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ГБОУ СПО СО «Свердловское Музыкальное Училище
им. П.И. Чайковского» (колледж)
Discovering music together
методическое пособие
по английскому языку
для I-IV курсов
Екатеринбург, 2011
Составитель: Селеткова Юлия Сергеевна, преподаватель английского языка ГБОУ СПО СО СМУ им. П. И. Чайковского
Сборник включает тексты с заданиями по теме «Музыка», включенной в рабочую программу по английскому языку для студентов ГБОУ СПО СО СМУ им. П. И. Чайковского. Материалы могут быть использованы на аудиторных занятиях и при самостоятельной работе над темой.
Рецензенты:
Старший преподаватель ИИЯ УрГПУ С. М. Скараева
Ассистент кафедры германской филологии
Института Лингвистики ФГАОУ ВПО « РГППУ» Ж. Р. Хасанова
Discovering music together
Методическая разработка для практический занятий по английскому языку для I-IV курсов
Пояснительная записка
Данная методическая разработка предназначена для студентов I-IV
любых музыкальных специальностей и была создана по многочисленным просьбам студентов Свердловского Музыкального Училища им. П. И. Чайковского.
Собранный дидактический материал включает специальные музыкальнее термины, не представленные ни в электронных, ни в печатных словарях по английскому языку. Специальный англо-русский словарь музыкальной терминологии также не был найден. Между тем число контактов между студентами Свердловского Музыкального Училища им. П. И. Чайковского и студентами-иностранцами растет. Все больше студентов выезжает на международные конкурсы, и необходимо дать им ключ для общения на английском языке не только на общие социальные темы, но и на темы специальности.
Тексты с вопросами и заданиями, включенные в сборник представляют собой обязательный или дополнительный материал по теме «Музыка», предусмотренной рабочей программой по английскому языку для для студентов ГБОУ СПО СО СМУ им. П. И. Чайковского.
Основной целью методического пособия является овладение студентами специальной лексикой, которая позволит общаться с зарубежными музыкантами не только на общие социальные, но и на профессиональные темы.
В задачи данного пособия также входит развитие коммуникативных навыков студентов в различных ситуациях (международные конкурсы, конференции, личные контакты с иностранцами в условиях профессиональной деятельности музыканта, разговоры со специалистами, работа с литературой на иностранном языке).
Представленные материалы относятся к основным средствам выражения музыкальной мысли, таким как ритм, метр, мелодия, гармония, а также форма музыкальных произведений. Предложенные слова и выражения помогут музыканту описать любое музыкальное произведение не только со стороны эмоционального и чувственного отношения к музыке, но и с позиций профессионального музыкального языка, используемого композиторами для создания своих шедевров.
Разговорные темы, представленные в последнем разделе обогащают практику разговорной речи, помогают овладеть простой лексикой, связанной с их специальностью, которая включает знание музыкальных инструментов, названия различных музыкальных специальностей и отделений Музыкального Училища, а также названия специальных предметов, преподаваемых в колледже.
При составлении текстов на английском языке были использовании материалы учебника по музыке за 6 класс средней школы США.
«Учитель музыки – это прежде всего истолкователь и интерпретатор»
Генрих Нейгауз
«Music washes away from the soul the dust of everyday life»
Robert Burns
CONTENTS:
I.WHAT WE KNOW ABOUT MUSIC____________________________p.4
1.RHYTHM_________________________________________p.4
2.MELODY_____________________________________________p.5
3.HARMONY________________________________________p.7
4. FORM_________________________________________________p.8
II. MUSICAL STYLES AROUND THE WORLD_____________________p.9
III. LET’S SPEAK about our MUSICAL LIFE________________________p.11
1. A VISIT TO A CONCERT HALL________________________________p.112. A VISIT TO A THEATRE______________________________________ p.12
3. MY STUDY__________________________________________________p.13
4.OUR TIME TABLE_____________________________________________p.14
IV. READ ABOUT MUSIC
1. MUSIC MAID WITH A MEANING_________________________________________p.15
2. A PIANIST'S MEANS OF EXPRESSION____________________________p.15
3. WHAT IS MUSIC: SHORT ANSWER_______________________________p.16
4. INTONATION AS A MEANS OF EXPRESSION__________________________p.17
INTRODUCTION
Music is a language that all people understand. People of all nations and all countries know that good music can help us to become better. Music can give us a feeling of joy and happiness and it can be cathartic in times of sorrow. Making music is the best life experience for many people which helps to express our feelings and emotions. Many people think that music transcends most other forms of communication. To understand music better we should study the information about the most important musical elements.
