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标题: [MIT-OOPS]盎格魯美國人民間音樂導論：麻省理工开放式课程 [打印本页]
作者: karin    时间: 2009-1-2 05:00     标题: [MIT-OOPS]盎格魯美國人民間音樂導論：麻省理工开放式课程

MIT OOPS 首頁 »  文學 »  2002秋季課程：盎格魯美國人民間音樂導論

21L.423 / 21M.223J 2002秋季課程：

盎格魯美國人民間音樂導論
(Introduction to Anglo-American Folkmusic, Fall 2002)


本頁翻譯進度

燈號說明  
審定：楊金峰(簡介並寄信)
翻譯：楊谷川(簡介並寄信)
編輯：簡志先(簡介並寄信)


師資
講師：
Ruth Perry 教授
George Ruckert 教授

上課時數
教師授課：
每週2節
每節1.5小時


程度
大學部

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原文聲明


[attach]536[/attach]

班卓琴（照片由美國聯邦土地管理局提供）
A banjo. (Image courtesy of U.S. Bureau of Land Management.)  


課程重點

本課程包括在課堂上被用來當作範例的一些音樂片段，這些可以在閱讀資料中找到。

This course includes a list of the music clips used as examples in class, which is located in the study materials section.
課程描述

本課程會指導學生瞭解不列顛群島和北美的民間音樂。我們將描繪出"民間音樂"和"民間詩歌"的特色，包括叙事歌謠中的口述特色，同時我們也會試著重現它的歷史背景，其中這種音樂曾經是日常生活中不可或缺的一部分。我們也會概觀音樂收藏史，從Pepys 充滿猛烈抨擊意識的收藏，Percy的《紀念品》到Gow收集的小提琴曲調。收集民樂的熱情將被放到一個更大的歷史、社會、政治的大環境中。我們會追隨提琴風格和叙事歌謠的變遷去看看美國，尤其是其在19、20世紀, 民樂收集歷史的輪廓。

This subject will introduce students to scholarship about folk music of the British Isles and North America. We will define the qualities of "folk music" and "folk poetry," including the narrative qualities of ballads, and we will try to recreate the historical context in which such music was an essential part of everyday life. We will survey the history of collecting, beginning with Pepys' collection of broadsides, Percy's Reliques and the Gow collections of fiddle tunes. The urge to collect folk music will be placed in its larger historical, social and political contexts. We will trace the migrations of fiddle styles and of sung ballads to look at the broad outlines of the story of collecting folk music in the USA, especially in the nineteenth and twentieth centuries.
作者: karin    时间: 2009-1-2 05:06

教學大綱

本頁翻譯進度

燈號說明  
審定：楊金峰(簡介並寄信)
翻譯：楊谷川(簡介並寄信)
編輯：簡志先(簡介並寄信)


教學大綱

(英文PDF)
[attach]537[/attach]

(英文DOC)
[attach]538[/attach]

目的

本課程會指導學生瞭解不列顛群島和北美的民間音樂。我們將描繪出"民間音樂"和"民間詩歌"的特色，包括叙事歌謠中的口述特色，盡力再現一種歷史背景，其中這種音樂曾經是日常生活中不可或缺的一部分。我們也會概觀音樂收藏品的歷史，從Pepys 充滿猛烈抨擊意識的收藏，Percy的《紀念品》到Gow收集的小提琴曲調。收集民樂的熱情將被放到一個更大的歷史、社會、政治的大環境中。我們會追隨提琴風格和叙事歌謠的變遷去看看美國，尤其是其在19、20世紀民樂收集歷史的輪廓。

除了要在學期中參加音樂會，並且寫幾篇觀後感，學生還應研究一首叙事詩，瞭解其中的變化並寫一首富有文學色彩的叙事詩。學生還需要寫一篇描述在民歌中經常出現的旋律和節奏特徵的報告。在學期的最後幾個星期的演出中，學生應該演奏一段提琴或唱他（她）學會的歌謠，或上演一段他（她）收集的音樂。


指定閱讀


課程依據的文章
Whisnant, David 《民族集粹：美國民族的政治文化》 Chapel Hill 北卡羅萊納州大學出版社 1986
Ritchie, Jean 《坎伯蘭郡的歌唱家庭》 Lexington, Ky 肯塔基大學出版社
《我們歌唱著的國家》 John A. Lomax and Alan Lomax收集整理 紐約：人名 1941
Harker, David. Fakesong. Milton Keynes: 電視大學出版社1985.
Child, Francis J.《英格蘭和蘇格蘭的流行歌謠》 紐約: Dover, 1965, 第一卷
CD: 《英格蘭和愛爾蘭的經典歌謠》 Alan Lomax Collection. (Rounder 1775) (Rounder 1775)


