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ACADEMIA DE MUZICGHEORGHE DIMA CLUJD.E.C.I.D.

ROXANA HUZA

LIM BA ENGLEZAMODUL DE STUDIU V

PENTRU STUDII UNIVERSITAREPRIN NVMNT LA DISTAN

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INTRODUCERE

Acest curs de limba englez se adreseaz studenilor Academiei de Muzic GheorgheDima Cluj-Napoca din cadrul Departamentului de Educaie Continu i nvmnt laDistan, avnd ca scop acumularea de cunotine n domeniul limbii engleze, prin nsuireaatt a elementelor de morfologie i sintax, specifice limbii engleze n general, ct i a celorde vocabular, specifice domeniului muzical-artistic.

Ca instrument de lucru de baz se va folosi volumul Grammar Practice for IntermediateStudents with key and with CD-ROM, de Sheila Dignen i Brigit Viney, mpreun cu ElaineWalker i Steve Elsworth, ed. Pearson Longman, 2007, manual care gsete la bibliotecaDECID din Cadrul Academiei de Muzic Gheorghe Dima.

Pentru nsuirea elementelor de vocabular specifice domeniului muzical se vor folosimateriale (texte, exerciii de nelegere a acestor texte, exerciii de traducere) preluate din

bibliografia adiional.Cursul este structurat sub forma a ase module de studiu care vor permite studenilor

nsuirea gradual a elementelor de gramatic i vocabular, precum i aplicarea practic acunotinelor acumulate. Primele cinci module sunt bazate pe capitolele cuprinse n manualulde studiu, n timp ce al aselea va fi rezervat recapitularii i fixrii cunotinelor acumulate i

pregtirii pentru examenul de limb premergtor examenului de licen. Nivelul de nsuire a cunotinelor va fi verificat prin intermediul unor teste de

autoevaluare pe parcursul modulelor, la sfritul fiecrei uniti de nvare, precum i prinintermediul unor teste de evaluare la sfritul fiecrui modul. Dac n cazul testelor deautoevaluare studenii au la dispoziie cheia exerciiilor, testul de la finalul fiecrui modul estecorectat de ctre profesor, pentru a avea o evaluare obiectiv a cunotinelor.

Dificultatea exerciiilor i a textelor studiate, dar i a testelor, va crete directproporional cu cunotinele acumulate pe parcurs de ctre studeni.

nvmntul la distan implic utilizarea unormetode i tehnici noi de nvare pentrua spori gradul de acces la sistemele educaionale al persoanelor care nu pot participa lacursurile Academiei de Muzic Gheorghe Dima Cluj-Napoca n regim cu frecven. Avndn vedere c scopul lor este acela de a mbunti substanial flexibilitatea nvrii n raportcu timpul i disponibilitatea cursanilor, manualul de studiu menionat este dotat i cu un CDcare ofer studenilor posibilitatea de studiu individual, exemplificnd tehnici de execuie,detaliind i explicnd scheme din curs, sau prezentnd diferite aplicaii practice alematerialului scris, iar textele studiate vor fi puse la dispoziia studenilor att n varianttiprit, ct i n variant electronic.

Conform noilor cerine din domeniul nvmntului la distan, studenii vor fistimulai n direcia pregtirii individuale prin e-learning, dispunnd de o baz media destocare a informaiei (cursuri, articole, lucrri, materiale audio i video).

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UNITATEA DE NVARE NR. 1 PREPOZIII I

CONJUNCII

Cuprins:

Obiectivele unitii de nvare ...............................................................................7

Lecia 1 ..................................................................................................................8

Lecia 2 ..................................................................................................................9

Lecia 3 ..................................................................................................................10Lecia 4 ..................................................................................................................11

Lecia 5 ..................................................................................................................13

Lecia 6 ..................................................................................................................14

Lecia 7 ..................................................................................................................15

Lecia 8 ..................................................................................................................15

Lecia 9 ..................................................................................................................16

Rspunsuri i comentarii la testele de autoevaluare.................................................19Lucrare de verificare nr. 1.......................................................................................19

Bibliografie minimal.............................................................................................20

Obiectivele unitii de nvare

n urma parcurgerii unitii de nvare nr. 1 vei dobndi urmtoarele competene:- nsuirea i sistematizarea prepoziiilor i conjunciilor.

- Dezvoltarea abilitilor de utilizare a acestei structuri n comunicarea scris ioral.- mbogirea vocabularului prin lectur, traducere de texte, exerciii de nelegere

de texte i conversaie prin utilizarea lexicului specific domeniului artistic-muzical i nu numai.

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LECIA 1

Adugare i contrastUrmtoarele cuvinte au sensuri sumilare cu and:also: She sings and she also plays the piano.too: Matt wants to come too.as well as: She speaks German as well as French

Both and, either or, neither norntresc:He knows both Mary and John.Neither his father, nor his mother went to university.In addition, besides that, whats moreUrmtoarele cuvinte au sensuri sumilare cu but:although, though, even though, whereas, however, in spite of/despite of:

Hes hopeless at tennis even though he plays every week.

In spite of the rain, we enjoyed ourselves.

TraducereContemporary Music (1945 - 2000)During the mid 20th century, music evolved in many different directions. Some

composers took Schoenberg's "serial" system to new limits. The rise of jazz, as well as anincreasing awareness of non-Western music, provided additional inspiration for many, whileothers ventured into electronic music by manipulating sounds and noises recorded on tape - astyle known as musique concrte. Yet another route was that of "chance" music, notably inthe work of John Cage, in which the elements of a composition or performance could bedetermined by, say, "the throw of the dice".

