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        <title><![CDATA[About Mistake]]></title>
        <link><![CDATA[http://hi.baidu.com/imwally/blog/item/b12ff5c808fd04127e3e6f02.html]]></link>
        <description><![CDATA[
		
		<p>&nbsp;&nbsp;&nbsp;<font size="3"> <strong>There are certain things in life where you know it's mistake,but you don't really know it's a mistake.because the only way to really know it's a mistake is to make the mistake,and look back, and say, &quot;Yep.That was a mistake.&quot; <br>
&nbsp;&nbsp;&nbsp;  So, really, the bigger mistake would be to not make the mistake,because then you go your whole life not really knowing if something is a mistake or not</strong></font></p>
<p> </p>
<p> </p> <a href="http://hi.baidu.com/imwally/blog/item/b12ff5c808fd04127e3e6f02.html">阅读全文</a>
		
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        <pubDate>2008-06-26  21:19</pubDate>
        <category><![CDATA[默认分类]]></category>
        <author><![CDATA[ImWALLY]]></author>
		<guid>http://hi.baidu.com/imwally/blog/item/b12ff5c808fd04127e3e6f02.html</guid>
</item>

<item>
        <title><![CDATA[背景音乐：贝多芬《合唱幻想曲》（Choral Fantasy in C minor Op.80）的歌词]]></title>
        <link><![CDATA[http://hi.baidu.com/imwally/blog/item/312b12d37475cd013bf3cf57.html]]></link>
        <description><![CDATA[
		
		<p><strong><font size="2">Schmeichelnd hold und lieblich klingen unsres Lebens Harmonien, <br>
<br>
我们生命的和谐旋律，使人听起来觉得亲切而可爱，<br>
<br>
　<br>
und dem Schnheitssinn entschwingen Blumen sich,die ewig blhn. <br>
<br>
永远盛开的花朵，使人陶醉于美感中。<br>
<br>
　<br>
Fried und Freude gleiten freundlich wie der Wellen Wechselspiel.<br>
<br>
平安与喜悦愉快的翱翔，好像波浪舞动一般。<br>
<br>
</font></strong></p>
<p><strong><font size="2">Was sich drngte rauh und feindlich,ordnet sich zu Hochgefhl.<br>
<br>
化解暴虐与敌意的压迫，追求崇高的理想情操。<br>
<br>
<br>
Wenn der Tne Zauber walten und des Wortes Weihe spricht,<br>
<br>
当这些音律的吸引力响起，这句话的威严显示出来的时候，<br>
<br>
　<br>
mu sich Herrliches gestalten,Nacht und Strme werden Licht.<br>
<br>
美好的事物必然呈現，黑夜与暴风雨将要过去，光明将要来临。<br>
<br>
　<br>
u&amp;rsquo;re Ruhe,inn&amp;rsquo;re Wonne herrschen fr den Glcklichen.<br>
<br>
外在的平安，内在的喜悦是为了「幸福的人」存在的。<br>
<br>
　<br>
Doch der Knste Frhlingssonne ist aus beiden Licht entsteh&amp;rsquo;n.<br>
<br>
且让艺术的、春天的太阳从这两道光线产生。 <br>
<br>
　<br>
Groes,das ins Herz gedrungen,blht dann neu und schn empor.<br>
<br>
伟大的人，内心敦厚的，会继续向上更新与美好的成长。<br>
<br>
　<br>
Hat ein Geist sich aufgeschwungen,hallt ihm stets ein Geisterchor. <br>
<br>
他的心灵已经提升，心灵的和谐音律时常在他内心回荡。<br>
<br>
　<br>
Nehmt denn hin,ihr schnen Seelen,froh die Gaben schner Kunst:<br>
<br>
接受吧，你們众多美丽的灵魂啊，愉快的接受这个美妙的艺术成果吧：<br>
<br>
　<br>
*Wenn sich Lieb und Kraft vermhlen,lohnt den Menschen Gttergunst.* <br>
<br>
「当爱与力量结合的时候，是神赏赐人的恩典。」 </font></strong></p> <a href="http://hi.baidu.com/imwally/blog/item/312b12d37475cd013bf3cf57.html">阅读全文</a>
		