WHAT WE KNOW ABOUT MUSIC
The important elements of music are
RHYTHM
MELODY
HARMONY,
And FORM
RHYTHM
The grouping of strong and weak beats is called METER.
Meter is the regular pattern of accented and unaccented beats which occur in each measure. It is the steady pulse of music.
Rhythmic movement is created by patterns of short and long notes within the meter.
RHYTHM is the organization of long and short sounds within the meter or steady beat.
Organizing accented and unaccented beats produces meter.
Organizing long and short sounds into patterns produces rhythm.
Rhythm can be even and uneven. We can find whole, half, quarter, eight, sixteen notes in rhythmic patterns. The time value of one whole note equals two half notes, four quarter notes, and eight eighth notes.
The METER SIGNATURE tells us how many beats there are to a measure.
The upper number of a meter signature tells how many beats there are per measure, and the lower number tells what note gets the count.
Usually one beat in a measure is stressed.
In two-beat meter one accented beat followed by one unaccented beat.
When one accented beat followed by two unaccented beats the meter becomes three-beat meter.
These are SIMPLE METERS.
In four-beat meter there is a strong accent on the first beat and a lesser accent on the third beat.
The four-beat meter is called COMPOUND METER.
I. Find in the text the following words and word combinations:
Метр, ритм, сильная доля, слабая доля, пульс, ровный пульс музыки размер, целая нота, половинная нота, четвертная нота, восьмые и шестнадцатые ноты, длительность звучания, 2-х, 3-х, 4-х- дольный размер, простой размер, сложный размер, количество долей в такте, сильный акцент, слабый акцент, длительность, ритмическое движение.
II. Learn the underlined words and the words written in big letters.
III. Render in English.
Метр – в музыке и поэзии ритмическая форма, служащая мерой, в соответствии с которой музыкальные и поэтические тексты делятся, кроме смыслового членения, на метрические единицы – стропы, стихи, строфы, такты, определяемые совокупностью обязательных правил, заданных с художественной целью. Соблюдение этих правил отличает размеренную речь (стихи) и музыку от свободного ритма прозаической речи.
(Музыкальный словарь, 2006)
MELODY
A melody is based on tones from a scale.
The tone on which a scale is build is called he KEY CENTER.
When the same tones and same key signature are used, but the key center is moved from do to la or from la to do, we call these RELATIVE KEYS. F major and D minor ate also relative keys.
A MAJOR SCALE has eight tones. It begins on a key tone, and steps up in a pattern of whole steps and half steps to the same key tone eight tons higher.
Following this pattern, we build a major scale on any tone^
Whole- whole- half –whole-whole-whole-half
The half steps occur between three and four, and seventh and eight.
Using the same series of whole steps and half steps, you can start on any tone, and build a major scale. Flats or sharps then appear in the key signature. Fore example, to build a scale on F, H is lowed to B so that there will be a half step between 3 and 4. B flat will appear in the signature.
A MINOR SCALE has eight tones, but has a different pattern of whole and half steps^
Whole-half-whole-whole-half-whole-whole.
Following this pattern, we can build a minor scale on any tone.
The scale on which melodies are built influences musical style. Melodies based on major scales do not sound like those based on minor, pentatonic, or Oriental scales.
THE NATURAL MINOR
In the natural minor scale, the tones are unaltered. The half steps come between two and three, and five and six.
THE HARMONIC MINOR SCALE
The harmonic minor scale is the same as the natural minor, except that the seventh tone is raised a half step by using an accidental.
THE MELODIC MINOR
In the Melodic minor form, the six and the seventh tones are raised in the ascending scale.
The half steps are between two and three and seventh and eight.
When the scale descends, the normal six and seventh tones are restored. The descending melodic minor is like the natural minor.
THE PARALLEL MINOR
The key tone of all major scales is do.
The key tone of all minor scales is la.
When a minor has the same key signature as its relative major it is called The Parallel minor.
The change from major to minor provides a striking contrast in sound.
HOW MELODIES MOVE
Melodies are based on tones of the scale. Melodies may move in the following ways:
-by steps (scalewise) up or down the scale;
-by repeating a tone;
-by skipping to another tone of the scale;
-by moving to a tone not in the scale.
When a melody moves to a tone not in the scale, an accidental (sharp, flat, or natural) is required
Usually melodies use a combination of steps, skips, and repeated tones.