In the 1930s and 1940s, many composers returned to forms and techniques of theBaroque and Classical eras. This "Neoclassical" style was a reaction to the emotional,dramatic character of Romanticism. The Neoclassicists turned to past models as a vehicle forexpressing their ideas. The Neoclassicists wrote for small chamber ensembles and preferred atightly knit treatment of thematic material. They did not copy 17th and 18th century forms,

but took elements, such as the fugue, and added their own modern harmonies and rhythms.An example of this is Stravinsky's opera The Rake's Progress (1951).

The rapid advances in technology during the late 20th century are partly responsible forthe emergence of a wide variety of musical forms. Electronics played an important role in thedevelopment of music, both classical and popular, from the 1960s onward. The ability of thesynthesizer to generate artificial tones and sounds attracted composers such as John Cage,Edgard Varse, and Karlheinz Stockhausen. Beginning in the 1970s, the use of computers,with their ability to memorize and play back whole compositions, discouraged live

performances. Many composers turned to writing film scores, for which the precision ofcomputerized music is ideally suited.

Minimalism, which emerged in the 1960s, focuses on the development of a singleaspect of music, such as pitch or rhythm, while keeping other elements constant. Thisapproach owes much to Indian raga music, in which the pattern of music changes very little.Computers play a large part in minimalist music because they can make fine, precisealterations. Steve Reich, for instance, made tiny changes in pulse by playing two identical

patterns at the same time and slightly altering the speed of one of the patterns.

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LECIA 2

Motiv, cauz, scop, rezultat i modalitateBecause, since, as + propoziie, due to: I went home because I was tired.So (that): I put my keys in my pocket so that I wouldnt forget them.Pentru rezultat sau consecin folosimso + propoziie: I was tired, so I went home.Modalitate as if, as though, like: It looks as if its going to rain. He looked at me like I

was mad!

TraducereMusic Lessons Increase Academic Performance

Since the dawn of civilization, music has been an integrated part of a child's education,as everyone has realized the potential that sounds have in shaping the mind of a young pupil.In most countries in the world today, music lessons are still offered in schools as part of the

basic curricula, along with sports and drawing. The Ancient Greeks recognized theimportance of all these activities being performed alongside mathematics and physics,

because they complemented each other.

Indeed, a new scientific study now comes to prove just that. Researchers at the OhioState University in the US have reviewed the behavior of children, mostly in high-schools,who have been exposed to music lessons either early in life, or throughout their school years.Investigators Darby E. Southgate, MA, and Vincent Roscigno, PhD, both from OSU, havediscovered that the presence of music in teens' education has a significant impact on their

abilities to understand complicated concepts from math or physics.The finds have been detailed in a recent edition of the journal Social Science Quarterly,where the scientists have drawn attention to the fact that academic achievement is directlycorrelated with the amount of music lessons or concerts children went to as youngsters, oreven during middle-school. Reading performances have also showed major improvements,after the effect of music has been accounted for. For the test, the team used data from twomajor US studies on children, and cross-referenced them to their own research.However, participating to music lessons or in various concerts is not always possible for everychild, even though it is in their best interest. The survey has pointed out that parents with a

poorer socioeconomic status cannot afford to send their offspring to attend music lessons, orvarious cultural manifestations, as opposed to the rich, who can even pay for a private music

tutor for their kids.

In addition to the financial status, ethnicity has also been found to play a major factor, as faras attendance to music classes goes. For example, statistics show that White and Asianchildren are more likely to participate in music lessons than, say, Hispanics. This inequality issolely related to ethnicity, and has nothing to do with the socioeconomic status of theirfamilies. As far as Blacks go, the team says that, even though youngsters go to concertsregularly, they are highly unlikely to engage in formal music lessons alongside otherethnicities.

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LECIA 3

Expresii de legtur i concordana timpurilorFolosim expresii de legtur pentru a aduga sau contrasta idei, sau pentru a le scoate n

eviden.in other words, by the way, anyway, I mean, well, actually, obviously: Well, I thought it

was a good film. By the way, I saw Martin yesterday.

Concordanta timpurilor (THE SEQUENCE OF TENSES)

Este acordul obligatoriu al timpului verbului din subordonata cu timpul verbului dinregenta sa. In limba engleza timpul verbului din subordonata trebuie sa se subordonezetimpului verbului din regenta. Cu alte cuvinte timpurile verbelor din regente dicteaza folosireaanumitor timpuri in subordonatele lor.

Exista in acest sens trei reguli de cunoscut si aplicat.Regula I: Daca in regenta verbul este la Present Tense sau Present Perfect Tense insubordonata se poate folosi orice timp.

Regula II: Daca in regenta verbul este la trecut in subordonata el trebuie sa fie la unuldin cele trei timpuri trecute ale limbii engleze: The Past Perfect, The Past Tense, The Futurein the Past.

Regula III: Daca verbul din regenta este la viitor in subordonatele conditionale sitemporale, el trebuie sa fie la Present Tense sau Present Perfect Tense, iar daca subordonataeste completiva directa verbul va fi la viitor.

REGENTA SUBORDONATA

I. Verbul este laprezent

verbul poate fi la orice timp

he had come = venisehe came = a venit

We all know that =Noi toti stim ca

he will come= el va veni

he would come = el ar venihe would have come = el ar fi venit

II. Verbul este latrecut

verbul trebuie sa fie la trecut

she had come = ea venise - anterioritateHe did not know that= El nu a stiut ca

she came = ea a venit - simultaneitate

she would come = va veni - posterioritateIII. Verbul este la

viitorA. verbul sa fie la Present sau Present Perfect in

subordonatele conditionale si temporaleI shall tell you the truth if/when = Iti voi spune adevarul daca /candyou give (have given) me the book. = imi vei da cartea.

