D大调卡农
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解决时间 2021-11-27 05:26
- 提问者网友：鐵馬踏冰河
- 2021-11-26 21:06
D大调卡农
最佳答案
- 五星知识达人网友：不甚了了
- 2021-11-26 22:10
Pachelbel（卡农的作者），德国人。在他10几岁的时候，战乱使他沦为孤儿。流浪到英国的他被英国一个小村庄的天天在教堂弹琴的琴师收养，之后他天天听那个他弹琴，耳濡目染也学会了钢琴。
在他们旁边的镇上上有一个女孩子叫Barbara Gabler，家里有钱有势，Barbara Gabler也是镇上最漂亮的女孩，自从到教堂听了Pachelbel弹的曲子，就爱上了他。很多有钱人上门向Barbara Gabler提亲都被拒绝了，因为Barbara Gabler心里只喜欢Pachelbel。但女孩子嘛，都比较害羞，从小被宠到大的Barbara Gabler一直不敢向Pachelbel表白，后来Barbara Gabler就找了个理由，说要去Pachelbel那里学钢琴，她对Pachelbel说自己热爱音乐，希望可以拜师学艺。
Pachelbel很高兴的收下了这个徒弟。但Barbara Gabler她的目的并不是弹琴，所以几乎不把经历花费在钢琴上，遭到了Pachelbel一再的责骂。Barbara Gabler心里委屈，但还是一直跟着Pachelbel，希望Pachelbel能明白自己的心意。
终于有一天Pachelbel对Barbara Gabler说：“你走吧，你真的不适合弹钢琴。而且你也不喜欢钢琴。”Barbara Gabler听后，对自己说：“不要说我不行！Pachelbel。我回去一定要好好弹琴，半年后我要拿到本地的钢琴第一名的！”（在镇上每年都会举行一次女孩钢琴大赛。）
半年里，Barbara Gabler天天练习，饿了就叫家里的用人送些吃的，困了就趴着睡一会。 半年一转眼就过去了，Barbara Gabler参加了比赛，果真的拿了奖。Barbara Gabler想拿这个奖杯去找Pachelbel并向他表达自己的爱意，但当她去找Pachelbel的时候，Pachelbel已经不在了。当时正值战乱，Pachelbel被征去打仗，Barbara Gabler知道后说：“好，我等他回来。”
就这样Barbara Gabler等了Pachelbel整整3年多，在这期间村长的儿子看上了Barbara Gabler ，村长的儿子很清楚Barbara Gabler已经心有所属，就叫人从前线运回来一具碎尸体，说那就是Pachelbel。Pachelbel没有父母和亲戚，没有人可以对证，Barbara Gabler相信Pachelbel真的已经死了，趴在“Pachelbel“的尸体上哭了3天3夜，那时，村长的儿子买了很多的礼物去找Barbara Gabler提亲，Barbara Gabler没有理睬。
在3天后的晚上，在当时Pachelbel教Barbara Gabler钢琴的教堂里，Barbara Gabler割腕自杀了。
而Pachelbel在Barbara Gabler离开的半年里，他发现没有Barbara Gabler在身边，自己少了很多很多的快乐，其实很多事情就是这样失去了才知道珍惜。Pachelbel在Barbara Gabler离开后才发现原来自己已经不知不觉的爱Barbara Gabler，只是因为她学琴不努力所以就埋没了对她的喜欢。当时他准备写一首歌，做为向Barbara Gabler求婚的礼物，当他完成了卡农的1/3的时候。他被招去打仗了，在战乱中，自己的生命多次都是九死一生，每当心中不舒服的时候都会想到Barbara Gabler，想到教她弹琴的日子......那段时光真是值得怀念啊。之后他完成了卡农剩下的2/3。
在Barbara Gabler自杀后了第2个月，Pachelbel回到了村里。他从村民的口中知道了Barbara Gabler的故事和她为自己做的所有事后，他咆哮着，放声大哭。他找到了Barbara Gabler的家人，问她现在葬在哪。她家里人都不肯告诉Pachelbel，随后的一次礼拜，Pachelbel招集他们村和Barbara Gabler村上所有的人，他坐在钢琴前强忍着泪水，弹出了卡农参考资料：不熟，帮不了你什么，我觉得把这个背景故事讲一讲，同学们的眼泪就出来咯
在他们旁边的镇上上有一个女孩子叫Barbara Gabler，家里有钱有势，Barbara Gabler也是镇上最漂亮的女孩，自从到教堂听了Pachelbel弹的曲子，就爱上了他。很多有钱人上门向Barbara Gabler提亲都被拒绝了，因为Barbara Gabler心里只喜欢Pachelbel。但女孩子嘛，都比较害羞，从小被宠到大的Barbara Gabler一直不敢向Pachelbel表白，后来Barbara Gabler就找了个理由，说要去Pachelbel那里学钢琴，她对Pachelbel说自己热爱音乐，希望可以拜师学艺。
