To conclude our unit on India I would like you
以此结束印度音乐单元 to watch a very special performance
表演嘉宾为来自印度的西塔琴大师 by a guest performer called Vikas Gupta from India
维卡斯·谷佩塔 由来自伊利诺斯州的 who is a virtuoso sitar player. He is accompanied
塔布拉鼓手玛尼·维南·贝帝伴奏 by a tabla player who actually comes from Illinois
他慷慨地一路驾车至斯普林菲尔德 and was gracious enough to drive to Springfield
为在此次演出中 to assist Vikas in this performance.
协助维卡斯 His name is Mani Vinan Bedi.
请享受他们的表演 Please enjoy their performance.
约翰: 好 那么 我们来谈谈考试 JOHN: Alright, well, let's talk about the test.
这次考试的形式 Ok, so the test will be set up in the same format
和上次一样 as what we had on the first test in that the first 5
第一部分有5段听力材料 the first section will consist of 5 listening examples
你们需要给出曲目标题 and once again you need to know the title
这次我没有考试曲目清单 in this case I don't have a list of pieces
因为基本上你们CD上的 that are on the test because basically everything
所有章节内容 from these chapters that is on your CD
都可能出现在考试中 好消息是 is fair game on the test, ok, the good news is
曲目会从头开始播放 that they will all be played from the beginning.
所以这次我不会跳到曲子中间 So I'm not going to go to the middle of sara saruha
然后让你们仔细听 这就是好消息 and drop the needle, that's the good news.
我希望你们能讲讲 Yeah I do want you to be able to tell me
乐器编排 该音乐对文化的重大意义 the instrumentation, the importance of this music
并给出这种音乐的 to the culture and then also identify at least 2
至少两个特点 而这些特点 characteristics of this music that are characteristics
也是那一文化的特点 所以 听力 of that particular culture. Ok, so the listening
就是这样的 和上次一样 is set up that way, the same as it was the last time
记住答案要联系文化 and remember to tell me something about the culture
上次你们中部分人没有这么做 some of you didn't do that the last time
你们只是给了标题 没有告诉我 you just put the title, you didn't tell me
音乐对于文化的重要性 the importance of this music in the culture.
这次考试对你们有利的是 The advantage of this time is you don't have
你们不用记非洲部落名称 individual African tribes that you have to memorize
从乐器出处 in terms of where it comes from
来判断乐器 to identify the instruments.
学生: 但是专有名词呢 我们也不会拼写 STUDENT: But proper names. Because we can't spell them.
约翰: 如果写成鼓 我大概 JOHN: Mridagram, if you write drum I will probably
也可以接受 accept that just fine, if you can't remember
如果你记不清怎么拼 how to spell mridagram.
学生: 那么弦乐器呢 STUDENT: What about string instruments?
约翰: 弦乐器 比如日本的 JOHN: Sting instruments, such as in Japan
例如 好吧 for example, ok.
当然 如果你想的话 持续音也可以 Sure, if you want to put, drone would be fine
斯如梯就不错 维纳琴也不是太难记 shruti would be nice, vina is not too difficult
我们倒回复习吧 to remember. Let's go back and review, starting
系统地再看看 a little more methodically looking at
美国黑人音乐 翻到你们笔记的 African American music again. So go back to your notes
美国黑人部分 考试的听力部分 on African American music. After the listening portion
结束后 是单项选择 of the test there will be multiple choice again
会有额外选项 there will be some additional matching.
在美国黑人音乐区块 You might look at that, in the African American section
你们可以看看蓝调部分的那张图表 you might look at that diagram on the blues
试试如果有要求 能否自己画出来 and see if you could reproduce that if you have to
如果要写论文 我会很高兴知道 that might be a good thing to know for an essay
你们能画这张图表 to be able to reproduce the diagram
它在PPT的蓝调部分 that is on the PowerPoint on the blues.
有人还记得这吗 Anybody remember that?
劳作歌和田间号子的区别 What's the different between a work song
在哪儿 这些音乐是即兴创作的 and a field holler? So the reason it's improvised
原因在于只有一位歌手 is because there is only one singer
不必聚集歌手 and they don't have to stay together.