SEQUENCES
A musical sequence is the repetition of melodic pattern on higher or lower tones. They serve double purpose of repetition and contrast.
Major and minor scales are the basis for HARMONY.
I. Find in the text the following words and word combinations and learn them:
Мелодия, звукоряд, тоника, тон, полутон, мажор, минор, натуральный, гармонический и мелодический минор, тональность, повышение тона, понижение тона, диез, бемоль, бекар, случайный знак, ключевые знаки, пентатоника, восточные звукоряды, альтерированый звук, нисходящий звукоряд, восходящий звукоряд, поступенное движение мелодии, репетиция(в мелодии), скачки в мелодии, не относящийся к тональности звук.
II. Describe the types of scales and explain differences between them.
III. Speak about types of moving in melody.
IV. Give the pattern of the major scale and the pattern of a minor scale.
V. Render in English:
Мелодия – одноголосно выраженная музыкальная мысль. Мелодия, пение, напев, мелос – коренные выразители собственно музыкального начала. Многогранная сущность мелодии раскрывается в основных значениях этого термина:
мелодия – ряд последовательно изложенных звуков, связанных в единое целое ( мелодия – линия, мелодия – горизонталь, в отличие от ряда звуков в одновременности – вертикали, аккорда);
мелодия в гомофонии, в аккордовом музыкальном складе – главный голос ( например в выражениях «мелодия и сопровождение», «мелодия и аккомпанемент»);
мелодия – смысловое, образное единство, собственно музыкальная мысль, развертывающееся (одноголосно) во времени содержательно неделимое целое.
(Музыкальный словарь, 2006)
VI. Render in English:
«В музыке Шостаковича настолько ярко и зримо вырисовываются все персонажи, что сидя за роялем и разучивая партию, я уже видела все мизансцены моей будущей роли, а та высочайшая тесситура во многих музыкальных фразах, которую во второй редакции Дмитрий Дмитриевич переделал, для меня сразу стала легко преодолимой, потому что я нашла к ней психологический ключ. Правда, когда я впервые увидела в клавире вписанные Дмитрием Дмитриевичем высоченные фразы в предельно драматически напряженной сцене порки Сергея, а потом, в сцене отравления старика, - в темпе, на форте по нескольку раз повторяющиеся си-бемоль второй октавы, - признаюсь, признаюси, у меня закружилась голова и заныло под ложечкой: я испугалась. Но тут же сказала себе: стоп! Без паники. Нужно подумать, почему это так написано. Писал-то не кто-нибудь, а Шостакович.
(Галина Вишневская. «История жизни», стр.392)
HARMONY
Two ore more tones sung or played together make HARMONY.
Harmony is created when other tones are played or sung to support the melody.
The difference in pitch between two tones is called an INTERVAL.
The intervals are: first, second, third, fourth, fifth, sixth, seventh, octave.
Intervals are named for the number of lines and spaces between notes. In counting, include the line or space on which each note is placed. If we play sounds of interval one after another we call such interval a MELODIC INTERVAL and it belongs to melody. If we play two sounds of any interval together we call such interval a HARMONIC INTERVAL and it belongs to harmony.
A CHORD is three or more tones sung or played together.
Chords are named after the pitch name of their root- the tone on which the cord is built.
They can be built up in intervals of thirds on any tone in the scale.
The tone on which chord is built is called the ROOT.
We can build chords on every tone in the scale. However, the most important chords are those built on the first, fourth, and fifth tones of the scale.
A TRIAD is a chord with three tones. I, IV, and V are triads.
A SEVENTH CHORD is a chord with fore tones.
The V7 chord is a seventh chord built on the fifth tone of the scale. When another third is added to the V chord, we call it the V7 because the interval from the root is a seventh.
Accompanying harmony is determined by the tones of a melody. Often the melody of a song outlines a chord.
PASSING TONES
Sometimes a tone is used in the melody which is not in the accompanying chord. This tone is a passing tone, and makes the melody move smoothly from one chordal tone to another.
HARMONY IN MINOR
Just as the major scale, the most important chords are I, IV, and V (V7). However they sound differently.
The I and the IV chords in minor are minor chords. The difference between a major and minor chord is the lowered third.
A major chord is made up of a major third and a minor third.
A minor chord is made up of a minor third and a major third.
A major third has two whole steps. A minor third has a whole and a half step.