Pachelbel很高兴的收下了这个徒弟。但Barbara Gabler她的目的并不是弹琴，所以几乎不把经历花费在钢琴上，遭到了Pachelbel一再的责骂。Barbara Gabler心里委屈，但还是一直跟着Pachelbel，希望Pachelbel能明白自己的心意。
终于有一天Pachelbel对Barbara Gabler说：“你走吧，你真的不适合弹钢琴。而且你也不喜欢钢琴。”Barbara Gabler听后，对自己说：“不要说我不行！Pachelbel。我回去一定要好好弹琴，半年后我要拿到本地的钢琴第一名的！”（在镇上每年都会举行一次女孩钢琴大赛。）
半年里，Barbara Gabler天天练习，饿了就叫家里的用人送些吃的，困了就趴着睡一会。 半年一转眼就过去了，Barbara Gabler参加了比赛，果真的拿了奖。Barbara Gabler想拿这个奖杯去找Pachelbel并向他表达自己的爱意，但当她去找Pachelbel的时候，Pachelbel已经不在了。当时正值战乱，Pachelbel被征去打仗，Barbara Gabler知道后说：“好，我等他回来。”
就这样Barbara Gabler等了Pachelbel整整3年多，在这期间村长的儿子看上了Barbara Gabler ，村长的儿子很清楚Barbara Gabler已经心有所属，就叫人从前线运回来一具碎尸体，说那就是Pachelbel。Pachelbel没有父母和亲戚，没有人可以对证，Barbara Gabler相信Pachelbel真的已经死了，趴在“Pachelbel“的尸体上哭了3天3夜，那时，村长的儿子买了很多的礼物去找Barbara Gabler提亲，Barbara Gabler没有理睬。
在3天后的晚上，在当时Pachelbel教Barbara Gabler钢琴的教堂里，Barbara Gabler割腕自杀了。
而Pachelbel在Barbara Gabler离开的半年里，他发现没有Barbara Gabler在身边，自己少了很多很多的快乐，其实很多事情就是这样失去了才知道珍惜。Pachelbel在Barbara Gabler离开后才发现原来自己已经不知不觉的爱Barbara Gabler，只是因为她学琴不努力所以就埋没了对她的喜欢。当时他准备写一首歌，做为向Barbara Gabler求婚的礼物，当他完成了卡农的1/3的时候。他被招去打仗了，在战乱中，自己的生命多次都是九死一生，每当心中不舒服的时候都会想到Barbara Gabler，想到教她弹琴的日子......那段时光真是值得怀念啊。之后他完成了卡农剩下的2/3。
在Barbara Gabler自杀后了第2个月，Pachelbel回到了村里。他从村民的口中知道了Barbara Gabler的故事和她为自己做的所有事后，他咆哮着，放声大哭。他找到了Barbara Gabler的家人，问她现在葬在哪。她家里人都不肯告诉Pachelbel，随后的一次礼拜，Pachelbel招集他们村和Barbara Gabler村上所有的人，他坐在钢琴前强忍着泪水，弹出了卡农参考资料：不熟，帮不了你什么，我觉得把这个背景故事讲一讲，同学们的眼泪就出来咯
全部回答
- 1楼网友：独钓一江月
- 2021-11-26 23:21
Canon (music)
In music, a canon is a contrapuntal composition that employs a melody with one or more imitations of the melody played after a given duration (e.g. quarter rest, one measure, etc.). The initial melody is called the leader, while the imitative melody is called the follower which is played in a different voice. The follower must be created from the leader by being either an exact replication of the rhythms and intervals of the leader, or a transformation such as those listed in "Types of canon" (below). Canons where all parts sing identical music and which repeat are called rounds, such as "Row, Row, Row Your Boat" and "Frère Jacques".