B. verbul va fi la orice timp in subordonatacompletiva directa.

I shall see what = Euvoi vedea ce

I shall do. = voi face.

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EXCEPTII (deci cazuri cand nu se aplica regulile de concordanta a timpurilor)1. Cand in subordonata se exprima un adevar stiintific /general.Everybody knew that gold is a metal. = Toata lumea stia ca aurul este metal.I told you that silver is gray. = Ti-am spus ca argintul este gri.

2. Cand subordonata este:a) cauzalaHe will not go to school because he didn't learn his lessons. = El nu va merge la scoala pentruca nu si-a invatat lectiile.We shall go on the trip because they gave us the money. = Vom merge in excursie pentru caei ne-au dat banii.

b) atributivaYou will see the man who wrote that book. = Il vei vedea pe omul care a scris cartea aceea.I saw the girl who will play the piano. = Am vazut fata care va canta la pian.c) comparativ modalaTomorrow I shall work more than I worked yesterday. = Maine voi munci mai mult decat am

muncit ieri.

TraducereThe term musical form is often loosely used to refer to particular musical genres or

styles (Scholes 1977), which may be determined by factors such as harmonic language,typical rhythms, types of musical instrument used as well as historical and geographicalorigins. In the vocabulary of art-music, however, it has a more extended meaning, referring tothe type of "architectural" structure on which the music is built. Scholes (1977) explainedmusical form as a series of strategies designed to find a successful mean between the opposite

extremes of unrelieved repetition and unrelieved alteration.Middleton (p.145) also describes form, presumably after Gilles Deleuzes Differenceand Repetition (1968, translated 1994), through repetition and difference. Difference is thedistance moved from a repeat, a repeat being the smallest difference. Difference isquantitative and qualitative how far different and what type of difference.

Musicalform may be contrasted with content(the parts) or withsurface (the detail), butthere is no clear line dividing them. "Form covers the shape or structure of the work, contentits substance, meaning, ideas, or expressive effects" (Middleton 1999). In many cases formdepends on statement and restatement, unity and variety, contrast and connection.

LECIA 4

Prepoziii de loc, micare i timpPrepozitia descrie legatura dintre doua cuvinte din aceeasi propozitie. Prepozitiile nu au

un inteles de sine statator, ele capata diferie sensuri puse in legatura cu alte cuvinte.

In limba engleza nu se va termina niciodata o propozitie cu o prepozitie.

10.2. Prepozitii de timp: at, on, inAtse foloseste pentru a desemna ora exacta

Ex.: The train is due at 12:15 p.m.

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On indica zilele si datele calendaristiceEx.: My brother is coming on Monday.We're having a party on the Fourth of July.

In se foloseste pentru a desemna ore imprecise din timpul zilei, cat si luna, anotimpul,anul.

Ex.: She likes to jog in the morning.It's too cold in winter to run outside.He started the job in 1971.He's going to quit in August.

10.2. Prepozitii de loc: at, on, inAtse foloseste cu adrese exacte.

Ex.: Grammar English lives at 55 Boretz Road in Durham.On desemneaza numele de strazi, sosele, bulevarde, alei, etc.

Ex.:Her house is on Boretz Road.In se foloseste cu numele regiunilor (orase, judete, tari, state, continente).

Ex.: She lives in Durham.

Durham is in Windham County.Windham County is in Connecticut.

10.3. Prepozitii de miscare: to si lipsa prepozitieiTo se foloseste pentru a exprima deplasarea, miscarea catre un loc.

Ex.: They were driving to work together.She's going to the dentist's office this morning.

Towardsi towards exprima de asemenea miscarea.Acestea doua sunt doar variantele ortografice ale aceluiasi cuvant si se pot folosi indiferent.Ex.: We're moving toward the light.This is a big step towards the project's completion.

Cu urmatoarele cuvinte: home, downtown, uptown, inside, outside, downstairs, upstairs,nu se folosesc prepozitii.Ex.: Grandma went upstairs Grandpa went home.They both went outside.

10.4. Prepozitii de timp: for si sinceForse foloseste atunci cand se masoara timpul (secunde, minute, ore, zile, luni, ani).

Ex.:He held his breath for seven minutes.She's lived there for seven years.The British and Irish have been quarreling for seven centuries.

Since se foloseste cu data sau ora exacta.Ex.:He's worked here since 1970.

She's been sitting in the waiting room since two-thirty.

Traducere

The most basic levels of musical form concern (a) the arrangement of the pulse intoaccented and unaccentedbeats, the cells of a measure that, when harmonised, may give riseto the "briefest intelligible and self-existent musical unit" (Scholes, 1977), called a motiforfigure, and (b) the further organisation of such a measure, by repetition and variation, into atrue musical phrase having a definite rhythm and duration that may be implied in melody andharmony, defined, for example, by a long final note and a breathing space. This "phrase" may

be regarded as the fundamental formal unit of music: it may be broken down into measures oftwo or three beats but its distinctive nature will then be lost. Even at this level we can see theimportance of the principles of repetition and contrast, weak and strong, climax and repose.

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(Macpherson 1930). (See also: Metre (music)) Given all this, we may understand the term"form" on three further main levels of organisation that we can roughly designate "passage","piece", and "cycle" for purposes of exposition.

