- •Unit 1. Classical Music
- •Is fit for treason, stratagems and spoils;
- •1. Are you a music lover? What role does music play in your life? Express your ideas in a 2-page composition “Music in My Life”.
- •2. Comment on the excerpt from “The Merchant of Venice” given above. Do you agree that one can’t trust a person who is indifferent to music?
- •Recital – evening – prom
- •Item – work – piece
- •Part – movement
- •Concert – concerto – recital – show
- •Part – movement – item – number – work
- •To play the… - to play from music – to read music
- •Miscellanea
- •There’s music in our speech
- •1. Explain the meaning of the following words and phrases:
- •2. Which idiom best fills each space?
- •3. All the following sentences include a musical idiom, with one word missing. Use the words below to complete the sentences.
- •Exercises
- •Renaissance (c.1400 – c.1600)
- •Baroque (c.1600 – c.1750)
- •Classical (c.1750 – c.1830)
- •Early Romantic (c.1830 – c.1860)
- •Late Romantic (c.1860 – c.1920)
- •The Post ‘Great War’ Years (1920 to the present day)
- •Exercises
- •Speaking “for” and “against” classical music
- •Exercises
- •Exercises
- •Mr. Smeeth Goes to a Symphony Concert
- •Exercises
- •Wood-wind instruments
- •Position of players in a modern orchestra
- •(From ‘Incidental Music to “a Midsummer Night’s Dream”)
- •A Guide to Classical Listening
- •Exercises
- •Exercises
- •Mozart’s don giovanni opens in prague
- •Exercises
- •The pros and cons of rock/pop music
- •Exercises
- •The language of rock
- •Exercises
- •Справка
- •Folk music
- •Exercises
- •Jazz, sound of surprise
- •Exercises
- •The tunes you can’t refuse
- •Exercises
- •1. A description of the subject.
- •2. Detailed comments on the successful and unsuccessful features of the subject.
- •3. Summing up and recommendation.
- •Music on the mind
- •Music – the drug of choice for Britain’s Olympians
- •С Бахом… под Майкла Джексона
- •Exercises
- •Types of Music
- •1. Classical music
- •12. Orchestral music
- •13. Chamber music
- •Concert, Recital, Evening
- •14. Concert
- •15. Recital
- •16. Evening
- •17. Verbs used with concert/recital
- •Listen is not used here. Nor should it be used in translating such sentences as:
- •Concert Programmes and repertoires
- •18. Work, item, number, piece
- •19. Repertoire, repertory
- •Classical Works
- •Instrumental Works
- •Concertos are written for an orchestra with solo instrument(s) and the instrument is often specified as follows: a piano concerto, a violin concerto, Beethoven’s third piano concerto, etc.
- •26. Movement, part
- •27. Special names for musical works
- •Vocal Works
- •28. Song
- •29. Use of on with names of instruments
- •Some Common Musical Terms Note, Music, score
- •33. Choir, chorus
- •34. Types of choir
- •A Symphony Orchestra (Instruments and Players)
- •36. Conductor, leader
- •37. Tune, Melody, Theme, Subject
- •38. Types of Opera grand opera – (an) opera with a serious story in which all the words are sung
- •39. Opera Singers
- •40. Use of articles with opera
- •42. Modern Music
- •To cut a single
- •To disband (see also split up)
- •Drummer
- •To be/become a one-hit wonder
- •Supplementary materials Text 1.
- •Text 2.
- •Text 3.
- •Text 4.
- •Text 5.
- •Text 6.
- •Rethinking mozart On the 250th anniversary of his birth, a more realistic picture of the composer's musical genius is emerging.
- •Exercises
- •1. Practise reading the words from the text. Learn their Russian equivalents.
- •2. Define the following words and word-combinations. Say in what context they were used in the article.
- •3. Explain the difference between:
- •Text 7.
- •Styles of Jazz
- •Text 8. Evita (music by Andrew Lloyd Webber, lyrics by Tim Rice)
- •1. A Cinema In Buenos Aires, 26 July 1952
- •9. The Lady's Got Potential
- •10. Charity Concert/The Art Of The Possible
- •13. A New Argentina
- •14. On The Balcony Of The Casa Rosada 1
- •19. Rainbow Tour
- •Contents
- •Unit 5. The Effects of Music on the Human System ………………71
- •A short guide to composer data ………………………………………………….163 sources
Text 5.
