Interpretation Master Class
 

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Music Interpretation Master Class
音乐大师课程诠释

Tools for Interpretation

Rules for Musicians and Music Students

What

它是什么

See Lang Lang's Fingernails

A workshop presenting interpretive techniques to musicians. It may be optionally coupled with other workshops and a concert. Depending on variables, the Master Class can be from one to three hours.

这是一个专门用来与音乐家们进行沟通讲解的音乐技术研讨班,根据具体情况,它可以随机结合于其它研讨班或是音乐会,也可以把时间灵活控制在1-3小时范围内。

Where

对场地的需求

You provide the venue. An outside venue is acceptable; due to weather, power, and lighting considerations, an indoor venue is preferred. We can discuss issues regarding rental, ticketing, etc.

具体场地可以由您来决定,室外会场也可以,但是由于天气、电和灯光等因素,室内场地会更合适一些。具体的租金与售票等的相关事宜可以由我们双方一起协商。

When
时间安排

My time is flexible; however, I suggest Friday (and Thursday) for workshops, and Friday or Saturday evening for concerts.
 

时间可以灵活安排;(个人建议:研讨会周四或周五举行,音乐会周五或周六晚上举行)

how
(Including How Much!)
实施方案
(包括预算费用!)

By your invitation. You provide my transportation, room and board (sharing with students' dorms is acceptable), and a 1,500 RMB minimum stipend for each workshop.* Finances for optional concerts are negotiable. I am studying Chinese, but it is not yet very good, so I will need an interpreter. I can bring one with me, or it could be a great opportunity for a student or host to practice their interpretation skills! 

    * The rate is 900RMB per hour, with a minimum of 1,500RMB.

根据您的邀请函,您提供我交通、住宿(学生宿舍也可)支出,以及每场研讨会最低1500元的津贴,随机音乐会报酬可再议。我正在学习中文,但还不算很好,所以我需要翻译,我可以自带一名,或许这也可以成为一名学生或主持人煅练他翻译能力的好机会。

费率是每小时
900元,每场研讨会至少1500元。

details

具体细节

This workshop targets music students, professionals, and teachers, but is also of interest to anyone who enjoys music.

这种研讨会的对象是音乐类学生、专业音乐人,音乐教师,及任何对音乐感兴趣的人士。

background

背景

China's music students and musicians are arguably the finest performance technicians in the world. Yet few people in the West are familiar with Chinese musicians, other than Lang Lang and Yo Yo Ma. (One good list of Chinese Western music performers is found at the Facts and Details website.) It is not simply because the names are difficult to remember; it is because few Chinese musicians attain levels of full mastery that is expected of performers of Western music.

中国的音乐学生及音乐家们被公认为是世界上最好的演奏家,然而只有少数的西方人了解中国音乐家,比如像朗朗、马友友(在Facts and Details 网站上可以找到演奏西方音乐的优秀中国演奏家名单),这些都是非常来之不易的,因为首先他们的名字很难被记住,其次,因为很少有中国音乐家能掌握演奏西方音乐的精湛技术。

 

I believe this has to do with a peculiar aspect of music education in China: Confucian methods of formal education still impact all aspects of China's modern education, including the arts. As a consequence, students excel at isolating the individual components of a performance and then blending them into a perfectly unified whole. But there is one component that is often missing. China is all about team work, working together for the common good. This is an aspect of the culture Westerners have a difficult time grasping. Unfortunately for the performing arts in China, this has come to mean that each individual performs just like everyone else. The dimension of performance that demonstrates the technical capability of the Human has not been adequately fused with the dimension of the emotional (spiritual) expressive capability of the Human. Yang Yang and Yo Yo Ma's rise to prominence is a direct consequence of their successful fusion of the technical with the spiritual.

