研究生英语阅读教程Unit12 (2).pptVIP

Unit 12 Contents Introduction Text (A) analysis Some comments on writing Text (B) analysis Further reading Exercises Introduction Both Text A and Text B are excerpts from his book What to Listen for in Music (1939), in which Copland tries to give some suggestions on intelligently listening to music and achieving a deeper understanding of the most rewarding of all art forms. Aaron Copland (亚伦·柯普兰) (1) An American composer of film scores, opera, piano, chamber music, and other forms. Copland is best known for his ballet music (Appalachian Spring, 1944; Rodeo, 1942) and his orchestral works (Lincoln Portrait, 1942; Fanfare for the Common Man, 1942). (2) Sincerely concerned about relating to a wide public without compromising his music, Copland succeeded brilliantly both with more complex works like the Piano Variations and Twelve Poems of Emily Dickinson (1949-1950) and the subtle simplicity of his highly popular ballet music suites. He was the quintessential American nationalist composer. ~ Blue Gene Tyranny, Rovi Chamber music (1)室内乐(Chamber music)，原意是指在房间内演奏的“家庭式”的音乐，后引伸为在比较小的场所演奏的音乐。现在指由一件或几件乐器演奏的小型器乐曲，主要指重奏曲和小型器乐合奏曲，区别于大型管弦乐。 (2) 顾名思义，室内乐(Chamber music)，是在室内演奏或演唱的音乐。但是，这“室”原指欧洲贵族城堡中的音乐室，常是金碧辉煌而且宽敞的大“厅”。由此而言，只有编制庞大，不得不在大戏院、大音乐厅或大教堂作公共演出的(例如：华格纳、威尔第的歌剧)，才不能算是室内乐。如此，几乎所有的巴洛克的器乐曲(甚至早期的歌剧)都可以算作室内乐。 Text analysis Text A From Composer to Interpreter to Listener Text Structure Part I (para 1—3) A composer gives us himself. Questions 1. What of himself does a composer express in his music? 2. What results in the formation of a composer’s style? Part II (para 4—7) The role of the interpreter is to assimilate and recreate the composer’s “message”. The interpreter must be faithful to every composition. Questions 3. How do you understand the “poor” and “tender mercies” in the sentence “the poor composer…”? 4. How can interpreters solve the problem presented by the notes themselves? Part III (para 8—10) The listener’s responsibility is to try hard to make o