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    以音樂語言學去探討音樂意義 (3): 修辭性的 Head Motive 在詩歌107中的運用

    前言: 本文章接續  2010-12-28 和 2011-01-03 前兩篇文章去探討主導動機  Head Motive 怎樣以音樂修辭的方式在作品中表達音樂意義。

    以下是羅大佑的歌曲 是否 (假如) 的樂譜。請留意繼第三小節後,每一句樂句的起頭處,都是以兩個樂音下行六度跳進,並以模進進行,其節奏特色使之成為 樂句的 Head Motive。

    
    
    

    是否 / 假如 的樂譜

       以上的樂譜顯示,mi–sol. 是第一句的 Head Motive,fa–la. 是第二句的 Head Motive,sol–si. 則是第三句。Head Motive之後,樂音就繼續向前發展,組成整句樂句。在副歌處 (Refrain) ,兩句樂句都以 do’–fa下行五度跳進作為樂句的 Head Motive,將音樂逐層地推進至高潮。

    若我們以音樂修辭的方式去理解,第一樂段的樂句看來就像以下的設計:

    (以下以標點符號作為句字修辭的符號,而 xxxx 等 則是從 HeadMotive 發展出來,延續樂句的樂音。我們在這裡的分析不須理會音高 pitch)

    ??  xxxxxxxx,
    ??  xxxxxx。
    ??  xxxxxxxxx, xxxx,xxxx,xxxx。

    而副歌樂段,就看似以下的設計:

    !! xxxxxxxxx,xxxx,xxxxxxx。
    !! xxxxxxxxx,xxxx,xxxxxxxx。

    音樂修辭的設計,是引導著音樂旋律的前進。我在這裡用標點符號去代表樂句的修辭,讓讀者可以想像音樂所能表達出的意思。

    再看看普通話歌詞的語文修辭,實在與音樂修辭的設計非常吻合,堪稱曲詞互配。

    請看看以下歌詞中的語法修辭,也以 Anaphora 來設計:

    第一段:

    是否 ? 這次我將真的離開你,
    是否 ? 這次我將不再哭。
    是否 ? 這次我將一去不回頭,走上那條,漫漫永無,止境的路。

    副歌:

    多少 次的寂寞掙扎在心頭 ! 只為挽回,我將遠去的腳步。
    多少 次我忍著胸口的淚水 ! 只是為了,告訴我自己不在乎。

    讀者可前以下往 youtube 網址聆聽 是否

    http://www.youtube.com/watch?v=Xz_osv7x6Gc&feature=related

    值得一提,本人很喜歡普通話版 是否,”是否” 這兩個字的國語發音,很吻合下行六度的 mi—sol。可是,隨了歌詞能以普通話只得四聲的優勢 (廣東話版 假如 就不能),毫不困難地將音樂修辭的格式,差不多如實的反影出來,我喜歡它主要更因為 是否 不是一首描寫男女愛情的情歌。查實它是電影 搭錯車 的插曲。(主題曲是酒干倘賣無)。故事是描述父女之間那真摯感人的愛。因女兒一心想成為歌星,不得不忍痛地和貧困,並靠拾荒為生而養大自己的老父斷絕關係。為了女兒成名,老父至死也默默承受。這首歌就是當女兒忍痛地離開相依為伴的老父,去闖所謂的一番事業時唱的。

    從以上的討論,我們大概明白,何謂音樂修辭性的主導動機  Head Motive ,以及它是甚樣由 語法上的 Anaphora ,詩歌性修辭 (poetic rhetoric) 演變出來。由於音樂的語法是可以傳遞意義的,所以當聆聽者以樂音的修辭設計來聽這首音樂時,在理論上,這些樂音是可以引起聽者的感受和反應 (emotion and response),從以產生美學上的愉悅 (aesthetic pleasure)。

    待續……..   To Be Continued………

    David Leung (theorydavid)

    2011-01-08 (published)

    "Theory" We Live By (edited) — by David Leung

    Foreward:

    Today’s topic is theory.  My friends discussed the topic about theory today. I haven’t said anything. It seems that everyone has his/her own understanding of the term ‘theory’. So the discussion among friends seems becoming more and more complicated.  However, for my students, colleagues, and friends, I believe that it is time to speak of theory, since theory permeates everywhere in our daily lives.

