Created
Sep 4, 2021 8:35 AM
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プロパティ
影片 Video
鋼琴 Pianoforte
原來，能夠彈得大聲 (forte) 與細聲 (piano)，是一項劃時代發明！困擾了鍵盤樂器工匠數個世紀的巨大問題，結果由一位聰明的設計師，攪盡腦汁地將琴槌發力的方法改造。鋼琴結果成為家家戶戶的樂器，除了因為它「大細」皆能，而是因為要把它彈得好，需要還不單是靈敏的手指，原來還有奮發向上的流動力：那就是修養。
背景資料 Background Information
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Clavichord
Harpsichord
asda
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音樂例子 Music Examples
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Masato Suzuki
Harpsichord: Willem Kroesbergen, Utrecht 1987 after J. Couchet
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Dongsok Chin
Bartolomeo Cristofori, Florence, 1720
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Performed by Steven Lubin
Fortepiano: Rodney J. Regier, copy after Anton Walter, Vienna 1785
Media Library
| Primary Item | Name | Source URL | License | Notes | For Public | Type | Media | Related Secondary Item | Episode | Credit | Caption |
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Filmed | 分貝計的 Screen Video | Episode 4 | |||||||||
Reference Only | 參考用，現場實錄 | Episode 4 | |||||||||
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To Be Purchased | Photo | Episode 7 | Credit: © H. Armstrong Roberts/ClassicStock/Corbis / National Museum of American History | ||||||||
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Fair Use | Photo | Episode 6 | hpmemoryproject.org | ||||||||
Fair Use | This site has no commercial objective. Nothing is for sale here. HP Memory Project is not associated with the Hewlett-Packard Company. | Photo | Episode 6 | hpmemoryproject.org | |||||||
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Episode 6 | Our musical alphabet is poor and illogical. Music, which should pulsate with life, needs new means of expression, and science alone can infuse it with youth vigour. . . . I dream of instruments obedient to my thought and which with their contribution of a whole new world of unsuspected sounds, will lend themselves to the exigencies of my inner rhythm. —Edgard Varèse | ||||||||||
Unknown | Photo | Episode 6 | Edgard Varèse (1883–1965) | ||||||||
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Undefined | Photo | Episode 6 | Bob Moog Foundation | ||||||||
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Fair Use | This site has no commercial objective. Nothing is for sale here. HP Memory Project is not associated with the Hewlett-Packard Company. | Photo | Episode 6 | hpmemoryproject.org | |||||||
Envato | Audio | Episode 6 | |||||||||
Caption | Episode 6 | Vibrator 震動器 | |||||||||
Caption | Episode 6 | Oscillator 振盪器 | |||||||||
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Episode 5 | We didn’t write songs; we wrote records. —Leiber and Stoller | ||||||||||
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Fair Use | Movie Excerpt | Episode 5 | |||||||||
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Photo | Episode 5 | Thomas Edison (1847–1931) | |||||||||
Fair Use | This digital image may be used for educational uses. Please cite as miSci- Museum of Innovation & Science. Prior written permission is required for any other use of the images from miSci. | Photo | Episode 5 | miSci - Museum of Innovation & Science | |||||||
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Undefined | Photo | Episode 5 | International Telecommunication Union | ||||||||
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Quotation | Episode 4 | Thus the spectator transplants himself upon the stage, by means of all his visual and aural faculties; while the performer becomes an artist only by complete absorption into the public. . . . whereas the public, that representative of daily life, forgets the confines of the auditorium, and lives and breathes now only in the artwork which seems to it as Life itself, and on the stage which seems the wide expanse of the whole World. | |||||||||
Creative Commons 3.0 | Photo | Episode 4 | Royal Albert Hall | ||||||||
Creative Commons 3.0 | Photo | Episode 4 | Musikverein | ||||||||
Creative Commons 3.0 | Photo | Episode 4 | Bayreuth Festival House
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To Be Purchased | Photo | Episode 4 | James Osborne | ||||||||
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Creative Commons 3.0 | Photo | Episode 4 | Salzburg Festival Hall
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Fair Use | Alle Fotos stehen für redaktionelle Berichterstattung über das Konzerthaus Berlin und unsere Eigenveranstaltungen bei Nennung des Fotografen kostenlos zur Verfügung. Eine kommerzielle Nutzung oder Bearbeitung im Sinne einer Verfremdung oder inhaltlichen Veränderung der Bilder ist nicht gestattet. Ein Belegexemplar oder eine kurze Information über die Verwendung ist erbeten. | Photo | Episode 4 | Felix Löchner / Sichtkreis | Berlin Concert Hall
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Undefined | Photo | Episode 4 | Eastman School of Music | Kodak Hall at Eastman Theatre | |||||||
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Episode 4 | Auditorium | ||||||||||
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Quotation | Episode 4 | Architecture can set before herself no higher task than to frame for a fellowship of artists, who in their own persons portray the life of Man, the special surroundings necessary for the display of the Human Artwork. Only that edifice is built according to Necessity, which answers most befittingly an aim of man: the highest aim of man is the artistic aim; the highest artistic aim—the Drama. | |||||||||
Social Media | YouTube Video | Episode 4 | YouTube: @Stefanos Kyriazis | ||||||||
