we have a really significant movement in both the visual arts

我們有了重大的進展在視覺藝術和

and in music called Impressionism. Many people know impressionist visual art

音樂上，被稱之為「印象派」。 很多人都知道繪畫的印象派

because they've seen all those paintings by Monet that fill up our galleries all

因為你一定看過 莫內的那些畫作充斥在

over the world

全世界各地的美術館

and are on posters in your houses and wherever.

掛在你家牆上的海報上，或是任何地方

And here's a painting from Monet. This is one of his impression paintings from

有一幅莫內創作的畫作。 它是「印象派」這個派別之所以

which we get

之所以我們

the name Impressionism. At the time,

命名「印象派」的原因之一。 當時，

sort of like Baroque, it was not a name that was supposed to be

有點像是「巴洛克」(原意為形狀不圓的珍珠 (異形珠)，意在諷刺 藝術風格過於誇張，過分著重細節)。「印象派」這個名字

complimentary. These paintings

其實並不是讚美的話。這些畫作

that Monet and his contemporaries came up with

由莫內和他同期的畫家所創作

were submitted to an exhibit.

被送去一個展覽

This is a big exhibit in Paris every year and they were rejected.

這是一個很大的展覽，在巴黎每年都會被盛大舉辦，然後這些畫作被拒收了

The the people who are running the show just thought they were just too

策展方覺得這些畫作實在是

weird and

太奇怪了

we're not going to accept these paintings and the

他們不打算接受，而且

the critics were talking about these paintings

評論家談到這些作品，

and they picked up on the name "impresson" which was in the name of one

然後以莫內的「印象．日出」這幅畫中的「印象」來為這個畫派命名

of Monet's paintings

and used that as a negative term to describe this art that they thought wasn't

做為一個消極的用字，在描述於這個評論家認為不好的藝術派別

very

good. So what did they not like about it? Well, you know,

所以評論家到底為什麼不喜歡「印象派」呢？ 好吧，你知道的

we're looking at people who are used to having paintings that are very clearly

我們看看那些畫畫的人，他們總是習慣把線條畫得相當清晰

defined. The edges are

能夠辨識，邊緣

edges, we know that that's the end of something. The colors are

都有邊緣線，所以我們可以知道那是一個完整的物件

in rather broad sorts of swaths. So they had things they were used to seeing.

用相當大片的平塗，且明快的方式斷開。所以傳統畫法的畫家，畫他們所看到的樣子

So here comes Monet and his friends and they're giving us paintings

而這裡，莫內和他的畫家朋友們，帶給我們的畫作

that are little dabs of color. If you look at one of these paintings really closely

是利用短筆觸的方式來構成畫面。如果你看這些印象派的畫作，夠靠近的話

you'll sometimes actually see physical space between colors. So it's not like

通常你看到的物理上的空間，其實就只是顏色。所以那不像

I've painted.

我一直以來遵循的畫風那樣。

I painted instead. Why did they do that?

不同於我遵循的傳統畫風，那為什麼印象派的畫家他們要這樣做？

Well, one of the things that they were really interested in was

好吧，其一是因為他們真的很感興趣

in trying to show how things looked at different times of day and in different

試著去表現在一天不同時間裡

lighting conditions.

看到的光影會如何不同

Now up until this point in time they couldn't do that.

直到現在，時間這個主題的表現，他們也沒辦法掌握到

If you were an artist you had to go out into the field, you could do your sketch

如果你是藝術家，你要到戶外寫生，你可以素描

with your

用你的

chalks or whatever but then you would have to go back to the studio,

粉彩筆或任何工具，問題是你之後必須要再回到工作室

mix up all your oil paints and

調合所有的油彩顏料

then you would be able to paint in the studio. So you'd have to try to remember

這樣一來，你才能作畫。因此你必須試著去記住

exactly what that light looked like.