LECIA 5

Expresii prepoziionale (Prepositional phrases)

At homeIn timeFrom RichieWith me

By singingAbout what we need

Expresii idiomatice cu prepozitiiagree to a proposal, with a person, on a price, in principleargue abouta matter, with a person,fororagainsta propositioncompare to to show likenesses, with to show differences (sometimes similarities)correspondto a thing, with a persondifferfrom an unlike thing, with a personlive atan address, in a house or city, on a street, with other people

TraducerePassageThe smallest level of construction concerns the way musical phrases are organised into

musical "sentences" and "paragraphs" such as the verse of a song. This may be compared to,and is often decided by, the verse-form or metre of the words or the steps of a dance.

For example, the twelve bar blues is a specific verse form, while common metre isfound in many hymns and ballads and, again, the Elizabethan galliard, like many dances,requires a certain rhythm, pace and length of melody to fit its repeating pattern of steps.Simpler styles of music may be more or less wholly defined at this level of form, which

therefore does not differ greatly from the loose sense first mentioned and which may carrywith it rhythmic, harmonic, timbral, occasional and melodic conventions.In the analysis of musical form, sections, units etc. that can be defined on the time axis

are conventionally designated by letters, as is the case in discussing poetic form. Capitals areused for the most fundamental, lower-case for sub-divisions. If one such section returns in avaried or modified form, a small digit or an appropriate number ofprime symbols appearsafter the letter. Even at this most basic level we find patterns that may be re-used on largertime-scales. For example, the following verse:

Twinkle twinkle little starHow I wonder what you areUp above the world so high

Like a diamond in the sky.

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has a verse composed of two differently-rhymed couplets (AABB): its organisation istwofold orbinary. But in this one:

There once was a fellow from LeedsWho swallowed a packet of seeds.

In less than an hour he burst into flower

And he died trying to pull up the weeds.there is a rhyme repeated in the second line, but in the third we find a variant, two half-lines sharing a new rhyme, followed by a final return to the first arrangement in the last line,giving the four lines the form AABA. This "same-different-same" form in music is calledternary or threefold. However, as Macpherson points out (1930) there is a preference at alllevels of musical organisation for groupings of two, four, eight over other divisions, so thateven a "threefold" form is often extended by repetition of the first subject into a fourfoldstructure. Composers, in fact, must be on guard against excessive "squareness".

LECIA 6

Adjective/substantive + prepoziii

Affraid of, good/bad at, happy/upset about, bored/pleased with somethingThe beginning of, the reason for, a conversation with, a discussion about, an

increase/decrease inCteodat, mai multe prepoziii se potrivesc, dar se schimb sensul:I was angry about

the broken window/She was angry with Mike.Dup prepoziii folosim forma ing a verbului:He is very good at spelling.

TraducerePieceThe next level concerns the entire structure of any single more or less self-contained

musical piece. If the hymn, ballad, blues or dance alluded to above simply repeats the samemusical material indefinitely then the piece is said to be in strophic form overall. If it repeatswith distinct, sustained changes each time, for instance in setting, ornamentation orinstrumentation, then the piece is a Theme and variations. If two distinctly different themesare alternated indefinitely, as in a song alternating verse and chorus or in the alternating slowand fast sections of the Hungarian czardas, then this gives rise to a simple two-fold orbinaryform. If the theme is played (perhaps twice), then a new theme is introduced, the piece thenclosing with a return to the first theme, we have a simple ternary form. - (see Single formsbelow)

Great confusion, argument and misunderstanding can be generated by such terms as"ternary" and "binary", however, since a complex piece may have elements of both atdifferent organisational levels. For example, a simple minuet, like any Baroque dance,generally had a simple AABB binary structure - but this was frequently extended by theintroduction of another minuet arranged for solo instruments (called the trio), after which thefirst was repeated again and the piece ended. This, of course, is a ternary form - ABA: the

piece is binary on the lower compositional level but ternary on the higher. Organisational

levels are not clearly and universally defined in western musicology, while words like"section" and "passage" are used at different levels by different scholars whose definitions,

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anyway, as Scholes (1977) and others point out, cannot keep pace with the myriadinnovations and variations devised by musicians.

LECIA 7

Verbe + prepoziii

Prepoziii folosite dup verbe: about, for, from, on, to, withTiparul este: verb (+complement) + prepoziie + substantiv/pronume/-ing: That cat

belongs to him.Unele combinaii de verb + prepoziie au un neles idiomatic:I take after my mother.

TraducerePieceCycleThe grandest level of organisation is sometimes called "cyclical form" (Scholes (1977)):

it concerns the arrangement of several more or less self-contained pieces into a large-scalecomposition. For example, a set of songs having a related theme may be presented as a song-cycle whereas a set ofBaroque dances was presented as a suite. The opera andballet mayorganise song and dance into even larger forms, perhaps based upon the layout of aShakespearean drama. A setting of the Roman Catholic mass requires certain hymns in acertain order. This level of musical form, though it again applies and gives rise to differentgenres, takes more account of the methods of musical organisation used. For example a

symphony, a concerto and a sonata differ in scale and aim but generally resemble one anotherin the manner of their organisation. The individual pieces that make up the larger form aresometimes called movements.

LECIA 8

Phrasal verbs combinaii de verb + adverb, cu neles nou, idiomaticback down (no object): not follow a threat.

"Tom was going to call the police when I told him I'd wrecked his car, but he backeddown when I said I'd pay for the damages."

back off(no object): not follow a threat."Tom was ready to call the police when I told him I'd wrecked his car, but he backed

offwhen I said I'd pay for the damages."

back up (1. no object): move backward; move in reverse."You missed the lines in the parking space. You'll have to back up and try again.""The people waiting in line are too close to the door. We won't be able to open it unless

they back up."

back up (2. separable): drive a vehicle backwards (in reverse).

