Transcript Spirituality of Music 音乐的灵性

Spirituality of Music
音乐的灵性
A Western Perspective for
Eastern Audiences
为东方观众阐述西方的音乐观
• What you’re about to witness is based upon
years of experience within the realm of Western
music and thought. However, that exploration
also visited the fringes of Eastern music and
culture. I hope and trust that you will discover
enough in common that you will be touched and
inspired by this presentation.
• 以下你将要看到是鉴于本人在西方音乐的领域中
的经验和见解。然而，这也是在西方音乐和文化
背景基础上而谈的。我希望你可以从中得到感触
和启发并能够发现一些共同的地方。
Silence is very hard to hear,
At best it scarcely fills the ear.
But I know it exists, because I’ve found
If it weren’t for silence, there'd be no sound.
Don Rechtman
沉默是很难听见的
至少不会在你耳朵回响
但是我知道他存在，因为在寻寻觅觅中我已经找到它。
如果没有沉默，那么就没有声音
•
Don Rechtman
• Prelude
• Words and music by Don Rechtman
• A “prelude” is an introduction that helps to
set the mood for a performance or
presentation.
• 前奏
• 由Don Rechtman作词和曲
• “前奏” 是为演出或演讲布置气氛的一种介绍
• 'Tis time to sing of honor, grace and glory,
• 这一刻我们为荣誉,美好,辉煌歌唱
• And share musical thoughts among friends
and relations.
• 这一刻我们和朋友亲人用音乐分享思想,
• Of how to honor sacred space,
• 我们感谢这神圣的空间
• Of how to grace each other with our
presence,
• 我们的参与彼此融和
• Of how to glorify each moment of our
gathering together:
• 我们珍惜相聚的每一刻
• Please don't talk during the prelude;
• 前奏时,请不要讲话
• To do so is very impolite.
• 此时讲话是非常不礼貌的
• It keeps others from hearing,
• 这会打扰别人对音乐的欣赏
• And thus your talking is not right.
• 因此此时讲话是不对的
• 'Tis a time for contemplation,
• 这是我们沉思的时刻
• For getting oneself in the mood
• 是用心去体会领悟的时刻
• Its not a time for sharing greetings,
• 不是相互问候的时刻
• Or for that matter, time for sharing food.
• 也不是一起吃零食的时刻
• Please don't laugh during the prelude;
• 前奏时,请不要大笑
• Some music makers just might take
offense.
• 大笑可能只会使一些音乐家误解
• And if you aren't very careful,
• 如果你不很细心,
• You might be surprised: some-one just
might sing
• 你会惊讶发现：一些人可能在唱
• nonsense!
• 没意义的歌曲！
• Reading
• 阅读
• Grandma’s hearing and vision loss was
already in full swing. She asked me to play
piano for her.
• 奶奶的听力和视力急剧下降。她请求我弹
钢琴给他听。
• I eagerly complied, and played from the
happy place within the heart.
• 我欣然答应，从心里面很高兴地为她弹了
这首曲子。
• In the midst of my musical expression I felt
a warm hand gently grasp my left shoulder
and in turning me around to her, it stopped
the playing.
• 在我用心弹奏时，突然感觉一双温暖的手
抓住我的左肩膀然后把我转向她，我停止
了弹奏。
• With true sadness in her voice, she
apologized and said, Your music, I know it
is beautiful, but I'm sorry, I just can't hear it
any more.
• 她道歉并伤心地说：“你的音乐非常动听，
可惜我再也听不见了。”
• Silent Meditation
• [Second movement of Beethoven’s
Pathetique Sonata in C minor, abridged.]
• 沉默冥想
• (贝多芬C小调悲怆奏鸣曲第二节，删减音
乐演奏）
• Does music affect us spiritually? It’s an
easy question to ask. But to answer…
• 音乐真的会震撼我们的心灵吗？这个问题
很多人会问起，可是要回答…
• There are immediately two problems that
arise with this question: how do we define
music, and how do we define spirituality?
We’ll also briefly explore those two
questions.
• 回答这个问题随之而来的是2个问题：我们
如何定义音乐？我们又如何定义灵性？下
面让我们简单地研究这2个问题。
• Musical Example [Improvise a group
reading.]
• 音乐示例 [即兴演奏一曲]
• Were any of you moved by what you just
heard? While listening, did any of you
experience images? Did any experience
specific thoughts?
• 你们当中有没有人被刚才所听见的音乐感
动呢？在听的过程，有没有什么想象呢？
有没有人有什么特别的想法呢?(音乐有没有
让你想些东西呢?)
• While listening, did any of you resolve any
issues or solutions to problems? What I
played I improvised; I made it up, just now.
It was a musical conversation with you.
• 听的时候,有没有从中受启发找到一些解决
问题的灵感呢?我所弹的是即兴创作的，是
我刚刚作的。它是和你们进行的音乐对话
。
• It was what I call a group reading,
meaning it was a musical portrait of all of
you together, of the energy, of this space,
of this moment.