Because the seventh tone of the melodic and harmonic minor is raised, the V and the V7 chords sound the same as in major keys.
I. Find in the text the following words and word combinations and learn them:
Гармония, интервал, высота звука, секунда, терция, кварта, квинта, секста, септима, октава, мажорная терция, минорная терция, аккорд, расположение звука на линейке, расположение звука между линейками, трезвучие, мажорное трезвучие, минорное трезвучие, септаккорд, основные трезвучия, мажорная терция состоит из двух тонов, минорная терция состоит из тона и полутона.
II. Name the intervals. Speak about the differences between melodic intervals and harmonic intervals.
III. Answer the questions:
What is harmony?
Which tones of the melodic and harmonic minor are raised?
What is the major triad made of?
What is the minor triad made of?
V. Render in English:
Аккорд - самостоятельное созвучие, построенное по определенному принципу согласно сущности данной гармонической системы. В классическом учении о гармонии под аккордом подразумевается сочетание 3-5 звуков, которые можно расположить по терциям.
Выразительность звучания аккорда определяется рядом факторов: его интерваликой (прежде всего консонантностью и диссонантностью), тональной функцией, его «раскрытием» в звуковом контуре мелодии.
В тональной системе 17-19 веков цельность аккорда поддерживалась внутриаккордовой функциональностью его тонов. Аккордовые функции: 1) основной тон («корень»); 2) аккордовые консонансы (квинта и терция от основного тона, совместно с ним составляющие консонантное ядро аккорда); 3)аккордовые диссонансы (септима, нона, секста от основного тона); 4) Побочные тоны. Задержания, проходящие и вспомогательные тоны рассматриваются как неаккордовые.
(Музыкальный словарь, 2006)
FORM
The way in which music is organized is called FORM.
All the relationships of rhythm, melody, and harmony play a part in creating form in music.
The basis of form is contrast and repetition.
A PHRASE is a musical thought.
Phrases that are repeated or contrasting make up parts or sections.
Sections combine to make SONG FORMES.
The basic song forms are two-part (AB) and three-part (ABA).
There are many variations of two- and three-part song forms.
Repetition and contrast are common in nature and in our daily lives. We do many things in the same way each day – we get up, we dress, we eat. We also have new experiences each day which add interest and contrast to familiar happenings.
Form in music is also based on repetition and contrast. Repetition of a melody fixes it in our minds, and contrasting melody adds variety and interest. Phrases combine to make parts or sections. The ways that sections of a song are repeated or contrasted create form.
Learning to recognize phrases, how they combine into sections, and how sections combine into a composition adds to our understanding, and leads to a recognition of form in music.
BASIC SONG_FORMS
The two basic types of song-form are two-part and three-part.
The two-part (AB) form has two sections:
A – Statement, first melody or theme;
B – Departure, second melody or theme.
Songs having a verse and refrain are usually in this form.
The three-part (ABA) form has three sections:
A – Statement, first melody or theme;
B – Departure, second melody or theme.
A - Return, the first melody or theme repeated.
I. Find in the text the following words and word combinations and learn them:
Двухчастная форма, трехчастная форма, репетиция и контраст, экспозиция, разработка. Реприза.
II Describe two-part (AB) and three-part (ABA) song forms.
MUSICAL STYLES AROUND THE WORLD
Rhythms, scale patterns, and harmony create what we may call Style. We associate certain style with particular countries. The style of music expresses the character of the people.
It is an exiting experience to go on a musical journey around the world, and learn about the many ways in which people of the world express themselves.
We discover that every country has its folk songs, dances, and instruments. Each country has typical melodic and rhythmic patterns as well as accompanying harmony. We find that people all over the world are basically much alike. They care about the same things – home, family, friends, work, play, and their native land. As we become better acquainted with the style of music of different people, we become better acquainted with the people themselves. We discover that the joy of music is universal, a powerful instrument in helping to bring the human family together in peace and friendly understanding.
Latin American music has three major sources – the native Indian, the Spanish, and the African Negro. The music in some countries is a blend of all three.
The resulting music is bright and colorful. The rhythms, often syncopated, stem from the dance, and may be slow or fast whirling. The instruments accompanying dances include percussion such as the claves, maracas, and rasps. The guitar, brought from Spain, is a popular instrument, as is the marimba, which had its origin in the African xylophone.
Mexican music is unique. It has been influenced both by native Indians and the Spanish who invaded Mexico in the 1500’s Music played an important role among tribes such as Maya and Aztec. The influence has survived. The Mexican dances such as Jarabe evolved from those of Spain. There are many romantic songs in Mexican music.
