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영어 (English)/테드 (TED Talk)

TED 테드로 영어공부 하기 How to read music

by ★√★ 2020. 5. 11.


안녕하세요, Davey 입니다. 오늘 Posting 할 TED 강연은 누구한테는 너무나도 간단한 이런이지만 누구한테는 약간 생소하면서도, 궁금한 사항에 대한 대한 내용입니다. 바로, 악보를 어떻데 읽느냐라는 주제의 TED talk 입니다.

일단 Title은 How to reas music 입니다. 본문 내용은 아래 Link를 참조 하시면 됩니다

 

https://www.ted.com/talks/tim_hansen_how_to_read_music/transcript?rid=RJHdM7XQFqhk

 

Transcript of "How to read music"

TED Talk Subtitles and Transcript: Like an actor's script, a sheet of music instructs a musician on what to play (the pitch) and when to play it (the rhythm). Sheet music may look complicated, but once you've gotten the hang of a few simple elements like n

www.ted.com

 - 일단 처음에, 영화를 보면 배우들이 대본에 나와 있는대로, 읽고 행동 하듯이, 악보도 같은 방법으로 읽으면 된다고 하네요. 사실 처음에는 무슨 말인지 갸우뚱했습니다. 멀 애기하고 언제 애기하는지에 대본에 나와 있다는 거죠. 베토벤이랑 저스틴 비버의 음악은 다르지만 기본은 똑같다는거죠. 오건줄에는 가로 축과 세로 축이 있으면 그 요소마다, 다 틀리다라고 하더라구요. 세로축은, the pitch of the note 음높이를 나타내고, 가로축은, rhythm of the note 음의 리듬을 나타낸다고 하더라구요.

 

- 피아노 연주하는 것을 한 예로, 내용을 설명을 했고, 다른 악기에도, 그 똑같은 컨셉으로, 적용할 수 있다고 하니까 끝까지 자세히 읽어보시면 도움이 될 거 같습니다. 그럼 아래 script 와 단어 공부 및 체크해보시고, 유용한 정보와 영어공부 둘 다 획득하시길 바랍니다. 아래 script는 TED 홈페이지 해당 speech의 Transcript 내용 참조하였습니다.

 - How to read music script & words

 

 

TED 영상 사진 참조

 

 

When we watch a film or a play, we know that the actors probably learned their lines from a script, which essentially tells them what to say and when to say it. A piece of written music operates on exactly the same principle. In a very basic sense, it tells a performer what to play and when to play it. Aesthetically speaking, there's a world of difference between, say, Beethoven and Justin Bieber, but both artists have used the same building blocks to create their music: notes. And although the end result can sound quite complicated, the logic behind musical notes is actually pretty straightforward. Let's take a look at the foundational elements to music notation and how they interact to create a work of art. 

Aesthetically 미적으로

musical notes 음표
music notation 음표 표기법

Music is written on five parallel lines that go across the page. These five lines are called a staff, and a staff operates on two axes: up and down and left to right. The up-and-down axis tells the performer the pitch of the note or what note to play, and the left-to-right axis tells the performer the rhythm of the note or when to play it. Let's start with pitch. To help us out, we're going to use a piano, but this system works for pretty much any instrument you can think of. In the Western music tradition, pitches are named after the first seven letters of the alphabet, A, B, C, D, E, F, and G. After that, the cycle repeats itself: A, B, C, D, E, F, G, A, B, C, D, E, F, G, and so on. But how do these pitches get their names? Well, for example, if you played an F and then played another F higher or lower on the piano, you'd notice that they sound pretty similar compared to, say, a B. Going back to the staff, every line and every space between two lines represents a separate pitch. If we put a note on one of these lines or one of these spaces, we're telling a performer to play that pitch. The higher up on the staff a note is placed, the higher the pitch. But there are obviously many, many more pitches than the nine that these lines and spaces gives us. A grand piano, for example, can play 88 separate notes. So how do we condense 88 notes onto a single staff? We use something called a clef, a weird-looking figure placed at the beginning of the staff, which acts like a reference point, telling you that a particular line or space corresponds to a specific note on your instrument. If we want to play notes that aren't on the staff, we kind of cheat and draw extra little lines called ledger lines and place the notes on them. If we have to draw so many ledger lines that it gets confusing, then we need to change to a different clef. 

condense 응축하다, 요약하다

 

As for telling a performer when to play the notes, two main elements control this: the beat and the rhythm. The beat of a piece of music is, by itself, kind of boring. It sounds like this. (Ticking) Notice that it doesn't change, it just plugs along quite happily. It can go slow or fast or whatever you like, really. The point is that just like the second hand on a clock divides one minute into sixty seconds, with each second just as long as every other second, the beat divides a piece of music into little fragments of time that are all the same length: beats. With a steady beat as a foundation, we can add rhythm to our pitches, and that's when music really starts to happen. This is a quarter note. It's the most basic unit of rhythm, and it's worth one beat. This is a half note, and it's worth two beats. This whole note here is worth four beats, and these little guys are eighth notes, worth half a beat each. "Great," you say, "what does that mean?" You might have noticed that across the length of a staff, there are little lines dividing it into small sections. These are bar lines and we refer to each section as a bar. At the beginning of a piece of music, just after the clef, is something called the time signature, which tells a performer how many beats are in each bar. This says there are two beats in each bar, this says there are three, this one four, and so on. The bottom number tells us what kind of note is to be used as the basic unit for the beat. One corresponds to a whole note, two to a half note, four to a quarter note, and eight to an eighth note, and so on. So this time signature here tells us that there are four quarter notes in each bar, one, two, three, four; one, two, three, four, and so on. But like I said before, if we just stick to the beat, it gets kind of boring, so we'll replace some quarter notes with different rhythms. Notice that even though the number of notes in each bar has changed, the total number of beats in each bar hasn't. So, what does our musical creation sound like? (Music) Eh, sounds okay, but maybe a bit thin, right? Let's add another instrument with its own pitch and rhythm. Now it's sounding like music. Sure, it takes some practice to get used to reading it quickly and playing what we see on our instrument, but, with a bit of time and patience, you could be the next Beethoven or Justin Bieber. 

 

이상입니다. 사실 어렸을 때 많은 분들이 음악학원, 피아나 학원 다녔을거라고 생각합니다. 근데 꾸준히 관심을 가지고 배우지 않으면 막상 어른이 되면 다 까먹게 되더라구요. 이번 강연 들은걸 계기로 악기 하나 배우는거 시작해보는건 어떨까요?! 오늘도 TED 통해서 유익한 정보도 알고, 영어공부도 열심히 하시기 바랍니다.

그럼 오늘도 공부 파이팅하시고, 조금이나마 영어 공부에 도움이 되셨으면 하네요. 감사합니다.

[저작권이나, 권리를 침해한 사항이 있으면 언제든지 Comment 부탁 드립니다. 검토 후 수정 및 삭제 조치 하도록 하겠습니다. 그리고, 기재되는 내용은 개인적으로 습득한 내용이므로, 혹 오류가 발생할 수 있을 가능성이 있으므로, 기재된 내용은 참조용으로만 봐주시길 바랍니다. 게시물에, 오류가 있을때도, Comment 달아 주시면, 검증 결과를 통해, 수정하도록 하겠습니다.]

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