• 我把他们叫做集体音乐阐释，它是我们大
家此时此刻在这里的一个音乐描述。
• What happened just now? Why were
some of you moved? Why were some of
you not touched or even impressed by
what you just heard?
• 刚才发生了什么？为什么你们当中有人感
动了？为什么有些没有，甚至还有些无动
于衷？
• One rarely gets to make a promise about
the results of a presentation, but
experience has shown that what you’re
about to hear today will change the way
you listen to music for the rest of your life.
I invite you to hold me to this promise.
• 很少有人会对一场演讲或报告的结果作出
承诺，但是经验告诉我，你今天即将听到
的将会改变你未来听音乐的方式。请相信
我的承诺，朋友！
• Music Perspective
• I’d like to read a quote, but as it contains
some less common musical terms, I’d like
to clarify them for you.
• 音乐观
• 我想给你们读一则引言，但是其中涉及一
些不常见音乐的术语，我想先给大家解释
一下。
• We’ve all heard of musical scales and
keys, such as major and minor. All a scale
is, is the relationship of the pattern of
adjacent notes.
• 我们都知道在音乐中有音阶和调式，比如
大调和小调.所谓大调就是相邻音符之间模
式的关系。
• Some notes sound like they are very close
to each other, such as E and F [play];
sounds this close are called a half step;
some, such as D and E, sound a little
further apart [play], and are called a whole
step.
• 在音乐中，有些音听起来非常的相近，比
如E 和F音符（弹奏演示），我们称他们之
间隔半个音。在比如说D和 E音符之间隔的
会远一点（弹奏演示），这就叫全音。
• In the case of C major, the second and
third notes are a whole step [play C-D-E]; in
C minor, they are a half step [play C-D-Eb].
Thus the major and minor scales are predefined combinations of half steps and
whole steps.
• 在C大调中，第二个和第三个音符是全拍比
如说C-D-E（弹奏演示）。而在C小调中他
们是半拍（弹奏演示C-D-Eb），所以我们
说大调和小调是全音程和半音程的即定混合
• There’s a special class of scales called
modes. If you start on C and play without
any black keys, you have played a major
scale [play].
• 音阶有一种特别的调式，如果你从C弹起，
不弹黑键，那么你是在弹大调（示范），
• But if you start on D and play without any
black keys, the half step – whole step
relationship is altered.
• 但是如果你从D开始，不弹黑键，半音和全
音的关系就转变。相反你就在弹小调。
• If I make the necessary adjustments and
start on C, it sounds like this [play C-D-EbF-G-A-Bb-C].
• 整个的音阶关系被改变了。如果我做一些
必要的调整从C开始弹，听起来（演示C-DEb-F-G-A-Bb-C）。
• Again, they are [play both modes]. Each
letter name begins its own mode. The C
mode, or major, which you just heard, is
called the Ionian mode.
• 以同样的方式再弹一遍这两种调式。不同
字母开始有不同的调式。就象刚才听到的
那样C调，也称做爱奥尼亚调式，
• The one that starts on D is called, the
Dorian; E, the Phrygian [play mode, then
chords F6-E], F, the Lydian, and so on.
• 以首调唱名re为主音的叫多利亚调式，以首
调唱名mi为主音的叫弗里几亚调式，以首
调唱名fa为主音的叫利底亚调式等等。
The reading…
• Now the reading. One important Western
scientist who you may know summarizes
our experience of music this way:
• 下面我读一位著名的西方科学家对我们音
乐之路的概括：
The reading…
• …even a melody suggests personality,
because the musical modes are
essentially different, and people who hear
different ones are affected differently.
• 。。。。即使最简单的曲调也是一种性格
的折射，。从本质上来说音乐的调式是互
不相同的并且对于听者的影响也是不同。
The reading…
• Some modes make people sad, like the
Mixolydian mode, others make the mind
weak, like the modes that make you relax.
• 有一些音乐会使人们黯然伤心。正如所谓
的混合里第亚调式。有些其他调式会使我
们放松，会让人心平气和。
The reading…
• Another, again, produces a moderate and
settled temper, which appears to be the
peculiar effect of the Dorian; the Phrygian
inspires enthusiasm.
• 那么还有，而且对多利亚调式都有特殊的
影响。弗里几亚调式会激发人们的热情。
The reading…
• The whole subject has been well treated
by philosophical writers on this branch of
education, and they confirm their
arguments with facts.
• 这个课题被这方面的教育哲学作家认真地
研究过。而且他们用事实证实他们的观点
是对的。
The reading…
• The same principles apply to rhythms;
some have a character of rest, others of
motion, and of those, some seem vulgar,
others are more noble.
• 这一原则也同样适用于旋律。有些是静的
而有些是动的。有些动的很粗俗，有些却
很优雅。
The reading…
• Enough has been said to show that music
has a power of forming a person’s
character, and should therefore be
introduced into the education of the young.
• 足够的证据说明了音乐有一种力量，可以
形成一个人的性格，因此他应该为作为青
少年教育的一部分。
The reading…
• The study is suited to the stage of youth,
for young persons are impatient with
learning unless it is sweetened by
pleasure, and music has a natural
sweetness.