我认为对中国的音乐教育来说,需要再做一些特定方面的改进,因为受儒家教育影响的中国教育及艺术,导致的结果就是,学生能在个人的竞争中胜出,但总是有某些重要的部分被忽略。中国是一个大的合作团队,能在面对灾难的时候众志成城的进行救助及齐心其他公益活动,现阶段的西方文化相较于这些而言还是有些差距。但对于中国艺术来说,从某种程度上个人的独奏都是与其他人相似,表演的维度显示出演奏者们并不是能一直充分展示音乐的意境与精神。朗朗和马友友最直接地证明了精湛的技术与精神相结合才是成功之道。

 

In the Interpretation Master Class, participants are introduced to tools and coached on using them to access the spiritual dimension and fuse it with the technical. It is profoundly simple, and once learned, lasts a lifetime. Additionally, teachers (and students) can easily share the tools with others. The following dialogue is an example of how the tools are presented; a listing of the tools follows.

在这个音乐技术研讨会中,参加者将能运用一些技术手段进行练习如何在表现艺术意境中运用正确的技术,这些方法运用非常简单,一旦掌握就可以终生受益,此外,老师和学生能轻松与他人共享这些方法。以下的对话是一个关于这些方法的例子。

 

Example Dialogue
对话实例

The following "fictitious" dialog is a composite of several very real dialogues that took place during interpretation master classes.

以下这段“虚拟”对话是发生在研讨会上的几个真实对话:

 

A student plays the Chopin etude No.4 Opus 10. The audience claps with modest enthusiasm for a good performance. "Very nice, perfectly played; flawless! However, you can do so much more with it. What are you trying to say by playing this music?"

一个学生弹奏了肖邦夜曲No.4 Op10,观众以热烈的掌声表示他作了非常精彩的演出,他们认为这是一次非常完美的表演,然而,你还有很多可以做,你想通过弹奏这首乐曲来表达什么?

 

"What do you mean?"
你表达的是什么意思?

"What feelings are you expressing?"
以及你想表达怎样的感受?

"I don't really know. It's happy, I guess."
我不是很清楚,我猜是快乐吧。

"Tell me: what is the composer trying to say?"
告诉我,作曲家想通过这曲子表达什么?

"He's not saying anything; it's just an exercise!"
他没有说什么,这只是一首练习曲!

 

"Yes, you're right, its an exercise. But even exercises can communicate. Lets suppose the composer is trying to say something. What would that something be?"
没错,这是一首练习曲,但即使是练习曲也能进行交流,让我们假设作曲家正在表达,那这会是什么呢?

 

"I don't know, maybe, he's saying he's in a hurry."
我不清楚,也许,他想说他很匆忙。

 

"Good! The interpretation doesn't even have to be true. Sometimes, the composer may have a very explicit message in mind, but for what we're doing here, we don't really need to know that. Music is a language of emotion, and emotion is very abstract. Now, I want to ask you: what do you want to say with the music? [Pause.] Again, it does not have to be real, or the truth. Let me ask it this way: What do you think you could express with this music? What feelings would you like to express with it?"

很好!诠释不一定非得是正确的,有时候,作曲家脑中也许会有一个非常明确的信息,但是对于我们正在做的来说,我们并不真的需要知道那是什么,音乐是一种情感语言,而情感是非常抽象的。现在,我想问你:通过这段音乐你想表达什么?(暂停),再说一次,它不一定非得是正确的,或是真实的,让我换一种方式问:你觉得你可以通过这段音乐表达什么?你想表达的是什么样的感觉?

 

"Wow. Oh. Maybe I should get off my ass and do something? [The audience laughs.] I mean, that's what I think I would like to express with it!"

哦,也许我该起身去做点儿什么?”(观众笑)我的意思是,这就是我的音乐想表达的意思!