A typical characteristic of Mexican music is the quarter note tied across the measure, which gives a feeling of syncopation.
Among the instruments are harp, guitar, violin, flute, drums, and trumpet. These may combine into a mariachi (orchestra).
British music reflects a straightforward and vigorous character.
Sometimes it is reserved. Other times it moves with a broad sweep like the seas that surround Britain. Conversational songs are common among folk songs.
Scandinavian music is sturdy and vital. Sometimes it is melancholy, reflecting the long, dark, hard winters. Work songs are mostly those of fishing and farming. When there is gaiety and dancing, the people enter into them with vigor.
Finnish music is different from that of other Scandinavian countries. It has been subject to many influences, including Russian and Hungarian. The traditional folk instrument is the psaltery-like kantele, which has been in existence over 2000 years. Originally it had only five strings, and the very old songs were limited to a five-tone scale. Today it has from twenty to thirty strings.
French music reflects the mixed backgrounds of its people, and varies somewhat region to region. Many folk songs originated in the Middle Ages. These were days of traveling singers, troubadours and trouveres.
Romanian music, like that of the other eastern European countries, reflects the unique blending of the Western and Eastern cultures. Because many people have been nomads, there is a resemblance to Hungarian gypsy music. Folk songs are usually short and simple. Among the folk instruments are the violin and the guitar- like tamboritz.
Arabian music is usually in a minor key, and is colored with slurred sixteenth and recurring down-scale figures.
Chinese music varies greatly from district to district. It is based on five and seven-tone scales. There is no chordal harmonization. Most people farm, although only 12 per cent of the land is fertile. Years ago when crops failed, the farmers went to towns singing and begging. There songs, popular as street songs, are called Fengyang songs. Folk instruments include the bowed two-string Erh-hu, and the Butterfly Harp, a dulcimer (цимбалы) played with hammers.
dulcimer [] ; цимбалы (струнный ударный музыкальный инструмент, звук из которого извлекается ударами палочек или колотушек).
Swiss music includes the call of the cowherds and shepherds, the yodeling of herdsmen. Because the mountain echo distorts words, yodeling was developed hundreds of years ago by herdsmen calling to each other. Different districts developed their own type, and it was possible to identify a person’s name by his yodel.
yodel [] 1. йодль (напев альпийских горцев в Австрии, Швейцарии, Южной Баварии).
Read the text about music of different nations and try to describe the features of Russian musical style.
Retell the text.
LET’ SPEAK about our MUSICAL LIFE
A VISIT TO A CONCERT HALL
Words and Expressions:
concert hall
conservatoire
Symphonic orchestras
to listen to music
to be fond of music
to have a good ear for music
to be a good musician
to be full of people
to accompany smb.
to devote oneself to music
I am fond of music and whenever I have some free time I go to the Concert Hall. Music is not only my hobby, but it is my future profession. I study at the Musical College. I want to devote myself to music, so I try to listen to music as much as I can to be a good musician.
There are a lot of concert halls in our country. The Concert Hall in Yekaterinburg is one of the oldest in our country. It is known all over the world. It is always full of people.
I am fond of classical music. I try to visit solo concerts and symphonic orchestras ones. I like both piano and violin concerts. I like the cello too. My sister has a good ear for music. She studies at the conservatoire at the stringed instruments department. She accompanies me all the time when I go to the conservatoire or to the concert hall. We enjoy music very much.
My favourite composers are Bach, Schopeen, Schooman, Rachmaninoff and some others. I always try to go to the concerts of their music.
I think it is very important for people to listen to a good music to be kind, calm and intellegent.
New Words and Expressions
audience
billboard - афиша
box-office - касса
stage
the stalls – seats in the part of the theatre nearest to the stage
the gallery
circle, pit - амфитеатр
cloak-room – a place where hats and coats may be left
check - номерок
scenery - декорация
play-bill - programme
the leading role
rehearsal
performance
spectators – people watching the performance
the tier
the dress – curcle
peculiarity – quality
usher – a person who shows people to their seats
the house burst into applause
to get curtain calls
The performance was a great success with the public
Review the names of a few operas and ballets.
"The Queen of Spades" – "Пиковая дама""Eugene Onegin"
"Madam Butterfly"
"Prince Igor"
"The Magic Flute"
"The Sleeping Beauty"
"Swan Lake" – "Лебединое озеро"
"The Nutcracker" – "Щелкунчик"
"Cinderella" – " Золушка"
"Romeo and Juliet"
"Raymond" – "Раймонда"Review the names of some theatres.