--------------------------------------------------------------------------------


Syllabus (PDF)
[attach]537[/attach]

Purpose

This subject will introduce students to scholarship about folk music of the British Isles and North America. We will define the qualities of "folk music" and "folk poetry," including the narrative qualities of ballads, and we will try to recreate the historical context in which such music was an essential part of everyday life. We will survey the history of collecting, beginning with Pepys' collection of broadsides, Percy's Reliques and the Gow collections of fiddle tunes. The urge to collect folk music will be placed in its larger historical, social and political contexts. We will trace the migrations of fiddle styles and of sung ballads to look at the broad outlines of the story of collecting folk music in the USA, especially in the nineteenth and twentieth centuries.

In addition to several response papers about concerts attended in the course of the semester, students will be expected to trace variations in a single ballad and write a ballad about its literary qualities. They will also be asked to write a paper describing the melodic and rhythmic characteristics most often found in folk music. Presentations in the last weeks of the semester will entail either performing a fiddle tune or a ballad the student has learned or else presenting a piece of music that he or she has collected.


Required Texts


Coursepack of articles.
Whisnant, David. All That is Native and Fine: The Politics of Culture in an American Region. Chapel Hill: University of North Carolina Press, 1986.
Ritchie, Jean. Singing Family of the Cumberlands. Lexington, Ky.: University Press of Kentucky, 1988.
Our Singing Country. Compiled by John A. Lomax and Alan Lomax. New York: Macmillan, 1941.
Harker, David. Fakesong. Milton Keynes: Open University Press, 1985.
Child, Francis J. English and Scottish Popular Ballads. New York: Dover, 1965, Vol. I.
CD: "Classic Ballads of Britain and Ireland." Alan Lomax Collection. (Rounder 1775)
作者: karin    时间: 2009-1-2 05:13

教學時程



本頁翻譯進度

燈號說明  
審定：楊金峰(簡介並寄信)
翻譯：楊谷川(簡介並寄信)
編輯：簡志先(簡介並寄信)




教學時程


週    課程單元    閱讀資料  
     
     
1   

什麼是民間音樂？
做一個關於當代民間節日和網路原始資料的概括綜述-如當代民間社會可利用的部分
What is folkmusic?
A survey of contemporary folk festivals and internet sources--examples of what is available in the folk world nowadays.
      
     
     
2   

什麼是英國和北美這些英語國家的歌唱和用小提琴演奏傳統的本質？
什麼樣的個人與文化力量形成了樂曲的結構、曲調和演奏風格？
什麼是歌曲和曲調？
誰是歌手和小提琴演奏者？
什麼是區域和歷史階段？
民間音樂" 和"流行音樂"之間的區別是什麼？

What is the nature of the singing and fiddling traditions of the English language communities of Britain and North America?
What personal and cultural forces shape the structure of the texts, tunes and performance styles?
What are the songs and tunes?
Who are the singers and fiddlers?
What are the regions and historical periods?
What is the difference between "folk" and "popular" music?

Dundes, Alan. 《什麼是民俗學》
Dundes, Alan. "What is Folklore?"

Dundes, Alan. 《誰是人民？》
Dundes, Alan. "Who Are the Folk?"

Thoms, William. 《民俗學》
Thoms, William. "Folklore."

Lloyd, A. L. 《民歌的根基》摘於《英格蘭民歌》頁 11-90 (略讀36-53, 這部分是Lloyd對民間音樂的音樂特性的闡述)
Lloyd, A. L. "The Foundations of Folk Song." In Folk Song in England. Pp. 11-90. (Skim pp. 36-53, which is Lloyd's account of the special musical qualities of folkmusic)
  
     
     
Muir, Willa. 《孩子的歌唱遊戲》和《歌唱和傾聽吟唱詩》
Muir, Willa. "Children's Singing Games," and "Singing and Listening to Oral Poetry."   
     
     
3   

Alison 和 Geordie 來上課。
讓我們問他們：這些音樂作品是在什麼時候（和怎麼）製作的，它們描寫的是什麼，它們是怎麼流傳下來的和它們的社會背景是什麼？民間音樂是怎麼作為文化和歷史的指印？
Alison and Geordie come to class.
Let's ask them: when (and how) were these musical compositions made, what were they about, how did they circulate, what was their social context? How does folk music serve as indicators of culture and history?      
     