 

"Very good! And very specific. Sometimes it may be that specific; sometimes it may just be a feeling like 'happy' or 'sad' or 'love.' Now you're ready to look at another aspect of it. When you speak, you speak in phrases, you take pauses to breathe, and that has a natural effect on your patterns of speaking. Plus it forces pauses between your phrases and sentences. Debussy said 'Music is what happens between the notes.' The same is true of speaking: in the brains of the listeners, the thoughts take place between the words. So the challenge for you is to identify the breathing in the music. You already know about phrases, and phrase marks, cadences, and so on. We're now talking about the language component of the music, its sentence structure. So look at the written music. Hear it in your head, and as you do, breathe with it. At the beginning, before you play, you take a breath. Breathe out as you play the first musical sentence or phrase; take a quick breath in before you continue, just like you do when speaking. Do this for the entire piece. But not now; just do it for the first few phrases so you get the feel for it! Sometimes, if you listen to live or recorded performances of masters like Lang Lang, Serkin or Horowitz, you'll hear their breathing with the music. They are speaking the music using their fingers as an extension of their voice. OK, now try it. See how it feels."

非常好!而且非常具体!有时候,它也许就是这么具体,而另一些时候,也许它只是表达诸如:快乐,忧伤,或者“爱”这样的情绪。现在,你已经准备好去关注另一个方面:当当你用一个短语说话时,你停顿换气的时间,以及在一些短语或句子中暂停的力度,可以自然而然的形成你自己的一种独特说话形式。法国作曲家德彪西曾说:音乐就是在音符间发生。其实,说话也是这样,在听者的大脑中,他们的想法发生在语句间,所以对你来说,挑战就是音乐间的呼吸停顿。 现在你已经懂得了乐句和乐句记号以及节奏等等,那我们现在开始谈论音乐的语言,它的乐句结构,所以,请关注乐曲,用心聆听,并且跟随它呼吸,在弹奏以前,你先呼吸,用呼吸引导出你弹奏的第一个乐节或乐句,然后在你准备接下去时快速地换气,就像说话一样,像这样演奏完整首乐曲。现在请弹奏几个小节来体会一下这种感觉。运用这种方式,当你现场聆听或是通过录音欣赏像朗朗、赛尔金、霍洛维茨这样的音乐家的演奏,你会听到他们随着音乐一起的呼吸声。他们正是在运用“手指”作为他们说话声的延伸在“说”音乐。好,现在试试看,感觉它。

 

[The student plays. As soon as the playing starts, an audible gasp is heard from the audience: when it was played the first time, it was just an excellent piano performance; now they are listening to music.]

学生弹奏,当音乐一开始,观众席中就传来一种能听得见的喘息声,当他弹完第一遍,它只是一次非常优秀的钢琴演奏,而现在,他们正在聆听音乐。

 

Sometimes in the States, and quite frequently in China, this coaching opens students and even some teachers and performers to discover their inner-music for the first time.

有些时候,在美国,并且经常在中国,这种方法让学生,甚至是一些老师以及演奏家第一次显示出他们内心里的音乐。

 

[An excellent commentary on Chopin's Opus 10 No. 4 etude may be found here on Wikipedia.]

。【在维基百科上你可以找到一篇关于肖邦作品OP10第四号练习曲的优秀评论】

 

Tools for Interpretation
沟通讲解的媒介

"Music emotes; music cannot connote." Music is the language of emotion, and communicates without cognitive intellectual baggage. Any intellectual components are abstract; it does not communicate "things," only feelings. Sometimes music reminds us of things, but that is only by association; the music may describe the emotions connected with things, but does not actually describe the things. When words are sung, it is the words that carry the thoughts; the music itself carries only feelings.

音乐情感,音乐是一种情绪语言,它是一种无关认知的交流,任何杰出的作品都是抽象的,它不是指具体的“东西”,只是一种感觉。有时候音乐会让我们想起某些具体的事物,但那只是联想,音乐有的时候也可以表达某种情绪,但并不是具体地描写某种事物。虽说当歌词被唱出来,那些词能带来思想表达含义,但音乐本身只能带来某种感觉。

 

The language of Music has grammar and sentence structure. Its components are not as clearly identifiable as spoken language; there is no concise noun or verb in music. But the concepts of grammar and structure do apply quite vividly: the first two bars of "twinkle twinkle" serve quite well as the subject; the last two as the predicate. Question and answer. This is a critical component of spoken language, and works as well in music. A musical phrase or entire work can ask a question or make a definitive statement.