埃里克 你有什么问题吗 Eric, did you have a question?
学生: 人们用这些音乐来传播消息 STUDENT: And they were used to communicate some news.
约翰: 是的 某些情况下田间号子被用来 JOHN: Yes, in some cases the field hollers were used to
同田地里的不同人 communicate information to different people
交流信息 在劳作歌和田间号子中 across the field. What African American characteristics
你们可以发现什么 can you find in both of these songs
美国黑人音乐特征 work songs and field hollers?
学生: 音调忧郁 STUDENT: Blue notes.
约翰: 音调忧郁 好 当然 还有呢 JOHN: Blue notes, ok, certainly blue notes. What else?
翻回看看特点那一部分 Go back to your characteristics and look at those
看看是什么特点 音调忧郁 当然 and see what those might be. Blue notes, certainly
还有那蓝调式的音阶呢 当然 这个可以在 what about the blues scale? Certainly might find that
这两种歌曲中都能发现 还有机械节奏 in both of these, right. Motor rhythm
我们谈到了这个在劳作歌中有 we talked about that existing in the work song
但在田间号子中却没有 还大概有 but not in the field holler. Syncopation, swing
切分 摇摆 摇摆八分音符 所有这些元素 swing 8ths; possibly. Ok, all of these elements
应该都能在这两种音乐中发现 might find themselves into these songs
而机械节奏大概是个例外 with the possible exception of motor rhythm
它只存在于劳作歌中 which is only going to be in the work song.
那么蓝调呢 Ok, what about the blues?
蓝调的基本结构是什么 Ok, what's the basic structure of the blues?
三组十二小节绝对是 The 3 line 12 bar blues is definitely
其中之一 我们还学过 one of the possibilities; what's the other structure
什么其他结构 四行叠句停顿时间 that we studied? The quatrain refrain stop time.
这就是另外一种结构 Ok, that's the other structure
三组十二小节结构的 and in the 12 bar 3 line structure
基本形式是怎样的 音乐如何行进 what is the basic format? How does the music proceed?
也有运用到一四五级和弦 There is use of the 1 and 4 and 5 chords,
这是如何组织的 我们从一开始 how is that structured? We start with 1.
学生: 分为两部分 一 一 然后是四 一 STUDENT: It's 2 parts, 1, 1, then the 4, 1
然后是五 一 and the 5, 1.
学生: 就像人声 间奏 STUDENT: And it's like voice, fill,
人声 间奏 人声 间奏 voice fill, voice, fill.
约翰: 啊 好 我们会有两小节带人声的 JOHN: Ah, ok, we're going to have 2 bars of 1
一级和弦然后是两小节间奏中的一级和弦 with a voice and then we're going to have 2 bars of 1
就是这样 这就是开始四小节 with the fill, right, so that's the first 4 bars.
第二个四小节 就是第二组 Then the second 4 bar segment which is the second line
我们要干什么 要变成四级和弦对吧 is going to do what? It's going to go to 4 isn't it?
所以两小节人声四级和弦 接着是两小节 So 2 bars of 4 which is sung, followed by 2 bars of 4
间奏四级和弦 或者变回一级和弦 嗯 which is fill, or going back to 1, yeah,
这里要干的是什么 你们的表上是怎么写的 which does it do, what does your chart tell you?
变回一级和弦 对不对 所以一 一 四 一 Goes back to 1 doesn't it. So 1, 1, 4, 1
这些都是两小节片段 然后 and these are 2 bar segments and then
是最后四小节 要干什么 the last 4 bars, what happens?
约翰: 好 这里出现了一些不同的变奏 JOHN: Ok there are a couple of different variants there
变成一小节五级和弦 然后一小节四级和弦 it could go a measure of 5 then a measure of 4
然后两小节一级和弦 and then 2 measures of 1.
或者两小节五级和弦 Or it could do 2 measures of 5
然后两小节一级和弦 and then 2 measures of 1
这里的变奏多种多样 there's a variety of different variants there
你们到这时 就会发现 and then when you get into it variations occur
这一块儿到处都是变奏 all over the place in that particular area
但是基本结构是固定的 but the basic design is set up like that.
