Music 音乐篇
Chapter 1 The Rhythmic Baroque Music
第一章 旋律丰富的巴洛克音乐
Chapter 2 The Classical Period: Symphony as an
Independennt Music Form
第二章 交响乐盛行的古典主义时期
Chapter 3 The Romantic Period: Free Expression of
Emotions
第三章 浪漫主义时期：情感的自由表现
Chapter 4 The Top Ten Operas in The World
第四章 世界十大歌剧
Painting 绘画篇
Chapter1 The Renaissance: From Love for God to Love for Man
第一章 文艺复兴时期：从关注上帝到关注人本身
Chapter 2 Baroque Painting: Rich and Romantic
第二章浓郁而浪漫的巴洛克绘画
Chapter 3 Rococo Painting: Dreamy and Sensual
第三章 梦幻而性感的洛可可绘画
Chapter 4 Multiple Schools of Painting Contend:18th and
19th Century Painting
第四章 18~19世纪绘画：多种流派竞自由
Chapter 5 Modernism in the 20th century Painting
第五章 20世纪现代派绘画
Architecture 建筑篇
Chapter 1 Architecture in Ancient Greece and Rome: Foundation
of Modern Architecture
第一章 古希腊和古罗马建筑：现代建筑的基石
Chapter 2 Gothic Architecture: Aspiring to Reach
Heaven
第二章 渴望企及天堂的哥特式建筑
Chapter 3 The Magnificent Baroque Architecture
第三章 富丽堂皇的巴洛克建筑
Chapter 4 Rococo Architecture: An Emphasis on
Decoration
第四章 色彩布局繁复的洛可可建筑
Chapter 5 Art Nouveau: An Embrace of Nature
第五章 新艺术运动：拥抱自然
Sculpture 雕塑篇
Chapter 1 Legends Remade: Ancient Greek
Sculpture
第一章 神话传说的再现：古希腊时期雕塑
Chapter 2 Sculpture of Renaissance: An Ode to the Beauty
of Human Body
第二章 文艺复兴时期雕塑：人体美的歌颂
Chapter 3 Baroque Sculpture: An Exaggeration
第三章 巴洛克时期雕塑：姿态夸张
Chapter 4 Modern Sculpture:Turning Abstract
第四章 现代主义雕塑：转向抽象
內容試閱：
Music 音乐篇
The western tradition of music has its origins in the chanting
tradition of the early Christian era. Monotonous religious music
dominated the medieval era. During the high baroque music of the
eighteenth century, Bach created a corpus of different genres of
music that showed the influence of the Reformation on musical
style, and was renowned as the "Father of modern Western Music."
Later in the century, the Classic style of Haydn and Mozart
dominated the music of Western Europe, with the symphony, sonata,
and string quartet predominating. As the link to the romantic era
that dominated the nineteenth century, Beethoven is a point of
departure for many of the trends that existed in the era. The era
saw the development of symphony as a genre, grand opera and
character pieces for piano. The early Romantic composers include
Schubert, Weber, Berlioz, Mendelssohn, Schumann, and Chopin. In the
20th century, Wagner led the romantic opera to its highest
form.
西方音乐是从基督教圣歌开始发源的。中世纪时期，旋律单调的圣歌占了乐曲创作的大部分，直到18世纪巴洛克时期，巴赫总结了前人传统并对圣歌加以革新，因此他被尊称为西方现代音乐之父。之后，在古典音乐大师海顿和莫扎特的影响下，交响乐、奏鸣曲和弦乐四重奏成为主流。19世纪，贝多芬在古典音乐和浪漫主义音乐之间起了承上启下的作用，交响乐进一步成为独立的音乐类型，钢琴更加流行，戏剧得到进一步发展。这一时期涌现出了舒伯特、韦伯、柏辽兹、门德尔松、舒曼、肖邦等大作曲家。20世纪，在瓦格纳的推动下，浪漫主义歌剧发展到顶峰。
Chapter 1 The Rhythmic Baroque Music
第一章 旋律丰富的巴洛克音乐
1. The overall characteristics of Baroque Music 巴洛克时期音乐概述
The word "baroque" comes from the Portuguese word barroco,
meaning "misshapen pearl", used to describe bizarre and
over-decorated things. The Baroque era covers 150 years from 1600
to 1750, and it also refers to a very clearly definable type or
genre of music which originated, broadly speaking. During the
period, composers and performers used more elaborate musical
ornamentation, made changes in musical notation, and developed new
instrumental playing techniques. In terms of vocal music, a range
of new forms came in to being, such as mass, opera, oratorio,
cantata, solo and chorus songs, etc. Emerging instrumental music
included toccata, overture, fantasia, fugue, partita, sonata,
concerto, etc. The most prestigious composers of the Baroque era
include Monteverdi, Lully, and J.S. Bach.
