Unit 9 Неличные формы глагола. Общие сведения.

UNIT 10

Idioms

Learn a few more idioms:

1. tin ear {n. phr.} 1. A lack of sensitivity to noise. The construction noise doesn't

bother Fred; he's got a tin ear. 2. A lack of musical ability; state of being tone deaf.

People with a tin ear make poor choir members.

2. be nuts about {v. phr.} To be enthusiastic or very keen about someone or something;

be greatly infatuated with someone. Hermione is nuts about modern music.

3. far cry {n.} Something very different. His last recording was a far cry from his first

music. The first phonograph could record, but it was a far cry from a modern

recorder.

4. go with {v.} To match; to look(sound) good with. Guitar goes with her balalaika.

The woman bought a purse to go with her new shoes.

5. have to do with {v. phr.} To be about; be on the subject of or connected with.

The book has to do with musical instruments..

To know or be a friend of; work or have business with. - Usually used in negative

sentence. Tom said he didn't want to have anything to do with the

new boy. I had nothing to do with the party; I was home that night.

Findtheequivalents:

Ему медведь на ухо наступил.

Она без ума от рок - н -рола.

Это небо и земля, лёд и пламя.

Иметь отношение к чему-либо.

Не иметь ничего общего с чем-либо.

UNIT 11

Инфинитивные обороты

Замените части предложений   инфинитивными   оборотами.

E.g.  The boy had many toys which he could play with. The boy had many toys to play with.

1. I have no books which I can read. 2. Is there anybody who will help you with your spelling? 3. Don't forget that she has a baby which she must take care of. 4. Have you got nothing that you want to say on this subject? 5. There was nothing that he could do except go home. 6. I have only a few minutes in which I can explain these words to you. 7. I have an examination which I must take soon, so I can't go to the theatre with you. 8. King Lear decided to have a hundred knights who would serve him after he had divided up his kingdom. 9. Here is something which will warm you up. 10. Here is a new brush which you will clean your teeth with. 11. Here are some more facts which will prove that your theory is correct. 12. Here is something which you can rub on your hands. It will soften them. 13. Here are some screws with which you can fasten the shelves to the wall. 14. Here are some tablets which will relieve your headache. 15. Here are some articles which must be translated for tomorrow. 16. Who has a pen or a pencil to spare? I need something I could write with. 17. 1 have brought you a book which you can read now, but be sure and return it by Saturday. 18. Soon we found that there was another complicated problem that we were to consider. 19. The girl was quite young when both her parents died and she remained alone with two younger brothers whom she had to take care of.

UNIT 12

ENGLISH IN MUSIC

"I want the students to understand the difference between listening and hearing. In order to succeed in the course, they would need to practice directed listening: "listening for" rather than "listening to."

My solution to this problem involved getting the students to articulate knowledge they already intuited, and devising an exercise that helped them to think critically about their familiar modes of listening. Since most students have moved their bodies to music at some point in their lives, I decided to build on this bodily knowledge the very first day of class. After introducing the basics of meter, I presented a number of musical examples, from country waltzes to jazz standards, from marches to funk, and advised students to listen for the percussion section.

As we listened, we tried to translate our sense of strong and weak beats into arm gestures and quiet taps. The students quickly overcame their embarrassment and stifled laughter and soon were moving and counting out the meter together as a group.

Then I asked them to compare and reflect upon the listening to music as background and this more focused mode of listening. I asked them to put on a song of their choice and to record their impressions of the piece, then to listen a second time solely to determine the song's meter. At our next meeting, we discussed their findings and found that in many cases, the song itself seemed to change depending on how we were listening. We also learned that listening in a concentrated manner often helped explain our emotional and bodily responses to music because meters often carried complex associations. The students were able to understand meter's role in organizing their musical experience.

We proved the effectiveness of this approach as the semester progressed. Not only were my students able to talk about a piece's meter, they were able to approach technical language with confidence. More importantly, however, they learned that there are a variety of listening modes. Many students were surprised to find that focused listening could be a limiting experience, one that drowned out other (perhaps more important) aspects of the music. By "listening for," they realized that they could choose to "listen for" any variety of things, even for pleasure. This emphasis on the listener's role in creating musical meaning had several unexpected benefits. In later discussions of the musical "happenings" of John Cage and others, students easily grasped the fluidity of these musical works by recalling their first task: they already knew that listening to the same piece in different environments and in different ways altered their experience of the "music itself." By making this leap, the students were able to understand a very difficult concept, that the musical work comes to life only through the act of performance and through our attention to it.

What is focused listening?

How did the students learned to listen?

What is the role of the song's meter in listening?

What conclusion does the author come to finally?