    Theory is not that difficult as one think. In our daily lives, we are faced with different forms of theory in different levels that surround us. Indeed theory can affect us much, even though one hasn’t sensed its existence. For example, theory can conduct our way of thinking, our way of seeing, our way of reading, our way of understanding, our mode of communication, our mode of expression, as well as our form of perception. When we write, we have already applied some forms of theory, such as rhetorical theory, syntatic theory. When we think, our personal thinking pattern may form a kind of thought, that may be called a ‘theory’ of your own, even though you haven’t illustrated to others about the relevent theoretical terms, or perhaps, you actually do not know how to describe the term. Hence, whether you like to use the word ‘theory’ and its related terminologies to describe and explain what you observe, understand, explain, or express that surrounds you, theory really accompanies you as you live by.

    From this view, one may ask : What is theory? According to a dictionary, Collins Cobuild, it defines theory as : 1. a formal or a set of ideas that is intended to explain something;  2. the theory of a practical subject or skill is the set of rules and principles that form basis of it.

    In another common dictionary, Oxford Advanced Dictionary 7th edition, it defines theory as: 1. a formal set of ideas that is intended to explain why something happens or exists. 2. the principles on which a particular subject is based.

    To the definition of theory, both dictionaries offer us a common ground; that is, theory is used to observe and explain something, since it contains the rules and principles that form basis of that something.  As such,  theory is not that difficult as one think. After applying the so-called theory, you get more understanding of the ‘thing’.

    Simply put, in order to get a better understanding of an object, we may choose to apply a theory of others, not relying on our own way (i.e. own theory), to obtain a different views and aspects of that object. Do you take photo? Do you work with computer? Do you cook? Do you watch TV? Do you play piano, and hear music? If that so, you have been applying at least some theories to a certain extent that help you yourself to understand the thing you work with, or you cope with. Even though you deny that you are making a theory of your own to explain your surroundings, still you are influenced by the theories of others, both directly and indirectly.

    It is undeniable that many human-made theories in this world are very difficult to understand. Such difficulties, sometimes, are only a chicanery. Theorists often like to play trick and word game, to create a circular thinking, and to use many complicated jargons to their theories, so as to make readers feeling difficult to read, and turning around to get their points.  This is because theorists don’t want others to consider that their ideas are mediocrity. In addition, of course, the game rule of this world is that if you are saying something too ordinary, too mundane, no attention will be paid to you, including your ideas. Unfortunately, human nature tells us that we want  and need others’ attentions. Apart from those bad theories that playing tricks, there are still some inspiring theories of different levels that help readers observe different ‘things’ in an extraordinary way, as well as in multiple aspects. Don’t forget that theory can offer an explanation of the question ‘why’ for a ‘thing’, according to the Oxford Dictionary. Investigating ‘Why’ and ‘How’ for a thing to become, to exist, to sustain, to develops, and finally to disappear. Comparing to just asking what, asking why and how can usually offer a more interesting and inspiring insight to that ‘thing’. Although it is the fact that even good theory itself cannot provide the whole TRUTH of the ‘thing’ we observe, at least, it offers a PART OF TRUTH of that ‘thing’, opening up a new, broader thinking space for the observers to explore, to meditate, and finally, to comprehend.

    What makes a painter becoming painter? Because he/she possesses sensitivity of colors prevailing his/her world. What makes a composer becoming composer? Because he/she possesses sensitivity of sound that conceals in this world. What makes a poet becoming poet? Because he/she possesses sensitivity of human emotions that are expressed throughout life. As such, what makes a theorist becoming theorist? Because he/she possesses sensitivity of observing objects that are existing in his/her world.

    To me, theory is a mental ongoing process, whether it can be expressed in the form of statement, that formulates and formalizes a way or a pattern of observing and thinking of a ‘thing’ that exists in the world. Granted, we may not be able to make a theory of our own to formulate and formalize a ‘thing’, but if we want to be more insightful, creative and thoughtful on observing and understanding of a ‘thing’, please learn some theories of others. Apply them in your daily life and offer you a chance to learn a new way to view ‘thing’ in multipile angles. And , of course, please don’t forget to enjoy the satisfaction of what you could get from appreciating that ‘thing’. Perhaps, in one day, you can formulate a theory of your own that can be expressed in the form of statement. Then you are said to be a learned theorist.

