交响乐之父的英语.

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交响乐之父 Father of the symphony

(奥地利)著名作曲家(海顿) 约瑟夫·海顿 是交响乐之父

The Father of the Symphony is the biography of Franz Joseph Haydn

google 一下你就知道

其他回答

莫扎特

追答： Mozart

其他类似问题

问题1：交响乐之父是谁?[历史科目]

交响乐之父——贝多芬,圆舞曲之父——老约翰·施特劳斯,浪漫主义钢琴诗人——肖邦 http://zhidao.baidu.com/question/68261925.html?si=2

问题2：“交响乐之父”是谁?十万火急!

是(奥地利)著名作曲家(海顿)

约瑟夫·海顿（1732一1809）奥地利著名作曲家,维也纳古典乐派奠墓者之一.他出身贫困,从小在很艰苦的条件下学习音乐,作曲主要靠自学,成年后长期任乐队队长,至九十年代初,成为当时首屈一指的音乐家.1791、1794年他曾两度赴英,备受欢迎.他主要从事主调音乐的创作,是他确立了“弦乐四重奏”和古典“交响曲”的结构形式,把交响曲固定为四个乐章形式,以完整的交响乐队编制进行配器,为近代交响乐的发展奠定了基础.他一生共创作了一百多部交响曲,其中较著名的交响曲有《告别》、《时钟》、《狩猎》、《惊愕》、《军队》、《伦敦》、《牛顿》等,故他被称作“交响乐之父”.他的音乐语言朴素、简洁、平易近人,感情明朗,乐观.作品不重深刻抒情和戏剧性刻画,而主要是以普通人的日常生活为题材,常用“说话原则”,进行世态风俗性的表现.他的主要作品还有弦乐四重奏《云雀》等七十六部,清唱剧《创世纪》、《四季》和一些歌剧、歌曲等.他在乐曲的发展中“常用主题活用”的原则,这直接启示看贝多芬动机发展的灵感.

问题3：交响乐之父是谁?1.海顿2.巴赫3.肖邦4.贝多芬

.贝多芬

问题4：求关于交响乐的英文介绍～小弟继续关于交响乐的介绍～要英文的!不需要太长～[英语科目]

symphony.

A symphony is an extended piece of music usually for orchestra and usually comprised of several movements.

The main characteristics of the classical symphony, as it existed by the end of the 18th century in the German-speaking world were:

4 movements, of which the first would usually be a fast movement in sonata form, the second a slow movement, the third either a minuet and trio or a ternary dance-like (scherzo) movement in "simple triple" metre, finishing with a fourth, fast movement in rondo and/or sonata form.

Instrumental, to be played by an orchestra of the relatively moderate size customary at the time.

After Beethoven started experimenting with the movement structure and with programmatic features in his Sixth Symphony, and later added singers to the last movement of his Ninth Symphony, the possibilities for moulding the symphony format appeared unlimited, starting from the early Romantic era, for example:

More variation in the movement structure: More movements and/or multi-layered movement structure (Berlioz, Roméo et Juliette; Mahler, Second and Third Symphonies); Single-movement structure and/or movements succeeding without interruption (Sibelius, Seventh Symphony; Richard Strauss, Eine Alpensinfonie)

More variation in the instrumentation: Large full-blown romantic orchestras (Berlioz, Mahler, Bruckner); Solo and/or choral singing extended to several movements of a symphony (Mendelssohn, Second Symphony; Berlioz, Roméo et Julliette; Shostakovich, 14th Symphony); Unusual or new instruments (cowbells in Mahler's Sixth Symphony; Ondes Martenot in the Turangalîla-Symphonie by Olivier Messiaen); Symphonies not for a symphony orchestra (Widor's symphonies to be played on a single organ)

Extend the programmatic layer: even after the tone poem had split from the symphony genre as such, symphonies were published with extended programs, explicit (as in Berlioz' Roméo et Juliette, after Shakespeare, as well as in his Symphonie Fantastique) with clearly described literary/poetic devices (as in John Kenneth Graham's symphony cycle, or more implicit, like a succession of sentiments (as in Tchaikovsky's Sixth Symphony), Carl Nielsen's The Four Temperaments