Practice

Find the English for:основы пения, выйти на сцену, распрямиться, ощутить своё дыхание (голос), поза, освоение упражнений с голосом, категории голосов, на постоянной основе, грудной регистр, переходы между регистрами, вслушиваться, преувеличенные жесты, музыкальные "хеппенинги" Джона Кейджа.

Fill in the prepositions where necessary:

1. You need to make a plan of practicing it ... a regular basis.

2. Make your singing voice sound like one smooth line from top ... bottom.

3. Make a plan of practicing it ... a regular basis.

What are the names of famous Classical composers :

1. He was the prince of Classical music. Movies, plays, musicals, and countless books have been written in honor of him. He was the prodigy to end all prodigies. He wrote his first symphony when he was 5. He toured Europe as a novelty act with his father and sister. Luckily his natural skill with music carried him. A student of Haydn, he blossomed into a top notch opera writer, which was his bread and butter for many years. But a man doesn't live by bread and butter alone: his later teaching carrier was not sufficient to support him, and he died a poor man.

2. He was another child prodigy. At the age of 14 he became an assistant teacher and the organist at Hanover. A disturbed, angry person himself, his music was fiery, and emotional. At the end of his life he was almost deaf. His symphonies and chamber pieces reached new levels of expressiveness. He is known for bridging the gap between Classical and Romantic style music.

3. From the age of 13 he studied music abroad. His greatest talent was with the piano, which he excelled at. His pieces for the piano were ground breaking, pushing the limits of what a piano was thought to be capable of. He completely changed how the piano was treated in music.

4. He was undoubtedly one of the most talented pianists in the world history. He played in concerts at the age of nine. In his time he was a master showman. His shows were almost always sold out. He was so grandiose with his concerts that he ordered a second piano be on stage in case he was to break the first one while playing.

UNIT 13

Musical Instruments

All acoustical instruments possess some kind of RESONATOR. It responds to an energy impulse by vibrating for a length of time. The frequency of vibration depends on the size and material of the resonator. If the vibration dies away quickly, the resonator is DAMPED. A repeating series of impulses will sustain the vibrations. If the resonator responds to a wide range of input frequency, it is BROADLY TUNED. If the input frequency has to match the frequency of the resonator pretty closely before resonance occurs, the resonator is NARROWLY TUNED.

Acoustic instruments also require some sort of DRIVER, a mechanism that applies energy to the resonator in the appropriate form. The driver may be as simple as a stick(or bare hand), or it may be an elaborate resonant structure itself. If the driver supplies the energy all at once, it is an IMPULSE driver; if the energy is a repeated stream of pushes, the driver is often called a SOUND GENERATOR.

Most instruments also possess some kind of pitch control mechanism. The tuning of an instrument determines the pitch possibilities that the artist may exploit during the performance. An instrument's tuning is largely in the manufacturing process. Pitch controllers may modify the operation of the resonator, the driver, or both. Some instruments provide pitch selection by duplication of tuned structures(flexibility of intonation), others give the possibility of polyphonic performance.

We can divide instruments into three classes based on the style of driver; the familiar strings, winds, and percussion instruments.

STRING INSTRUMENTS

The driver or sound generation device of the string instrument is a tightly stretched string. When the string is excited by a hammer blow, a pluck, or a continuous scrape, it produces motion with some length, mass, and tension. The motion is complex and contains energy at many (almost) harmonically related frequencies. This motion is transmitted to the resonator via the bridge, a light piece of wood supporting one end of the string.

The resonator of a string instrument is commonly an oddly shaped box or a wide thin board. The response of the body or soundboard have some frequencies which are transmitted more efficiently than others. These response peaks are called FORMANTS, and play a very important part in the timbral identity of an instrument.

WIND INSTRUMENTS

With wind instruments, the resonator is usually in the shape of a pipe and the energy goes as a stream of air into the pipe. The driving mechanism is some kind of valve that periodically interrupts or modulates the air flow. The reed of some woodwinds and the lips of the brass player are examples of modulating valves. The resonator has almost total control of the frequency of the instrument. The resonant frequency of a pipe depends on its length. (The actual mechanism of resonance is a standing wave.) The pitch control in the winds is usually done by adjusting the length of the resonator.

In the WOODWINDS the pipe length is changed by opening or closing holes along the side of the instrument. The part of the instrument that extends beyond the open holes acts as a second resonator, modifying the sound in a manner that changes somewhat from note to note.

There are non-pipe wind instruments:

The ocarina is a Helmholtz resonator that is tuned by opening holes in no particular order. The more holes open, the lower the pitch because the holes add to the vibrating mass.

The harmonica and accordion have reeds that sound into a rudimentary resonator. The resonator provides a weak formant, but no pitch control.

