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2006/9/23 推荐个网站服装审美课要求做本服装专业词汇字典,老师给些材料,剩下自己去找。网是个好东西,包罗万象,但是质量不如编辑出版的书。林子大了什么鸟都有,网里也有好鸟。(对不起,缺觉,话说得不顺溜。)今个推荐一百科全书网站,是由千万个读者随时更新的。还是林子大了什么鸟都有,千万个读者里也有专业人士,再说你要是看着不顺眼,立即可以上去篡改一下。罗嗦半天,就是这个网:http://www.wikipedia.org 有N多种鸟语,http://zh.wikipedia.org/w/index.php?title=%E9%A6%96%E9%A1%B5&variant=zh-cn 是中文界面。天,我看到网页最上边,“ 中国大陆用户可能无法访问维基百科。若您能浏览无碍,请至状况回报。” 总之,多看百科全书,多学点鸟语,比打麻将、看电视、下馆子要未来一些。对不? 2006/9/9 突破 * “乱儿乱儿”有没有体验过“突破”的感觉?肯定有。
学走路突然能站起来了,学骑车突然能登起来了,学游泳突然能漂起来了;更不用说,学门外语突然能听懂了、学件乐器突然能成调了等等。突然这么一下明白了什么叫“顿悟”,突然这么一下能做出了什么我叫它“突破”。
昨天,就遇到了一粒以为不可能突破的“突破”。大学时学第二外语,德语的发音里有“小舌音”和“大舌音”,就是我们说“某人说话乱儿乱儿”的那种舌头在口腔上膛阻碍气流引起的震颤。(马同学可能认为是“湍流”)。因为中国人语音里没有这个“乱儿乱儿”的 R 音,很多人都学不会。这也是我学德语的一个遗憾,没能学成人家的腔调。
突然想学意大利语,又遇到了“乱儿乱儿”的问题,我有种被焖住的感觉,舌头就是僵直在上牙膛,把气流赌得死死的,要不就是从舌头两侧漏出去了。难道要继续这遗憾?一个北京来的女孩,从小花鸟鱼虫样样玩儿转,一身老北京八旗子弟的习气,就会“鸟语”,真的“鸟语”。我和她到宠物店里,眼见她咋咋两句“鸟语”,那一大群叽叽喳喳的鸟顿时鸦雀无声。这会“鸟语”的女孩模仿力极强,就发得出“乱儿乱儿”的声。我还把舌头伸出来,弯起来,给她鉴定有没有生理性问题。没问题呀!就是“乱儿乱儿”不出来。
这件事开始困挠我:同样是中国人、舌头够长够弯,咋就发不出来哪?有机会就“鲁儿鲁儿”几下,骑车时、刷碗时、上楼时、晒太阳时、上厕所时,反正这么“鲁儿鲁儿”了几天,昨天下车上楼前,低着头随便再“鲁儿鲁儿”一下,突然我听到明明从嘴里发出了不太确实的“乱儿乱儿”来。我赶紧一口气“乱儿乱儿”好几下,上楼“乱儿乱儿”,进门“乱儿乱儿”,坐着“乱儿乱儿”,站着“乱儿乱儿”,终于可以不低头时也“乱儿乱儿”了。这就是量变到质变啊。
当时,我的兴奋,马同学可以证明。是 hilarious 狂喜呵。 2006/9/7 再谈音乐刚才发的英文短文是我那门“世界音乐简介”课要求的音乐自传,昨天晚上翻看课程要求,惊异发现居然要求明天提交,我还没动笔呢。今天赶紧敲出来3页,然后到英文写作辅导中心修改了一番。美国英语专业女孩夸我的文章里有很多充满想象力的意象和比喻,就是文章结构不够顺畅,首尾呼应和过渡太粗糙。这回改过的,请英语文学专业的姐妹指正。这是到这边来写的第二篇了,上一次是 Tiffany 珠宝,这回是“音乐和我”,弄得悬一些就成了“灵魂里的音乐”。
写文章的好处是梳理凌乱的印象和想法,贯穿起来一看还有些发现。写完这篇,我就发现父亲对我的音乐教育有多重要。尽管是业余的,但是是真心的,热爱音乐。有机会,把老爸木头做的小提琴贴上来,给大家看看。我还经过了“返璞归真”的过程,从西洋乐到民族乐,从硬邦邦的技术“过硬”到音乐与人生与文化的纠缠。音乐里都说了些什么?长大一些,会有更多理解和想象。
图书馆要关门了。只能到这。 Music in the Soul
Music is about soul recuperation. The irritated, tired or depressed soul can be lubricated, lightened and lifted soon after you immerse yourself in music, either by listening to or playing it. It is no wonder that music becomes a trendy commercial therapy for many people. For me, music is a life-time companion through good or bad times.