学生:我们只要选择一种正确的 STUDENT: So long as we do one of the correct ones
就可以了吗 that's ok?
约翰: 只要你们选的 JOHN: As long as you do one of the correct ones
是出现的变奏之一 if that's one of the variants that happens
我当然接受这样的答案 I'll certainly accept that, yeah.
好 如果不看草稿 Ok, so be able to construct that from scratch
就能从头构建出这一结构 without having to look at it
那就很好 that would be a good thing to know.
那么四行叠句形式 What about the quatrain refrain format
和这有什么不同呢 how does that differ?
学生: 它是主歌副歌结构 STUDENT: Is it a verse chorus set up.
约翰: 是的 它的结构更像主歌副歌 JOHN: Yeah it's set up more like a verse chorus
在传统形式中 and in the traditional format
应该会有几节主歌 how many verses would there be?
学生: 四节 STUDENT: 4.
约翰: 在传统的四行叠句形式中 JOHN: There would be 4 verses wouldn't there
会出现四节主歌 是吧 虽然 in the traditional quatrain refrain, although
在流行歌曲中我们常发现主歌部分 as we've seen in pop songs they tend to get longer
长度多于四行 不是吗 好的 谁能 than just a quatrain don't they. Right, can anybody
列举一下我们学习过的四行叠句结构的 name any of the pop songs that we studied
流行歌曲 that had quatrain refrain?
学生: 《爱之动力》 STUDENT: She Got Me Walking.
约翰: 《爱之动力》 这首在你们的CD里 JOHN: She Got Me Walking, that one is in your CD
这是个好例子 that's a good example
但是我们也学习过了一个早期摇滚乐的例子 but we studied an early rock and roll piece.
学生: 《美宝莲》 STUDENT: Maybellene.
约翰: 《美宝莲》也是 还有其他的吗 JOHN: Maybellene did that, what else?
还有一首查克·贝里的歌也是 There was another Chuck Berry song.
学生: 那首和汽车有关的 名字是什么来着 STUDENT: That car song. What's it called?
约翰: 和汽车有关的 《你抓不住我》 JOHN: The car song, You Can't Catch Me
就是歌名 嗯 《你抓不住我》 is what it is called. Yeah, both You Can't Catch Me
和《美宝莲》都是查克·贝里早期作品中 and Maybellene were early Chuck Berry songs
运用了四行叠句结构的歌曲 所以这种形式 that used the quatrain refrain format. So that format
更像主歌副歌结构 is structured more like verse chorus
这种形式中的四行部分即四节主歌 where there are the 4 verses of the quatrain and then
然后就是叠句 you go into the refrain which is part of
这也是三组十二小节形式的一部分 the 3 line 12 bar blues but usually
但是这里通常只有后两节 四行叠句形式中 just the second 2 lines, they don't do the first line
叠句部分通常没有第一节 usually as the refrain for the quatrain refrain format
有人注意到这一点吗 did anybody notice that?
约翰: 好 四行叠句形式中 JOHN: Ok, when you do the quatrain refrain
已经有了四行 也就是四节主歌 然后 you have the quatrain, the 4 verses, and then
叠句部分通常只有三组十二小节 the refrain part of it is usually the second 2 lines
这一蓝调结构的后两组 of the 3 line blues format, they don't repeat
在四行叠句形式中 that first line usually in the refrain
通常不重复第一组 of the quatrain refrain.
好了 掌握了CD上的所有例子 Ok, so then just knowing all of the examples
就有把握说 that are on the CD will be very helpful in
你们掌握了蓝调这部分 making sure that you've got the blues down.
佩恩博士关于灵歌的讲演呢 What about Dr. Payne's presentation on spirituals?
你们还记得什么 What do you remember from that?
学生: 它们大多含有隐藏信息 STUDENT: Hidden messages in a lot of them.
约翰: 大多含有隐藏信息 JOHN: Hidden messages in a lot of the songs.