In the voice, the resonant structures are an assortment of body cavities, including the mouth. The volume of these cavities can be changed, producing tunable formants. The major driving mechanism of the voice is the larynx, containing two loosely stretched flaps of muscle that can modulate the air flow from the lungs. The frequency produced is controlled by muscular tension, with no effective feedback from the resonators. The result is an instrument with independently controlled pitch and timbre. The timbral range is extended by an alternate driving mechanism, the tongue, which can provide a variety of noise and impulse inputs to the system.

PERCUSSION INSTRUMENTS

Loosely speaking, a percussion instrument is anything you can hit. If we must make a generalization, we might say that percussion instruments usually lack a complex driving mechanism that could be separated from the resonator. The unifying principle is that impulse energy goes directly to the resonator, which responds with vibrations for a short period of time.

You can see that there are (at least) three common relationships between drivers and resonators. We might call these driver controlled, feedback controlled, and resonator controlled. In the strings and non-pipe winds pitch control is a function of the driver. In the pipe winds, the resonator and the driver affect each other, producing a pitch suit-able to both. In the percussion instruments pitch is entirely up to the resonator, since the driving energy is applied as an impulse.

Practice

Find the English for:

продольная флейта, сидеть прямо, не напрягаясь, нижняя губа, поддерживать инструмент, подушечки пальцев, аукцион, в качестве фона, размер (музыкальный), сыграть что-либо на инструменте, танцевать под музыку, голосовые связки, настройка, струнный, форманта, подставка, дека, медные духовые, тембр, язычковые, отзываться отвечать (об инструменте), вибрировать от ударов музыки, частоты, изменять поток воздуха, раструб.

1. Fill in the prepositions where necessary:

1. Each note should be "pronounced" ... the tongue.

2. Drop your finger ... the hole like a hammer.

3. The letter was written ... a pencil.

4. I asked them to put ... a song of their choice.

5. I was impressed ... the way the students were able to understand meter's role.

6. He is performing a piece of music ... a musical instrument.

7. I could hear a violin playing a waltz ... the background.

8. We could feel the floor vibrating ... the beat of the music.

9. The frequency of vibration depends ... the size and material of the resonator.

Match verbs with their descriptions :

1. Play b) Pitch c) Pipe d) Modulate e) Hold

f) Transpose g) Vibrate

1 - to perform a piece of music on a musical instrument.

• to produce music

• put a record/tape/CD (=produce music from it)

2 - if you tune your voice or another sound at a particular level, the sound is produced at that level

3 - to make a musical sound using a pipe

4 - to move from one key (тональности) to another in a piece of music using a series of related chords.

5 - to make a musical note continue for a long time

6 - to write or perform a piece of music in a musical key that is different from the one that it was first written in.

7 - to shake or make something shake continuously with small fast movements: We could feel the floor vibrating to the beat of the music.

UNIT 14

Music Festivals

Music Festival is a celebratory event when musicians perform over several days at some place. Among the most famous festivals are Edinburgh Festival, Eisteddfod, and Woodstock Festival.

Edinburgh Festival includes several annual and biannual arts festivals which take place in Edinburgh, Scotland, during the months of August and September, attracting audiences from around the world. It was founded in 1947 and is now recognized as one of the world's most important celebrations of the arts. It presents international and Scottish performers of theater, music, dance, and opera in all of Edinburgh's major theaters and concert halls.

Eisteddfod (Welsh, "a sitting of learned men"), national music and literary festival held each summer in Wales to promote Welsh language, literature, music, and customs.

The week-long ceremony is a revival of the ancient Welsh custom of meeting bards, or minstrels, for competition among themselves. The history of Eisteddfod dates to the beginning of the Christian era.

Woodstock Festival, rock festival that took place near Woodstock, New York, on August 15, 16, and 17, 1969, and that became a symbol of the 1960s American counterculture and a milestone in the history of rock music. It is connected with the movement of hippies and who characteristically rejected materialism and authority, protested against the Vietnam War, supported the civil rights movement, dressed unconventionally, and experimented with sex and illicit drugs.

During the monumental three-day event some of the greatest musicians of the 1960s performed, including Janis Joplin, Ravi Shankar, Arlo Guthrie, and Joan Baez as well as the bands The Who; Crosby, Stills, Nash and Young; The Jefferson Airplane; The Grateful Dead; Sly and the Family Stone; and Credence Clearwater Revival. Singer Joe Cocker and guitar player Carlos Santana, up to then unknown, became overnight stars. Jimi Hendrix, the final act of the festival, played a freeform solo guitar rendition of "The Star Spangled Banner."

1. What is a music festival?

2. How often does Edinburgh Festival take place? When was it founded?

3. What does Eisteddfod mean? What is Woodstock Festival?

4. What other festivals do you know?

5. At what festival you will see this instrument?

6. What musical instrument is in the picture?