• 这项研究对于处在青少年阶段的人很有用
。能帮助他们度过很多艰难时刻。
The reading…end
• There seems to be in us a sort of affinity to
musical modes and rhythms, which makes
some philosophers say that the soul is
music, others, that it possesses music.
• 对于我们来说,音乐风格及韵律似乎很具有
吸引力，有些哲学家说灵魂即是音乐，还
有些说灵魂拥有着音乐。
• This very modern assessment was not
written by Jonathan Goldman, Don
Campbell, or Steven Halpern, all current
Western pioneers of the effects of music
on the listener, but was written over 2,000
years ago in 350 B.C.E. by one you know
as Aristotle .
• 这种非常现代的理论并非是由Jonathan
Goldman, Don Campbell或Steven Halpern
等这些莫扎特追崇者所提出和倡导的，而
是由著名的亚里斯多德公元前边350年(距
今2000多年前)所编写。
• Two myths
• Before we go further, I’d like to show you
two myths.
• 2个谜
• 在继续向下的讨论前,我想先揭开两个神
秘问题的面纱.
• Are any of you tone deaf? This means that
you cannot tell if musical notes go up or
down.
• 你们当中有人认为自己无法辨别音调吗？
也就是说你无法辨别音符的升降.(如果有,请
举手.)
• If any of you who raised your hand [talk in
monotone] talk in a monotone like I am
talking now, please keep your hand up.
• 刚才举手的人，如果你们说话也像我这样
单调刻板地,请不要把手放下.
• It is really quite simple: if you talk with
inflection in your voice (your voice goes
“up” and your voice goes “down”), and you
talk with tones (Māma mà mǎ de má ma?
妈妈骂马的麻吗？), that is prima facie
evidence that you are not tone deaf.
• 其实非常简单：如果你说话时,声调跟随改
变,变化音调（即声音一会高一会低）。比
如说”妈妈骂马麻么”这初步证明你不是音调
盲。
• Tone deafness does exist, but very few
people are tone deaf. It is a myth that
many people are tonedeaf; they simply
have not been trained to sing.
• 音调盲这种的人是存在的但是非常少,很多
人被认为是音调盲是因为他们没有经过正
规的歌唱训练。
• Another myth: Are any of you not musical?
• 另外一个误解：你们当中有人认为自己不
具有音乐天赋吗？
• If any of you who raised your hand don’t
enjoy listening to any type of music please
keep your hand up.
• [手总是有举起来的] 你们这些举手的人当中
有不喜欢任何风格的音乐的，请不要把手
放下。
• Aristotle suspected that music is language,
but it was not proven until about twentyfour years ago. Brain scans show that
music that is understood is processed in
the speech centers of the brain right along
with spoken language.
• 亚里斯多德认为音乐是一种语言。直到20
年前才证实了这件事情。大脑程序显示：
音乐理解中枢正是位于大脑的语言中枢，
和说话是在一起的。
• If you enjoy listening to any kind of music,
then you understand that musical
language, therefore you are “musical.”
Another myth exposed.
• 如果你喜欢听各种音乐，那你就理解音乐
语言，你就具有音乐天赋。第二个谜也揭
开了。
• We’ll explore this language component of
music a little later, as it has everything to
do with music’s spirituality.
• 我们呆会儿再讨论音乐的组成部分，因为
他们每部分都和音乐的灵性有关。
• the question of Beethoven’s deafness
• A quick Western history:
• 由贝多芬的聋提出的问题
• 回顾西方历史：
• Aristotle, Pythagoras, Middle Ages, Dark
Ages, Renaissance, Bach, Mozart, and
along comes Beethoven who writes his last
few symphonies while totally deaf.
Completely deaf! Is that amazing or what?!?
• 从亚里斯多德，毕达哥拉斯，到中世纪，黑
暗时代，文艺复兴，巴赫，莫扎特以及到贝
多芬，他最后在失去听觉的情况下创作的几
曲交响乐，他当时完全是聋的。是奇迹吗还
是什么？
• I’ll tell you how he did it a little later, but
first, lets define music.
• 我等一下再跟大家谈谈他是怎么做的。首
先还是先让我们来定义下音乐。
• Music defined
• What is music?
• 音乐的定义
• 什么是音乐？
• It is usually defined as sound produced
with an integrated structure of rhythm,
harmony and melody. Not a very good
definition, not really adequate.
• 通常的定义是节奏，和声， 旋律，相结合
所产生的声音。这一定义实际上并不是非
常精确.
• To understand what it means, lets listen to
sound that intentionally avoids rhythm,
harmony and melody.
• 为了进一步了解它的意思，我们先来共同
探讨一下在没有节奏，和声， 旋律三要素
情况下所发出的声音。
• Music v Avant Garde
• My experience in music school was not a
happy one.
• 传统音乐和所谓的前卫音乐的对比
• 我在音乐学校的经历不是很快乐。
• I was not very mature. I also wanted to be
a classical composer but the schools
wanted composers to create avant garde
sound.