     
民間音樂的特色
What are the qualities of folk music?   

Bronson, Bertrand. 《民歌和調式》
Bronson, Bertrand. "Folk-Song and the Modes."   
     
     
4   

在文字出現以前民間音樂的背景是什麼？
What was the pre-literate context of folkmusic?   

Buchan, David. 《農業社會》、 《邊境區域》 《部族群體社會》
Buchan, David. "The Agricultural Society," "The Border Region," and "The Clannit Society."  
     
     
Muir, Willa. 《民歌背景2》、《北蘇格蘭背景》和《故事素材》
Muir, Willa. "Ballad Background II," "The Northern Scottish Background," and "Story Material."  
     
     
5   

印刷普及的影響
The effects of printing broadsides.

MacDowell, Paula. 《居住在窮地方的女人們》頁58-62, 81-92.
MacDowell, Paula. The Women of Grub Street. Pp. 58-62, 81-92.

Dugaw, Dianne《舊歌謠的大眾推廣：歌謠的復興和18世紀的再次研究》
Dugaw, Dianne. "The Popular Marketing of 'Old Ballads': The Ballad Revival and Eighteenth-Century Antiquarianism Reconsidered."  
     
     
傳統的保存。收集的開端。
Preserving the tradition. The beginning of collecting.   

Harker, Dave. 《導言》 (頁 ix-xvii), 《早期的仲裁者》 (頁 3-14) 摘於《假唱》
Harker, Dave. "Introduction" (pp. ix-xvii); and "The Early Mediators" (pp. 3-14). In Fakesong...  
     
     
6        

Harker, Dave. 《從 Thomas Percy 到Joseph Ritson》和《從 Walter Scott 到 Robert Chambers》
Harker, Dave. "From Thomas Percy to Joseph Ritson"; and "From Walter Scott to Robert Chambers."

Dugaw, Dianne, ed. 《Addison》、《Percy》、《Ritson》、《Scott》、《Motherwell》
Dugaw, Dianne, ed. "Addison," "Percy," "Ritson," "Scott," and "Motherwell."   
     
     
Buchan, David《民謠和遊吟詩歌》、《布朗夫人的吟唱歌謠》、《民歌的實質》
Buchan, David. "Balladry and Oral Poetry," "The Oral Ballads of Mrs. Brown," and "The Substance of Ballads."

Bronson, Bertrand. 《民謠和曲式》、《民歌風俗》和《童謠的文字和音樂》
Bronson, Bertrand. "Folk-Song and the Modes," "Habits of the Ballad as Song," and "Words and Music in Child Ballads."  
     
     
7   

從兒童卷中挑選出一首歌謠，聽、唱、演奏、閱讀歌詞。寫一篇五頁的報告，報告中描繪出民歌中普遍存在的文學特點，詳細分析你挑選出的那首民謠的文學特點。
這篇論文應該在第八周交.

Pick a ballad from Child volume that will be yours. Listen to it, sing it, play it, read about it. Write a 5-page paper on the literary qualities of the ballad in general and yours in particular.
The paper will be due in Week #8.   

Buchan, David. 《結論》摘於《民謠和人民》(頁 271-77).
Buchan, David. "Conclusion." In The Ballad and the Folk. Pp. 271-77.

Harker, Dave. 《假唱：英國民歌1700 至現今的產生》頁101-37.
Harker, Dave. Fakesong: The Manufacture of British "Folksong" 1700 to the Present Day. Pp. 101-37.

Dugaw, Dianne, ed《昂格魯美國歌謠》頁57-67.
Dugaw, Dianne, ed. The Anglo-American Ballad. Pp. 57-67.

Francis James Child 對兒童的《英格蘭和蘇格蘭的流行歌謠》卷1的簡介
聽CD《英格蘭和愛爾蘭的經典歌謠》、Alan Lomax 的收集品和閱讀唱片資料。
"Francis James Child," the Introduction to Child's The English and Scottish Popular Ballads. Vol. I.
Listen to the CD "Classic Ballads of Britain and Ireland," Alan Lomax collection, and read the liner notes.  
     
