来自《耶鲁大学开放课程：聆听音乐 第23集 第23集》

• 
  
  You move into the Romantic. You have expansive themes,
  进入浪漫主义时期 主题会更广阔
• 
  
  but by way of contradistinction there,
  但是在这里 通过对比的方式
• 
  
  then the rhythm becomes not necessarily more flaccid, but more loose,
  节奏变得不一定更弛缓 但更宽松
• 
  
  and we talked about this phenomenon of rubato, for example.
  例如 我们讨论过这种弹性速度的现象
• 
  
  So flexible rhythms, flexible tempos, less clear meters in the Romantic period.
  浪漫主义时期具有多变的节奏 灵活的速度 模糊的拍子
• 
  
  And,not to overdo it,but maybe this idea of just "beautiful melody,"
  当然 别过头了 或许这就是"美妙旋律"的真谛
• 
  
  and it is of course in the nineteenth century
  当然这是在十九世纪
• 
  
  that we get the whole idea of the bel canto sound.
  我们有了美声唱法
• 
  
  Anybody read Rothstein's--
  有人读过罗斯坦的文章吗
• 
  
  no--Anthony Tommasini's article that I pointed you to about bel canto?
  不 是安东尼·托马斯的文章 我建议你们读的关于美声唱法的
• 
  
  He said, "Actually,the beginning of that
  他说 "事实上
• 
  
  starts back with the composers of piano music of that same period
  起初是同时代的钢琴曲作曲家起始