• 除了我自己的不成熟之外，那时我想成为
一个古典音乐的作曲家，但是学校却试行
前卫创新声乐。
• They called it avant garde music, to
separate it from classical, romantic or
modern music.
• 这种称它为”前卫音乐”,是为了区分开古典音
乐，浪漫音乐或现代音乐。
• Just as early 20th Century composers
experimented with new ways of combining
notes, the avant garde movement
experimented with the elimination of the
elements of rhythm, harmony and melody.
• 在20世纪早期，作曲家们尝试去掉传统音
乐的三元素，这种先锋派创新音乐运动掀
起了没有节奏，和声， 旋律的音乐尝试。
• It was a clever and innovative idea, but
over all it did not work. I’ve since learned
that it really is not a musical sonic
experience, and I instead call it an avant
garde sonic experience.
• 这是一种聪明和创新的想法，但是最后还
是没成功。从此我发现这并不是一种音乐
音波经历，相反我称它先锋派的音波尝试
。
• This name change does not mean it is
bad; just as there is good and bad music,
there is good and bad avant garde. Here’s
a brief improvised example of a bad avant
garde sonic experience.
• 这种名字的改变并不意味着非常糟糕。正
如音乐有糟糕的和美妙的。先驱派的尝试
也有好的和不好的。下面示范一个简短的
，不是很好的即兴声波前卫的例子。
• I just improvised a short piece that had no
obvious rhythm, harmony or melody.
• It used the keyboard, right? Therefore it is
music, right? Wrong! To help us
understand why it is wrong, let’s look at
the potter and the sculptor.
• 我们是用琴键弹的，是吗？因此他就是音
乐，对吗？错！答案是错的。为了进一步
地说明为什么是错的，让我们看看雕刻家
和陶工的区别。
• They both use clay. If you were to go to a
pottery exhibit and all you saw were
sculptures, you probably would be
disappointed, even if the sculpture was
good.
• 他们都需要用粘土。如果你去陶器展览会
，所看到的都是雕刻/雕塑，即使雕塑都是
特别好的上乘品，你很可能也会觉得失望
。
• Similarly, making esthetic judgments about
the pottery based upon sculpting
standards would simply be unfair.
• 同样地，用雕刻的审美标准去衡量陶瓷品
也是很不公平的。
• Guess what: this is why Westerners get
upset when they go to a music concert
and a piece of avant garde is sneaked in
under the guise of modern music.
• 想想：这也就是为什么西方人去听音乐会
的时候，本来是现代音乐,突然插了一支”前
卫”曲，是多么不和众,让人不舒服。
• They didn’t go to see sculpture; they went
to see pottery. And the esthetic standards
simply don’t hold up.
• 正如他们是去看陶器品，而不是去看雕刻
品。审美标准是不同的。
• The reason bad music and bad avant
garde is bad is because they fail to
communicate something meaningful within
the limits of their respective standards.
• 之所以说是糟糕的音乐和不好的前卫音乐
是因为他们没有在各自的标准范围内进行
有效的沟通。
• If it is good, it communicates. The
distinction between music and avant
garde, between pottery and sculpture, is
the same as the difference between
English and Chinese.
• 如果是好的音乐就能表达出好的意思。传
统音乐和前卫的区别就好比雕刻和陶瓷。
更好比英国人和中国人的区别。
• It is a matter of language and
communication.
• 只不过是语言和交流的问题罢了。
• Pendercki: Trenody
• I would like to play part of an avant garde
piece that does communicate.
• 潘德列茨基
• 我想弹部分能够沟通的前卫音乐给大家听
。
• Pendereki’s “Trenody: Tribute to the
Victims of Hiroshima” is an avant garde
tone poem.
• 潘德列茨基的Trenody ：致敬，向受害者广
岛”是一个前卫的语气诗。
• You hear the early morning of the city of
Hiroshima, the waking up, the hustle and
bustle, the traffic, the conversations.
• .你听到清晨的城市广岛，唤醒，喧嚣拥挤
，交通，交谈。
• You hear something bad and unknown is
about to happen. You hear the plane as it
approaches, you hear the bomb drop.
Then you hear the tragedy.
• 你听到什么意料之外的事情即将发生。你
听见了飞机的临近，听到了炸弹的降落，
接着听见了悲剧。
• Like good music, this is a powerful,
compelling work of art, and like music, it
uses a large string orchestra. But it lacks
conventional melody, harmony and rhythm.
The medium may be the same, but it is not
music.
• 像其他好的音乐一样，刚才弹的是一个强有
力，引人注目的艺术作品，它用了大量管弦
乐。但是它却没有传统的节奏，和声， 旋律
。采用的音乐工具也许是一样的，但不是音
乐。
• Here is Pendreki’s “Trenody: Tribute to the
Victims of Hiroshima.”
• 这里是pendreki的“ trenody ：致敬，向受
害者广岛” 。
• Music as language
• How do we know music is language?