“巴洛克”这个词来自葡萄牙语，原意是指畸形的珍珠，在艺术上指代奇怪的、过分雕琢的艺术风格。巴洛克时期指的是从1600～1750年这150年，这一时期的音乐就称为巴洛克音乐。巴洛克时期的音乐突破了禁欲、单调的宗教音乐的统治地位，其旋律富有表现力，追求的是宏大的规模与雄伟、庄重、辉煌的效果。这一时期的作曲家们开发了更加细腻的音乐变化形式、记谱方式和乐器演奏方法，在声乐方面有弥撒、歌剧、清唱剧、康塔塔以及各种独唱、合唱曲，在器乐方面有托卡塔、前奏曲、幻想曲、赋格曲、变奏曲、奏鸣曲、协奏曲。这一时期的代表人物有：蒙特威尔第、吕利和巴赫。
2. The characteristics of Baroque style 巴洛克音乐的特点
Baroque musicians had come up with a number of new methods to
record more complex changes in music. Some of them are still being
used today. Also, musical instruments were improved. The Baroque
Music has the following features:
First, concerning music theory, the more widespread use of
thoroughbass represents the developing importance of harmony as the
linear underpinnings of polyphony.
Thoroughbass is a kind of integer musical notation used to
indicate intervals, chords, and non-chord tones, in relation to a
bass note. In Baroque period, there was a low-pitched part running
through the whole music in almost every piece of composition, which
was aptly called thoroughbass. Yet thoroughbass was only noted in
the musical staff1 with numbers and accidentals beneath the
base-line to indicate what intervals above the bass notes should be
played, and therefore which inversions of which chords are to be
played. Therefore it is also called figured bass. Thoroughbass was
an accompaniment used in almost all genres of music in the Baroque
period, thus considered as one of the most prominent features of
the era.
Second, polyphony reached its peak during Baroque period.
The philosophy of Baroque music is that music represents the
emotions of real life and, in so doing, excites the listener’s
emotions. Contrast is an important ingredient in the drama of a
baroque composition. The differences between loud and soft, solo
and ensemble as in the concerto, different instruments and
timbres all play an important role in many baroque compositions. As
a result, polyphony gained prestige during this period. Polyphony
is a form of composition in which a piece of music consists of two
or more melodic parts. These parts are independent of one another
and each has its own features, brought together to form a piece of
music of great complexity. It was a popular form of composition
Baroque music, and developed to maturity by the German composer
Bach.
According to scientific research, Baroque music can also help to
enhance creativity. Its rhythm of 60 beats per minute is largely
the same with people’s pulse and breathing speed, giving the music
a soothing effect. Relatively small oscillation and low frequency
stimulates the brain and activate it into the most efficient
status. Memory and creativity are greatly enhanced by this way. For
those who use their brains a lot, Baroque music is highly
recommended.
Third, opera and the common use of musical instrument is one of
the foremost innovations of the Baroque era.
The advent of the opera at the turn of the seventeenth century is
often associated with the activities of a group of poets, musicians
and scholars in Florence known today as the Florentine Camerata.
The subjects of the first operas are all taken from Greek myth,
reflecting the genre’s close alliances with attempts to recreate
the music and drama of ancient cultures, and were performed solely
in aristocratic circles for invited guests. The first surviving
opera was Jacopo Peri’s Dafne1598, and the earliest opera still
performed today is Claudio Monteverdi’s L’Orfeo 1607.
When the first public opera houses opened in Venice in 1637, the
genre was altered to suit the preferences of the audience. Solo
singers took on a sort of celebrity status, and greater emphasis
was placed on the aria as a result. Recitative grew less important,
and choruses and dances virtually disappeared from Italian opera.
The financial realities of staging frequent opera productions also
had an effect. The spectacular stage effects associated with opera
at court were greatly downplayed. By the early 18th century
particularly in Naples, two subgenres of opera became evident:
opera seria, in which the focus was on serious subject matter and
the da capo aria, and opera buffa, which had a lighter, even comic
tone and sometimes used duets, trios and larger ensembles. The
Italian tradition of opera began to dominate most European
countries.