Accompanied canon is a canon accompanied by one or more additional independent parts which do not take part in imitating the melody.
Contents
1 History
2 Types of canon
3 How voices in a canon are named
3.1 Number of voices
3.2 Simple
3.3 Interval
3.4 Contrapuntal derivations
3.4.1 Inverse
3.4.2 Retrograde
3.5 Mensuration and tempo canons
4 Other types of canon
4.1 Puzzle canon
4.2 Mirror canon
4.3 Table Canon
5 Elaborate use of canon technique
6 Contemporary canons
History
---------------------------------------------
The Old French canon, which meant 'learned', was taken from the Greek kanon for a rule or law, which eventually came to mean 'an accepted rule' in English, and the term was first used for the rule that describes how the voices relate to each other. Not until the sixteenth century was canon used to describe the musical form. The earliest known canons are the rounds (or rondellus) in England from the thirteenth century; the best known is Sumer Is Icumen In. In the fourteenth century many canons were written in Italy under the name caccia, and occasionally French chansons of that period used canon technique. During the period of the Franco-Flemish School (1430-1550), canon as a contrapuntal art form received its greatest development, while the Roman School gave it its most complete application. In the later periods the canon played a less important role (as entertainment), with a few notable exceptions like Bach's The Musical Offering. Arnold Schoenberg revived the interest in canon with his twelve-tone technique.
Types of canon
----------------------------------------------
The most rigid and ingenious forms of canon are not strictly concerned with pattern but also with content. Canons are classified by various traits: the number of voices, the interval at which each successive voice is transposed in relation to the preceding voice, whether voices are inverse, retrograde, or retrograde-inverse; the temporal distance between each voice, whether the intervals of the second voice are exactly those of the original or if they are adjusted to fit the diatonic scale, and the tempo of successive voices. However, canons may use more than one of the above methods.
How voices in a canon are named
-----------------------------------------------
Although, for clarity, this article uses leader and follower(s) to denote the leading voice in a canon and those that imitate it, musicological literature also uses the traditional Latin terms Dux and Comes for "leader" and "follower", respectively. The terms "Proposta" for the leader, and "Riposta" for the follower, are also common terms.
Number of voices
A canon of two voices may be called a canon in two, similarly a canon of x voices would be called a canon in x. This terminology may be used in combination with a similar terminology for the interval between each voice, different from the terminology in the following paragraph.
Another standard designation is "Canon: Two in One", which means two voices in one canon. "Canon: Four in Two" means four voices with two simultaneous canons. While "Canon: Six in Three" means six voices with three simultaneous canons, and so on.
Simple
A simple canon (also known as a round) imitates the leader perfectly at the octave or unison. Well-known canons of this type include the famous children's song Row, Row, Row Your Boat and Frère Jacques.
Interval
Beginning of psalm motet De profundis by Josquin des Prez, featuring a canon at the fourth between the two upper voices in the first six bars.An interval canon imitates the leader at any interval other than the octave or unison (e.g. canon at the second, fifth, seventh, etc.). If the follower imitates the precise interval quality of the leader, then it is called an exact canon; if the follower imitates the interval number (but not the quality), it is called a diatonic canon.
Contrapuntal derivations
The follower may be a contrapuntal derivation of the leader.
Inverse
An inverted canon (also called canon in contrary motion) moves the follower in contrary motion to the leader. Where the leader would go down a fifth, the follower goes up, and vice versa. A sub-order of canon in contrary motion, "mirror," maintains the precise quality of each interval.
Retrograde
In a crab canon, also known as cancrizans, the follower accompanies the leader backward (in retrograde). A canon that is retrograde and inverse is called a Table Canon. A Table Canon would be placed on a table with a musician on either side, both reading the same line of music in opposite directions.