• 音乐语言
• 我们怎么知道音乐是语言呢 ？
• Here are pictures of the brain scans that
show how spoken language and music
work in the brain the same way.
• 以下罗列了几张大脑的语言功能和音乐功
能的脑部扫描图.
• The first shows the areas of the brain
when someone is creating a melody.
• 以下罗列了几张大脑的语言功能和音乐功
能的脑部扫描图.第一张是人们在创作歌曲
旋律部分的脑部区域,
• The second shows the areas of the brain
when someone is creating a spoken
sentence.
• 第二张是人们在说话时的脑部区域图,
• The third shows the two compared.
• 第三张显示的是两者的区别.
• How do we know music is language? We
now know about the brain scans. We
already heard Aristotle describe music as
language.
• 我们怎么知道音乐是语言呢 ？.我们现在都
知道有关的脑部扫描。.我们已经听到亚里
士多德看到的音乐语言。
• Wagner incorporated what he called
leitmotifs, themes that represented people,
places and things. Others wrote tone
poems to paint musical pictures of people,
places and things.
• 瓦格纳列入他所谓的leitmotifs 主题，代表
人物，地方和事物。.还有些用语气诗来描
绘有关人民，地方和事物的音乐图画。
• The problem is that you can’t describe
concrete things musically; you can only
describe feelings.
• 问题是我们无法用音乐描绘具体事物。你
只能描绘你的感觉。
• Problem? Did I say problem? It just
happens that this seeming weakness turns
out to be the greatest strength of the
musical language.
• 问题？我刚说的问题呢？.它恰恰是这看似
软弱，但是却有最强大的力量的音乐的语
言。
• You cannot say “the cat chased the dog”
in music. But you can describe the
emotions, the feelings of the dog and cat,
and of those watching the chase.
• 用音乐你不能说猫追着狗跑。但是你可以
去描绘猫和狗的情感，以及观者的心理。
• If you were to listen for the first time to
Smetana’s “Moldau” or Beethoven’s
Pastorale Symphony, and didn’t know
which was which, you’d have a hard time
telling which was which.
• 如果你第一次听斯美塔那的“ Moldau ”或贝
多芬的田园曲交响乐。你不知道哪个是哪
个？更无法辨别什么是什么？
• Neither describes a river, and neither
describes a pastorale scene, but both
describe the related emotions one would
experience in the presence of Nature, of
the river and of the pastorale scene.
• 既不是在描绘河，也不是在歌颂田园风光
。但是都描绘一种在河边或感受田园大自
然风光的类似身临其境的感觉。
• Music has grammar and syntax. It doesn’t
always manifest the same as in spoken
language.
• 音乐也有语法和句法。当然，它和我们的
口语是不一样的。
• But it can ask questions [play a question],
it can express things like “Well, there you
have it” [play a conclusion],
• 但是它可以发问（示范问题音乐），也可
以表达诸如：‘好了（作音乐示范）,
• and it can have a subject [play first phrase
of Twinkle Twinkle Little Star] and a
predicate [play second phrase].
• 还可以表达一个主题（示范：一闪一闪 小
星星 音乐）和陈述（演奏第二段）。
• How music communicates: Name That
Tune!
• Let’s explore how music does its
communicating.
• 音乐如何去交流沟通？命名那个音调
•
让我们来探究音乐是如何沟通的？
• Let’s play a little game that was popular in
the West. You may know it; its called
“Name That Tune.”
• 下面让我们来玩个在西方比较流行的小游
戏吧。你可能知道那个游戏。这游戏的名
字叫“命名那个音调”。
• I play a well-known song, and you try to be
the first to guess its name. In this instance,
I’m going to play a melody from Western
music.
• 下面我弹一首有名的歌曲，来猜猜这首歌
的名字。在这种情况下，我将要演奏一首
西方音乐的曲子。
• I’m going to play just the melody, but as
the rhythm might give it away, I’m going to
play it with a steady rhythm.
• 我只弹一下调子，用固定的节奏弹。
• No guesses? Hint: it is classical. Still no
help? Here it is with the rhythm.
• 猜不到吗？提示：这是古典音乐。还不知
道吗？好的下面我来弹下节奏。
• A few have it. Here’s the whole melody.
• 有些人猜到了。下面我弹下整首曲子。
• This is from the slow movement of
Beethoven’s Seventh Symphony. Hardly
something you’d whistle to yourself while
walking down the street. [Demonstrate.]
• 这是来自于贝多芬第7交响乐。你自己很少
吹这哨子去上街吧。（示范）
• But he did write a secondary melody, too.
It goes like this. [Play secondary theme.]
• 但是贝多芬也写了次旋律。是这样的（弹
次旋律），
• , it’s unlikely you’d be caught humming this
to yourself. [Demonstrate.]
• 而且你也不会自己去哼调。（示范）
• The truth is Beethoven couldn’t write a
pretty melody to save his life! Even the
Ode to Joy from his Choral Symphony is a
borrowed German folk song.
• 事实上贝多芬并没有写出悦耳的音调来拯
救他的生命。甚至“.连咏喜悦“，他的合
唱交响曲还是借德国民歌的。
• So what’s the big deal about Beethoven?