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Quotation | Episode 4 | The Court concerts in the apartments of the duchess took place once a week, and were most disagreeable to the musicians of the Ducal Orchestra: for, according to the then prevailing custom, cards were played during the music. In order not to be disturbed, the Duchess had ordered the orchestra, always to play piano. The leader therefore left out the trumpets and kettle drums, and insisted strongly that no forte should be played in its full strength. As this was not always to be avoided in Symphonies, however softly the band might play, the Duchess ordered a thick carpet to be spread out under the orchestra, in order to deaden the sound. One heard therefore the words “I play”, “I stand” and so forth, much louder than the music. —Louis Spohr | |||||||||
Fair Use | Downloads and copies for personal, non-commercial use are hereby permitted. Text and images provided in the dedicated press and media section of the website may be used for journalistic purposes. | Photo | Episode 4 | Staatliche Schlösser und Gärten Baden-Württemberg, Armin Weischer | |||||||
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Caption | Episode 3 | Maelzel's Metronome
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Social Media | Social Media | Episode 3 | YouTube: @TheOnlineViolinTutor | ||||||||
Social Media | Social Media | Episode 3 | YouTube: @JoyLeeViolin | ||||||||
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Public Domain | Photo | Episode 3 | |||||||||
Fair Use | Die digitalisierten Bestände des Beethoven-Hauses Bonn stehen allen Interessierten weltweit über die Homepage des Beethoven-Hauses kostenlos zur nicht kommerziellen Nutzung zur Verfügung. Bei Nachnutzung der Digitalisate ist das Beethoven-Haus als besitzende Institution in der Form "Beethoven-Haus Bonn" bzw. "Beethoven-Haus Bonn, Sammlung H.C. Bodmer" zu nennen und der mit "Link auf diese Seite" oder "Permalink" angegebene Permanente Link zum Digitalisat anzugeben. | Photo | Episode 3 | Beethoven-Haus Bonn | |||||||
Creative Commons 3.0 | Photo | Episode 3Episode 5 | |||||||||
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Episode 3 | I am heartily delighted to know that you hold the same views as I do about our tempo indications which originated in the barbarous ages of music . . . I have long been thinking of abandoning those absurd descriptive terms, Allegro, Andante, Adagio, Presto: and Maelzel’s metronome affords us the best opportunity of doing so. . .
—Ludwig van Beethoven | ||||||||||
Undefined | Photo | Episode 3 | Antique Thomar | ||||||||
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Fair Use | L'utilisation non commerciale des documents est libre et gratuite dans le respect de la législation en vigueur et notamment du maintien de la mention de source : BnF ou Bibliothèque nationale de France. | Photo | Episode 3 | Bibliothèque nationale de France | |||||||
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Public Domain | Photo | Episode 2 | |||||||||
Quotation | Episode 2 | “How I long to see her again! I never met with anybody who delighted me so much. Such a countenance, such manners! And so extremely accomplished for her age! Her performance on the pianoforte is exquisite.”
“It is amazing to me,” said Bingley, “how young ladies can have patience to be so very accomplished as they all are.” | |||||||||
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Fair Use | The Taft Museum of Art and other parties listed therein hold the copyright to the images, design, and text on our website, unless otherwise noted. The contents of this web site are available for non-commercial, personal, and educational use and may be freely accessed or downloaded on a temporary basis for the sole purpose of viewing, or for “fair use” as defined in the United States copyright laws. | Photo | Episode 2 | Taft Museum of Art | |||||||
Undefined | The Piano Lesson by Edmund Blair Leighton | Photo | Episode 2 | ||||||||
Public Domain | Photo | Episode 2 | The Metropolitan Museum of Art | ||||||||
Social Media | Stock Video | Episode 2 | YouTube: @H Saito | ||||||||
Quotation | Episode 2 | You are now arrived at the epoch where the art begins to proffer you true, noble, and intellectual pleasures, and in which the new and continually more and more beautiful compositions with which you will now become acquainted, will give you an idea of the inexhaustible riches and variety in music. But do not neglect to still continue practising… | |||||||||
Purchased | Stock Video | Episode 2 | |||||||||
Quotation | Episode 2 | Clavicembalo cum forte e piano | |||||||||
Used with permission | Refer to the video for example of animation | Episode 2 | Hifi Review | ||||||||
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Quotation | Episode 2 | If the value of the inventions is measured by the novelty and difficulty, that item we are at present to give an account of is certainly not inferior to any other one we have seen for a long time. . . . Now of this diversity and alteration of voice, in which the string instruments are excellent among others, the harpsichord is quite lacking; and it would be by whom it was considered a very vain imagination to propose to manufacture it in such a way that he had this gift. | |||||||||
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Quotation | Episode 2 | The harpsichord is the lord of all instruments in the world and on it everything may be played with ease. — Giovanni Maria Trabaci | |||||||||
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Public Domain | Photo | Episode 2 | Ferdinando de' Medici (1663–1713) | ||||||||
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To Be Purchased | Photo | Episode 2 | Bartolomeo Cristofori (1655–1731) | ||||||||
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