音乐有它的语法和句子结构,它的作品并不像语言那样清晰和容易识别,音乐里没有简单的名词或动词,但语法和结构的概念却可以非常生动:歌曲“亮晶晶”的前两句与主题非常贴切, 最后两句则作为肯定意思与前面相呼应。问和答,这不仅是说话的一个重要组成部分,同样也是音乐的一个重要组成部分, 一段或整首音乐都能以提问和回答的方式呈现。

 

Interpretation means two things: first, honoring the intentions of the composer. Second, honoring your own interpretation and communicating that to your listeners (including yourself!).

音乐研讨意味着两件事:首先,诠释作曲家的意图。其次,向包括你自己在内的听众传达和交流你的见解。

 

The following are specific tools that aid opening oneself to new levels of performance and interpretation.

以下是几种帮助拓展思维,提高音乐演奏和音乐领悟的特别方法

 

Identify What the Music Expresses
知道音乐想表达什么

  1. Recognize the composer's intended expression. It is suggested you know about the composer and the composition. Some music may have no background information at all, for example, a scale. In that case, invent an intended expression! What is important here is that you associate an expression with the music you are going to play. Play it through with focus on expressing the composer's meaning.

    辨识作曲家想表达什么。首先,建议你先去了解这位作曲家的背景及他的相关创作,当然也许有些音乐根本没有什么音乐背景,例如音阶。如果那样的话,可以设想一个想要表达的情绪!重要的是把你想要表达的情绪与你的演奏联系起来,通过演奏来准确地表达作曲家的创作意图。
     

  2. Determine what you would like to say with the music. Again, if you do not know, make something up. (As you play, you may find that you modify what it is you are saying. It is just the same as if you memorize a poem, and the more you speak it, the more meaning you discover in it.) Now when you try playing it, you will add your intention on top of the composer's. Play it through with a focus on your intention added to the composer's.

    决定你想要通过音乐所表达的东西,如果你不清楚,那就编造些什么也行。(当你演奏了,你也许能找到你正在表达的情绪,这正像背诵一首诗一样,你朗诵得越多,你就能对此感悟越多。)现在你试着演奏它,你会在作曲家的创作基础上加上你的理解,也就是再创作。
     

  3. Look at the music and hear it in your head. Note where the breathing takes place. If you are not sure, make it up! You will discover what works and does not work when you play it. After you analyze the breathing, play it, but exaggerate the breathing: make the pauses between the breaths ridiculously long. When you play it subsequent times, the pauses (the breathing) becomes more natural; even a perpetual motion piece like the Chopin etude will soon contain almost imperceptible breathing that brings the music to life. If the breathing does not match what you are trying to say with the music, then try a different breathing.

    在脑海中回顾音乐,注意在什么地方呼吸,如果你不确定,弹奏它!你会发现在你弹奏时哪些呼吸是合适的,而另外一些则不合适。当你分析过了呼吸以后,再弹,但是把呼吸做得夸张一些,使呼吸的前后暂停延长,当你把它反复弹奏几次以后,这种暂停会变得更加自然,哪怕是一首情绪练习曲比如肖邦练习曲,呼吸也会带来难以至信的使音乐活起来的效果。如果你觉得呼吸与音乐不匹配,那就需要重新再调整合适的呼吸。

Creating your Style
形成自己的风格

  1. Do your homework: when possible, become familiar with the style of the music. Sometimes it is what is expected by modern specialists such as Thurston Dart, Joshua Rifkin or Nigel Kennedy; sometimes it may be a radical new interpretive idea as put forth by Fabio Biondi's Europa Galante recording of Vivaldi's "The Four Seasons." Unless the music style coincides with or follows the era of modern recording (e.g., has been recorded), this will never be the "authoritative" way to interpret the piece. But it will be a good starting point. (We may have some pretty good ideas of how Shakespeare's plays were first presented, but we will never know what they actually sounded like.)