What makes his music so great? Why
have spiritual leaders said that his music is
on the highest spiritual plane?
• 所以贝多芬又算什么？是什么使得他的音
乐这么伟大呢？为什么会有精神领导者说
他的音乐从很高的精神境界上阐述了音乐
？
• Beethoven’s genius is in his musical
poetry. In poetry, the writer takes the
ordinary and makes it extraordinary, by
combining words in new and profound
ways. For example,
• 贝多芬的音乐天赋表现在音乐诗词中。在
诗中通过有机地措辞他可以把一个极为平
凡的塑造成一个非凡的。比如说你可以把
时间描绘成失去的得到的也容易失去。并
不是很有诗意。例如,
• It is not very poetic to say that seeing the
moon makes you think of your home land.
But if you say it this way:
• 如果我们说”看见月亮就让我们想家”,这样就
很平淡,没有什么诗意,但是如果我们这样表
达:
• Suddenly the very mundane becomes very
poetic.
• 顷刻间，感觉就不一样了，由一种世俗的
感觉变的非常有诗意。
• This is what Beethoven did. He took two
very mundane themes and put them
together, and came up with magic. It
sounds like this. [Play two themes
together.]
• 贝多芬也是这样做的。他拿了两首非常世
俗的主旋律然后融合在一起，奇迹就发生
了。听起来像这样（一起弹了2个主题），
。
• Suddenly we have the musical equivalent
of the poetic moonlight reminding us of
home.
• 顷刻间, 犹如从平铺直序思乡到李白富有诗
意的思乡之情,平凡的音乐也就在刹那间从
此铸就了永恒,成为经典.
• When you listen to the slow movement of
Beethoven’s Seventh Symphony, you are
carried through a wide range of emotions,
including a brief moment bordering on
laughter. You actually hear laughter in the
music.
• 当你听贝多芬第7交响乐慢旋律时。你会思
绪万千，甚至会一触即笑。你在音乐中还
可以听见笑声。
• (Brahms is unique in that he had lots of joy
in his music, but unlike Bach, Mozart,
Beethoven, and Weird Al Yankovic, he
never had outright laughter.)
• 。（布拉姆斯的独特之处是，在他的音乐
中，有很多的喜悦，，但不同的巴赫，莫
扎特，贝多芬，Weird Al Yankovic，他从
未有直爽的笑声）。
• When you listen to music, images arise.
They may be abstract, or they may be very
concise.
• 当你在听音乐的时候你会浮想联翩。他们
可能非常抽象，也可能会很具体。
• When you listen to the slow movement, for
example, you can imagine it documenting
the emotions experienced at a memorial
service. You hear the mourning and the
tears.
• 当你听慢旋律时。你可以想象它记载一个
悼念仪式的情绪经历。您听到了哀伤和眼
泪。
• You hear the stories of remembrance
being shared. You hear the laughter as a
fond memory emerges. And as it ends,
you hear the acceptance and the moving
on. [Play recording.]
• .你可能听到了人们对死者的缅怀。当美好
时刻出现脑海,你可能听到笑声. 悼念仪式结
束时，在音乐声中你接受了现实,决定继续
坚强生活。 [ 播放录音。 ]
• About Beethoven’s Deafness
• Beethoven was completely deaf when he
wrote that music.
• 关于贝多芬的失聪
• 当他作那些曲子时，贝多芬是完全聋时。
• Although he conducted it and his other
works, and performed with ensembles, he
never heard the music as it came from the
orchestra.
• 尽管他创作了它们以及其他作品，甚至还
进行了合唱演出，但他从来没有亲耳听到
管弦乐队演奏的他的曲子。
• Yet he heard it in its entirety in his head.
How is that possible?
• 然而，他在大脑里听到整个音乐。这怎么
可能？
• Again, lets look at music from the
language model. I am going to say seven
words, and you will immediately hear a
tune in your head: “zhao ya zhao ya zhao
peng you.”
yo.”
• 再次，让我们看看音乐从语言模式。我会
说7个词，你会在你大脑中立即听到的他们
的调子：“找呀找呀找朋友”。
“找呀找呀找朋友”。
• Now also note that without saying anything
out loud, you could write down the last line
of that verse. You can do that because
you have mastery of your language.
• 请注意到，即使不说出声来，您也可以把
最后一行写下来，你能够这样做，是因为
你已经掌握了语言。
• The American woman Helen Keller, totally
blind, totally deaf, acquired mastery and
was able to write volumes, give lectures,
and cause a fair amount of political upset.
• 美国女子海伦凯勒，完全失明，完全失聪
，掌握了语言，并能够写卷，演讲，并引
起一定的政治风波。
• Just suppose you also have mastery of
notating the musical language. Would it
not then be easy to write down the tune
that popped into your head?
• 假设你也掌握了识记音乐语言。那不是更
容易写下来脑子里突发的音乐灵感？
• By the time Beethoven was in his late
teens, he knew all there was to know
about music in his time. Because he had
full mastery of his language, he was able
to continue musical conversation even
though he was deaf.