    David Leung

    2011-01-06 (edited and published)

    答謝老友S. Leung 的邀請

    前言: 老友 S.Leung 要結婚了,很是高興。早前寫了一篇文章 (2010-12-26 posted),談及對愛情的一些看法。老友看後,也回應了一些感受。現也以古詩一首,再答謝老友邀請我前往婚禮,分享他們的喜樂。

            緣深

    百載同船千共襟
    幾番修道始緣深
    顰盈耳語枕詩畔
    還予消遙萬世生

    蓋情愛之真諦,乃一 “還” 字而矣。

    夫妻雙方常以對方所需為虧欠,並予償還,則婚姻長久矣。此處 “修道”,是指研讀聖經中的真理之道,並以這 “道” 為生活方式。”百載同船”,則指朋友有悻一同共渡永生的旅程,乃百年難遇。但能遇上配偶一同走完這永生旅程,則千世難逢,此乃 “千共襟” 之意。不須多說,
    顰盈耳語枕詩畔,是描寫你們的甜蜜的愛情生活。而 “萬世生” 則指向樂園永生的幸福了。

    大偉上

    2011-01-05 (published)

    有關文藝復興的一點看法 (1)

    前言: 今天跟學生談到文藝復興在西方美術史中的地位。由於時間的緊迫,我講得很快,加上學生對一般西方通史的知識比較貧乏,所以未能跟得上我想表達的一些我認為是較新,較獨到的見解。下課後,有一位程度較佳的學生提議,我不妨在我的網誌裡再補充一下。

    在一般中,小學程度的歷史課學習裡,老師大多將歷史以年份時間,並以這段時間裏所發生的重要人物和事作為劃分點,來分出不同的歷史時期和時代風格,以方便學習。所以,我們常在課本裏看到文藝復興時期是由 1500 AD 至 1600 AD。然後,就理所當然地 (take-for-granted) 舉出在這段時期活躍的大師和其作品作為論據,去支持這段時期風格的存在。例如,我們一說起文藝復興,我們就會舉出 Michaelangeo,和他的 David 彫塑 ; Leonardo Da Vinci 和他的 Mona Lisa 名畫等作這時代的風格。因為他們的作品是以舊古典 Classical Antiquity 作為作品風格的依歸,模彷古希臘和羅馬的風格而創作的 (對這一般看法我大有保留),所以,他們的時代就是 Renaissance了。

    當然,以 Chronological time phase 來看歷史的演進並不是錯的。但這是不。因為我們最想知道的不是 What happens ? 而是 Why and How that happens ? 用 what 看歷史時代,就如因為 有了Michaelangeo,和他的 David 彫塑,所以文藝復興時代來臨了。但我們其實更想知道,為甚麼 Michaelangeo 會彫刻 David,他甚樣受當時的大氣候影響? 又或 David 是如何被認為是擁有文藝復興風格的特點? 我們應該知道,只用 what 的 factor 來看歷史,我們就很容易只集中以那些大師和他的作品作為時代的劃分點。但卻忘記沒有任何人,包括社會裏各階層的人,不受這時代的外在因素諸如政治,文化,社會,大氣候 (mega trend) 和個人偏好 (personal predilaction) 所影響。事實上,No one can step outside of his/her time。哪是果? 哪是因? 是永遠不能界線分明的。究竟是大師們以自已的才華,又或社會的群體力量,創造了文藝復興的時代和風格,還是外在的因素促使了那些大師們,又或平民百姓,創造了這樣風格的作品,從而形成了所謂的文藝復興?

    今天,我闡釋了 H. Janson 在他的 The History of Art 一書裡的看法。我本人比較喜歡他和另一位法國歷史哲學家,Le’ Goff 對文藝復興的闡釋。他們大致的看法是從 socio-cultural 的層面去看 歐洲 community (社群) 對 time concept  (時間概念) 的意會,這是非常 Humanistic ,即從社會群體的角度出發。他們兩人都認為,文藝復興這個時期起始於當歐洲社群裡普遍的大多數人,意會到他們已不再屬於中世紀 Middle Age 這個時期,而相信自己以踏進一個全新紀元 (new era) 的時候。亦即這時的歐洲社會(European community) 開始了解到時間概念 (time concept) 上是有以往 (past),現在 (present),和將來 (future) 的劃分。社會裡普遍的人也開始擁有一個新的意識,就是歷史意識 (historical consciousness)。從他們的討論來說,即是中世紀的歐洲社群大多數人並無有任何意識,認為自己是生活在現在 (present) 的,他們沒也有過往 (past) 的時間觀念,並沒為過往和現在劃分介線,換句話說,他們 actualize the past ,使過往繼續不斷向前進行,永無終止似的。