    家庭作业:在可能的情况下,熟悉音乐风格。有时它可以是现代的专家,如瑟斯顿,乔舒亚·里夫金或奈杰尔·肯尼迪风格,有时也可以是一个激进的新想法,比如法比奥·比昂迪欧洲嘉兰乐团录制的维瓦尔第的“四季。”音乐风格与现代相符(如,已录制),这将是一个很好的起点,虽说这不会被以“权威”的方式来进行诠释作品。(就像我们可以有一些关于莎士比亚戏剧被首次呈现的一些非常好的想法,但我们永远不会知道他们实际上听起来像什么。)
     

  2. Practice interpreting it in the style it was written.
    实践解读它的风格是书面的。
     

  3. Practice it in different styles. If it is a Baroque piece, try playing it as if written by Chopin. If it is by Rachmaninoff, try playing it as if written by Bach. The purpose of steps 2 and 3 is not to suggest anything rigid or surreal; rather, it provides you with a listening of possibilities of interpretation you otherwise might miss. (It also helps you learn the music!)

    运用不同的风格进行练习。如果它是巴洛克风格的作品,可以尝试肖邦风格演奏它。如果它是拉赫玛尼诺夫风格,那么可以尝试巴赫风格演奏它。步骤2和步骤3的目的不是建议死板或超现实的演奏,相反,它为提供了一个你可能会错过的一个绝佳的练习机会。 (这也可以帮助你自己学习音乐!)
     

  4. Pick and choose the stylistic interpretive elements that best fit your own personal interpretation of the music. Again, the goal is not something outrageous; it is possible to play Bach in a Baroque style while at the same time incorporating very subtle elements of a very romantic touch. If this fits you, you will be astounded at how astounded your audience is with your playing.

    挑选最适合自己演绎风格的音乐元素。我们设定的目标是可行的。 因为运用巴洛克风格演奏巴赫时同样也具有浪漫风格的微妙元素。如果适合你,你会惊讶于你的观众会多么的震惊你的演奏。

Virtuosity vs Interpretation
精湛技艺与诠释

  1. Play the music at different tempi. Not just practice; play. You cannot musically play anything fast if you cannot musically play it slow. I mean, slow! Try playing the Allegro (fast part) eighth notes of the first movement of Beethoven's Pathétique at the same sixteenth-note tempo you would use for the second movement, but make it musical.

    运用不同的方式演奏节奏。不仅仅是练习,这需要实践。在音乐上,如果不能演奏慢节奏,那么就根本无从演奏快节奏。所以这里需要强调慢!现在尝试演奏贝多芬的Pathétique第一乐章的第八个音符,用音乐的形式演奏第二乐章同一十六音符的节奏。
     

  2. Use the metronome to increase the tempo to a little above performance tempo, staying very aware of incorporating the interpretative elements you discovered while playing it slow. (See Rules below.)

    使用节拍器来增加以上演奏的一些节奏,当你演奏放慢时,你将保持非常清晰来诠释这些元素    (详见以下规则。)
     

  3. After dropping back to the performance tempo, you will discover all the subtle moves still exist in your interpretation, thus making your musical statement all the more powerful.

    当你降回演奏节奏,你会发现所有细微的进展仍然存于你的诠释当中,从而使你的音乐表达能力更强。

Performance Visualization
将演奏形象化

When you are in front of an audience, start the performance in your mind before you play the first note!
当你位于观众面前时,需要在心里先进行演奏,然后再开始你的第一个音符。

  1. Walk onto the stage, stop, turn and face the audience, count one beat (one second) as they applaud, and make a short bow or curtsey.

    走上舞台,然后停下来,转身面对观众,当观众鼓掌时,数一下节拍(1秒),然后向观众微鞠躬或行屈膝礼。
     
  2. Position yourself for the performance (sitting or standing).

    找到合适演奏的位置(坐着或站着)。
     
  3. Visualize your starting the music, including the audience's positive reaction to your playing. Note the tempo you are visualizing; that is the correct tempo for you to play. Note your interpretation; that is the correct interpretation for you to give the music.

