Actually. If you are not a musician, then you don’t need to listen to all the movements. It is easier to pick the most charming one, such as the first movement of Beethoven’s Symphony of Destiny, the second and fourth movements of Dvo?ák’s New World, etc., you We should first clarify the origin and background of this symphony. The classic thing is the beauty of the melody. Hold a cup of coffee and listen to a symphony, and you will find that just because you don’t understand it doesn’t mean it’s not beautiful! !

How to enjoy a symphony?

Some people think symphony is unattainable and incomprehensible. As everyone knows, like articles, it also has depth and depth. As long as you know how to appreciate it, it is not difficult to get started. Because what it reflects and describes is, after all, human life and human thoughts and feelings. Ordinary people, after getting started, can go from not understanding to understanding, from not knowing deeply to gradually becoming better. Of course, when appreciating higher-level symphonies, you need to have certain and corresponding life experiences and a higher cultural level. "You must use your own experience, impressions and accumulation of knowledge to supplement it."

Everyone knows , music can be heard, it cannot be seen or touched, so where does the image come from? There are some long-standing debates in music aesthetics, such as whether music can express any content. There have always been two opposing views on this issue. One school says: "Music can express anything." The other school says: "Music is music. Apart from music, nothing is expressed or can be expressed." I I think: The specialty of music is to express emotions. Emotions can be expressed in detail, but it is more difficult to express things other than emotions through music.

Another controversial issue is whether the content expressed by music can be clearly expressed in written language. Mozart once said this: "If it can be expressed in words, then why should I write music?" This sentence shows that what he wrote into music was exactly what cannot be expressed in words. We often see scenes like this when watching movies: two people look at each other without saying a word. In fact, there are a lot of things to say in my heart, but I feel that I can't express them clearly with a thousand words. It is better and better to convey their feelings to each other with eyes. This is called "tacit understanding". Music also has this characteristic. Musicians communicate with their audience through feelings that can only be felt but not expressed in words. Literature can express clear ideas through words, and paintings and dramas have distinct visual images, but what about music? None of these. So strictly speaking, the term "music image" is not very scientific. It is more appropriate to say "music's character and emotion".

Many listeners often have this request: The symphony is difficult to understand. It would be best if you could explain it clearly to me. What exactly is being expressed here? What's the performance there? Music relies more on our imagination, it itself is not clear and specific. For example, the last section of the overture to Rossini's opera "William Tell" is about victory against the enemy. Its theme is very similar to the rhythm of "ta da la, da da la" of horse hooves. We will definitely have an association: Oh, This may be an army, a cavalry troop galloping. There is no horse or running in the music itself, it is just an association generated from the rhythm. There is a specific condition for this association to occur, that is, the horse must be running. If the horse is standing there instead of running, the music has no way to express it. How do you know whether it is a horse or a cow? Or something else?

It can be seen from this that the descriptive narrative of music is very limited. It is limited to those objective things that have sound, rhythm, and dynamics, that is, things in motion. Because music is a kind of acoustic and auditory art, it exists in the movement of sound. If there are things that are not related to the two characteristics of sound and movement, it will be more difficult for music to "describe" them. Therefore, the specialty of music lies not in description or narrative, but in lyricism.

For example, when we are excited or nervous, our heart beats faster. When music expresses this kind of mood, it can use a tense and fast rhythm; if the mood is calm, it will naturally relax and slow down, so the rhythm and speed of the music will also be slow.

Music also has a specialty. For example, when expressing emotions such as sadness, worry, pain, and anger, it can express their various levels in a very subtle way. There is a section in the third movement of the First Symphony that I wrote that uses the crying style of opera to describe pain. If you are familiar with the crying style of opera, you will be able to relate to it.

Music is written through the subjective feelings of the composer, so its subjectivity is very strong. As for the listeners, they must also use their own subjective initiative. Music creation is somewhat different from other arts. When literature writes a novel, the creation is already completed. For drama, it is not enough to write a script, but also to perform it, which is a second creation. What about music? In addition to this second creation, there is also a third creation, which is how the audience appreciates and understands the work. That is to say, the audience must also be involved in the creation, so that the creation process of a musical work is completely completed. Some listeners also asked the question: How does music describe the outside world? For example, how to write about the sea? Here are two typical examples to see how the composer describes the sea.