• 贝多芬十几岁时，他就知道了他那个时代
所有的音乐。因为他完全掌握了他的语言
，即使他聋了，他仍然能够继续用音乐的
进行交流。
• The understanding you now have in no
way makes the genius and spirituality of
his work seem less. He was so powerfully
compelled to make the world a better
place with his work, that not even
deafness would stop him.
• 因此即便如此，正是这样的认识让他成为
天才并没有减少作品的任何灵性，他是如
此有力的，用他的作品迫使世界成为一个
更美好的地方，甚至没有失去了听觉都无
法阻止他。
• Spirituality
• We are now on the cusp of understanding
the spirituality of music.
• 灵性
• 我们现在来了解音乐的灵性
• But I’m afraid I must momentarily interrupt
your warm and fuzzy feeling by briefly
looking at what spirituality means.
• 通过简单的介绍音乐灵性的含义，我恐怕
得暂时打断你的热情和模糊的感觉
• Instead of looking at specific definitions, I’d
like to share with you what it is for me,
what my spirituality is.
• 不看它具体的定义，我想与大家分享一下
对我来说它指什么，什么是我的灵性。
•
• Emmet Fox, an American philosopher,
tells the story of a prisoner held in a
dungeon during the European Middle
Ages.
• 埃米特福克斯，美国哲学家，讲述了在欧
洲的中世纪一个囚犯关押在地牢的故事。
• The daily diet: bread and water. The only
contact: the jailer.
• 日常饮食：面包和水。唯一的联系就是看
守。
• After 20 years of this, the despair was so
great that the plan was made to attack the
jailer in the hope that the jailer would
mercifully end the unhappy life.
• 经过了20多年，他是如此的绝望，于是计
划攻击狱警，希望他能够仁慈地结束他的
痛苦人生。
• As the prisoner prepared for the attack,
the discovery was made that the door was
not locked, and in fact that it had never
been locked.
• 当他准备逃狱时，突然发现大门并没有锁
，事实上，也从未上锁。
• The prisoner opened the door, sneaked
past the jailer, went home and lived
happily ever after.
• 囚犯打开门，悄悄地溜过看守，回家并从
此过着快乐生活
• Emmet Fox then explains “The prisoner
could have done this anytime through
those long years if the prisoner had known
enough, but did not.
• 埃米特福克斯，然后解释说： “如果该囚犯
早知道这些，在这些年中他随时可以这么
做，但是他不知道。
• The Prisoner was a captive, not of stone
and iron, but of false belief. The prisoner
was not locked in, except in thought. Of
course this is only a legend, but it is an
extremely instructive one.”
• 该囚犯是一个俘虏，而不是石头和铁，但
有一个传统的信念。实际上囚犯并没有被
锁进牢房，而是囚禁在思想中。当然，这
只是一个传说故事，但它是一个非常有启
发性的.
• The Eagles, an American rock band, wrote
lyrics to one of their songs that expresses
it this way:
• 老鹰乐队，美国的一支摇滚乐队，在众多
音乐中写了这样一首歌词:
So often times it happens that we live our
lives in chains
And we never even know we have the key.
[“Already Gone,” from On The Border]
• 很多时候，我们生活在我们的生活链中
我们甚至从来都不知道我们还有天空。
• [ 选自《〈边界〉》中的“已经走了]
• For me, spirituality is what we take on to
help us see and discover the unlocked
doors. It is a gateway to faith. It is the
gateway to faith.
• 对我来说，灵性是我们用来帮助自己看到
和发现那个未上锁的门。这是信仰之门。
它是通往信仰的大门。
• For some it manifests as religion; for
others, it may manifest as a system of
rational thought. In either instance,
spirituality ultimately grows from the heart
and not from the mind.
• 对一些人它是指宗教;对另一些人，它是指
一系列的理性思考。无论哪种，灵性最终
是发自内心而不是来自大脑。
• If we could find a language that is capable
of speaking directly to the heart without
having to necessarily go through the
intellectual processing of the mind, we
would find that language most capable of
elevating our spirituality.
• 如果我们能找到一种语言，直接表达内心
而不必经过大脑层层加工，我们能发现一
种语言，能够提升我们的灵魂。
• One such language is the language of
music.
• 这种语言就是音乐语言。
• Spirituality of Music
• I would like to play one more piece.
• 音乐的灵性
• 我想再弹一首。
• A volunteer is needed. I am going to do a
musical reading. I invite you to think of an
issue that concerns you. It may be
personal; it may be global.
• 我需要一个志愿者。我将做一个音乐解读
。我请你想一个一直让你关注的问题。它
可能是个人的，也可能是关系全球性。
• You may wish to be open to the possibility
of an issue emerging that you’re not yet
even aware of.
• 你甚至渴望一种答案，一种你从来没有意
识到的可能。
• Please keep that in mind as I play your
music. At no time will I ask you to disclose
what the issue is. [Play music.]