Musical instruments were another highlight of the period.
Composers began to write music specifically for a particular
medium, such as the violin or the solo voice. Before and during
Renaissance, music had no interchangeable or idioms that might be
either sung or played by almost any combination of voices and
instruments, and instrument accompaniment were not mandatory. Even
when the players did use instrument, it was only there to repeat
certain part of the music without any features of its own. After
1600, instrumental and vocal styles began to be differentiated. A
rich interchange and interpenetration of idioms were observed, for
instance, transfer of lute ornaments to keyboard or vocal
techniques to violin.
在巴洛克时期，音乐家们发明了许多记录更加复杂的音乐变化的方法，许多方法沿用至今，乐器也有了很大的改进。巴洛克时期音乐的主要特点包括以下几个方面：
第一，音乐理论方面，通奏低音在此时期的应用非常广泛。
“通奏低音”是一种为低声部记录音程、和弦和非和弦音调的记谱方式。在巴洛克时期，几乎所有音乐都有一个独立的低音声部持续在整个作品中，因此叫做通奏低音。但是当时作曲家们只写出上下两个声部，通奏低音没有独立的记录方式，只在下声部中用数字标出，留给演奏家作即兴处理，所以通奏低音也叫数字低音。通奏低音的运用贯穿于整个巴洛克时期，成为巴洛克音乐的一个最重要的技术特征。
第二，复调音乐发展到最高峰。
巴洛克音乐的节奏强烈、跳跃，其灵感发自生活，对比鲜明，融合了强音和弱音、独唱和合唱、不同乐器和音质的对比，给听众以强烈震撼。所以，当时复调越来越流行。所谓复调，就是将几条旋律线按照一定的规则加以结合的一种多声部音乐，这几条旋律线都具有独立意义，注重各自的横向发展，彼此形成对比或相互补充。复调是巴洛克音乐常用的形式，由德国音乐家巴赫发展到了顶峰。
据现代科学研究，巴洛克音乐的节奏还有激发思维的特点。巴洛克音乐每分钟约60拍，与我们人类的脉搏与呼吸频率大致相同，使我们的脉搏和呼吸趋于中和与稳定。巴洛克音乐的低振幅、低频率又可以促进脑内吗啡的分泌，使大脑进入最活跃的状态，能让学习、记忆和创造性思维获得充分的施展。所以，经常用脑的人们不妨多听听巴洛克音乐吧！
第三，歌剧的诞生和器乐的凸显，巴洛克音乐最强劲的亮点。
16世纪末、17世纪初，歌剧开始出现，这种形式首先是由佛罗伦萨的一群诗人、音乐家和学者组成的家然他所创作的歌剧团体发起的，他们被叫做“佛罗伦萨乐团”。初期的歌剧都是取材自古希腊神话，表现出佛罗伦萨派企图振兴古文化的意愿，并且这些歌剧只给贵族表演。史上第一部歌剧是雅各布?佩里的《达芙妮》（1598年），而现在仍在上演的最早的歌剧是克劳迪奥?蒙特威尔第的《奥菲欧》（1607年）。
1637年第一部公演歌剧在威尼斯开幕的时候，歌手被塑造成巨星的形象，因此独唱的咏叹调很多，而宣叙调很少，合唱和舞蹈几乎在意大利歌剧中消失了。另外，由于财力有限，歌剧的舞台效果也没有得到应有的重视。18世纪初期（主要在那不勒斯），出现了两种歌剧形式：一个是正歌剧，主题非常严肃，多用返始咏叹调；另一个是喜歌剧，气氛轻松幽默，常用对唱、三重唱和大合唱。从那时起，意大利歌剧开始在欧洲国家中占有越来越重要的地位。
在巴洛克时期，器乐可以扬眉吐气。作曲家们开始针对某一种特定的表现形式作曲，比如小提琴、独唱。在文艺复兴时期和更早的时候，音乐的表现形式不受限制，怎么唱、怎么演奏都没有定律，乐器伴奏时有时无，即使乐器有登台露脸的机会，也是重复某一个声部的旋律，担任强化工作而已。公元1600年以后，器乐和声乐的特点更加分明了,小提琴和键盘乐器取代长笛和演唱，成为主要的音乐表现形式。
3. Representatives of Baroque Music 巴洛克音乐代表人物
●Early Baroque Period 1600–1630 and representative musicians
早期的巴洛克音乐风格和代表音乐家
The early Baroque composers were interested in stylistic rather
than formal innovations like the recitative and concertato styles.