    想象你音乐的开始,包括观众对你演奏的积极反应。注意你所想象的节奏,就是你所演奏的正确节奏。同样注意你的诠释,就是你音乐的正确诠释。
     
  4. Start playing.

    开始演奏。

Rules
规则

  • If you can't play it slow, you can't play it fast.

    在音乐上,如果不能演奏慢节奏,那么就根本无从演奏快节奏。

     

  • Practice with different rhythmic values and patterns. (Play Bach's C Major 2 part invention in a strict eighth note pattern eeee, then try in a e. x  pattern, then in a x e. pattern. Try it with triplets, dotted triplets, etc. Try accenting it as a 3/4 piece; try extreme rubato and marcato. This gives you real control and mastery of the music, which is what gives you the freedom (and authority) to play it as you choose.

    试着用不同的节奏观和形式进行演奏。(巴赫的C大调 2   遵循着严格的第八音符模式,然后尝试模仿,再模仿。尝试用三重音等,用3/4强调,及尝试极端的侧重。当你演奏后,这将让你真正的掌控和熟练音乐。

     

  • Rule of Three: If you can play the passage three times perfectly at the given tempo, you are then ready to move the metronome speed up a notch. If you fail three times in a row, then it is time to move the speed down a notch.

    如果你能够完美演奏所提供给你的节奏连续三次,那么你就能将节拍器加快到高一级别。但如果你连续失败了三次,那么这时候就需要把节拍器速度降低一个档。
     

Using the Metronome


使用节拍器
The metronome is a true paradox for the student: it is the one tool you will hate the most, and it is the one tool you will love the most. You will hate it, because it tells the truth, and will not let you get by with anything. You will love it, because it is the best tool available to give you technical superiority without sacrificing interpretation. When using it, the "rule of three" is a powerful indicator of progress: if you can play the passage three times perfectly at the given tempo, you are then ready to move the speed up a notch.

节拍器对于很多学生来说是一个矛盾体:虽说,这只是一个工具,但它会让学生又爱又恨。 你会恨它,因为它告诉真相,但又不让你得到任何实质东西。你会喜欢它,因为通过它可以给你高超技术 。当运用节拍器时,规则三就是一个能够显示进展功能的强大指示器:如果你能够完美演奏所提供给你的节奏连续三次,那么你就能将节拍器加快到高一级别。
  1. Isolate the portion of the music you will work on. Difficulty may exist in one or more components: fingering, notes, rhythm, body mechanics, etc. Set the speed at what seems to be a comfortable level for the most difficult component. (If it is a slow piece, set it substantially slower than the performance tempo.)

    学会分离你将演奏的音乐部分。在某些部分可能会存在难度:比如指法,音符,节奏,身体力学等。所以,在最困难的部分,你可以把速度设定在自己认为最舒服的范围。(如果它是属于缓慢部分,那可以把速度设定比演奏时的节奏更慢)
     

  2. Play the passage in question. If you can play it perfectly three times in a row at that tempo, then move the speed up a notch. (Be sure you are incorporating any interpretive nuances, relaxations and specialized technical moves such as alternate fingering at a smooth pace matching the tempo; when the speed increases, these components must increase accordingly.)

    把乐章放在考虑中。如果你能够完美演奏所提供给你的节奏连续三次,那么你就能将节拍器加快到高一级别。(你需要结合所诠释的细微差别,娱乐和专业技术的进展。比如替代指法速度匹配节奏;当转速增加,这些必须相应增加。)

     

  3. If you make any mistakes three times in a row, move the speed down a notch and return to Step 2.

    如果你连续失败了三次,那么这时候需要把节拍器速度降低一个档。然后返回步骤2
     

  4. When you attain the performance speed, don't stop there! Push yourself to move one or more notches above the performance speed. When you return to your performance speed, it will feel that much easier.