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        <pubDate>2007-05-01  00:22</pubDate>
        <category><![CDATA[默认分类]]></category>
        <author><![CDATA[ImWALLY]]></author>
		<guid>http://hi.baidu.com/imwally/blog/item/312b12d37475cd013bf3cf57.html</guid>
</item>

<item>
        <title><![CDATA[那只可爱的狗！]]></title>
        <link><![CDATA[http://hi.baidu.com/imwally/blog/item/c41bbd2593a0716135a80f13.html]]></link>
        <description><![CDATA[
		
		<p>转载：</p>
<h3 align="center">The History of Nipper and His Master's Voice</h3>
<h4>Nipper and His Master's Voice - What is the story?</h4>
<p align="left">Nipper the dog was born in Bristol in Gloucester, England in 1884 and so named because of his tendency to nip the backs of visitors' legs. When his first master Mark Barraud died destitute in Bristol in 1887, Nipper was taken to Liverpool in Lancashire, England by Mark's younger brother Francis, a painter.</p>
<p align="left">In Liverpool Nipper discovered the Phonograph, a cylinder recording and playing machine and Francis Barraud "often noticed how puzzled he was to make out where the voice came from". This scene must have been indelibly printed in Barraud's brain, for it was three years after Nipper died that he committed it to canvas.</p>
<p align="left">Nipper died in September 1895, having returned from Liverpool to live with Mark Barraud's widow in Kingston-upon-Thames in Surrey, England. Though not a thoroughbred, Nipper had plenty of bull terrier in him; he never hesitated to take on another dog in a fight, loved chasing rats and had a fondness for the pheasants in Richmond Park!</p>
<p align="left">In 1898 Barraud completed the painting and registered it on 11 February 1899 as "Dog looking at and listening to a Phonograph".</p>
<a name="nip_pic01"></a>
<p align="center"><a href="http://www2.danbbs.dk/~erikoest/nip_p01.htm#top"><img height="100" alt="&quot;Dog looking at and listening to a Phonograph&quot;" src="http://www2.danbbs.dk/~erikoest/graphics/hmvorigi.jpg" width="149" align="middle" border="0"></a></p>
<p class="picturetext">"Dog looking at and listening to a Phonograph" <br>
Click for enlargement (66,842 bytes)</p>
<p align="left">Barraud then decided to rename the painting "His Master's Voice" and tried to exhibit it at the Royal Academy, but was turned down. He had no more luck trying to offer it for reproduction in magazines. "No one would know what the dog was doing" was given as the reason!</p>
<p align="left">Next on Barraud's list was The Edison Bell Company, leading manufacturer of the cylinder phonograph, but again without success. "Dogs don't listen to phonographs," the company said.</p>
<p align="left">Barraud was given the advise to repaint the horn from black to gold, as this might better his opportunity for a sale. With this in mind, in the summer of 1899 he visited 31 Maiden Lane, home of the newly formed Gramophone Company, with a photograph of his painting and a request to borrow a brass horn.</p>
<p align="left">As Barraud later wrote in an article for The Strand magazine: "The manager, Mr Barry Owen asked me if the picture was for sale and if I could introduce a machine of their own make, a Gramophone, instead of the one in the picture. I replied that the picture was for sale and that I could make the alteration if they would let me have an instrument to paint from."</p>
<a name="nip_pic02"></a>
<p align="center"><a href="http://www2.danbbs.dk/~erikoest/nip_p02.htm#top"><img height="135" alt="Barraud painting &quot;His Master's Voice&quot;" src="http://www2.danbbs.dk/~erikoest/graphics/barraudi.jpg" width="100" align="middle" border="0"></a></p>
<p class="picturetext">Barraud painting "His Master's Voice" <br>
Click for enlargement (52,177 bytes)</p>
<p align="left">On 15 September 1899, The Gramophone Company sent Barraud a letter making him a formal offer for the picture, which he immediately accepted. He was paid &pound;50 for the painting and a further &pound;50 for the full copyright. The deal was finally confirmed on 4 October 1899 when a representative from The Gramophone Company saw the amended painting for the first time.</p>
<a name="nip_pic03"></a>
<p align="center"><a href="http://www2.danbbs.dk/~erikoest/nip_p03.htm#top"><img height="100" alt="&quot;His Master's Voice&quot;" src="http://www2.danbbs.dk/~erikoest/graphics/hmvi.jpg" width="133" align="middle" border="0"></a></p>
<p class="picturetext">"His Master's Voice" <br>
Click for enlargement (59,607 bytes)</p>
<p align="left">This painting made its first public appearance on The Gramophone Company's advertising literature in January 1900, and later on some novelty promotional items. However, "His Master's Voice" did not feature on the Company's British letter headings until 1907. The painting and title were finally registered as a trademark in 1910.</p>