One is Rimsky-Korsakov's "Arabian Nights", in which the first chapter describes the sea. The introduction of this movement has two themes, one represents the Sultan Shahriar, which is a very rough image; the other is the image of the princess "Sheherazade". But the wonderful thing is that these two themes later became the image of the sea. How can a person turn into the sea? If we listen to this piece of music, we will find that it is the ups and downs of the music melody that reminds us of the ups and downs of the waves. This shows that one of the characteristics of symphonic music creation is that the same musical material can be used to change the musical image through changes in rhythm, harmony, and orchestration.

The "Arabian Nights" suite describes Scheherazade telling stories to the Sultan, so it uses the themes of these two characters to write about the sea. This is not the real sea, but the sea. The sea in their minds, the sea in their stories. The theme of the character here becomes the sea. Is there any intrinsic connection between the two? some. For example, the Sultan is very cruel, which can be related to the terrible turbulence of the sea. As for the "Sheherazade" theme, it is a beautiful theme. I think when the composer wrote it, he might have considered changing it slightly into a theme of waves. From this we can see a composer's ability. He can use one or two very concentrated thematic materials to create different musical images in an ever-changing manner.

Another example is a "sea" written by Debussy, a representative figure of French Impressionism. His writing style is different again. The work is called Symphonic Sketch and has three movements.

The title of the first movement is "The Sea from Dawn to Noon", which is about the calm sea and the sea slowly emerging from the mist.

The second movement is "The Play of Waves", describing the naughty sea, with the waves chasing and playing.

The third chapter is "Dialogue between the Sea and the Wind", which is the roaring sea.

This sea is very different in character from the sea just introduced: first of all, its content is different, and the composer’s character is also different. Debussy was an Impressionist composer whose creative characteristics focused on capturing the ever-changing changes in light, color, and scenery. Therefore, his melodies are all intermittent, with a few notes like this and a few notes like that now, with many changes. It is describing the endlessly changing colors of the sea.

Rimsky-Korsakov and Debussy are both masters of symphonic color orchestration, but they each have their own strengths, so the music they wrote is also completely different.

Three things can be summarized from the above two examples: The first is that even the music that depicts sex does not purely objectively describe the external world. These descriptions are musicalized and personalized. , emotional, rather than the thing itself. Therefore, if a thousand people write about the sea, they will write a thousand things. Article 2: Musical images are generated from association. This association is derived from music's imitation of the movement of things and the sounds they make. Article 3: What the work describes sometimes needs to be hinted by the text title, otherwise it cannot be accurately judged what it is about.

For example, a passage from Tchaikovsky's symphonic poem "Francesca da Rimini" describes a whirlwind in hell. If you don't say this is a whirlwind, you might think it is the sea, because the two have similar movement methods. Therefore, determining the music image depends on the text title. At the same time, it also shows that the description of music can only be approximate, not realistic.

Title music can help everyone understand the image of the work, so how to understand untitled music? This requires understanding from the perspective of people’s psychological state and emotions. For example, Beethoven's "Fifth (Destiny) Symphony", the title "Destiny" was added by someone else. The theme of "fate" in music, some people interpret it as a negative image, an image of a vicious, cruel and gloomy fate. But some people describe it as Beethoven's challenge to the feudal forces, a roaring Beethoven, a Beethoven holding the throat of fate, and a positive image. Isn't this the exact opposite? In short, this theme reflects the author's own feelings and his attitude towards fate. The fourth movement is about Beethoven's ideal victory. In this movement, Beethoven also wrote a very genius stroke. At the climax of victory, the theme of fate suddenly appeared again. Some say this is a review of past struggles, while others say this is an attempt by a defeated and dying Destiny to make a comeback. But I prefer another explanation, that is, even though we have won the victory, we still cannot lose our vigilance. Those reactionary things hiding in dark corners may come back again. Such an explanation is more in line with Beethoven's reality, consistent with his logic, and better demonstrates the philosophical nature of his works. As for how to understand it, everyone can make their own explanation.

The symphony has a lot of inspiration for people, it can give you a lot of room for imagination, especially the untitled symphony has this feature, because it is not constrained by the title, is very general, and has great connotation. Rich. Even if you listen to it a hundred times, you will still make new discoveries. Moreover, as we grow older and gain more experience, our understanding of the works will become deeper. This is one of the strengths of Untitled Symphony.