     
8   

對在整個美洲地區的提琴風格的變遷作仔細地研究。我們會考慮到傳統音樂的特色；如，調式，曲式, 舞曲類型，節律變化，運弓法，樂器音諧的調整，伴奏樂器，合奏。音樂片段摘自於, among others, Gerald Milnes, Play of a Fiddle.

A closer examination of the migration of fiddle styles all over the New World. We will consider the musical qualities of traditional fiddle music: modalities, tune types, dance types, rhythmic variations, bowings, instrument tunings, accompanying instruments, ensemble playing. Selections from, among others, Gerald Milnes, Play of a Fiddle.      
     
     
9   

安排一個小時收看《振翅飛翔》
Schedule an hour to watch Sprout Wings and Fly.      
     
     
10   

美洲的音樂
Music in the New World

Ritchie, Jean. 《坎伯蘭郡的歌唱家庭》頁 1-49, 95-178, 224-256.
N. B. 這是從 "Lord Bateman" CD上剪下來的片斷
在Lomaxes的《我們的歌唱國家》中察看 "John Riley" 和 "John Henry"
Ritchie, Jean. Singing Family of the Cumberlands. Pp. 1-49, 95-178, 224-256. N.B. There is a cut of "Lord Bateman" on the CD. Look at "John Riley" and "John Henry" in the Lomaxes' Our Singing Country.  
     
     
美國黑人的影響
African-American Influence

Southern, Eileen J《 美國黑人音樂知識》 頁 4-26, 91-121.
Southern, Eileen J. Readings in Black American Music. Pp. 4-26, 91-121.  
     
     
11
      
Whisnant, David. 《Hindman 寄宿學校》
Whisnant, David. "Hindman Settlement School."   
     
     
12
        
Whisnant, David.《Olive Dame Campbell》
Whisnant, David. "Olive Dame Campbell."

Harker, Dave《On Cecil Sharp》
Harker, Dave. "On Cecil Sharp."   
     
Whisnant, David. 《白色上衣節日》
Whisnant, David. "The White Top Festival."  
     
     
13   

John 和 Alan Lomax

John and Alan Lomax    《我們的歌唱國家》：《導論》、《前言》和《音樂序言》 (xiii-xxxv)和頁149-177.
Our Singing Country. Introduction, Preface, and Musical Preface (xiii-xxxv) and pp. 149-177.

比較《Old Bangum》（歌名） 到Child 18 (Sir Lionel) 和《Sweet William》（歌名） 到 Child 7 (Earl Brand) 的文學和音樂特點。
Compare "Old Bangum" to Child 18 (Sir Lionel) and "Sweet William" to Child 7 (Earl Brand) both musically and literally.  
     
     
本周需上交一篇5頁紙的報告。報告要求分析音樂風格，曲調形式，藝術家，以及整個波斯頓地區小提琴家通過眼和耳記述的音樂文化
A 5-page paper will be due this week, with analyses of styles, tune-types, artists, and/or the description of a musical culture through the eyes and ears of fiddlers in the greater Boston area.      
     
     
14   

對交響樂中的歌曲的進一步討論
Further discussion of songs in OSC      
     
     
表演
Performances      
     
     
15   

整理.課程的最後一天.
Wrap up. Last day of class.
作者: karin    时间: 2009-1-2 05:14

相關閱讀資料


本頁翻譯進度

燈號說明  
審定：楊金峰(簡介並寄信)
翻譯：楊谷川(簡介並寄信)
編輯：簡志先(簡介並寄信)


Bronson, Bertrand. 《民謠和調式》、《民歌風俗》和《童謠的文字和音樂》 摘於《民歌》 Berkeley: University of California Press, 1969, 頁79-132.
Bronson, Bertrand. "Folk-Song and the Modes," "Habits of the Ballad as Song," and "Words and Music in Child Ballads." In The Ballad as Song. Berkeley: University of California Press, 1969, pp. 79-132.
Buchan, David. 《農業社會》、 《邊境區域》 《部族群體社會》 (頁7-51); 《民謠和遊吟詩歌》、《布朗夫人的吟唱歌謠》、《民歌的實質》 (頁51-86)、 和 《結論》(頁 271-77).摘於《民謠和人民》.East Linton: Tuckwell Press, 1997.
Buchan, David. "The Agricultural Society," "The Border Region," "The Clannit Society," (pp. 7-51); "Balladry and Oral Poetry," "The Oral Ballads of Mrs. Brown," "The Substance of Ballads," (pp. 51-86), and "Conclusion" (pp. 271-77). In The Ballad and the Folk. East Linton: Tuckwell Press, 1997.