Music was first introduced to me by my father, who was a self-taught cello, guitar, Jinghu and keyboard player. He even hand carved a violin when he learned carpenter skills. I grew up seeing that black enameled curvy four-string instrument hanging on the wall. He wanted to pass on his flaming passion for music instruments, melody and harmony to me. At the age of 6, I started to learn playing foot propelled reed organ from my father. (At that time, poor Chinese families could not afford the piano.) I remember at the very first lesson, I was instructed to play by both hands. It felt weird, stretching and harnessing my nerves to manipulate both right and left hands in coordinated movement.
In a sense, music is my closest childhood playmate. I spent 12 years running scales up and down, learning new pieces and bettering them over and over again. I would practice and play for hours, look out of the window, take a breath and refocus on the music or scales. I was mostly seated before the instrument during my childhood, my feet paddling for the wind and my fingers striking on the keys for, hopefully, music. I learned many pieces from a hundred-year-old yellow thick music book, published in Japan. When I was in my third grade, I gave my first on-stage performance for all my teachers and classmates from my elementary school. The piece was “On the Sea”, depicting a boat sailing on the sea. That was a huge fear for me and pride for my family.
When the time came I had to part with my dear reed organ, I cried in my room for a long time. I cherished the 6 years’ company of the instrument, the joy and the pain, the sun and the rain with it. The summer before I went to middle school, I finally had my own piano, a heavy black instrument with tranquil surface reflecting like a mirror and a long row of distinctive black-and-white keys. I had a hard time adjusting the finger muscles to the hard keys and to the subtlety of its volume fluctuation. It was like making a new friend. Not long after, I started to enjoy playing with this new friend. I realized that people can develop a meaningful relationship with an instrument.
I treasure each piece I learned by different composers and try to relate to the composers by sympathizing with them and imagining how they might have felt when composing the music. Among all the 50 or so pieces in my repertoire, La Mer by Debussy is my favorite piece. After a repetitive perpetuation of western “metered” music, I find in this piece a freedom of breath. Its nocturnal, dream-like quality by its dissonance and motley of colors mesmerized me. Each time I played it, I had a new feeling and fantasy. I also admire Mozart and Beethoven for their virtuosity of classical music and their restless quest for the music from their soul.
Music mysteriously directed the path of my life. When choosing between science and art in high school, I went for art and humanities; when deciding on undergraduate major, I went for English literature; when I came to Hawaii, I gave up the admission to Master of Accounting program for Apparel Design and Merchandizing. Somehow, the music I played through the years led me to where I am today. But I never think of music as a major, because I don’t think I have that much talent. Music is something special in my life, more than a hobby, a skill or a profession. As I aged, my horizon of music expanded. When I was traveling, music by different instruments always fascinated me. I often bought a landmark instrument from a place for my father. I have bought Coconut Shell instrument from Bali and a Ukulele from Hawaii.
One unforgettable music experience during my traveling is playing drum ensemble with Bali beach boys. At twilight, the milky beach echoed the vibrate rhythm from four drums played by these tanned handsome beach boys. I was fortunate to find and join them in expressing our joy under the tropical sky. I played the lowest key drum, hitting alternately by right and left palms, then other drummers merged in, and I heard the interlocking rhythm from drums of different pitches woven into a luxurious piece, accompanying the breaking waves not far away.
My recent music zest is Chinese music. Oddly enough, I started to appreciate my folk music this late. Awakened by the urge of identification with my own culture, I plunged into learning a Chinese instrument, Guzheng. I had dreamed of playing the horizontal harp for a while, planning to play it after retirement as a way of meditation. One day, I came across the biggest instrument store outside Shanghai Conservatory of Music. The minute I heard the finger glided through the 21 strings in pentatonic harmony, like a tumbling stream, I could not resist but taking it home.
I had learned the instrument from a Yangzhou teacher in Shanghai for a couple of months. After two classes, I attempted the classical piece “Fishing Boat Song at Sunset”. I felt like finding my musical home, finally, after so many years of wondering in western classical music and playing the piano. The tunes I heard since childhood finally came to live and to anchor my life floating in a foreign land to my root.
The Piano can display intimidating difficulty in ten-finger limitation, while the Guzheng, with continuous pitches by pushing down and loosing up the strings by the left hand, has its own charm, by simulating human’s voice and nature’s sound. I would think Piano more mechanical and Guzheng more natural.
There are times, at a quiet moment, when it is raining or the wind is blowing, the music flowing from Guzheng becomes One with the natural elements. And I feel the harmony between me, music and nature. I feel the joy and peace deep down from my soul.
Music is for the soul, from the soul and in the soul. For me and I believe for many of us.
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