Finally, let me make two conclusions: First, the specialty of music is mainly lyricism rather than description. So when we appreciate it, we mainly focus on how its emotions affect us, not necessarily what it writes. The music explanation is only a reference, and we mainly need to use our own independent thinking. The second point is that to appreciate a symphony, we must first fully mobilize our own imagination. The better we are at imaginative thinking, the easier it will be to understand the work. In short, music is for listening, not speaking. As long as you listen to symphonies more and use your imagination boldly, you will definitely gain more.

Many listeners often have such a request: the symphony is difficult to understand. It is best for you to explain it clearly to me. What exactly is being expressed here

? What's the performance there?

Music relies more on our imagination, and it is not clear and specific in itself. For example, the last section of the overture of Rossini's opera "William Tell

" is about victory against the enemy. Its theme is very similar to the rhythm of "ta da la, da da la" of horse hooves. We

There will definitely be an association: Oh, this may be the cavalry running. There is no horse or running in the music itself, it is just an association generated from the rhythm. There is a specific condition for this association to occur, that is, the horse must be running. If the horse is standing there instead of running, the music has no way to express it. How do you know whether it is a horse or a cow? Or something else

?

It can be seen from this that the descriptive narrative of music is very limited. It is limited to those objective things that have sound, rhythm and dynamics.

Just things in motion. Because music is a kind of acoustic and auditory art, it

exists in the movement of sound. If there are things that are not related to the two characteristics of sound and movement, it will be more difficult for music to "describe" them. Therefore, the specialty of music lies not in description or narrative, but in lyricism. For example

When we are excited or nervous, our heart beats faster.

When music expresses this kind of mood, it can use a tense and faster rhythm; if the mood is calm, it will naturally relax and slow down, so the rhythm and speed of the music will also be slow

Up. Music also has a specialty. For example, when expressing emotions such as sadness, anxiety, pain, and anger, it can express their various levels in a very subtle way. In the third movement of the "First Symphony" I wrote, a section uses the crying style of opera to describe pain

Pain. If you are familiar with the crying style of opera, you will be able to relate to it.

Music is written through the subjective feelings of the composer, so its subjectivity is very strong. As for the listeners, they also need to use their own subjective initiative. Music creation is somewhat different from other arts. When literature writes a novel, the creation has been completed. For drama, it is not enough to write a script, but also to perform it, which is a second creation. What about music? In addition to this second creation

, there is also a third creation, which is how the audience appreciates and understands the work, which means that the audience must also be involved in the creation

, in this way, the creation process of a musical work is completely completed.

Some listeners also raised the question: How does music describe the external world? For example, how to write about the sea? Here are two typical examples to see how the composer describes the sea.

One is Rimsky-Korsakov's "Arabian Nights", in which the first chapter describes the sea. The introduction of this movement

has two themes, one represents the Sultan Shahriar, a very rough image; the other is the princess "Sheikh

Ra Chad" image. But the wonderful thing is that these two themes later became the image of the sea. How can a person turn into the sea? If

we listen to this piece of music, we will find that it is the ups and downs of the music melody that reminds us of the ups and downs of the waves. This shows that one of the characteristics of symphonic music creation is that the same musical material can be used to change the musical image through changes in rhythm, harmony, and orchestration. The "Arabian Nights" suite is about Scheherazade telling stories to the Sultan, so it uses the theme of these two characters to write about the sea. This is not the real sea, but the sea. The sea in their minds, the sea in their stories. The theme of the characters here is the sea. Is there any inner connection between the two? some. For example, the Sultan is very cruel, which can be related to the terribleness of the turbulent sea

. As for the "Sheherazade" theme, it is a beautiful theme. I think when the composer wrote it, he may have considered slightly changing it into a theme of waves. From this we can see the ability of a composer.

He can use one or two very concentrated thematic materials to create different musical images in an ever-changing manner.

Another example is a "sea" written by Debussy, a representative figure of French Impressionism. His writing style is different again. This

work is called Symphonic Sketch and has three movements. The title of the first movement is "The Sea from Dawn to Noon", which is about the calm sea, the sea slowly emerging from the mist. The second movement is "The Play of Waves", which describes the naughty sea, with the waves chasing and playing.

The third chapter is "Dialogue between the Sea and the Wind", which is the roaring sea. This sea is very different in character from the sea just introduced:

First of all, its content is different, and the composer’s character is also different. Debussy was an Impressionist composer whose creative writing was characterized by his focus on capturing the ever-changing changes in light, color, and scenery. Therefore, his melodies are intermittent

with a few notes like this and a few notes like that now, which are very varied. They are describing the endlessly changing colors of the sea

. Rimsky-Korsakov and Debussy were both masters of symphonic color orchestration, but each had their own strengths, so the music they wrote was completely different.

