評(píng)論
打印
Narrator:Listen to part of a lecture in a music history class.
獨(dú)白:聽下面一段音樂歷史課。
Professor:Up until now in our discussions and readings about the broken early classical periods, we've been talking about the development of musical styles and genres within the relatively narrow social context of its patronage by the upper classes.
教授:到現(xiàn)在我們?cè)谡n堂上對(duì)巴洛克早期時(shí)代的討論和閱讀，大多集中在相對(duì)較狹窄的上層社會(huì)所光顧的音樂的風(fēng)格、類型及其發(fā)展上。
Composers, after all, had to earn a living and those who were employed in the services of a specific patron, well, I don't have to spell it out for you, the likes and dislikes of that patron, this would've had an effect on what was being composed and performed.
作曲家也得過日子，那些被某些特別的顧客雇傭的音樂家，他們的名字我就不用點(diǎn)出來了，他們雇主的喜好，會(huì)對(duì)他們的創(chuàng)作和表演有一定影響。
Now, of course, there were many other influences on composers, um, such as the technical advances we've seen in the development of some of the instruments, uh, you remember the transverse flute, the clarinet and so on.
當(dāng)然，影響作曲家的還有許多其他因素，比如音樂器材中體現(xiàn)出來的技術(shù)進(jìn)步，嗯，比如你們記住的長(zhǎng)笛、單簧管等等。
But I think if I were asked to identify a single crucial development in European music of this time, it would be the invention of the piano, which, interestingly enough also had a significant effect on European society of that time.
不過，如果要我說出一項(xiàng)當(dāng)時(shí)歐洲音樂的舉足輕重的飛躍的話，鋼琴的發(fā)明是當(dāng)仁不讓的選擇。鋼琴的產(chǎn)生過程很有意思，而且對(duì)當(dāng)時(shí)的歐洲社會(huì)也有重要影響。
And I'll get to that in a minute.
我一會(huì)兒就會(huì)回到這個(gè)話題。
Now, as we know, keyboard instruments existed long before the piano-the organ, which dates back to the Middle Ages, as do other keyboard instruments, such as the harpsichord which is still popular today with some musicians.
嗯，正如我們所知，帶鍵盤的樂器在鋼琴誕生之前很久就已經(jīng)存在了—譬如風(fēng)琴，它的歷史可以溯源到中世紀(jì)；還有其他的樂器，比如帶鍵豎琴，也有同樣長(zhǎng)的歷史，它至今仍為許多音樂家的寵兒。
But none of these has had as profound an impact as the piano.
但是，這些樂器都沒有能夠與鋼琴媲美的影響力。
Um, the piano was invented in Italy in 1709.
嗯，鋼琴于 1709年產(chǎn)生于意大利。
The word piano is short for pianoforte, a combination of the Italian words for soft and loud.
鋼琴這個(gè)詞是意大利語(yǔ)“pianoforte”的縮寫，這個(gè)詞的意思是柔軟的、發(fā)聲的。
Now, unlike the harpsichord which came before it, the piano is a percussion instrument.
嗯，與它的前輩鍵豎琴相比，它的不同之處在于它是一種打擊樂器。
You see, the harpsichord is actually classified as a string instrument, since pressing a key of a harpsichord causes a tiny quill that's connected to the key to pluck the strings that are inside the instrument, much the same as a guitar pick plucks the strings of a guitar.
我們知道，鍵豎琴一般被分入弦樂器一類，因?yàn)楫?dāng)按下某一個(gè)鍵時(shí)，與這個(gè)鍵相連接的琴拔就會(huì)撥動(dòng)某一根安裝在樂器內(nèi)部的琴弦。
But pressing the keys of a piano causes tiny felt-covered hammers to strike the strings inside the instrument, like drumsticks striking the head of a drum.
這種發(fā)音原理與弦樂器吉他非常相似，但是，當(dāng)我們按下鋼琴的某一個(gè)鍵時(shí)，就會(huì)有一只包裹了毛氈的小音錘敲擊鋼琴內(nèi)部的發(fā)聲弦，這個(gè)過程好比鼓錘擊打鼓面。
This striking action is why the piano is a percussion instrument instead of a string instrument.
鋼琴這種敲擊式發(fā)聲原理，是我們將其劃入擊打樂器，而非弦樂器的原因了。
Okay, so why is this so important?
好了，說了半天，為什么這個(gè)話題很重要呢？
Well, the percussive effect of those little hammers means that the pianist, unlike the harpsichordist, can control the dynamics of the sound-how softly or loudly each note is struck, hence the name, pianoforte, soft and loud.
嗯，這種擊打式發(fā)聲原理意味著彈琴的人可以控制鋼琴所發(fā)出聲音的力度變化——即每一個(gè)音符的柔軟度、強(qiáng)度，與鋼琴的名字—能控制音色與音強(qiáng)之琴—很匹配吧！而相比之下，鍵豎琴的演奏者就做不到了。
Now artistically for both composers and performers this was a major turning point.