    当你能达到你的演奏速度时,不要停在那里!现在可以尝试着把速度调高一个或多个档。最后当你重新回到你表演速度时,你会觉得它会容易很多。
     

  5. Play the passage again, but this time start a few measures before the passage and play through several measures after the passage. This ensures that it keeps its new integrity within the context of the larger work.

    把乐章重弹一遍,但这次在开始演奏前先开始几个档进行测试,在演奏完章节后再调换几个档演奏。这样做的目的是确保节拍器能够保持其新的完整状态确保能完成较大的工作量。

About Nervousness
正确看待自己的紧张

  1. You will hear people say "don't be nervous." Wrong! You should be nervous. Nervousness does not exist unless you care about your performance. If you care, you will be nervous. You can't get rid of it, so don't even try.

    当你演奏表演时,你可能会经常听到别人对你说:别紧张。  但是这是错误的!你应该紧张。因为如果想让紧张不存在,除非你不在乎你的表演。但如果你在乎,你就会紧张。你不可能够摆脱它,所以不需要尝试着去摆脱它。
     
  2. Instead, thank your nervousness for being there. Really. If you're really nervous, try thanking it out loud. Say, "Thank you, Nervous, for being here with me."

    相反的,你需要感谢你的紧张感存在那里。说真的,如果你真的紧张,就尝试着大声感谢的说,谢谢你,紧张与我同在。
     
  3. But don't let Nervous stop you. Take the nervousness that is in front of you and place it to your side, next to your shoulder. You can't get rid of it, but you can at least place it somewhere where it will not stop you. I mean, physically take hold of it in front of you, and move it to your side! Wear it proudly, because it means you want to make a difference in the world!

    但,重要的是不要让这种紧张感阻碍到你。现在把紧张,放在你的面前,并把它放在肩膀的旁边。虽说你不能够摆脱它,但你至少可以把它放在一个不会阻碍你的地方。我的意思是,把紧张放在你的面前,并把它放在肩膀的旁边,然后再自豪地穿上它,因为它意味着你想让自己在这个世界上变得与众不同!

Play it for Real
认真对待你的演奏

You may have an occasion to perform something you don't understand, perhaps even something you do not like. That's OK. Think of it as something that you will play for others and not for yourself. (Most performers are really playing for themselves; it is fortunately usually good enough that others can enjoy it, too!) Try reminding yourself that even if it does not mean much to you, it may mean something very significant to someone else. Just because you feel like you're wasting your time, don't waste theirs, too; play it for real. Remember, Tchaikovsky thought his Nutcracker was trite and trivial; Brahms supposedly tore up an entire symphony he personally did not like; and Bizet died thinking his opera "Carmen" was a dismal failure! So play it for real; worst case, you may do it well enough that others ask you to play it again; best case, you'll influence others positively so they'll listen to what you want to play. OK, another worst case: you may come to like the music, as well!

有时你可能会需要演奏一些你不理解或是一些你不喜欢的东西。但,这没什么,当你遇到这种情况时,你可以把这次演奏当成是为他人演奏而不是为了你自己。(其实大部分的演奏真的是为自己而战,但是这同样也包括其能让你的观众沉浸其中) 试着这样提醒自己,即使它对你来意义并不大,但这可能对某些人有着非常重要的意义。这么做的原因,只是因为当你觉得你在浪费你的时间时,你会同样想着不要浪费别人的时间,所以,你会认真对待你的演奏。记住,柴可夫斯基也会有认为他的胡桃夹子是陈腐并琐碎的;据说,勃拉姆斯曾撕毁过整个他个人不喜欢的交响乐;而比才曾认为他的歌剧卡门是一个令人沮丧的失败品!所以,认真对待你的演奏;最坏的情况,当别人要求你再演奏一遍时,你可以做得很好;最好的情况,你会影响他人让其拥有一个积极的心态,这时他们会认真的聆听你用音乐所传达的信息。还有另一个糟糕的情况,那就你会喜欢上音乐!

 These are the Fingernails of a Piano Player!
一双弹钢琴的标准手指甲!

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