Three things can be summed up from the above two examples: The first is that even the music that depicts sex does not describe the external world purely objectively

These descriptions are made by music. It is something that has been transformed, characterized, and emotional, rather than the thing itself. Therefore

If a thousand people write about the sea, they will write a thousand ways. Article 2: Musical images are generated from association. This association is produced through music's imitation of the movement of things and the sounds they make. As for the third article, what the work describes

sometimes needs to be prompted by the text title, otherwise it cannot be accurately judged what it is about. For example, a passage from Tchaikovsky's symphonic poem "Francesca da Rimini" describes a whirlwind in hell. If you don't say it is a cyclone, you might think it is the sea, because the two have similar movement methods. Therefore, determining the music image depends on the text title. At the same time, it also shows that the description of music

can only be approximated, not realistic.

Title music can help everyone understand the image of the work, so how to understand untitled music? This requires understanding from the perspective of people's

mental states and emotions. For example, Beethoven's "Fifth (Destiny) Symphony", the title "Destiny" was added by others. The theme of "fate" in music, some people interpret it as a negative image, an image of a vicious, cruel and gloomy fate.

But some people say it is Beethoven's challenge to feudal forces, a roaring Beethoven, a Beethoven who strangles the throat of fate

Ven is a positive image . Isn't this the exact opposite? In short, this theme reflects the author's own feelings and his attitude towards fate. The fourth movement is about Beethoven's ideal victory. In this movement, Beethoven also wrote a very genius. At the climax of victory, the theme of fate suddenly appeared again. . Some people say that this is a review of past struggles, while others say that this is an attempt to make a comeback by the dying people. But I prefer another explanation, that is, even though we have won the victory, we still cannot lose our vigilance. Those reactionary things hiding in dark corners may come back again. This kind of explanation is more in line with Beethoven's reality, consistent with his logic, and better shows the philosophical nature of his works. As for how to understand it, everyone can make their own explanation.

Symphony can give you a lot of inspiration, it can give you a lot of room for imagination, especially the untitled symphony has this feature

because it is not constrained by a title , very general and very rich in connotation. Even if you listen to it a hundred times, you will still find something new

. Moreover, as we grow older and gain more experience, our understanding of the works will become deeper. This is one of the strengths of Untitled Symphony

.

Finally, let me make two conclusions: First, the specialty of music is mainly lyricism rather than description. So when we appreciate it, we mainly focus on how its emotions infect us, not necessarily what it writes. The music explanation is only used as a reference, and we mainly need to use our own independent thinking. Secondly, to appreciate symphony, we must first fully mobilize our own imagination.

A symphony, also known as a symphony, its name originates from Greek and translates as "all sounding together". It is a large-scale instrumental suite with the characteristics of a sonata and played by an orchestra. It has a grand structure and profound implications, and is good at summarizing the rich content of social life and human thought.

The structure of a symphony is usually composed of four movements. The first movement, Allegro, is a complete three-part body, namely presentation, development, and reproduction; the second movement, Adagio (or slightly slower), is Andante, full of singing and lyrical characteristics; the third movement, Allegro (or slightly faster) , is a medium-tempo minuet or scherzo (sometimes omitted); the fourth movement, Allegro (or Presto), is customarily a rapid rondo (sometimes with variations) forming a happy finale.

These four movements are independent of each other, but also closely related internally. The theme always runs through the entire music.

The outstanding feature of the symphony is that it fully utilizes the timbre and range of strings, woodwinds, brass, and percussion instruments. The novel orchestration makes a variety of musical instruments complement each other and coordinate tacitly, thereby producing an artistic effect that is magnificent, colorful and expressive. For example, "Music Saint" Beethoven's "Symphony No. 3 in E flat major" (Eroica), as a representative of "characteristic symphony", not only has an extraordinary style of conception. Moreover, the melody is passionate and majestic, full of infinite praise for the hero. Chinese musician Xian Xinghai's "National Liberation Symphony" has a rigorous structure, majestic tone and full of emotion. After appreciating it, everyone will be inspired by the evocative music.

It is really a wonderful enjoyment to understand the structure and form of a symphony, then understand the theme of the music based on the performance, and appreciate the moving melody and performance techniques.