    當然,我還沒有提出這兩位學者的論證來支持他們的見解。可是單從他們思巧的角度來看,已異於一般的教科書看歷史風格這個問題。故勿論他們對文藝復興說法是否合理,我們肯定的就是,用小時,分鐘和秒來劃分時間,大約是從十五世紀開始。因為,歷史事實告訴我們,時鐘 (clock) 是在 Renassiance 時期發明,並被運用在社區日常生活上的。我們現在常說的 .”時間就是金錢” 或是 “我們要分秒必爭” ,又或是 “時間是寶貴的”,就是從文藝復興這個時期,開始流行在 Renaissance 的社區的日常生活裡的。因此 Clock,時鐘,可說是 Renassiance 的一個非常重要的發明。它不只是一個純科技的發明,它對當時的人的生活方式,以至到人生態度,思維方式等,都產生了難以言喻的影響。從而得知,生活在文藝復興時期的人,是非常重視. “現在 (present)”。他們是擁有 “現在” 這個時間觀念的意識。

    當然,我們不能單就 Renaissance 時期發明了Clock 一事,就確認中世紀的社會生活是沒有 past, present, and future 的 time concept。

    待續……. To be continued………

    David Leung
    2011-01-05 (published)

    看完陶傑今天在蘋果的專欄有感

    前言: 只是隨筆一篇

    今天陶傑在蘋果日報的專欄談到中國民初時代是中國數千年來一個最風華絕代的年代。在各項藝術和學術嶺域裡,諸如文學,哲學,繪晝。電影等都有其惹人迷巒的地方。我這兩年埋首於看香港 modern artmusic  的發展,起點也是從二十世紀中國的音樂現代化開始 (Chinese music modernisation)。當我知道的越多,也越深深被這個彷如風韻尤存的中年少婦的年代的醇醉所吸引。

    諸君如有興趣,可先看看這篇文章。至如我的理由,可請看稍後我發表的文章。

    蘋果日報 : http://hk.apple.nextmedia.com/template/apple_sub/catkeycol.php?showcol=3530511&sec_id=12187389

    David Leung

    2011-01-03 (published)

    Music and Arts: Articles and Poems

    I-and-the-village-Chagall
    I and the village Chagall

    Learn Contemporary Music?

    The Lute Player — Franc Hal

    This is Young Mozart!


    Presentation of young Mozart to Pompadour 1763 Vicente de Paredes

    Life Long Learning is a Pleasure -- Contact Leung Sir

    Lady sit At the Virginal — Vermeer

    SC 2012 Concerts (1800 attendants)



    Pierre-Auguste-Renoir
    Pierre Auguste Renoir


    monet-sunrise
    Sunrise - Monet


    JeanHonore-Fragonard-The-Swing
    The Swing - JeanHonore Fragonard


    JastrowDuckFliegende
    Jastrow Duck Fliegende


    The Music -- Klimt (Modernism in Vienna)
    The Music - Klimt (Modernism in Vienna)


    Distorted-image-Korean-artist
    Distorted image - Korean Artist


    Placidity-SQ3_Page_01
    Placidity-SQ3_Page_01


    IMG_0645


    David-Teniers-and-the-Cabinet-of-Archduke-Leopold-William
    David - Teniers and the Cabinet of Archduke Leopold William
    Jastrow Duck Fliegende


    Toulouse-lautrec-Two-women-waltzing
    Two-women Waltzing - Toulouse-lautrec


    Kandinsky-Composition2
    Composition - Kandinsky


    Violin-Sonata-Classical-Style

    Violin Sonata in D major - midi composition modelling


    Elizabeth-at-the-Piano-Eakins
    Elizabeth At The Piano - Eakins


    The-Love-letter-Vermeer
    The Love letter - Vermeer


    Armand Guillaumin - Young Girl at PianoYoung Young Girl at Piano - Armand Guillaumin