Mensuration and tempo canons
In a mensuration canon (also known as a prolation canon, or a proportional canon), the follower imitates the leader by some rhythmic proportion. The follower may double the rhythmic values of the leader (augmentation or sloth canon) or it may cut the rhythmic proportions in half (diminution canon). Phasing involves the application of modulating rhythmic proportions according to a sliding scale. The cancrizans, and often the mensuration canon, take exception to the rule that the follower must start later than the leader.
Technically, mensuration canons are among the most difficult to write. Many such canons were composed during the Renaissance, particularly in the late fifteenth and early sixteenth centuries; Johannes Ockeghem wrote an entire mass (the Missa Prolationum) in which each section is a mensuration canon, and all at different speeds and entry intervals. In the twentieth century, Conlon Nancarrow composed complex tempo or mensural canons, mostly for the player piano as they are extremely difficult to play; they have also influenced many younger composers. Larry Polansky has an album of mensuration canons, Four-Voice Canons.
Other types of canon
-----------------------------------------------
The most familiar of the canons might be the perpetual/infinite canon (in Latin: canon perpetuus) or round. As (each voice of) the canon arrives at its end it can begin again, in a Perpetuum mobile fashion; e.g. "Three Blind Mice". Such a canon is often called a round or rota. Sumer is icumen in is one example of a piece designated rota.
Additional types include the spiral canon, accompanied canon, and double or triple canon.
Puzzle canon
A Puzzle canon can be any of the above types, but only one voice is notated, and it is up to the performer to find out which rule applies to the canon. Often some kind of riddle is given as a hint. Machaut's rondeau Ma fin est mon commencement et mon commencement est ma fin (My end is my beginning and my beginning is my end) is a crab canon with a third voice which is a musical palindrome. In the Agnus Dei movement of Dufay's mass L'homme armé is this rule noted: Cancer eat plenis et redeat medius ('Let the crab proceed full and return half'). This means that the cantus firmus must be sung first in full note values (and retrograde, since it is a crab), then in halved values and retrograde (that is, normal motion, since it is a crab).
Mirror canon
In a Mirror Canon (or canon by contrary motion), the subsequent voice imitates the initial voice in inversion. They are not very common, though examples of mirror canons can be traced to Bach, Mozart (e.g., the trio from Serenade for Wind Octet in C, K. 388), Webern, and other composers.
Table Canon
A Table Canon is a retrograde and inverse Canon meant to be placed on a table in between two musicians who both read the same line of music in opposite directions. Seeing that both parts are included in each single line, a second line is not needed. Bach wrote a few table canons. Table canons are novelty musical works and have never had much popularity with the general public.
Elaborate use of canon technique
-----------------------------------------------
·Josquin Desprez, Missa L'homme armé super voces musicales, Agnus Dei 2: One voice write with the words 'ex una voce tres' (three voice parts out of one), a mensuration canon in three voices in different tempos.
·Josquin Desprez, Missa L'homme armé sexti toni, Agnus Dei 2: two simultaneous canons in the four upper voices, and at the same time a crab canon in the two lower voices.
Contemporary canons
-----------------------------------------------
The most popular canons heard today are from the Baroque period, such as Johann Pachelbel's Canon in D (Pachelbel's Canon), in which a canon between the three upper voices are accompanied by a repeating bass melody or ground, or every third variation in Bach's Goldberg Variations. The third movement of Gustav Mahler's First Symphony starts with an accompanied simple canon based on Frère Jacques, albeit in D Minor. Jean Sibelius's Sixth Symphony contains many hidden canons: for instance, a 3-in-1 in the strings in which each part is thickened to a third; a 4-in-2; a canon by diminution; and a canon with augmentations at two different speeds. What may be George Rochberg's best known work, his String Quartet No. 6, includes a set of variations on the Pachelbel Canon in D. Henryk Górecki's Third Symphony begins with an extensive eight voice canon in the strings. Steve Reich uses a process he calls phasing which is a canon with variable distance between the voices.