很精確地記住，你看到的光的顏色

Thanks to an American who invented oil paints in tubes,

真是要感謝美國人發明了管狀顏料

painters could now take their whole little box of paints out into the world,

畫家現在才可以帶著整套的畫具到世界各地

set up their easel in the park or on the street or wherever they wanted to

架好畫架，不管是在公園、街上，還是任何他們想

paint,

畫畫的地方

look at what they're looking at and paint it as it is,

注視他們所畫的東西，然後去畫得跟真的一樣

in the natural light. So this was a big deal, very big deal.

在自然的光線中。所以這是很重要的，非常重要的

So they were trying to make it look like it was in natural light, make it not

印象派的畫家嘗試要使他們畫的，就如同他們在自然光中看到的。而那是相當不同於

look so sort of artificially constructed

精雕細琢於

in the studio. So, the edges are blurred,

工作室中而誕生的作品的。 所以邊緣線被模糊了

the colors keep kind of changing, you don't see solid blocks of color generally

顏色使的物體形狀不那麼固定了。一般來說，你不會看到單純的色塊

in impressionist art.

在印象派裡

So how does that work out in music? Interestingly it works out a lot the same way.

所以，印象派如何發揮在音樂上呢？相當有趣地，其實表現的方法差不多

So what composers tried to do was to create that same sort of sense of

作曲家試著創造出和印象派同樣風格的

vagueness

模糊感

that we see in an impressionist painting. So

正如同我們看到印象派畫作那樣的感受。所以

how do we accomplish that?

我們要怎麼做到呢？

So, we've seen how the painter creates ambiguity, How's the composer going to create the same thing?

我們已經看到畫家是如何創造模糊感的了。那麼作曲家如何做出同樣的效果呢？

So I'm going to use my little glockenspiel here to illustrate a couple of things for you.

所以我要在這裡用鐵琴為你們做些示範

So, one of the ways that a composer can create ambiguity

其中一種作曲家可以製造模糊感的方法是

in the tonal structure of a piece

用於曲子的音調結構

is to avoid major and minor scales.

就是避免大調和小調

As we know those send us somewhere. So there are a couple of different ways that a

正如我們所知道的，那會造成什麼效果。 所以這裡有很多不同的方法

composer can do that.

是作曲家可以做的

One of those is a new type of scale that we've not talked about before called the

其一就是，我們以前不曾談論過的一種新的調子，稱作

whole

全音

tone scale. Remember that major and minor scales have half steps and whole steps so

音階(相鄰兩音階為全音)。記得大調和小調都有半音和全音，所以

they are

它們

not whole tone, they are both half and whole. So, a whole tone scale

不是全音，而是由全音和半音所組成。因此，一個全音音階裡

has no half steps. Let's listen just to remind ourselves, this is what a major scale

沒有半音。 讓我們聽聽看來提醒自己，一個大調聽起來

sounds like.

就像這樣。

(plays scale)

(演奏)

So that's our combination of half steps and whole steps. I want to do a

所以這就是我們連結了全音和半音。 我想演奏一段

whole tone scale starting on

全音音階，開頭是

the same pitch.

同樣的音調

(plays scale)

(演奏)

Listen again!

再聽一次

(plays scale)

(演奏)

Now, if you were keeping an eye on the keyboard, you would have seen that I got off

現在如果你注意看這個鍵盤，你會發現我發出來的

what would have been...

是什麼樣的聲音

would have been the white keys so that was a difference between scales.

白鍵的使用是不是造成在調子上不同的差異

Might also have noticed that there were only seven notes in that scale instead

也許你們還注意到這裡只使用了七個音，而不是

of eight. When you take those two half steps and make them one, then

八個。當你用兩個半音，並且把它們變成一個音，然後

you've lost a pitch so it's a seven tone scale and

你已經把音調弄不見了，所以它變成一個七個音的音階，而且

it has no half-step so we don't have any places where we can naturally diverge and

這樣沒有半音，所以我們沒辦法自然地分離出來，以及

go somewhere else.

怎麼繼續下去

It leaves us a lot of options about directions that we can move. Another way

這給了我們很多的意見，關於我們可以移動的方向。另外的方法是

that we can change our

我們可以改變我們的

tonal structure is to use modes.