对 这些歌是别有寓意的 是吧 你能举例 Yeah, they were coded weren't they, so can you name
说说他讨论过的暗喻歌曲吗 some of the coded songs that he discussed.
学生: 《追随酒葫芦》 STUDENT: Follow the drinking gourd.
约翰: 《追随酒葫芦》 还有什么 JOHN: Follow the drinking gourd, what else?
学生: 《涉水而行》 STUDENT: Wade in the water.
约翰: 《涉水而行》 还有呢 JOHN: Wade in the water, what else?
学生: 《福音列车》 STUDENT: Gospel train.
约翰: 《福音列车》 JOHN: Gospel train.
学生: 《轻轻摇晃 可爱的马车》 STUDENT: Swing low sweet chariot.
约翰: 《轻轻摇晃 可爱的马车》 JOHN: Swing low sweet chariot.
好的 这些都是暗喻歌曲的例子 Ok, these are all examples of coded songs.
我想他还给了一个好例子 Another good example of that I think he gave
《偷溜》 《偷溜》是什么意思 is Steal Away. What does Steal Away mean?
学生: 将有一场秘密集会 STUDENT: There's going to be a secret meeting.
约翰: 将有一场秘密集会 JOHN: There's going to be a secret meeting
狂风骤雨降临之时 仔细那雷霆之声 and when the storm comes listen for the thunder
在雷声遮掩下 向着 and under cover the thunder heads towards
秘密集会之地出发 那儿我们将讨论 the secret meeting place where we will be discussing
下一个到谁逃走 这之类的 who gets to escape next or whatever.
然后来复习我们刚刚结束的印度单元 And then India which we just finished.
什么是帕里木赛斯特 What is a palimpsest?
学生: 就是羊皮纸 STUDENT: It's the parchment.
约翰: 羊皮纸 对 你们可以 JOHN: It's the parchment, right, on which you can
在上面翻来覆去地写 印度总理 write over and over again and the Prime Minister
尼赫鲁曾经把印度比作羊皮纸 Nehru of India likened India to a parchment
因为新的旧的都混合在一起 because the new and the old were all mixed together
而这一点我们在许多学习过的亚洲文化中 and we have seen that principle in many of the cultures
都可以看到 其中包括印度 中国 in Asia that we have studied including India and China.
什么是美拉卡塔结构 美拉卡塔结构 What's the melacarta system? Melacarta system
是什么 这是一种系统的名字 what is that? That's the actual name of the system
这个系统中 拉格和塔拉都用来创作 in which ragas and talas are used to create
音乐的旋律与节奏 the melodies and the rhythms of the music
美拉卡塔结构 什么是拉格 Melacartis system. And what's a raga?
学生: 音阶形式 STUDENT: Scale form.
约翰: 拉格是一种音阶 即一组音调 JOHN: A raga is a scale form; it is a set of pitches.
什么是塔拉 What's a tala?
学生: 节奏 STUDENT: The rhythm.
约翰: 对 是以一定形式重复的 JOHN: Yeah, it is a set of rhythmic accents, right
一组节奏重音 一直按照这种特定的形式 in some sort of repeated pattern so that the pattern
重复下去 keeps repeating in that particular pattern
我们在课上打了一些塔拉的拍子 and we clapped a couple of them in class
包括之前大卫·阿姆拉姆的作品 including the one most recently associated with
中的塔拉 the David Amram composition.
希望你们能花些时间 It would be a good thing for you to spend some time
复习复习我们课上学过的中国乐器 reviewing the instruments that we studied in class
唢呐 葫芦丝 笙 巴乌 from China, the suona, the hulusi, the sheng, bawu
笛子 琵琶 古筝 二胡 dizi, pipa, guzheng and erhu and
还有西藏颂钵 我们讲过了 the Tibetan singing bowl and we talked about
这之中的宗教影响 the religious influences there.
好 还有什么问题 大家都准备好 Ok, other questions? Everybody feel
考试 或者准备好 they are ready to go for the test or at least
开始为考试复习了吗 ready to start studying for the test?