托福阅读TheDevelopmentofInstrumentalMusicT58P1Word文件下载.docx

托福阅读TheDevelopmentofInstrumentalMusicT58P1Word文件下载.docx

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托福阅读TheDevelopmentofInstrumentalMusicT58P1@#@TheDeVeIOPmentOfInStrUmentaIMUSiC@#@【ParagraPh1】UntiltheSiXteenthcentury,almostallmusicWaSWrittenfortheVOiCeratherthanformusicalinstruments・EVenduringtheRenaissance（fromthefourteenthtotheSiXteenthcentury）,inStrUmentalmusicwas,forthemostpart,theresultOfSUbStitUtinganinstrumentforaVOiCeinmusicWrittenforSingingOrCIanCing.TheSeVenteenthCenturymarkedtheriseOfmusicthatIaCkedextramusicalmeaning.LikeamathematicalequationOrgeometricformula,theinstrumentalmusicOftheearlymoderneraCarriednoexplicitnarrativeCOntent■—itWaSneitheraVehiCIeOfreligiousexpressionnorameansOfSUPPOrtingaSeCUlar（nonreligious）VOCaIiZedtext.SUChmusicWaSWrittenWithOUtCOnSideratiOnfortheassociationalCOntenttraditionallyPrOVidedbyaSetOfSunglyrics.TheideaOfmusicasanaestheticexercise,COmPOSedforitsOWnSakeratherthantoSerVeareligiousOrCOmmUnalpurpose,WaSanotablefeatureOftheSeVenteenthCenturyandOnethathasdistinguishedmodernWeSternEUrOPeanmusicfromthemusicaltraditionsOfASiaandAfriCa・@#@【ParagraPh2】NOtsurprisingly,theriseOfinstrumentalmusicWaSaccompaniedbyimprovementsininStrUmentsandrefinementsintuning・Indeed,instrumentalmusicCametodominatemusicalCOmPOSitiOnattheVerymomentthatWeSternmusiciansWerePerfeCtingSUChStringed-instrumentsastheViOIin,viola,andCeIIOandSUChkeyboardinStrUmentSastheOrganandharpsichord・BytheearlyeighteenthCentury,musiciansWereadoptingtheSyStemOftuningknownasequaltemperament,WherebytheOCtaVeWaSdividedintotwelvehalf-stepsOfequalSiZe・JOhannSebaStianBach,sWell-TemPeredClaVier（1722）WaSanattempttoPOPUIariZethisSyStemtoaSkePtiCalmusicalPUbIiC・ThenewattentionPaidtoimprovinginstrumentsandSyStematiZingtuningmirroredtheeffortsOfSCientistsandPhilOSOPherStobringPreCiSiOnandUnifOrmitytothetoolsandmethodsOfSCientificinquiry.@#@【ParagraPh3）IntheSeVenteenthCentury,northernItaIyWaStheWOrldCenterforthemanUfaCtUreOfviolins.TheAmati,Guarneri,andStradiVarifamiliesOfCremOna,Italy,establishedthetechniquesOfmakinghigh-qualityViOlinSthatWereSOUghtinallOfthegreatCOUrtSOfEUrOPe・TranSmittedfromfathertoSOnztheCOnStrUCtiOntechniquesUSedtoPrOdUCetheseinstrumentsWereguardedSOSeCretIythatmodernViOlinmakerShaveneverSUCCeSSfUIlyimitatedthem・EISeWhere,around1650,earlierinstrumentsWereStandardizedandrefined.AISOduringthisPeriOdamateurmusicmakingWaSWideSPread,andPrOfeSSiOnalPerfOrmancealsotookagreatIeaPforward,asanewbreedOfVirtUOSiinSPiredtheWritingOftreatisesOnPerfOrmancetechniques・@#@【ParagraPh4]ThreemaintypesOfCOmPOSitiOn■一theSOnata,thesuite,andtheCOnCertO-ClOminatedSeVenteenth-centuryinstrumentalmusic・AllthreereflectthebaroquetasteforClramatiCCOntraStSintempoandtexture・TheSOnata（fromtheItaIianWOrdforl,soundecΓ*thatis,musicPlayedandnotSUng）isaPieCeWrittenforafewinstruments-oftennomorethanOneOrtwo.ItUSUaIIyCOnSiStedOfthreemovementsOfCOntraStingtempo-一fast/slow/fast■一eachbasedOnaSOngOrdanceformOfthetime・Thesuite,WrittenforanyCOmbinationOfinstruments,isaSeqUenCeOrSerieSOfmovementsderivedfromVariOUSEUrOPeanCOUrtOrfolkdances-forexample,theSarabande7thePaVaneZtheminuet,andgigue,Orjig・HenryPUrCeIl（1659-1695）inEnglanCI,FranCOiSCOUPerin（1668-1733）inFranCeZandJOhannSebaStianBaCh（1685-1750）inGermanyallCOntribUtedtothedevelopmentOftheSUiteasamusicalgenre.Finally,theCOnCertO（fromtheSamerootasCOnCertato,WhiChdescribesOPPOSingOrCOntraStingbodiesOfSOUnd）isaCOmPOSitiOnCOnSiStingOftwogroupsOfinstruments,OneSmallandtheOtherlarge,Playingindialogue・ThetypicalbaroqueCOncerto,theCOnCertOgrosso（"@#@largeCOnCertO,,）featuredSeVeralmovementsWhOSenUmberandkindVariedCOnSiderably.@#@【ParagraPh5]TheIeaclingItalianinstrumentalCOmPOSerOfthebaroqueeraWaSAntOniOViValdi（1678-1741）.ViValdiWrOteSOme450concertos.HeSyStematiZedtheCOnCertOgrossointoathree-movementform（fast/slow/fast）andinCreaSedthedistinctionsbetweenSOlOandenSembIegroupsineachmovement.OfthemanyexcitingCOmPOSitiOnsViVaIdiWrOteforSOlOViOIinandenSemble・themostgloriousisTheFOUrSeasons,agroupOffourViOlinCOnCertOSzeachOfWhiChmusicallydescribesaSingIeSeaSon.@#@【ParagraPh1】UntiltheSiXteenthcentury,almostallmusicWaSWrittenfortheVOiCeratherthanformusicalinStrUmentS・EVenduringtheRenaissance（fromthefourteenthtotheSiXteenthcentury）,inStrUmentalmusicWaSZforthemostPartZtheresultOfSUbStitUtinganinstrumentforaVOiCeinmusicWrittenforSingingOrdancing.TheSeVenteenthCenturymarkedtheriseOfmusicthatIaCkedextra