In music, a canon is a contrapuntal composition that employs a melody with one or more imitations of the melody played after a given duration (e.g. quarter rest, one measure, etc.). The initial melody is called the leader, while the imitative melody is called the follower which is played in a different voice. The follower must be created from the leader by being either an exact replication of the rhythms and intervals of the leader, or a transformation such as those listed in "Types of canon" (below). Canons where all parts sing identical music and which repeat are called rounds, such as "Row, Row, Row Your Boat" and "Frère Jacques".
Accompanied canon is a canon accompanied by one or more additional independent parts which do not take part in imitating the melody.
Contents
1 History
2 Types of canon
3 How voices in a canon are named
3.1 Number of voices
3.2 Simple
3.3 Interval
3.4 Contrapuntal derivations
3.4.1 Inverse
3.4.2 Retrograde
3.5 Mensuration and tempo canons
4 Other types of canon
4.1 Puzzle canon
4.2 Mirror canon
4.3 Table Canon
5 Elaborate use of canon technique
6 Contemporary canons
History
---------------------------------------------
The Old French canon, which meant 'learned', was taken from the Greek kanon for a rule or law, which eventually came to mean 'an accepted rule' in English, and the term was first used for the rule that describes how the voices relate to each other. Not until the sixteenth century was canon used to describe the musical form. The earliest known canons are the rounds (or rondellus) in England from the thirteenth century; the best known is Sumer Is Icumen In. In the fourteenth century many canons were written in Italy under the name caccia, and occasionally French chansons of that period used canon technique. During the period of the Franco-Flemish School (1430-1550), canon as a contrapuntal art form received its greatest development, while the Roman School gave it its most complete application. In the later periods the canon played a less important role (as entertainment), with a few notable exceptions like Bach's The Musical Offering. Arnold Schoenberg revived the interest in canon with his twelve-tone technique.
Types of canon
----------------------------------------------
The most rigid and ingenious forms of canon are not strictly concerned with pattern but also with content. Canons are classified by various traits: the number of voices, the interval at which each successive voice is transposed in relation to the preceding voice, whether voices are inverse, retrograde, or retrograde-inverse; the temporal distance between each voice, whether the intervals of the second voice are exactly those of the original or if they are adjusted to fit the diatonic scale, and the tempo of successive voices. However, canons may use more than one of the above methods.
How voices in a canon are named
-----------------------------------------------
Although, for clarity, this article uses leader and follower(s) to denote the leading voice in a canon and those that imitate it, musicological literature also uses the traditional Latin terms Dux and Comes for "leader" and "follower", respectively. The terms "Proposta" for the leader, and "Riposta" for the follower, are also common terms.
Number of voices
A canon of two voices may be called a canon in two, similarly a canon of x voices would be called a canon in x. This terminology may be used in combination with a similar terminology for the interval between each voice, different from the terminology in the following paragraph.
Another standard designation is "Canon: Two in One", which means two voices in one canon. "Canon: Four in Two" means four voices with two simultaneous canons. While "Canon: Six in Three" means six voices with three simultaneous canons, and so on.
Simple
A simple canon (also known as a round) imitates the leader perfectly at the octave or unison. Well-known canons of this type include the famous children's song Row, Row, Row Your Boat and Frère Jacques.
Interval
Beginning of psalm motet De profundis by Josquin des Prez, featuring a canon at the fourth between the two upper voices in the first six bars.An interval canon imitates the leader at any interval other than the octave or unison (e.g. canon at the second, fifth, seventh, etc.). If the follower imitates the precise interval quality of the leader, then it is called an exact canon; if the follower imitates the interval number (but not the quality), it is called a diatonic canon.
Contrapuntal derivations
The follower may be a contrapuntal derivation of the leader.
Inverse
An inverted canon (also called canon in contrary motion) moves the follower in contrary motion to the leader. Where the leader would go down a fifth, the follower goes up, and vice versa. A sub-order of canon in contrary motion, "mirror," maintains the precise quality of each interval.
Retrograde
In a crab canon, also known as cancrizans, the follower accompanies the leader backward (in retrograde). A canon that is retrograde and inverse is called a Table Canon. A Table Canon would be placed on a table with a musician on either side, both reading the same line of music in opposite directions.