The Opera and Ballet TheatreThe Musical Comedy Theatre
The Drama Theatre
The Theatre of the Young Spectator
The Children's Theatre
The Puppet Theatre – Театр куколThe Variety Theatre – Театр эстрады
A VISIT TO THE THEATRE
Some days ago I was at the Opera and Ballet theatre. The opera "The Magic Flute" was on.
I bought tickets at the box – office of the theatre. I knew that the best and most expensive seats were in the stalls and the dress – circle. The seats in the upper circle pit and gallery were cheaper. The seats in the stalls were sold out. I took box number six in the dress – circle. It was very well placed and we could have a good view of the stage.
When we arrived at the theatre we passed through the entrance hall and went to the cloak - room, where we left our hats and coats. The usher led us to our seats.
At last the curtains went up. The scenery was beautifully set up. The Opera and Ballet Theatre is famous for its excellent performances. Its productions are always successful and have a very long run. We enjoyed "The Magic Flute". The plot of the opera was very interesting. It is a philosophical fairy-tale opera. The main idea of the opera is the victory of the light and love over evil forces. The most popular parts of the opera are The Overture, The aria of Queen Night, The aria of Papageno. Music and dances were perfect. There were many beautiful arias and choruses in the opera. The leading singers were marvelous. At the end of the acts the audience applauded the actors. The theatre was full. The performance made deep impression on me.
MY STUDY
New Words and Expressions
department - отделение
stringed instruments – струнные инструменты
percussion instruments – ударные муз. инструменты
wind-instruments – духовые инструменты
the wood-wind instruments – деревянные дух. инстр.
copper instruments – медные инструменты
variety – эстрада, эстрадный
choir-master – дирижер хора
chorus leader - хормейстер
choral - хоровой
choral singing – хоровое пение
in chorus - хором
brass band – духовой оркестр
domra
saxaphone
trombone
folk - народный
folk-song – народная песня
folk-art – народное творчество
solfeggio
the theory of music – теория музыки
musical literature – музыкальная литература
harmony - гармония
accompaniment
accompanist – аккомпаниатор, концертмейстер
choreography - хореография
choreographic – хореографический
to interpret - трактовать
to conduct a chorus – дирижировать хором
creative work – творческая работа
to criticize - критиковать
to master our future profession – овладевать будущей профессией
the choir –master's department – отделение ДХО
practical work – практическая работа
MY STADY
My friends and I study at the Musical College. We study at the choir –master's department. We learn to conduct a chorus. (We study at the piano department. We learn to play the piano). We have many subjects at our college. We study theoretical subjects and we learn to do practical work. We have theoretical subjects in the morning and special subjects after lunch break.
We have a lot of creative work at our college. Our masters teach us to conduct a chorus, to play musical instruments, to play and to interpret musical pieces. The teachers criticize our work when we make mistakes and they are glad when we make progress.
We try hard to master our future profession.
OUR TIME –TABLE
time-table
convenient
general subjects
special subjects
to be busy
to be over
I am a student of the Musical College named by P. I. Tchaikovsky. I am a first-year student of the Vocal Department. I am busy for 7 or 8 hours almost every day. Sometimes we have rehearsals even on our days off.
Our time-table is rather convenient. We have musical theoretical subjects such as Musical literature, the Theory of music in the morning and special subjects after lunch break. Also we have general subjects such as Literature, Russian and English languages, History, Geography and others. Some of them are in the evening. I have my Vocal lessons on Tuesdays and Thursdays and my Piano lessons on Mondays and Fridays. Our classes are over at half past five or ten minutes to six sometimes.
We are very busy but we like our lessons.