音調結構，藉由使用模式的方法。

Remember we haven't even talked about those since about 1600 when we went to

記得我們還沒談過那個，從將近西元1600年以來，當時我們發現了

the equal temperament system.

十二平均律 (一種音樂定律方法，將一個八度平均分成十二等份，每等分稱為半音，是最主要的調音法)

So those are those old scale type systems that we used in Gregorian

所以那是很古老的調子形式，我們用在「葛利果

Chant!

聖歌」(是一種單聲部、無伴奏的羅馬天主教宗教音樂)

So, basically with a mode, if you start on any white note on this keyboard,

所以，基本上用一種模式，如果你以琴鍵上的任何白鍵做為起音

then... and you stay on them, then you get a particular mode. So

然後，保持這個音，接著你會得到一種特別的模式。所以

let's just take this major scale first. (plays scale)

首先讓我們用這種小調試試吧 (演奏)

Now let me do the mode that starts

現在讓我們用這種模式開始

on the same pitch. (plays scale)

用同樣曲調的方式 (演奏)

Different sets of half steps and whole steps.

半音和全音不同的組合

If I start on another note, a different note, then I get an entirely different

如果開始於其他的音符，一個不同的音符，那麼我會得到一個完全不一樣的

scale. (plays scale)

調子 (演奏)

That first scale that I did for you was a whole-step,

我首先為你們示範的就是(大調)一個全音、

half-step, whole-step, whole-step whole-step, half-step,

半音、全音、全音、全音、半音、

whole-step. The second one I did was half-step, whole-step,

全音(網友更正 大調: 全全半全全全半)。第二個示範的(小調)是半音、全音、

whole-step, whole-step, half-step, whole-step, whole-step. So, the whole-steps and half-steps keep moving around

全音、全音、半音、全音、全音(網友更正 小調: 全半全全半全全)。 所以全音和半音一直來回

if you change

如果你換成

into those different modes. So if you're used to hearing major minor tonality

不一樣的模式。你若是習慣於聽小調的音調

and all of a sudden you have this scale that doesn't have the half-steps and whole-steps where

突然在調子裡聽到沒有半音和全音

you expect them,

在你原本預期的地方出現

then you have different directions that you can go and the composer can create more

那麼你會弄不清音樂的方向，而那就是作曲家刻意創造的

ambiguity that way.

模糊感

Another thing that we see composers doing in this period of time

另外我們看到作曲家在這個時期做的事情就是

is going beyond our triad. Remember when we did chords way back we had (plays example). There's a

想要超越三和弦。還記得在和弦的時候，我們所做的 (演奏) 這是一組

chord.

和絃

In the Romantic Period and even a little before that we've extended that

在浪漫時期，甚至稍早於那個，我們所延續的

one note by going (plays example)

藉由打算 (示範)

to make what we call a seventh chord but as we get into this period of time,

創作我們稱之為「七和弦」的一個音符，但是當我們進入浪漫時期這個階段

the composer can keep going till we can go (plays example)

作曲家保持繼續發展，直到我們能跟上為止 (示範)

and now we don't know what key we're in again because we have notes from all sorts of

現在我們又不知道那個關鍵了，因為我們把音符從各種

different chords. These are not our standard

不同的和弦脫離出來了。那些並不是我們

what we would expect from that chord, and now we have

期待從和弦分離出來的標準規範，以及現在有

more routes that we can go so it's like every new mode is another door in our

更多的途徑是我們可以依循的。所以每一個新模式就像是有另一扇

composition

作曲之門

that we can open and go in an entirely new

我們可以打開它，並通往截然不同的嶄新

direction. So those are things that we can do that have to do with

方向。所以有很多我們可以做的事情，就是必須做到連同

the notes, the pitches, of the

音符、音調，以及屬於具有模糊感的

melody and the harmony that create ambiguity. Now let's look at some other ways that we

旋律與和諧的。現在讓我們看看一些其他

can create that

可以創造模糊感的方法

through rhythms and the sounds that we use. Another way that they tried to

透過韻律和我們使用的聲音的方式。另一個作曲家試著

create that ambiguity in the sound

創作聲音模糊感的方法

was to get away from a really steady beat.