An extra-ordinary desire for dissonance was noted. Harmony was
pre-tonal. A general stylistic and formal principle that
distinguishes Renaissance from early Baroque music is
discontinuity. The desire for contrast abandoned both rhythmic and
melodic continuity. Some of the masterpieces were completely
discontinuous and rhapsodic in melody, harmony and rhythm.
巴洛克早期的音乐家们偏向于风格而不是形式的改造，他们经常使用宣叙调和协奏曲的风格，喜欢不和谐的音符，非常重视音调。此时的音乐与文艺复兴时期最大的不同就是追求强烈的对比，节奏和旋律不再是一成不变，有的作品的旋律、和声和节奏完全打乱，如狂想曲一般的随性。
Monteverdi: the founder of Italian opera 蒙特威尔第：意大利歌剧奠基人
Claudio Monteverdi 1567–1643, an Italian composer, marked the
transition from the Renaissance style of music to that of the
Baroque period. He developed two individual styles of
composition—the heritage of Renaissance polyphony and the new basso
continuo thoroughbass technique of the Baroque. His innovative
operas are considered earliest operas in the world, including
L’Orfeo, Il ritorno d’Ulisse in patria, L’incoronazione di
Poppea.
Monteverdi led the innovation of music away from the constraint
of the church. The basis of his music was that music must match the
mood of the verse and that the natural declamation of the words
must be carefully followed. The melody is angular, the harmony
increasingly dissonant, the mood tense to the point of neurosis.
His innovation brought about controversy. Giovanni Maria Artusi, an
Italian musical theorist, launched pamphlet attacks on Monteverdi,
provoked by Monteverdi’s utilisation of intense and prolonged
dissonance. In defense of his style, Monteverdi put forth the idea
of prima prattica and second prattica, two terms describing the
distinction between the old and new style. Prima prattica refers to
the Renaissance polyphony style which had strict requirements on
contrappunto and the balance of the music. On the contrary, second
prattica gained more .exibility in contrappunto and a combination
of soprano and basso, a sign of irreversible progress. Monteverdi
also emphasized that in prima prattica, polyphony is the master of
verse and harmony is the master of the word. In second prattica,
however, the word is the master of harmony or, music is subservient
to the words.
His opera L’Orfeo 1607 became the first opera in the world,
ushering a new ear for this new form of art. It demonstrated the
array of effects and techniques of seconda pratica. L’Orfeo
included features which are recognizable even to the end of the
baroque period, including use of idiomatic writing. This opera
demonstrated that Monteverdi knew more about this genre of music
than did his precursors. For instance, his recitative is more
flexible and expressive than any of theirs; they were based on the
declamatory melody of his madrigals rather than on their theories
of heightened speech. L’Orfeo has set the basic mode for operas
that came after it.
克劳迪奥?蒙特威尔第（1567～1643年）是一位意大利作曲家，也是文艺复兴时期到巴洛克时期过渡的标志性人物。他发展了两种独特的作曲风格，一个是完善了文艺复兴时期的复调，另一个就是创造了巴洛克时期盛行一时的通奏低音。同时，他写的歌剧被视为世界上最早的一批歌剧，包括《奥菲欧》、《尤里适斯回国》、《朴比的加冕》等等。
蒙特威尔第是创作有情感的旋律、摆脱宗教的束缚的新音乐倡导者。他认为曲调必须与歌词密切配合，传递歌词所蕴含的情绪。他的音乐尖锐直接、矛盾突出、情绪起伏非常大，他的创新还为自己引来了一场争论。乔瓦尼?玛利亚?阿图希是一位意大利音乐理论家，他对蒙特威尔第音乐的不和谐风格非常不满，于是写文章大加挞伐。在与阿图希的争论中，蒙特威尔第把音乐分成了两大派系：第一个派系就是正统派（prima
pratica），第二个派系就是先锋派 （seconda
pratica）。前一个派系代表了16世纪那种经典的多声音乐，这种音乐形式有严格的对位法（Contrappunto）和对于音部的平衡要求；后一个派系代表了新生的，采用更加具有弹性的对位法、出众的女高音（soprano）部分和低音（basso）部分。蒙特威尔第强调，作曲家在运用正统派风格时，和声（指复调音乐）是歌词的主人，即形式第一，内容第二；而在先锋派中则相反，歌词应成为和声的主人，即内容第一，形式第二。
他创作的歌剧《奥菲欧》（1607年）世界上第一部真正意义上的歌剧，它使歌剧艺术从此进入一个成熟的发展期。作品集中表现了“第二常规”的所有特点和技术，包括用口语和习语写作。这部歌剧确立了他超越前人的历史地位，他的宣叙调更加柔和且富有表现力，这种风格在他创作的大量的牧歌上发展而来，而不是从大吹大嚷的理论中来的。《奥菲欧》奠定了以后歌剧创作的基本模式。
● Middle Baroque Period 1630–1680 and the rise of bel-canto
style 中期的巴洛克音乐风格和美声唱法的流行
The middle period is associated with the bel-canto style in
cantata and opera. The modes were reduced to major and minor, and
the chord progressions were governed by a rudimentary tonality
which restrained the free dissonance treatment of the early
Baroque. Vocal and instrumental music
were of equal importance. In this relatively stable period genres
such as the trio sonata and the da capo aria enjoyed
sureness.