Wednesday, June 1, 2011 MUSIC MADE WITH A MEANINGTASK: SUM UP THE TEXT AND EXPRESS YOUR ATTITUDE TO IT;
We often hear stories about how music has been a vehicle for social change and political expression, of how it rallied generations of young people and inspired causes and movements that revolutionized society. From politically controversial folk songs of the fifties and early sixties to the free living music of the Hippies and the loud, angry sounds of rock and roll that captivated young people across the world. Listening to music today, you wonder whether music has the same power that it used to have. There is so much more music being put out today because alternative distribution channels and digital technology have enabled both established and struggling musicians to get their songs out there, to people all over the world. With so much more quantity, then comes the issue of quality. Are musicians still making music that will last for generations? Will today’s music resonate with future generations in the same way that the sounds of the Beatles, Tupac and Elvis continue to win over young fans? This is definitely something that any musician or even a fan of music has thought about at one time or another. Looking at popular music today, the kind of music that captures people’s attention and gets them talking, it seems that it is less of a form of expression and more of a platform for promoting causes. For instance, fewer commercially successful artists are using their music to explore social and political issues. Rather, they tend to use their fame and celebrity status to support certain causes, Diddy for example lent his weight to the Rock the Vote campaign which encouraged young people to vote in the election. Pop starlet Jessica Simpson advocates support for Operation Smile while Mary J. Blige has lent her name to certain charity fashion events. The music itself is less of a driving force for change in the current climate where fame rules supreme.
This of course does not mean that music with a message is not being made; there are passionate artists out there who continue to carry the torch of politically awareness and social change. From rock legends Metallica to hip hop innovators like Lupe Fiasco; there are artists out there that still strive to use music as a means of expression. They may not make the kind of music that tops charts or gets frequent airplay on the radio but, they are out there.
In a way the tables have turned, singers with a message used to seek out there audience, today with so much music is readily available, it is much harder for a singer with a message to find a mainstream following. The onus is now on us as an audience to be more discerning when it comes to what we listen to. It is our right and responsibility to seek out music with a message and to support those artists who strive to keep this spirit alive. It isn’t enough to sit back and listen to what the record companies are pushing on the airwaves and on TV. Today’s audience needs to realize that good music is out there, waiting to be uncovered and thanks to the internet; it is just a click away.
Posted by Staff - Filthy Flo-Rida DJs at 1:36 AM 
A PIANIST'S MEANS OF EXPRESSION
TASK; ANSWER THE QUESTION: HOW CAN WE USE THIS TEXT FOR THE PIANO PLAYING METHODOLOGY? FIND THE RISSIAN EQUIVALENTS FOR THE UNDERLINED EXPRESSIONS. DISCUSS THE STATEMENT IN A BOLD TYPE.
You may be filled with music in your soul, and have a great feeling for all music, but unless you can express those feelings through the piano, you are not a pianist.
Even musically gifted people are often crippled by bad muscular habits and a lack of physical knowledge about the piano and their own physical equipment.
One great piano teacher who saw this truth was Tobias Matthay, who taught piano in England at the Royal Academy of Music from 1876 to 1925.
Matthay’s motto was, “Every effect must have a cause.”
Matthay saw pianists attributing a great sound at the piano to what were almost “occult influences.” Mastery at the piano was supposedly unattainable for all but the few illuminati who had devoted their lives to experimentation, and what made a great sound at the piano was regarded as mystery.
In other words, pianists had no idea how they were producing the myriad of sounds at the piano. It was Matthay who first tried to determine scientifically how a pianist makes various sounds at the piano.
The first revelation was the source of tone quality, or volume. Most had speculated that it came from the weight of the hand or fingers on the keys. The reason for this was that most pianists had the sensation of weight and variations in that weight when playing the piano. A loud sound felt heavier than a soft sound, and a soft sound felt lighter in the “weight” of the hand.
But Matthay proved the actual source of variety of tonal color was the velocity with which the key was depressed, not the sensation of weight. A pianist may have the sensation of weight, but the operative factor that determines the tone quality of a key is the velocity with which it is played.
Matthay recognized that almost all good pianists arrived at the right personal piano technique by a process of trial and error. His life’s work was to codify and make logical the physical steps one must take to play with the widest possible palette of color and sound, saving the pianist those needless years of trial and error.
Because all of Matthay’s observations were physical, and are easy to verify, he is an historic figure in the history of piano pedagogy.
A part of his legacy is a group of simple physical formulae for attaining the greatest possible expression at the piano.
But as to being a great musical artist, Uncle Tobs is said to have remarked, “The rest is up to you.”
By John Aschenbrenner Copyright 2010 Walden Pond Press All Rights Reserved
TASK: READ THE TEXT AND PREPARE A ROUND_TABLE DISCUSSION ON THE DIFFERENCE BETWEEN GOOD AND BAD MUSIC.
Music is simply the intentional application of rhythm and melody. Because music has to be intentional, sounds such as a train running down a track, or a tree branch tapping on a window are not musical, at least not until someone uses the sound specifically as a rhythm. This means music is purpose driven and exists only as an intent.