是脫離平穩的節拍

A lot of music we listen to (clap, clap) it's there, you can hear it.

很多我們聽的音樂 (打拍子、打拍子) 就是這，你可以聽出來

As we listen to the impressionist piece that we're going to examine,

當聽到 我們所想要檢視的印象派作曲家所創作的曲子

you'll find it very hard to tap your foot to it.

你會發現你很難用腳打拍子跟上

Part of it is that there's very little percussion happening so you don't have a

部分的原因是因為曲子裡幾乎沒用到打擊樂器，所以你們沒辦法

drumbeat to follow anyway,

跟著擊鼓聲打拍子

and the other is that it's very flexible

另外是因為這是非常有彈性的

so there's like speeding up slowing down and sometimes there's just

所以像是加速、減速，甚至有時候是

silence.

無聲

And when there's silence and you didn't have a good sense of

而且你要是沒有良好的直覺

where the beat was in the first place, you can't maintain that sense of beat so

這拍子原來該落在哪哩，你就沒辦法維持節奏感，所以

you're going... what happened... where's it coming back?

接下來要作什麼？ 會怎麼樣？ 什麼地方要反覆？

What's happening with the rhythm here? So we hear that

這邊的節奏會發生什麼事？ 同樣地讓我們聽看看

sort of blurred rhythmic construction as well.

一些這種模糊節奏感的結構

Things do not quite what you expect them to do. Another way that composers

事情並不如你預期的。另外的方法就是作曲家們

tried to copy what their visual art

試著去模仿跟視覺藝術

counterparts were doing is in the use of color. So as I said when you look at

極其相似的在色彩使用上的手法。 所以我說 當你們看

an impressionist painting up close you can see that they're often dots of

一幅印象派的畫夠近的話，你們可以看到它們通常是由點狀的

color that don't quite connect to each other

色彩所構成，這個點是獨立而不是連結在一起的

or what we perceive as being a

或者我們觀察到的是做為一個

color block is actually several different little colors

通常是由幾個少數的不同顏色所構成的色塊

right next to each other that our eye has blended into a single color.

它們彼此相鄰，到了我們的肉眼都已經把它們視做是一個單一的顏色的地步了

So what composers do is take our instrumental colors,

所以作曲家做的就是賦予樂器色彩，

our timbres, and use those to create that same sort of

賦予音色，以及用樂器創造出同樣的

effect. So instead of say if we imagine that Mozart Clarinet Concerto

效果。因此不說的話，如果我們想像莫札特的單簧管協奏曲

that we listened to

我們所聽的那首曲子

and the clarinet plays, clarinet plays, clarinet plays, clarinet plays, clarinet

單簧管演奏、單簧管演奏、單簧管演奏、單簧管演奏、單簧管

stops.

停

Well, in an impressionist piece what we might have is the melodic line

好了，在印象派的作品裡我們有的也許就只是旋律

and the clarinet plays but then the flute sort of picks it up

單簧管演奏，但是待會長笛出場了

and they cross over for a little bit and then the flute goes on and then maybe the

單簧管和長笛這兩種樂器的演奏有一些重疊，再接著長笛繼續，然後也許

Oboe come sneaking in with it and they

雙簧管悄悄地跟著加進來了，這些樂器

blend a little bit and then they separate so you don't get that clearly

有些合在一起，然後又分開，所以你們無法清楚地

defined...

辨識…

"Hey, we're done with that instrument, we're going on to something else."

「嘿，我們用那種樂器演奏，想要來些不同的」

And a really good composer will choose those timbres so that it's really hard

而一個真的好的作曲家在音色上有所選擇，以至於很難

to tell that it changed and all of a sudden you realize, "Oh, hey look,

告訴說你們樂器換了，只是突然你們就發現 「噢，瞧，

that's not oboe anymore, that's a French horn playing now."