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"You're too close! Backyour carup so I can open the garage door."

back up (3. separable): confirm a story, facts, or information."If you don't believe me, talk to Dave. He'll backme up."

back up (4. separable): make a "protection" copy to use if there are problems with theoriginal."When my computer crashed, I lost many of my files. It's a good thing I backed them

up."

Traducere

If you are a professional or a vocational musician, or if you just play music for fun the

answer is obvious: "Icreate music," you proclaim with joy. If, like most Americans, you donot fall into one of these first three categories, the answer is equally obvious: "They createmusic," you say at the concert hall, record store or in the presence of your favorite modernelectronic stereo (or monaural) sound reproducing device.

In any case, you have either studied music or someone else did in order to bring yourmusic to life. Someone needed to be a music student to make your music happen for you.While all of this may seem plainly obvious to those of us who have chosen our direction at thegreat player/audience fork in the road, think for a moment about those who have not. (If youare currently a well financed music student you can skip the rest of this message...... Fornow!)

Our music students are now facing the toughest of times. The acoustic hopes and

dreams of our culture lie in an area of education that continues to suffer the worst budget cuts.If you think there is enough good music and musicians floating around today ask yourself,"Who will be doing it in ten years? twenty? thirty?..."

The answer is on stage in front of you today. You are witnessing the future of music.Your continued support of these and other young musicians is not only a great idea, butessentialto our cultural survival. Next question: "What canIdo to help?" Here is a short listof suggestions:

Attend student and professional concerts, get your friends to come with you (Yes, eventhe Olympics can be taped!), make a cash donation to The Unconservatory, to your localsymphony, to your school's music program (or how about directly to a deserving music

student?), volunteer to help a musical organization at the office or at the concert, buy

recordings oflocalartists (available today, in fact!), donate musical instruments, computers,office equipment and other much needed items to your favorite musical organization...

LECIA 9

Phrasal-prepositional verbs combinaii de verb + adverb + prepoziieIm looking forward to the meal.We came up with some good ideas.

I must get back to work.Complementul st ntotdeauna dup adverb i prepoziie:Do you get on with Sam?

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Traducere

Hey, parents, is constantly reminding your music student to practice starting to make aroot canal seem like a vacation? Is it to the point where the only thing your student practicesis avoidance (of both you and the instrument)? Looking for a solution that lets you dispense

with star charts, bribes, guilt trips and general crabbiness?Weve discovered an approach that prevents me from sounding like a broken recordand prevents my daughter from growing her own ear plugs: going to live musical

performances. It 's pleasurable, interesting and even that "e" word: educational.

My daughter, Katherine, who is studying piano with Marilyn Morales, hasnt heard megrumble for a year about practicing. After attending several musical events last summer,weeks passed without me saying Practice! Reassured that she hadnt accidentallysuperglued herself to the piano I resolved to take her to as many performances as possible tosee if nag-free practicing would continue. It has, and the money Ive saved on aspirin pays forthose tickets.

So, before you toss this in the recycling bin or line the hamsters cage with it try thisheadache free approach to practicing:

ATTEND LIVE PERFORMANCES!Editors note: as much as we agree with Ms. Stevens letter, we assure our readers that it

was unsolicited. In fact, it is the first article from a parent (or any other reader) that we havereceived for publication. We welcome more submissions!

What do you think about this subject?

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Test de autoevaluare

Complete the text below by choosing the correct prepositions, then check your answers.

Suddenly Uncle Henry stood .

"There's a cyclone coming, Em," he called his wife. "I'll go look after the stock."Then he ran toward the sheds where the cows and horses were kept.

Aunt Em dropped her work and came the door. One glance told her of the danger

close hand.

"Quick, Dorothy!" she screamed. "Run for the cellar!"

Toto jumped of Dorothy's arms and hid under the bed, and the girl started to get

him. Aunt Em, badly frightened, threw open the trap door the floor and climbed

down the ladder the small, dark hole. Dorothy caught Toto last andstarted to follow her aunt. When she was halfway across the room there came a great shriek

the wind, and the house shook so hard that she lost her footing and sat down

suddenly the floor.

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Rspunsuri i comentarii la testele de autoevaluare

Suddenly Uncle Henry stood up.

"There's a cyclone coming, Em," he called to his wife. "I'll go look after the stock." Then he

ran toward the sheds where the cows and horses were kept.

Aunt Em dropped her work and came to the door. One glance told her of the danger close athand.

"Quick, Dorothy!" she screamed. "Run for the cellar!"

Toto jumped out of Dorothy's arms and hid under the bed, and the girl started to get him.Aunt Em, badly frightened, threw open the trap doorin the floor and climbed down the ladderinto the small, dark hole. Dorothy caught Toto at last and started to follow her aunt. Whenshe was halfway across the room there came a great shriekfrom the wind, and the house

shook so hard that she lost her footing and sat down suddenly upon the floor.

Lucrare de verificare nr. 1

Traducei urmtorul text:

Georg Friederich HndelHe was born Georg Friederich Hndel, son of a barber-surgeon who intended him for

the law. At first he practised music clandestinely, but his father was encouraged to allow himto study and he became a pupil of Zachow, the principal organist in Halle. When he was 17 hewas appointed organist of the Calvinist Cathedral, but a year later he left for Hamburg. Therehe played the violin and harpsichord in the opera house, where his Almira was given at the

beginning of 1705, soon followed by hisNero. The next year he accepted an invitation toItaly, where he spent more than three years, in Florence, Rome, Naples and Venice. He hadoperas or other dramatic works given in all these cities (oratorios in Rome, including Laresurrezione) and, writing many Italian cantatas, perfected his technique in setting Italianwords for the human voice. In Rome he also composed some Latin church music.

He left Italy early in 1710 and went to Hanover, where he was appointed Kapellmeisterto the elector. But he at once took leave to take up an invitation to London, where his opera

Rinaldo was produced early in 1711. Back in Hanover, he applied for a second leave andreturned to London in autumn 1712. Four more operas followed in 1712-15, with mixedsuccess; he also wrote music for the church and for court and was awarded a royal pension. In1716 he may have visited Germany (where possibly he set Brockes's Passion text); it was

probably the next year that he wrote the Water Music to serenade George I at a river-party onthe Thames. In 1717 he entered the service of the Earl of Carnarvon (soon to be Duke ofChandos) at Edgware, near London, where he wrote 11 anthems and two dramatic works, theevergreenAcis and Galatea andEsther, for the modest band of singers and players retainedthere.

In 1718-19 a group of noblemen tried to put Italian opera in London on a firmer footing,and launched a company with royal patronage, the Royal Academy of Music; Handel,

appointed musical director, went to Germany, visiting Dresden and poaching several singersfor the Academy, which opened in April 1720. Handel'sRadamisto was the second opera and

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it inaugurated a noble series over the ensuing years including Ottone, Giulio Cesare,Rodelinda, Tamerlano andAdmeto. Works by Bononcini (seen by some as a rival to Handel)and others were given too, with success at least equal to Handel's, by a company with some ofthe finest singers in Europe, notably the castrato Senesino and the soprano Cuzzoni. But

public support was variable and the financial basis insecure, and in 1728 the venture

collapsed. The previous year Handel, who had been appointed a composer to the ChapelRoyal in 1723, had composed four anthems for the coronation of George II and had takenBritish naturalization.

Punctaj: se acord 9 puncte pentru traducerea corect, 1 punct din oficiu. Lucrarea va finmnat personal tutorelui disciplinei.

Bibliografie minimal

1. Dignen, Sheila, Viney, Brigit, with Walker, Elaine and Elsworth, Steve Grammar Practice for Intermediate Students with key and with CD-ROM,Pearson-Longman 2007, pag. 139 163

2. http://en.wikipedia.org/wiki/Music_education3. http://www.unconservatory.org/articles/

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UNITATEA DE NVARE NR. 2 FORMAREA

CUVINTELOR

Cuprins:

Obiectivele unitii de nvare ...............................................................................21

Lecia 10 ................................................................................................................22

Lecia 11 ................................................................................................................22

Lecia 12 ................................................................................................................23

Lecia 13 ................................................................................................................24

Lecia 14 ................................................................................................................26

Rspunsuri i comentarii la testele de autoevaluare.................................................28

Lucrare de verificare nr. 2.......................................................................................29

Bibliografie minimal.............................................................................................29

Obiectivele unitii de nvare

n urma parcurgerii unitii de nvare nr. 2 vei dobndi urmtoarele competene:- nsuirea i sistematizarea formrii cuvintelor.- Dezvoltarea abilitilor de utilizare a acestei structuri n comunicarea scris i

oral.- mbogirea vocabularului prin lectur, traducere de texte, exerciii de nelegere

de texte i conversaie prin utilizarea lexicului specific domeniului artistic-muzical i nu numai.

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LECIA 10

Adjective compuseAdjectiv/adverb + participiu trecut: a good-natured man, old-fashioned clothes, a well-

known artistAdjectiv/adverb + -ing: a best-selling book, a fast-moving story, a good-looking manAdjectiv + substantive: a low-fat diet, a second-hand car

TraducereWhat is music harmony?So what is harmony? Harmony is anything that accompanies the melody. Often, the

harmony can occur as chords, which are simply a few notes played simultaneously. Harmonycan also occur as broken chords, which are the same notes in the chord, only they are played

one after another. Often, listeners do not even know they are hearing harmony because thecomposer hides it so well from them. In almost all cases, though, the harmony that is being

played can be converted into a chord.The major triad is one of the most basic harmonies in music. It is formed by taking the

first, third, and fifth note of the major scale and playing them simultaneously. This triad has a"happy" sound to it and is often used as the basic chord in a major piece. Another commontriad is the minor triad. It is formed by taking the first, third, and fifth note of the minor scale.As you can tell, this triad has a "sadder" sound to it and is often used as the basic chord in aminor piece.

So what's the big deal with triads? By themselves, though, they don't mean too much.This is because music uses a wide variety of chords that have complex relationships to each

other. Let's make up an example so that we understand this section better. Let's say we have apiece in the key of C Major. This means that many of the melodic notes are taken from the CMajor scale. The basic harmonic chord also starts on the key of C (the notes would then be C,E, and G). Now this doesn't prohibit the composer from using other triads starting on othernotes in the scale. For example, the composer can use a triad starting on G (the notes wouldthen be G, B, and D).

By the way, there's a form of musical shorthand for quickly identifying the proper triad.Musicians use roman numerals corresponding to the starting note for identifying triads. Forexample, if we're in the key of C Major, I would be a triad starting on C. V would then be atriad starting on G.

LECIA 11

PrefixeNegative: unhappy, disorganized, disagree, illegal, immature, imperfection, inaccurate,

irregular, irrelevance.Prefixe cu alte sensuri: misunderstand, rebuild, overachieve, overpaid, underachieve,

underpaid.

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TraducereHarmonic Progressions and CadencesStill, chords are meaningless unless they add something to the music. where harmonic

progressions come in. As composers switch from chord to chord, they Can create theimpression that the music is moving somewhere. A lot of harmonic progressions have been

established and commonly used, but composers such as Rachmaninoff are still able to inventnew and exciting harmonic progressions.

So, let's talk about some actual harmonic progressions. Cadences are one type ofharmonic progression that are often used at the end of sections to settle the thought. Twocommon cadences are plagal (IV to I) and authentic (V to I). These progressions are quitesimple and only consist of two triads. Composers have realized, though, that they give theimpression of completion to a section of music. As a result, these cadences are also commonlyused at the end of an entire piece.

InversionsInversions are our last topic, and they really are quite simple. Let's take a C Major triad

for example. The notes in this triad are C, E, and G. The first inversion is simply E, G, and

then C. The second inversion is simply G, C, and then E. We simply took the bottom note andput it on the top. Inversions are not important in harmonic progressions because they do notchange the triads. Inversions can become important, though, when composers want certainnotes to stand out. For example, the top note in a triad played on the piano will always standout just because the highest note is more audible. For this reason, composers often place amelody note on the top of the triad so that it can be heard more easily.

LECIA 12

Formarea adjectivelorSufixe:Able/ible: enjoyableAl: naturalEnt/ant: dependent, pleasantFul: carefulLess: carelessIc/ical: artisticIsh: childishIve: attractive

Ous: dangerousY: healthy, sporty, cloudy

Traducere

Syntactic Structures in Music

THE BASIC SYNTACTIC STRUCTUREIntroductionConventional theories of structure in tonal music concentrate either totally on root

progression patterns (Rameau. Schoenberg, etc) or totally on voice leading. (Schenker etc)This book is the first to explain how root progression patterns and voice leading work

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together. This book is based on a systematic analysis of root progression patterns in a largenumber of tonal (and tonally influenced) pieces of music and shows how chord progressionscreate musical phrase structures similar to sentence structures in natural language.

Whilst voice leading principles are fairly well understood, what is new in this book isthe explanation of how root progressions work in tonal music and how they interact with

voice leading. When viewed from this perspective, it is possible to demonstrate that musicalphrases are constructed in ways that show similarities with the way sentences are structured innatural languages. This makes it possible to explain every chord in its context within themusical phrase rather than just in terms of the chords surrounding it.

This book is about what is normally referred to as tonal music or music which is basedon tonality. By tonal music I mean music that is composed in a recognisable system of scalesand chord patterns as exemplified by the European classical tradition of the 18th and 19thcenturies and to some extent the 20th century. Most of the music we listen to: classical,

popular music, Jazz etc. is constructed to some extent along tonal lines. People are oftenpuzzled about why this system, which at first sight, is so simple - just a scale of seven diatonicnotes (plus 5 chromatic notes) arranged in different patterns - actually produces such a wealth

of possibilities. What I hope to show is that what gives tonal music the ability to form thesevaried structures is, the way voice leading and root progression patterns work together and theway chord progressions are organised into musical phrase structures similar to languagestructures in natural languages.

Some writers such as Weber, Schoenberg, McHose and Piston have described chord progressions but in terms of tables of probabilities. However, these tables tell us nothingabout the relationships between the chords themselves or between the chords and musical

phrases. Schenker proposed a theory of musical structure based totally on voice leading butthis does not adequately explain how root progressions work or how musical phrases arestructured. Please refer to the outline thesis and the Q and A section of this site for furtherinformation on the history of such theories. A more complete history is being prepared forinclusions as chapter 10 (Historical Background) within this book summary. The outlinethesis explains some of the evidence for the theory presented.

In demonstrating the role that chord progressions have in creating syntactic structures,the author does not intend to imply that other components of music do not also play a role. Inlater chapters, I will show the connection between grammatical structures and formalstructures and the link between voice leading and motivic and melodic structures.

LECIA 13

Formarea substantivelorSufixe:Ance/ence: importanceIon: introductionMent: agreement

Ness: happinessY: loyalty, responsibilityTh: warmth, strength, length

Substantivele la care se adaug aceste sufixe se refer la personae:

Ant/ent: assistant, studentEr/or: singer, sculptor

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Ist: artist, touristIan: musician, comedian

Traducere

Syntactic Structures in Music

THE BASIC SYNTACTIC STRUCTUREThe Connection with LanguageLanguage has evolved well organised structures because it gives human beings an

evolutionary advantage. It allows us to communicate: - to pass information about ourenvironment, about the location of food and warnings of danger. It enables us to agree plansand to pass traditions, ideas and techniques from person to person and from generation togeneration. Because this is so important to our survival as a species it is an ability we haveevolved over tens of thousands of years. It communicates messages, feelings and emotions

and we enjoy the experience.Based on the evidence collected about the patterns in chord progressions, it seems likelythat the mind's innate ability to understand language structures has been transferred to thewestern system of music we describe as tonal music. This analysis has not been extended tonon-western or non-tonal music. However, some tonally related music has been included inthe analyses.

As tonal music evolved over several centuries, it seems that composers havesubconsciously emulated the grammatical structures which exist in language. Because theunderlying structures are common to all languages, these musical structures can be understood

by anyone, anywhere in the world. Hence tonal music is accessible to many cultures and theharmonic structures in tonal music have influenced many other musical traditions. Composers

have not planned things this way ordesignedthe tonal system. It has evolved through a seriesof experiments and discovery that have gradually built on each other. This was necessary aswestern art music developed beyond accompaniment to song or dance into a self-contained artform with internal structures of its own.

Whilst Chord syntax and voice leading syntax are well documented and understood.What is missing is chord progression syntax. This theory is the first that attempts toaccurately describe chord progression syntax. By filling this gap we can more fully describethe syntax of musical language.

In language, structures are formed in sentences made up of parts of speech. The joiningof these parts of speech into sentences is governed by the rules of sentence syntax. Forexample, the basic structure of a sentence in the English language can be represented in a

parsingdiagram as follows:

This diagram indicates that a sentence is divided into two parts: the subject and thepredicate. The predicate is itself divided up into two parts: the verb followed by the object.

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This represents the simplest complete sentence structure and although more complexstructures are possible they all derive from this simple structure by further division of the

branches. For example, the subject could be a noun or could be expanded into a pronoun +noun or further expanded to include a noun phrase or verb phrase.

These underlying principles also apply to musical structures, There is only one basic

complete phrase structure in tonal music and all other complete phrase structures areexpansions of this basic structure.

LECIA 14

Recapitulare

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Test de autoevaluare

Fill in the blanks using the words in the box below, then check your answers.

along around away back into on out over through up

Top of Form1. His heart attack was brought by too much stress at work.

2. I didn't realize he had gotten divorced. I'm so embarrassed - I wish I hadn't brought

his wife at the party.

3. Your new dress really brings the color of your eyes.

4. Don't you bring those dirty shoes my clean house!

5. What exactly did you bring from the experience. Did you learn anything at all?

6. They brought a pizza and some beer and we watched an old movie on television.

7. You are only allowed to bring two bottles of wine customs when you enter thiscountry.

8. When we go camping, don't forget to bring the binoculars so we can look forwildlife.

9. Lisa is going to pick Ted up at the airport and bring him to the house.

10. Sarah doesn't want to go skiing this winter, but we still have time to bring her .

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Rspunsuri i comentarii la testele de autoevaluare

1. His heart attack was brought on by too much stress at work.

2. I didn't realize he had gotten divorced. I'm so embarrassed - I wish I hadn't brought up his

wife at the party.

3. Your new dress really brings out the color of your eyes.

4. Don't you bring those dirty shoes into my clean house!

5. What exactly did you bring away from the experience. Did you learn anything at all?

6. They brought a pizza and some beerover and we watched an old movie on television.

7. You are only allowed to bring two bottles of wine through customs when you enter this

country.

8. When we go camping, don't forget to bring along the binoculars so we can look forwildlife.

9. Lisa is going to pick Ted up at the airport and bring him backto the house.

10. Sarah doesn't want to go skiing this winter, but we still have time to bring heraround.

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Lucrare de verificare nr. 2

Traducei urmtorul text:

Contemporary ballet is a form of dance influenced by both classical ballet and modern

dance. It takes its technique and use of pointe work from classical ballet, although it permits agreater range of movement that may not adhere to the strict body lines set forth by schools of

ballet technique. Many of its concepts come from the ideas and innovations of 20th centurymodern dance, including floor work and turn-in of the legs.

George Balanchine is often considered to have been the first pioneer of contemporaryballet through the development ofneoclassical ballet.

One dancer who danced briefly for Balanchine was Mikhail Baryshnikov, an exemplarof Kirov Ballet training. Following Baryshnikov's appointment as artistic director ofAmerican Ballet Theatre in 1980, he worked with various modern choreographers, mostnotably Twyla Tharp. Tharp choreographedPush Comes To Shove for ABT and Baryshnikovin 1976; in 1986 she created In The Upper Room for her own company. Both these pieces

were considered innovative for their use of distinctly modern movements melded with the useof pointe shoes and classically-trained dancers -- for their use of "contemporary ballet".

Tharp also worked with the Joffrey Ballet company, founded in 1957 by Robert Joffrey.She choreographedDeuce Coupe for them in 1973, using pop music and a blend of modernand ballet techniques. The Joffrey Ballet continued to perform numerous contemporary

pieces, many choreographed by co-founderGerald Arpino.Today there are many explicitly contemporary ballet companies and choreographers.

These include Alonzo King and his company, Alonzo King's Lines Ballet; ComplexionsContemporary Ballet, under the direction of Dwight Rhoden; Nacho Duato's Compaia

Nacional de Danza; William Forsythe, who has worked extensively with the Frankfurt Balletand today runs The Forsythe Company; and Ji Kylin, currently the artistic director of the

Nederlands Dans Theatre. Traditionally "classical" companies, such as the Kirov Ballet andthe Paris Opera Ballet, also regularly perform contemporary works.Ballet is a well know formof dance that is very popular. Ballet is a complex dance that is difficult yet entertaining.

Punctaj: se acord 9 puncte pentru traducerea corect, 1 punct din oficiu. Lucrarea va finmnat personal tutorelui disciplinei.

Bibliografie minimal

1. Dignen, Sheila, Viney, Brigit, with Walker, Elaine and Elsworth, Steve Grammar Practice for Intermediate Students with key and with CD-ROM,Pearson-Longman 2007, pag. 1164 168

2. http://www.flashmusicgames.com/teory08.html3. http://www.harmony.org.uk/chord_progressions_in_tonal_music.htm

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BIBLIOGRAFIE GENERAL

1. Dignen, Sheila, Viney, Brigit, with Walker, Elaine and Elsworth, Steve Grammar Practice for Intermediate Students with key and with CD-ROM,Pearson-Longman 2007

2. Moravec-Ocampo, A., Farrugia, A. LIMBA ENGLEZ Gramatica de baz,ed. Teora 2004

3. http://www.flashmusicgames.com/teory08.html4. http://www.harmony.org.uk/chord_progressions_in_tonal_music.htm5. http://en.wikipedia.org/wiki/Music_education6. http://www.unconservatory.org/articles/