This period also paralleled with the Age of Absolutism in Europe,
personified by Louis XIV of France. The style of palace and arts
which he fostered became the model for the rest of Europe. Rising
church and state patronage created the demand for organized public
music.
巴洛克中期的音乐主要体现在康塔塔和戏剧的美声唱法中，此期作品形式简化成了大调和小调，音调规则基本形成，不像早期巴洛克音乐那么不和谐了，声乐和器乐受到同等重视。在这个相对平稳的时期，奏鸣曲和返始咏叹调得到发展。
这一时期也是欧洲的集权主义盛行时期，皇权的代表人物是法国的路易十四。他奢华的宫殿和扶植的艺术成为欧洲各国效仿的对象，而宗教势力和国家实力的提升需要大量有组织的大型的音乐。
Lully：inaugurator of tragedie lyrique 吕利：抒情悲剧的开创者
Jean-Baptiste Lully 1632–1687, an Italian-French composer. He
used to be the sole composer of operas for the king. He founded
French opera tragédie lyrique, having found Italian style opera
inappropriate for the French language. Lully can be considered the
founder of French opera, having forsaken the Italian method of
dividing musical numbers into separate recitatives and arias,
choosing instead to combine the two for dramatic effect. He also
opted for quicker story development as was more to the taste of the
French public.
Lully composed many ballets for the King in which the King and
Lully himself danced. The influence of Lully’s music produced a
radical revolution in the style of the dances of the court itself.
Instead of the slow and stately movements which had prevailed until
then, he introduced lively ballets of rapid rhythm. He also had
tremendous success composing the music for the comedies of Molière,
including Le Mariage forcé 1664, L’Amour médecin 1665, and Le
Bourgeois gentilhomme 1670. It was when he met Molière that
together they created the comédie-ballet, which combined theater,
comedy, and ballet.Lully’s music is still played regularly via
recordings at the Palace of Versailles during the summertime in the
gardens, setting the mood for one’s visit.
让-巴普蒂斯特?吕利（1632～1687年），意大利籍法国作曲家，曾是专为路易十四服务的唯一歌剧作家。他觉得意大利风格的歌剧不适合用法语表演，于是创立了法国特有的歌剧形式：抒情悲剧。他舍弃了意大利歌剧将音乐分成不同的宣叙调和咏叹调的形式，将两种歌曲合并起来，这一创新举动使他成为法国歌剧的奠基人。他创作的快速发展的故事情节的歌剧也迎合了德国大众的品味。
吕利还为皇帝创作芭蕾舞曲，路易十四和他自己都参与表演。吕利的作品给宫廷舞蹈带来了革命性的影响。当时的舞蹈动作大多缓慢优雅，而吕利的舞蹈却节奏鲜明动作活泼。他与大剧作家莫里哀相识，两人合作了许多芭蕾舞剧，如《被强迫的婚姻》（1664年）、《爱情医生》（1665年）、《中产阶级绅士》（1670年）。他与莫里哀一起创作了新的芭蕾舞形式：喜剧芭蕾，其融合戏剧、喜剧和芭蕾于一体。直到今天，每逢夏季凡尔赛宫仍然会演奏吕利的音乐，以迎接世界各地的游客。
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