Name: 第21講.音樂印象主義與異國情調。德彪西、拉威爾和莫奈 (Lecture 21. Musical Impressionism and Exoticism: Debussy, Ravel and Monet)
Uploaded: 2021-01-14T04:54:42.000Z
Duration: 52 min 3 s
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未來進行式

Prof: Now today we're going to be talking about

musical Impressionism--next time modernism, but today musical

is a period in the history of music running from 1880 to 1920.

It's mostly a French phenomenon although it did expand,

as we will see, to England and to Italy and to

We have the American Impressionist School of Art,

Let's turn to the board here and visit some familiar names

and the American--interesting enough--American woman,

Any time an art museum needs to raise cash, what sort of

A blockbuster exhibition of Impressionist painting.

Everybody loves these Impressionist exhibitions

We also have the poets--though interestingly enough they're not

and I'm sure in literature classes and in French classes

you have studied some of them: Charles Baudelaire,

Turning now to the composers, the most important of these,

He sort of started this school of French composition,

You may have heard of parts of the Fauré

Ottorino Respighi, an Italian, suggesting that

this also got to Italy; and the American,

Charles Griffes, who died of the influenza in

New York City but wrote some Impressionist piano and

In terms of the works of these individuals,

we've listed more over here for Debussy than any one else--

Clair de Lune, that we're going to be talking

we'll be hearing some of that and you have your Listening

Exercise 40 on Prelude to the Afternoon of a Faun,

more orchestral works, and then preludes for piano.

And we'll be foregrounding those preludes for piano here

today and a couple of pieces that we listed on the board:

that will be performed for us later in the hour today,

and the Bolero that we have mentioned before.

Let's take a look now at what this music sounds like.

I'm going to start with playing some of this piece that you all

I'm sure you've heard this before: Clair de Lune

And we'll pick it up from there in just a moment.

we've talked a little about this before--this general

relaxation caused by the falling down motive only to rise up

But also of interest here is the absence of any kind of

That's, I think, the big-ticket item here.

You'd be hard pressed to tap your foot to this,

So that takes us through, oh, the first twelve,

I'll be emphasizing the phenomenon of parallel motion

today--parallelism today--and here is a moment of that.

They probably have six different notes <<plays

all six are going in the same direction rather than

We'll continue to elaborate on that as we proceed.

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第21講.音樂印象主義與異國情調。德彪西、拉威爾和莫奈 (Lecture 21. Musical Impressionism and Exoticism: Debussy, Ravel and Monet)

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