<p align="left">It was also in 1900 that a seemingly innocuous request led to the eventual disappearance of "His Master's Voice" as a label trademark. Emile Berliner (1851 - 1928), U.S. inventor of the gramophone, born in Germany, asked Barry Owen to assign him the copyright of "His Master's Voice" for America. Owen agreed, as he did in 1904 to a similar request from Japan. Some eighty years later, when the arrival of the Compact Disc prompted record companies to start manufacturing centrally for the world, EMI paid the price of losing its rights in these two vital territories - and EMI Classics was created as a successor to "His Master's Voice".</p>
<p align="left">Meanwhile Francis Barraud spent much of the rest of his working life painting 24 replicas of his original, as commissioned by The Gramophone Company. Following his death in 1924 other artists carried on the tradition until the end of the decade.</p>
<p align="left">During its long active life, the "His Master's Voice" label has enjoyed a unique reputation with both the music business and the public. Over the years a healthy market has developed in collecting the vast array of items produced in its image. A Collectors' Guide, originally published in 1984, has been now updated for publication in 1997.</p>
<a name="nip_pic04"></a>
<p align="center"><a href="http://www2.danbbs.dk/~erikoest/nip_p04.htm#top"><img height="100" alt="A rare &quot;His Master's Voice&quot; labelled LP" src="http://www2.danbbs.dk/~erikoest/graphics/collec1i.jpg" width="103" align="middle" border="0"></a></p>
<p class="picturetext">A rare "His Master's Voice" labelled LP <br>
Click for enlargement (53,275 bytes)</p>
<p align="left">Though only used by EMI today as the marketing identity for HMV Shops in the UK and Europe, the "His Master's Voice" trademark is still instantly recognised and sits proudly and firmly in the Top 10 of "Famous Brands of the 20th Century".</p>
<a name="nipperfacts"></a>
<h4>Nipper Facts:</h4>
<p align="left">Did you know that.....</p>
<ul>
<li type="square">the "His Master's Voice" painting is now displayed at EMI Music's Gloucester Place headquarters and when viewed in the right light, the original phonograph can still be seen underneath the second layer of paint. </li>
    <li type="square">when asked if EMI could place a commemorative plaque on the wall of Nipper's house in Bristol, the owner's reply was "Yes, if you buy the house!" </li>
    <li type="square">Nipper the dog was buried in Kingston upon Thames, in an area that is now the rear car park of Lloyds Bank in Clarence Street. As one enters the bank there is a plaque on the wall stating this. <a name="nip_pic05"></a></li>
    <li type="square">The British naval officer and antarctic explorer Captain Robert Falcon Scott (1868 - 1912)&nbsp;&nbsp; during his exploration to the South Pole (1910 - 1912), capturing one of the huskies looking at the HMV gramophone presented to him by The Gramophone Company. </li>
    <li type="square">there have been false rumours that the original painting had Nipper sitting on a coffin listening to a recording of his dead master's voice. </li>
    <li type="square">in 1980 HMV Shops found a Nipper lookalike called Toby for in-store personal appearances but Toby didn't find friends everywhere and in 1984 he was banned from entering Crufts. </li>
    <li type="square">by 1900, 5,000 printed copies of the painting had been produced and sold to dealers for 2s6d (12.5p) each. </li>
    <li type="square">the first souvenirs featuring the Dog &amp; Trumpet were a "handsome paperweight - an exact reproduction in bronze with onyx mount of our well-known picture His Master's Voice." (2s6d/12.5p) and "a handsome mahogany stand with fittings all nickelled, for cigars, cigarettes and match and well as a frosted crystal ash disc. The whole is surmounted with well finished group, representing the well-known subject His Master's Voice." (10s/50p). </li>
    <li type="square">in 1900 the German Branch of The Gramophone Company produced a mutoscope film of a Nipper lookalike. The drum of this film remains in the EMI Music Archives. </li>
    <li type="square">in 2006 it is said by Heather Readman, Surrey, B.C., Canada that it wasn't the painter who wanted to change the name of the painting to "His Master's Voice". It was in fact Heather Readman's great grandfather, William Graham, who was living in Scotland at the time the Gramophone was being marketed. He entered a contest to put a slogan to the picture and he came up with "His Master's Voice". He was to win a "prize" which Heather Readman can only assume was possibly a gramophone, and in order to claim his prize, he had to purchase a specific quantity of merchandise from RCA. He had no money, so he couldn't ever claim his prize, but the claim to fame in Heather Readman's family is that it was, in fact, Billy Graham, of the Kingdom of Fife, Scotland, who named the picture "His Master's Voice", which was later shortened to "HMV". <img height="131" alt="RCA VICTOR" hspace="5" src="http://www2.danbbs.dk/~erikoest/graphics/rcacolor.gif" width="175" align="middle" vspace="5" border="0"></li>
</ul> <a href="http://hi.baidu.com/imwally/blog/item/c41bbd2593a0716135a80f13.html">阅读全文</a>
		