Child, Francis James.《英格蘭和蘇格蘭的流行歌謠》 5 卷. New York: Dover, 1965, 第一卷《導言》
Child, Francis James. The English and Scottish Popular Ballads. 5 vols. New York: Dover, 1965, Vol. I. The Introduction.

Dugaw, Dianne, ed. 《Addison》(頁. 3-11), 《Percy》 (頁 13-21)、《Ritson》 (頁23-31) 《Scott》 (頁 33-43),和《Motherwell》(頁 45-56), 和頁. 57-67. 摘于《昂格魯美國歌謠：民俗記錄》 New York; London: Garland, 1995.
Dugaw, Dianne, ed. "Addison" (pp. 3-11), "Percy" (pp. 13-21), "Ritson" (pp. 23-31), "Scott" (pp. 33-43), and "Motherwell" (pp. 45-56), and pp. 57-67. In The Anglo-American Ballad: a folklore casebook. New York; London: Garland, 1995.

Dugaw, Dianne. 《舊歌謠的大眾推廣：歌謠的復興和18世紀的再次研究》，摘於《十八世紀研究》21, no. 1 (1987): 71-90.
Dugaw, Dianne. "The Popular Marketing of 'Old Ballads': The Ballad Revival and Eighteenth-Century Antiquarianism Reconsidered." Eighteenth-Century Studies 21, no. 1 (1987): 71-90.

Dundes, Alan. 《什麼是民俗學》 摘於《民俗學的研究》Englewood Cliffs, N.J.: Prentice-Hall, 1965.
Dundes, Alan. "What is Folklore?" In The Study of Folklore. Englewood Cliffs, N.J.: Prentice-Hall, 1965.

Dundes, Alan. 《誰是人民》 摘於《民俗的闡釋》. Bloomington: Indiana University Press, 1980.
Dundes, Alan. "Who Are the Folk?" In Interpreting Folklore. Bloomington: Indiana University Press, 1980.

Harker, Dave. 《導言》 (頁 ix-xvii), 《早期的仲裁者》 (頁 3-14), 《從 Thomas Percy 到Joseph Ritson》和《從 Walter Scott 到 Robert Chambers》(頁 15-77), 頁 101-37, 和《 Cecil Sharp》 (頁 172-197). 摘於《假唱：英國民歌1700 to 至現今的產生》. Milton Keynes: Open University Press, 1985.z
Harker, Dave. "Introduction" (pp. ix-xvii), "The Early Mediators" (pp. 3-14), "From Thomas Percy to Joseph Ritson," and "From Walter Scott to Robert Chambers" (pp. 15-77), pp. 101-37, and on Cecil Sharp (pp. 172-197). In Fakesong: The Manufacture of British "Folksong" 1700 to the Present Day. Milton Keynes: Open University Press, 1985.

Lloyd, A. L.《民歌的根基》摘於《英格蘭民歌》. New York: International Publishers, 1967, 頁11-90. (略讀36-53, 這部分是Lloyd對民間音樂的音樂特性的闡述)
Lloyd, A. L. "The Foundations of Folk Song." In Folk Song in England. New York: International Publishers, 1967, pp. 11-90. (Skim pp. 36-53, which is Lloyd's account of the special musical qualities of folkmusic)

MacDowell, Paula. 《居住在窮地方的女人們: 倫敦文學領域1678-1730的刊物、政治和性別 》Oxford: Clarendon Press, 1998,頁. 58-62, 81-92.
MacDowell, Paula. The Women of Grub Street: Press, Politics and Gender in the London Literary Marketplace 1678-1730. Oxford: Clarendon Press, 1998, pp. 58-62, 81-92.

Muir, Willa. 《兒童的歌唱遊戲》和《歌唱和傾聽遊吟詩》 (頁9-53);《敘事詩背景II》、 《北愛爾蘭背景》和《故事素材》(頁 71-107).摘於 《與歌謠相伴》New York: Oxford University Press, 1965.
Muir, Willa. "Children's Singing Games," and "Singing and Listening to Oral Poetry" (pp. 9-53);"Ballad Background II," "The Northern Scottish Background," and "Story Material" (pp. 71-107). In Living with Ballads. New York: Oxford University Press, 1965.