鋼琴的產(chǎn)生，對(duì)于作曲家和演奏家的音樂表現(xiàn)都是一個(gè)轉(zhuǎn)折點(diǎn)。
This brand new instrument, capable of producing loud and soft tones, greatly expanded the possibilities for conveying emotion.
這種全新的、能夠發(fā)出強(qiáng)度大、音色柔軟的調(diào)子的新樂器，大大地?cái)U(kuò)展了音樂家的情感傳達(dá)力。
This capacity for increased expressiveness, in fact, was essential to the Romantic style that dominated 19th century music.
這種更高級(jí)別的表現(xiàn)力，實(shí)際上，對(duì)于 19 世紀(jì)占統(tǒng)治地位的浪漫主義音樂而言，是必不可少的。
But I'm getting ahead of myself.
不過我現(xiàn)在要回答我之前提過的話題。
Um, before we get back to the musical impact of this development, I wanna take a look at the social impact that I mentioned earlier.
嗯，在繼續(xù)鋼琴對(duì)于音樂界的沖擊這個(gè)話題之前，我想粗略地談?wù)勪撉俚纳鐣?huì)影響力，之前也講過一些。
Now, in the late 1 700s and the earlier 1 800s, the development of the piano coincided with the growth of the middle class in Western Europe.
在 18 世紀(jì)晚，19 世紀(jì)初期，鋼琴的興起恰好遭逢了西歐中產(chǎn)階級(jí)的擴(kuò)張。
Of course folk music, traditional songs and dances had always been part of everyday life.
當(dāng)然，民謠，傳統(tǒng)歌曲和舞蹈那時(shí)都是日常生活的一部分。
But as mass production techniques were refined in the 19th century, the price of pianos dropped to the point that a larger proportion of the population could afford to own them.
但是，隨著 19 世紀(jì)工業(yè)大規(guī)模生產(chǎn)能力的改良，鋼琴的價(jià)格一路下跌，越來越多的人買的起它了。
As pianos became more available, they brought classical music, the music which previously had been composed only for the upper classes, into the lives of the middle class people as well.
隨著鋼琴的日漸普及，它們將古典音樂這種先前只流行于社會(huì)上層的音樂形式也引入了中產(chǎn)階級(jí)家庭中。
One way in particular that we can see the social impact of this instrument is its role in the lives of women of the time.
鋼琴在當(dāng)時(shí)婦女的日常生活中的地位，可以特別有效地幫助我們窺探它的社會(huì)影響力。
Previously, it was quite rare for a woman to perform on anything, but maybe a harp or maybe she sang.
之前的時(shí)候，它對(duì)于西歐婦女而言還是很稀有的，女性在進(jìn)行演奏時(shí)很少能用到它；一般的婦女要么會(huì)彈奏豎琴，要么會(huì)唱歌。
But suddenly in the 19th century it became quite acceptable,
但是，事情到了 19 世紀(jì)就突然發(fā)生了很大變化。
even, to some extent, almost expected for a middle-class European woman to be able to play the piano, partly because among upper-middle class women it was a sign of refinement. But it was also an excellent way for some women to earn money by giving piano lessons.
鋼琴變得非常受歡迎，甚至絕大部分中上層階級(jí)出身的婦女都被要求擁有彈奏它的能力。之所以形成這種局面，一部分是因?yàn)橹猩蠈优园褟椬噤撉倏闯墒莾?yōu)雅的標(biāo)志。
And some women, those few who had exceptional talent and the opportunity to develop it, their lives were dramatically affected.
同時(shí)，很多女性也把教授彈鋼琴看成謀生的一種不錯(cuò)的手段。并且，那些為數(shù)不多的、在鋼琴演奏上頗有天賦且對(duì)鋼琴演奏的發(fā)展做出了貢獻(xiàn)的女性，她們的生活因?yàn)殇撉俚牧餍卸l(fā)生了很大的變化。
Later we'll be listening to works by a composer named Robert Schumann.
稍后我們會(huì)播放作曲家羅伯特?舒曼的作品，
But let's now talk about his wife Clara Schumann.
不過我們現(xiàn)在要講一下他的妻子克拉婭?舒曼。
Clara Schumann was born in Germany in 1819.
克拉婭于 1819 年生于德國(guó)，
She grew up surrounded by pianos.
她的成長(zhǎng)經(jīng)歷都與鋼琴不無關(guān)系。
Her father sold pianos and both her parents were respected piano teachers.
她的父親是鋼琴商人，并且她父母都是頗受尊敬的鋼琴教師。
She learned to play the instrument when she was a small child and gave her first public recital at age 9.
她在幼年時(shí)就學(xué)會(huì)了鋼琴演奏，9 歲就第一次登臺(tái)演出。
Clara grew up to become a well-known and respected piano virtuoso, a performer of extraordinary skill who not only gave concerts across Europe, but also was one of the first important female composers for the instrument.
克拉婭長(zhǎng)大后成為一名備受尊敬的鋼琴演奏大師。不僅她的演奏技巧風(fēng)行全歐，而且她還是音樂史上第一位重要的鋼琴曲作曲家。