Mensuration and tempo canons
In a mensuration canon (also known as a prolation canon, or a proportional canon), the follower imitates the leader by some rhythmic proportion. The follower may double the rhythmic values of the leader (augmentation or sloth canon) or it may cut the rhythmic proportions in half (diminution canon). Phasing involves the application of modulating rhythmic proportions according to a sliding scale. The cancrizans, and often the mensuration canon, take exception to the rule that the follower must start later than the leader.
Technically, mensuration canons are among the most difficult to write. Many such canons were composed during the Renaissance, particularly in the late fifteenth and early sixteenth centuries; Johannes Ockeghem wrote an entire mass (the Missa Prolationum) in which each section is a mensuration canon, and all at different speeds and entry intervals. In the twentieth century, Conlon Nancarrow composed complex tempo or mensural canons, mostly for the player piano as they are extremely difficult to play; they have also influenced many younger composers. Larry Polansky has an album of mensuration canons, Four-Voice Canons.
Other types of canon
-----------------------------------------------
The most familiar of the canons might be the perpetual/infinite canon (in Latin: canon perpetuus) or round. As (each voice of) the canon arrives at its end it can begin again, in a Perpetuum mobile fashion; e.g. "Three Blind Mice". Such a canon is often called a round or rota. Sumer is icumen in is one example of a piece designated rota.
Additional types include the spiral canon, accompanied canon, and double or triple canon.
Puzzle canon
A Puzzle canon can be any of the above types, but only one voice is notated, and it is up to the performer to find out which rule applies to the canon. Often some kind of riddle is given as a hint. Machaut's rondeau Ma fin est mon commencement et mon commencement est ma fin (My end is my beginning and my beginning is my end) is a crab canon with a third voice which is a musical palindrome. In the Agnus Dei movement of Dufay's mass L'homme armé is this rule noted: Cancer eat plenis et redeat medius ('Let the crab proceed full and return half'). This means that the cantus firmus must be sung first in full note values (and retrograde, since it is a crab), then in halved values and retrograde (that is, normal motion, since it is a crab).
Mirror canon
In a Mirror Canon (or canon by contrary motion), the subsequent voice imitates the initial voice in inversion. They are not very common, though examples of mirror canons can be traced to Bach, Mozart (e.g., the trio from Serenade for Wind Octet in C, K. 388), Webern, and other composers.
Table Canon
A Table Canon is a retrograde and inverse Canon meant to be placed on a table in between two musicians who both read the same line of music in opposite directions. Seeing that both parts are included in each single line, a second line is not needed. Bach wrote a few table canons. Table canons are novelty musical works and have never had much popularity with the general public.
Elaborate use of canon technique
-----------------------------------------------
·Josquin Desprez, Missa L'homme armé super voces musicales, Agnus Dei 2: One voice write with the words 'ex una voce tres' (three voice parts out of one), a mensuration canon in three voices in different tempos.
·Josquin Desprez, Missa L'homme armé sexti toni, Agnus Dei 2: two simultaneous canons in the four upper voices, and at the same time a crab canon in the two lower voices.
Contemporary canons
-----------------------------------------------
The most popular canons heard today are from the Baroque period, such as Johann Pachelbel's Canon in D (Pachelbel's Canon), in which a canon between the three upper voices are accompanied by a repeating bass melody or ground, or every third variation in Bach's Goldberg Variations. The third movement of Gustav Mahler's First Symphony starts with an accompanied simple canon based on Frère Jacques, albeit in D Minor. Jean Sibelius's Sixth Symphony contains many hidden canons: for instance, a 3-in-1 in the strings in which each part is thickened to a third; a 4-in-2; a canon by diminution; and a canon with augmentations at two different speeds. What may be George Rochberg's best known work, his String Quartet No. 6, includes a set of variations on the Pachelbel Canon in D. Henryk Górecki's Third Symphony begins with an extensive eight voice canon in the strings. Steve Reich uses a process he calls phasing which is a canon with variable distance between the voices.
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