• 2026考研英語(yǔ)全程班 6班
• 26考研全科上岸規(guī)劃營(yíng)「擇校▪規(guī)劃▪備考」
• 2026考研專業(yè)課復(fù)習(xí)資料「真題▪筆記▪講義▪題庫(kù)」

Piano

The ancestry of the piano can be traced to the early keyboard instruments of the fifteenth and sixteenth centuries -- the spinet, the dulcimer, and the virginal. In the seventeenth century the organ, the clavichord, and the harpsichord became the chief instruments of the keyboard group, a supremacy they maintained until the piano supplanted them at the end of the eighteenth century. The clavichord’s tone was metallic and never powerful; nevertheless, because of the variety of tone possible to it, many composers found the clavichord a sympathetic instrument for intimate chamber music. The harpsichord with its bright, vigorous tone was the favorite instrument for supporting the bass of the small orchestra of the period and for concert use, but the character of the tone could not be varied save by mechanical or structural devices.
　　
The piano was perfected in the early eighteenth century by a harpsichord maker in Italy(though musicologists point out several previous instances of the instrument). This instrument was called a piano e forte (soft and loud), to indicate its dynamic versatility; its strings were struck by a recoiling hammer with a felt-padded head. The wires were much heavier in the earlier instruments. A series of mechanical improvements continuing well into the nineteenth century, including the introduction of pedals to sustain tone or to soften it, the perfection of a metal frame, and steel wire of the finest quality, finally produced an instrument capable of myriad tonal effects from the most delicate harmonies to an almost orchestral fullness of sound, from a liquid, singing tone to a sharp, percussive brilliance.

全文翻譯：鋼琴

鋼琴的家系可以追溯至 15 至 16 世紀(jì)早期的鍵盤樂器，包括小型撥弦琴、洋琴和維金娜 琴。 17 世紀(jì)時(shí)風(fēng)琴、敲弦琴和撥弦琴成為鍵盤樂器類的主要成員。 這種至高無上的地位 一直為它們所保持，直到 18 世紀(jì)末期鋼琴將它們?nèi)〈��?
　　
敲弦古鋼琴的音調(diào)有金屬的音質(zhì)， 缺乏雄勁。 然而由于它的音調(diào)變化多，許多作曲家發(fā)現(xiàn)對(duì)于親切的室內(nèi)樂是一種得體的樂 器。
　　
人們最喜歡用具備明快有力音調(diào)的撥弦古鋼琴來配合當(dāng)時(shí)小型管弦樂團(tuán)的低音樂器以 及在演奏會(huì)上演奏。 但它的音調(diào)難以變化，除非使用機(jī)械或構(gòu)件裝置。18世紀(jì)早期的意大 利，鋼琴在一位撥琴鋼琴制造者手中得到完善(盡管音樂理論家們指出有更早的例子)。 這 種樂器被稱為 piano eforte (意大利語(yǔ)，柔和而響亮的)，以顯示它有力的多樣性。 演奏者用 一個(gè)頭部帶皮氈的彈擊樂錘敲擊琴弦。 更早的這種樂器之上的金屬絲要重得多。 從此，持 續(xù)到 19 世紀(jì)的一系列機(jī)械上的改進(jìn)，包括引入踏板以維持音調(diào)或使其柔和，改善金屬框架， 以及使用最佳性能的鋼絲，最終產(chǎn)生了一種具備無數(shù)音調(diào)效果的樂器。 這些效果涵蓋了從 最精致的和聲到幾乎全部的管弦樂音響，從明快流暢的吟唱的音調(diào)到尖銳的打擊樂器的清晰 動(dòng)人的恢宏氣勢(shì)。