The difference between good and bad music lies in what the intent of it is. Good music is created artfully and with significance in some sense. Bad music is created because someone felt like putting some notes together, and for no other reason. Another related, but maybe not as important quality is how we individually feel about music—our tastes. Some people like music that is extremely complex, or unusually unique. Some people only think music is good if very few people listen to it. I, personally, prefer music that is made with an intent that I can connect with as some form of entertainment, or emotional expression, or an artful representation of some abstract moment. An example of that last type of connection would be Pachabel’s Cannon in D. Cannon isn’t really about expressing an emotion, at least not profoundly, nor is it about entertaining people’s spirits. Listening to it will put you in some state of mind, though.
The purpose of music is not expression. That is something I hear a lot and I disagree with it entirely. Music can be used as a means of expression, but it doesn’t have to be. The purpose of music is to connect with others. Most contemporary, non-orchestrated music connects the artist to the audience, but other forms of music connect the audience with each other, leaving out the artist from the connection. Pomp and Circumstance is a song that is used in this way very often, as a way of celebrating achievement and comradery.
Submitted by sean.kellner on Sun, 02/14/2010 - 3:52pm
TASK: READ THE TEXT AND FIND MUSICAL TURMS WHICH CAN HELP YOU TO UNDERSTAND THE MEANING OF INTONATION
From Friedrich Sprondel
Posted on October 5, 2008 at 09:30 PM
"Everything exactly in tune"? In tune with what? The piano? The electronic tuner? your partners in string quartet?
Seriously: Some say that major thirds and leading tones should be played a) slightly sharp when occuring in a more soloistic context, b) pure (i. e. in accordance with the natural harmonics of the fundamental) when they form harmonic underground.
Others say that, when playing with piano, you have the option of using your own, more expressive sharps (sharper), flats (flatter), major thirds and sevenths (sharper both), or to go with the artificial equal temperament of the piano. One of my teachers advised me to play Schumann with some liberties, and Franck always in tune with the piano.
But how to decide which is which, and when to use what?
I hate to use the term of good taste (because so many people get it wrong -- "good taste is what suits me"), but intonation is one area where good taste is needed. I. e. you have to know about the composer's background (pianist? string player? neither?), about the instruments and temperaments he knew (if keyboard: meantone? well-tempered? equal?), about his or her main area of musical activity (opera? vocal? chamber? plucked? orchestra? keyboard?), about the musicians he or she knew, and their playing. Then you have to do an ananlysis of the music and decide if there are principal lines in the texture that need to be highlighted, and how to highlight them (loudness/sound/vibrato/rubato/intonation ...). And from all that -- and probably more -- you should draw your conclusion about whether to use intonation as an expressive means or not. Non-equal intonation, or intonation differing from that of an accompanying keyboard instrument, will seem slightly irritating to many listeners. The question is if this kind of irritation can perform a function in your concept of the music.
Having written all that -- I think one should be prepared to use any kind of intonation as long as it serves the music (and as long as it's not rightout bad -- but that one you don't "use").
Best,
Friedrich
P. S.
The best intonation I ever heard was done by the Leipzig String Quartet (their recordings appear on the German label MDG). Their former first violinist, Andreas Seidel, has perfect judgement about how to achieve the best sound and expression under any given circumstances. To watch him doing it live is breathtaking -- so refined, so good, and sounding so easy while you know that it's really, really hard to do. Sorry to everyone else -- but he's just the best.
From Marina Fragoulis
Posted on October 5, 2008 at 09:43 PM
Pianists don't need to think much about intonation, but every other kind of instrumentalist and singer does. Not only should it be used as a means of expression but it is one of our most powerful means of expression. I won't get into a boring lecture about the physics of sound except to say that playing a major seventh just a little bit higher than the temperament of the pianist will create such a feeling of excruciating tension that getting to the tonic will be a sublime release. Same goes for major minor sixths and thirds. Minor seconds are yummy when super low, while major seconds can be tricky. Don't touch perfect intervals. They're already perfect.
Is there a difference between D flat and C sharp? A pianist will tell you no. To a violinist though it's a world of difference in spacing.
From Jim W. Miller
Posted on October 5, 2008 at 08:11 PM
Rita do you mean the dim 7th interval needs to be modified in general in Bach? Is it different with keyboard? I don't understand the example.
Regarding the main question, I think intonation is a means of expression whether you want it to be or not;) Anything you can control is your expression.
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