Render into English:
1. «Свадьба Фигаро» произвела сенсацию в Праге. Все горели желанием познакомиться с господином Моцартом (Herr Mozart). Граф Тун (Count Thun), гордившийся своим музыкальным вкусом, сказал Вольфгангу: «Это самое примечательное событие в жизни Праги с тех пор, как я приехал сюда.» Он оказал Моцартам радушный прием и предоставил в их распоряжение несколько комнат во дворце. Отведенные им апартаменты были просторны, и им хотелось отдохнуть и насладиться покоем; но у хозяина была большая программа для почетных гостей.
2. На балу в тот же вечер Вольфганг был центром внимания. Он вошел в зал под гром аплодисментов. Многие молодые красавицы горели желанием потанцевать с прославленным композитором. Разговор вертелся исключительно вокруг «Фигаро», другие темы никого не интересовали. Граф Тун познакомил его с синьором Бондини, антрепренёром пражского театра, который поставил «Фигаро» на пражской сцене. Бондини воскликнул: «Господин Моцарт! Во всем мире нет оперы, равной «Фигаро»! Спектакль спас наш театр! И при этом опера написана немцем. Невероятно!» Вольфганг поклонился. Ему было приятно, хотя эти слова показались ему немного забавными.
3. Где бы Вольфганг ни появлялся в Праге, повсюду говорили только о «Фигаро». Ничего другого не исполняли, не пели и не насвистывали, кроме мотивов из его оперы. Он узнал, что «Фигаро» шел в Праге беспрерывно весь зимний сезон и спас Национальный театр от разорения.
Однажды Вольфганг сидел в городском парке и долго слушал, как слепой арфист играл мелодии из «Фигаро». Вольфганг подал бродячему артисту гульден (gulden), а ему сказали: «Зачем так много! Бедняга не оценит Вашу щедрость». Но Вольфганг лишь горько улыбнулся про себя. Он знал, что это значило, когда твой труд оценивали слишком низко. Успех «Фигаро» в Праге пока что не принес ему ни единого крейцера (kreutzer).
Text 6.
Read the following excerpt and retell it in brief:
The funeral took place the afternoon after Wofgang died. The small coffin was carried out of the house on the Rauhensteingasse, and born on a small cart to St.Stephen’s. There were only a few mourners. Constanze was unable to come, she was still in bed suffering from shock.
It was a quiet day and there were the usual monks and nuns from the provinces visiting the wonder of Christendom, the most famous church in the Empire, and none of them turned a head as the coffin was borne inside. Funerals were commonplace and this was that of a poor, unimportant person, that was obvious from the bare wooden box and the lack of mourners.
After the corpse was blessed, the coffin was put back on the little open cart and the driver and his horse turned towards the cemetery.
St. Marx’s was just five years old, an insignificant cemetery that had been created by the parish of St. Stephen’s for those who could not afford a churchyard for the mourners – that would have been an extra expense – and, by the time the cart reached the cemetery, there was no one with it. The sky had grown dark, there was the threat of snow in the air, and it was far to walk.
There was only one grave-digger in the cemetery. It was a slow day, he explained to the driver, and he was finishing the common grave.
The grave-digger was elderly, hard of hearing, and he had a number of coffins stacked in the long, narrow, straight pit. He was proud that he was neat and orderly. He didn’t hear the name, but he knew it was a little man, he could tell by the smallness of the coffin, and that it was a third-class funeral. Only such a funeral would have no mourners. No one wanted to pay for anything. Not a gulden.
The driver dumped the coffin onto the ground alongside a number of other coffins, and hurried away. He detested this kind of funeral, it barely paid for the cost of the horse and the cart.
Wolfgang’s body went into the common grave, stacked three metres deep with a hundred other corpses.
Answer the question:
How can you explain the fact that often men of genius are either not appreciated in their lifetime or live in poverty?
Read the article and do the exercises that follow: