《高等藝術(shù)院校音樂(lè)本科教材：音樂(lè)英語(yǔ)基礎(chǔ)》附示范朗讀音響，解決口語(yǔ)聽(tīng)力障礙，注重實(shí)用，涵括廣泛。
布萊恩·巴頓，英國(guó)人，從事TEFL（Teaching Englishasa Foreign Language）英語(yǔ)教學(xué)已有15余年，曾在俄羅斯、蒙古教授英語(yǔ)。2004年起在中國(guó)教授英語(yǔ)。
布萊恩也是位作曲家，音樂(lè)理論、作曲、鋼琴教師。畢業(yè)于俄羅斯圣彼得堡音樂(lè)學(xué)院，獲作曲碩士學(xué)位。曾就職于泰晤士河谷大學(xué)（Thames Valley University）倫敦音樂(lè)學(xué)院、倫敦維多利亞音樂(lè)學(xué)院。
第一部分 （第1-4單元）初中級(jí)程度課文與練習(xí)
第一單元 音樂(lè)課英語(yǔ)基礎(chǔ)
鋼琴課1
鋼琴課2
鋼琴課3
聲樂(lè)課
詞匯1：基礎(chǔ)音樂(lè)詞匯、拍號(hào)、力度和表情記號(hào)
第二單元 音樂(lè)漫話
漫話1
漫話2
漫話3
詞匯2：師生對(duì)話44句
第三單元 音樂(lè)論題
音樂(lè)論題1
音樂(lè)論題2
音樂(lè)論題3
音樂(lè)論題4
音樂(lè)論題5
音樂(lè)論題6
音樂(lè)論題7
詞匯3：理論術(shù)語(yǔ)
第四單元 樂(lè)隊(duì)相關(guān)英語(yǔ)
樂(lè)隊(duì)1
樂(lè)隊(duì)2
詞匯4：樂(lè)隊(duì)和樂(lè)器
第二部分 （第5-7單元）中高級(jí)程度課文與練習(xí)
第五單元 歷史時(shí)期和音樂(lè)風(fēng)格
中世紀(jì)
文藝復(fù)興
巴羅克時(shí)期
巴羅克歌劇的興起
對(duì)話：今晚你去聽(tīng)音樂(lè)會(huì)嗎？
古典主義時(shí)期
浪漫主義時(shí)期
對(duì)話：歌劇之夜！
晚期浪漫主義時(shí)期
民族豐義
對(duì)話：朋友話別
印象派和新古典主義
表現(xiàn)主義——音樂(lè)廳的爵士樂(lè)實(shí)踐
對(duì)話：在音樂(lè)圖書館
未來(lái)主義和電子音樂(lè)
現(xiàn)代主義和后現(xiàn)代主義
對(duì)話：餅干筒的音樂(lè)！
美國(guó)音樂(lè)
當(dāng)代古典音樂(lè)
對(duì)話：羅密歐與朱麗葉在紐約
第六單元 著名音樂(lè)家
巴赫
海頓
……
附錄
The Late Romantic Era
The second half of the 19th century is termed either the Late Romantic or the Post Romantic Era between about 1850-60 to 1910 or so， but boundaries are not always asy to draw. It was an era in Europe when many social， political and economic changes occurred. There were many new inventions such as the telephone; interna-tional travel was becoming much easier with the development of the railway system; music education and concerts were also more accessible to the general public. It was lso a time in European history when nationalism was becoming politically more im- portant; and some composers sought to form and develop a nationalist music from their countries of origin.
Many new forms and styles of music started to emerge as composers were finding new freedoms to express themselves in deeper personal self-expression; for exam- ple， in different ways， Tchaikovsky and Mahler's music reflected an inner turmoil and anguish of life. Grand opera was a dominant feature of the Late Romantic Peri-od. Wagner， Verdi and Puccini explored new depths of human passion and relation- ships from a psychological point of view. Puccini's operas showed the realism of everyday life-most operas of this period ended in tragedy. Chromaticism was reac-hing it limits as composers looked for now avenues of musical expression and origi- nality. Music was becoming more dissonant with classical harmonies left unresolved and traditional key relationships broken up.
Technically， modern music has been said to start in various places， for example， the mysterious opening chords of Wagner's opera Tristan and Isolde， or the open- ing flute solo from Debussy's orchestral piece The A fternoon o f the Faun （that uses all the notes of the chromatic scale in the opening few bars）， or even the music of Mussorgsky with is raw Russian folk-harmonies. Spiritually and emotionally mod- ern music it has been said also to emanate from Mahler's music， which also forms a bridge into music of the 20th century.
New styles started to develop such as Impressionism led by Debussy， Neo-Classical- ism led by Stravinsky and the Atonal Modernism of Schonberg. Other major Late Romantic composers of this period， not so far mentioned， would include the sym-phonist Bruckner from Austria， Dvorak， a Czech composer known for his New World Symphony， Grieg-the Norwegian， Dielius-the English Impressionist， Hugo Wolf-the Austrian composer of songs， MacDowell-an American known for his piano concertos and Rachmaninoff-the Russian pianist and composer of sym-phonies， piano concertos and vocal music.
……
新書資訊