• 当我在弹音乐时，请记住在我刚才说的。
我不会让你公开你的忧虑和问题 [播放音乐
。]
• Again, there is no need to disclose the
issue.
• 再次，没有必要公开你的问题。
• Did the music bring up any thoughts about
it? Was there any resolution, or at least
some progress about resolving the issue?
Did anyone else listening experience
progress about resolving an issue?
• 音乐有没有给你带来任何的思考呢？有没
有任何答案，或者至少有了些关于解决问
题的进展呢？有没有人听别人的经验，进
而解决一个问题？
• What you just experienced is a
communication to the heart that had no
intellectual baggage.
• 刚才你们体验的是一个直接的心灵沟通，
不搀杂任何思想包袱。
• What you just experienced is a spiritual
growth, an opening of doors, as a
consequence of communication through
music.
• 刚才你们体验的是一次心门的敞开,心志提
升,不搀杂任何思想包袱,是心灵的沟通。
• What you just experienced is the
spirituality of music.
• 你刚刚所体验的正是音乐的灵性。
• Improvisation.
• 即席创作
• Spiritual Music
• If you enjoyed that Beethoven selection,
you’ll want to listen to the rest of his
Seventh Symphony.
• Spiritual Music
• 如果你喜欢贝多芬的作品，想听他第七交
响曲其余的部分。
• You may also want to discover that his
Violin Concerto and his Fourth Piano
Concerto can take you on emotional rides
from tears to laughter and back again.
• 您可能还希望发现他的小提琴协奏曲和第
四钢琴协奏曲可以带你经历从眼泪到笑声,
再从笑声到眼泪,反复不断的情绪波动。
• I believe that Beethoven, more than any
other composer put his humanity into his
music, which no doubt contributes to its
high spiritual content.
• 我相信，贝多芬比任何其他作曲家，都能
把人性融入到他的音乐，这毫无疑问，正
是如此才使他达到了很高的精神境界。
• Mozart Effect and Political Policy
• Researchers have found that listening to
classical music increases learning and
possibly even increases intellect. They call
this the Mozart Effect.
• 莫扎特效应和政治政策
• 研究表明多听古典音乐可以增进学识以及
加强脑部的逻辑领悟能力.人们把这称为莫
扎特效应
• Because music communicates without
intellectual baggage, it also easily opens
other channels of communication. This is
how the Mozart Effect works.
• 因为音乐沟通没有任何的思想包袱，它也
很容易打开其他的沟通渠道。这就是为什
么莫扎特效应如何生效的.
• Without music and art, the intellectual
channels of communication are not
sufficiently opened, and the math and
science is not efficiently learned.
• 没有音乐，美术，智力的沟通渠道没有充
分开放，数学和科学也无法有效地掌握。
• If you want to get your money’s worth out
of education and out of math and science,
you must make music and art a priority in
the schools.
• 如果您想要让您的钱充分运用与教育，数
学和科学，你必须在学校把音乐和艺术视
为一种优先教育。
• Where to from here?
• When you listen to a song, listen to the
words, and listen to the music.
• 在了解了音乐的灵性后,我们接下来该怎么
做呢？
• 当你听歌曲，听歌词，并听他们的音乐。
• Notice how they work together. Then
notice that you do hear the music as well
as the words, and notice that you are
indeed musical.
• 要注意他们是如何结合在一起。然后注意
，你不仅听到了歌词，更是听到了音乐.
• Then notice that as you listen to and sing
the language of music, you are indeed
growing spiritually, and that you now know
that your spiritual growth is only a hum
away!
• 注意，当您把音乐作为一门语言来欣赏时,
那么你的精神境界也很容易提高了.
• Benediction
• Beethoven wrote on the dedication page
of the Ninth Symphony “From the Heart;
may it go to the Heart.”
• 祝福
• 贝多芬在第九交响曲的致词页中写到 “从
心，到心/来自心灵，去向心灵”，
• So too, may you go forth from the heart,
and sing the song of love into the hearts of
all you encounter.
• 也是如此，祝愿你们从心出发，把爱之歌
唱入所有听众的心。（把心中的爱唱入所
有听众的心）
• Please remember: Serious music is not as
bad as it sounds! Zai Jian, Blessed be,
Namaste, Shalom, Es salam alekum,
Amen.
• 请记住：严肃的音乐并不是像你想像的那
么糟糕！谢谢!再见! Blessed be, Namaste,
Shalom, Es salam alekum, Amen.(不同语
言的告别说法)
Don “Orfeo” Rechtman (唐瑞民)
Performance Arts Director
Nexus Information Consulting, Ltd.
Building B1 Rm. 1701, Jun Yi Shi Jia Garden,
No.18 Luo Tian Road,
Bao’an, Shenzhen, China 518101
中国广东省深圳市宝安区83区罗田路18号君逸世家 B1
栋 1701室 518101
Office: 0755-2794-5552
Mobile: 135-2889-6144
QQ (oorfeo) 973557480
skype: oorfeo
Personal website: www.OrfeoMusic.org
November 9, 2012
2010年3月9日