《我們的歌唱國家：民歌謠》 由John A. Lomax 和 Alan Lomax收集和整理. New York: Macmillan, 1941. 《導論》、《前言》和《音樂序言》 (xiii-xxxv) 和頁. 149-177. 比較《Old Bangum》（歌名） 到Child 18 (Sir Lionel) 和《Sweet William》（歌名） 到 Child 7 (Earl Brand) 的文學和音樂特點。在Lomaxes的《我們的歌唱國家》中察看 "John Riley" 和 "John Henry"
Our Singing Country: Folk songs and Ballads. Collected and Compiled by John A. Lomax and Alan Lomax. New York: Macmillan, 1941. Introduction, Preface, and Musical Preface (xiii-xxxv) and pp. 149-177.
Compare "Old Bangum" to Child 18 (Sir Lionel) and "Sweet William" to Child 7 (Earl Brand) both musically and literally. Look at "John Riley" and "John Henry" in the Lomaxes' Our Singing Country.

Ritchie, Jean. 《坎伯蘭郡的歌唱家庭》 Lexington, Ky.: University Press of Kentucky, 1988, 頁 1-49, 95-178, 224-256. N. B. 這是從 "Lord Bateman" CD上剪下來的片斷
Ritchie, Jean. Singing Family of the Cumberlands. Lexington, Ky.: University Press of Kentucky, 1988, pp. 1-49, 95-178, 224-256.
N. B. There is a cut of "Lord Bateman" on the CD.

Southern, Eileen J.《 美國黑人音樂知識》. 2nd ed. New York: W.W. Norton, 1983, 頁 4-26, 91-121.
Southern, Eileen J. Readings in Black American Music. 2nd ed. New York: W.W. Norton, 1983, pp. 4-26, 91-121.

Thoms, William. 《民俗學》 The Atheneum (22 8月 1846). 重印在《民俗研究雜誌》33, no. 3 (9月－10月1996).
Thoms, William. "Folklore." The Atheneum (22 August 1846). Reprinted in Journal of Folklore Research 33, no. 3 (September-December 1996).

Whisnant, David. 《Hindman寄宿學校》(頁 19-101), 《Olive Dame Campbell》（頁 105-179), 和《白色上衣節日》(頁181-252). 摘於《民族集粹：美國民族的政治文化》(The Fred W. Morrison 的一系列南部研究). Chapel Hill: University of North Carolina Press, 1986.
Whisnant, David. "Hindman Settlement School" (pp. 19-101), "Olive Dame Campbell" (pp. 105-179), and "The White Top Festival" (pp. 181-252). In All That is Native and Fine: The Politics of Culture in an American Region (The Fred W. Morrison Series in Southern Studies). Chapel Hill: University of North Carolina Press, 1986.
作者: karin    时间: 2009-1-2 05:15

研習資料


本頁翻譯進度

燈號說明  
審定：楊金峰(簡介並寄信)
翻譯：楊谷川(簡介並寄信)
編輯：簡志先(簡介並寄信)






資料


注意：本文件列出了上課所需的資料，但不含聲音檔。

提琴曲
(英文PDF)[attach]539[/attach]、 (英文DOC)[attach]540[/attach]
圓圈舞
(英文PDF)[attach]541[/attach]、 (英文DOC)[attach]542[/attach]





盎格魯民樂的傳統調式


我們在盎格魯美國民歌和提琴曲中都會遇到四種調式，它們分別是艾奧利安調式（大音階）、米索利地安調式、多里安調式和伊奧尼安調式（自然小音階）。前兩個被稱為大調式是因為主要的三和弦是大調和弦，另外兩個被稱為小調也是由於這個原因。而佛里吉安調式和利地安調式（和理論上的洛克里安調式）都很少碰到。在不同的調式中，三全音會在不同的地方出現。在艾奧利安調式中，三全音是從fa（第四音）到ti (第七音)，而在多里安調式中，三全音是從mi（第三音）到la（第六音）之間，等等。因為在三全音周圍存在著半音，所以很難唱--diabolis in musica-有時成雙地升高或降低它的音調。因此，在多里安調式中F# 和Bb是通常被改變的音，前者是旋律的上升，後者是下降。有時候三全音的一個或兩個音調會一起從音階中被忽略，這樣就創造出了六音階或五音階。/p>