The word symphony

The word symphony is derived from the Greek syn (together) and phone (sounding), by way of the Latin symphonia. The term was used by the Greeks, firstly to denote the general conception of concord, both between successive sounds and in the unison of simultaneous sounds; secondly, in the special sense of concordant pairs of successive sounds (i.e. the "perfect intervals" of modern music; the 4th, 5th and octave); and thirdly as dealing with the concord of the octave, thus meaning the art of singing in octaves, as opposed to singing and playing in unison. In Roman times the word appears in the general sense which still survives in poetry, that is, as harmonious concourse of voices and instruments. It also appears to mean a concert. In the Gospel of Luke, chapter xv verse 25, it is distinguished from χορ?ν, and the passage is appropriately translated in the English Bible as "music and dancing." Polybius and others seem to use it as the name of a musical instrument.

In the sense of "sounding together", the word appears in the titles of works by Giovanni Gabrieli (the Sacrae symphoniae) and Heinrich Schütz (the Symphoniae sacre) among others. Through the 17th century, the Italian word sinfonia was applied to a number of works, including overtures, instrumental ritornello sections of arias, concertos, and works which would later be classified as concertos or sonatas.

Symphonies by number and name

Symphonies by number, name, and key

No. 0 | No. 1 | No. 2 | No. 3 | No. 4 | No. 5 | No. 6 | No. 7 | No. 8 | No. 9 | No. 10 | No. 11

No. 12 and higher: Haydn, Mozart, Shostakovich, Hovhaness,...

Symphony as "orchestra"

In a more modern usage, a symphony or symphony orchestra is an orchestra, particularly one that plays or is equipped to play symphonies. Going to hear a symphony orchestra play is sometimes called "going to the symphony," whether or not an actual symphony is on the programme.

http://en.wikipedia.org/wiki/Symphony

问题5：分别解释什么是交响乐和交响曲,那么交响乐之父又是谁?[语文科目]

交响乐不是一种特定的体裁名称,而是一类器乐体裁的总称.这类体裁的共同特征是：

1、由大型的管弦乐队演奏；

2、音乐内涵深刻,具有戏剧性、史诗性、悲剧性、英雄性,或者音乐格调庄重,具有叙事性、描写性、抒情性、风俗性等；

3、有较严谨的结构和丰富的表现手段.

第一乐章——奏鸣曲式（注：它是古典音乐作品的一种基本曲式,无论是奏鸣曲、交响曲、协奏曲和重奏曲中的重要乐章,都得用它.）它包括三个部分：

第一部分：（呈示部）有两个主题——正主题（第一主题）、副主题（第二主题）,这两个主题往往形成强烈的对比.比如,正主题是冲突性的、戏剧性的,副主题可以是抒情性的、歌唱性的.也有的奏鸣曲里面,这两个主题是相辅相成的,都是歌唱性的.

第二部分：（展开部）就是把呈示部的主题进行不断地分裂 、模进,在配器、节奏、力度和调性各个方面进行对比和展开.

第三部分：（再现部）再现呈示部的两个主题,调性上有严格的关系,比如在呈示部里,主部的主题是主调（C大调）,副部的主题是属调(G大调),而在再现部里,副部的主题也要回到主调（C大调）上.奏鸣曲式通常开始有一个引子或者序奏,结束有尾声.这样的曲式常常表现宏大的构思,反映深刻的哲理,当然也有非常强烈的抒情性和描写性.

第二乐章——行板或慢板.抒情的、以歌唱性音乐见长.

第三乐章——小步舞曲.它们是轻快、幽默、典雅和风趣的.

第四乐章——终曲.它通常是快板,经常采用回旋曲式（A+B+A+C+A）或者回旋奏鸣曲式.（所谓的回旋奏鸣曲式和奏鸣曲式不同的地方,就在于呈示部中主题出现两次,也就是主题 —— 副题——主题,然后是展开部、再现部）

交响乐包含交响曲、协奏曲、乐队组曲、交响诗和序曲五种.

也就是说交响曲是从属于交响乐的.

交响乐之父那当然是海顿啦～