接下來都不是雙簧管了，現在演奏的樂器是法國號。」

So again we get that sense of not quite knowing what sound we're in,

所以，我們又獲得了 曉得聽到的是何種樂器聲的感知能力

we've blurred our colors just like we've blurred our beat,

我們模糊了顏色正如同模糊節奏

and then we've blurred our tonal center. Another thing that composers can do that

然後我們模糊了調子的主題。另外一件事就是作曲家能夠

has to do with the

必須連同

tonal center and melodic part is to use a lot of chromatic

調子的主題和旋律的部分，就是去使用大量半音的

notes. We talked about scales as being whole steps and half steps,

音符。我們在全音、半音的時候談到調性

there's actually a scale that's nothing but half steps. (plays scale)

其實一個調子拿掉半音就什麼都不是了 (演奏調子)

So a chromatic scale uses

所以一個半音的調子使用了

all the possible notes, and if you're going to use all those notes

所有可能的音符，假使你們想用其他音符

it's just like using those odd

那會就像是用了奇怪的

chord structures, you can go anywhere. Once you hit any note you can go in any

和絃結構，當然還是可以繼續發展下去沒錯。不過一旦你們彈了會引領去不同方向的音符

different direction because you haven't established any sense of key

由於你們還沒建立好對這方面任何的直覺力

out of that. So we have chromatics as a way to do that.

所以我們要有半音，如同一個發展的好辦法

Another thing the composers will do is to

另外就是作曲家會做的就是

create a sense a dissonance so sounds that

去創造一種感覺，不和諧，所以聲音的問題

are unresolved, not necessarily clashing or ugly, but they just...

並沒有被解決，這種不和諧的感覺不需要是有衝擊性或是刺耳的，但作曲家就是

they feel like they need to go somewhere and what the composer will do

會想、會需要更進一步，那麼作曲家會做的

is

就是

fail to go somewhere. So you're you're hanging there like I-

阻斷接下來到哪邊去。所以你們打算前往那理，像是我

I-I have to go, I have to go, this has to go somewhere else,

我必須去，必須去，需要到其他的什麼地方

and then they either don't go anywhere at all, or they go somewhere completely

然後其實哪裡也沒去，或者是反而到了完全

unexpected.

出乎預料的地方

So it upsets your sort of

所以是有點不舒服的，

aural balance because you expect this chord to go in a certain place and all of a sudden

對於聽覺平衡來說，因為你預期和絃下一步會來到某個地方，而突然

it goes

它

somewhere else. That's another way of keeping that sort of

轉向了。這是另外一種保持

ambiguity that we expected that. So

我們所想要的模糊感的方法。所以

in the pieces of music that we hear in the Impressionist Period

在我們聽到屬於印象時期的曲子裡，

most of them are relatively small, short,

絕大多數是小的、短的、

sort of compact kinds of pieces. Probably

有點簡潔小巧的曲子。那大概、

maybe because we can't deal with that much ambiguity on a long scale you know, 20

或許是因為我們都沒有在時間規模長的曲目中處裡很多模糊感，你知道的，20分鐘

minutes of that kind of ambiguity

處在這種模糊感裡

would be stressful for you as a listener. So what we tend to see is much smaller

對聽眾來說是很有壓力的。所以我們傾向於比較小巧的

sorts of forms

型式

so the composer can really illustrate all those things that they're trying to do.

所以作曲家真的有辦法示範出任何他們想嘗試去做的

So let's look at a composer now who is sort of the king of impressionist music and that is

現在讓我們看看一個有點像是印象派音樂時期最厲害的音樂家的人，就是

Claude Debussy

克勞德．狄布西

or as some people say Deb-boo-see depends on how snooty you wish to be about

或者有的人叫他 德-布-西，這發音取決於你們的心態有多麼傲慢地把那改成是

his name.

他的名字啦

So he lived from 1862 to 1918. He died

他的生卒年是西元1862年到1918。他逝世於

right as Paris was actually being liberated at the end of World

巴黎，剛好是一次世界大戰的尾聲