普通的五音階起源於如下所示的方法。為了方便，音樂的調式是從C寫起的。三全音被括弧起來和衍生的六音階也加在旁邊。





什麼是凱爾特音樂？


凱爾特音樂是一個相當寬泛的概念；它包括了凱爾特地區的傳統音樂-這些地區有愛爾蘭、蘇格蘭、威爾士、布列塔尼(半島)[法國]、加利西亞省(西班牙)和受它們影響的如美國和加拿大沿海諸省及其他地區，還包括一些在所列地區的傳統上建立的新興音樂。

這個術語有時帶有爭議性。對於初學者，凱爾特作為一個獨一的民族也早已是歷史，在不同的國家，傳統音樂也有很大的差別且許多的相同之處源於更新近的影響。還有一種觀念是"凱爾特"意味著凱爾特神秘主義和對新音樂的特殊影響，而這種新音樂和傳統音樂幾乎沒有聯繫。總的說來，最緊密的聯繫在於愛爾蘭和蘇格蘭傳統之間, 這也是Ceolas 這個塞爾特音樂資料庫所著重的。法國布裏多尼音樂家經常演奏蘇格蘭或愛爾蘭音樂，且至少有一個現代加利西亞樂隊(Milladoiro)具有愛爾蘭風格。在加拿大和美國，傳統就更加混雜了，在這裏術語"凱爾特"被用得最多，但不可否認的是許多典型的凱爾特團體也演奏其他民族的音樂。

值得注意的是，即使是愛爾蘭傳統音樂也是許多不同風格的融合，從Donegal傳統的蘇格蘭風音樂到柯賴爾的抒情詩調的舒緩風格和其他許多只能部分相容的地區風格.

因此，在沒有一個更好的詞（"民間音樂"或"世界音樂"有時也被使用但較之更含糊）和意識到它的短處的情況下，在Ceolas, 我們就用凱爾特這個術語





--------------------------------------------------------------------------------

Recordings


Note: These documents list the recordings used in the class, but are not audio files.

Fiddle Music (PDF)
[attach]539[/attach]

Rounder Clips (PDF)
[attach]541[/attach]




Modes in Anglo Folk Tradition


The four modes that we meet up with both in Anglo-American folk song and fiddle tunes are the Ionian (major scale), Mixolydian, Dorian, and Aeolian (natural minor scale). The first two are called "major" because the basic tonic chord is major, and the second two are "minor" for the same reason. The Phrygian mode, as well as the Lydian (and the theoretical Lochrian), are very rarely encountered. The tritone, occurs in each scale in a different place. In the Ionian mode it is seen between fa and ti (the fourth and the seventh), and in the Dorian it is between mi and la (3rd and 6th), etc. Because of the half steps around this tritone, it was considered hard to sing--diabolis in musica--and sometimes altered by raising or lowering notes in its pair. Hence, in Ionian mode F# and Bb, are common altered tones, the former going upward in melodies, and the latter coming down. Sometimes one or both notes of the tritone will be omitted from the scale altogether, which creates a hexatonic or pentatonic scale.

The common pentatonic scales can be derived in this manner, as shown below. For convenience, the modes have been written out from C. The tritones are bracketed, and the derivative pentatonic scale written alongside.





What is Celtic Music?


The term 'celtic music' is a rather loose one; for the purpose of Ceolas, it covers the traditional music of the celtic countries--Ireland, Scotland, Wales, Brittany (in France), Galicia (in Spain) and areas which have come under their influence, such as the US and the maritime provinces of Canada, as well as some newer music based on the tradition from these countries.

The term is sometimes controversial. For starters, the Celts as an identifiable race are long gone, there are strong differences between traditional music in the different countries, and many of the similarities are due to more recent influences. There is also the notion that 'celtic' implies celtic mysticism and a particular influence in new-age music which has little to do with traditional music. In general, the strongest connections are between Irish and Scottish tradition and it is on these that Ceolas concentrates. Breton musicians frequently play in Irish or Scottish music and at least one modern Galician group (Milladoiro) sounds quite Irish. In Canada and the US, the traditions are much more mixed, and it is there that the term 'celtic' is most used, though it is also true that many groups from particular celtic regions play the music of another region too.

It is also worth remembering that even a term such as 'Irish traditional music' is a lumping together of many different styles, from the raw, Scottish-tinged music of Donegal to the lyrical, easy-going style of Clare and many other regional styles that are only partly compatible.

Thus, in the absence of a better term ('folk' or 'world' music are sometimes used but are much vaguer), and with the realization of its shortcomings, 'celtic' is what we use for Ceolas.


课程首页链接
作者: karin    时间: 2009-1-2 06:02

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