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        <pubDate>2007-03-31  22:59</pubDate>
        <category><![CDATA[默认分类]]></category>
        <author><![CDATA[ImWALLY]]></author>
		<guid>http://hi.baidu.com/imwally/blog/item/c41bbd2593a0716135a80f13.html</guid>
</item>

<item>
        <title><![CDATA[转一篇文章 并向作者说声谢谢]]></title>
        <link><![CDATA[http://hi.baidu.com/imwally/blog/item/d3d38bc39c6bdc55b219a825.html]]></link>
        <description><![CDATA[
		
		<p><strong><span class="tpc_content">【即兴聆乐】从古典音乐的《入门问题》谈起　<br>
苏友瑞&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<br>
●&nbsp;前言：&nbsp;<br>
<br>
　　欣赏人文艺术，本来是非常个人化、主观化的内心体验。除非有特殊生存利益需求，否则一个正常人实在不必蓄意假装他热爱某种人文艺术。当然了，艺术素养是可以后天学习的，别有居心地接触人文艺术，学习得法照样可以获得很准确的艺术眼光。不过，在我个人喜好的古典音乐界中，最常面对的就是这种《入门问题》，彷佛正常人特别需要去学习如何欣赏古典音乐（即使自己并不喜欢）！&nbsp;<br>
　　在我多年的通识教育经验中，每年约询问一千位不同的学生：『你喜欢听古典音乐吗？』『你真心认为古典音乐比你听的流行音乐有水平吗？』。前一个问题反映出只有约１％的学生对古典音乐有兴趣，后一个问题却反映出约９７％学生认为他们没兴趣的古典音乐是『有水平的』。这反映了当前社会一种特殊的『圣俗二分价值观』：古典音乐往往被当成圣俗二分的『圣』之代表&nbsp;──&nbsp;这不是古典乐迷自命清高，而是社会的真实现象；大家听不懂也不喜欢古典音乐，却公认它是『有水平的』，从而进行偏差的价值判断与衍生行为。&nbsp;<br>
　　正因为这种价值观上『圣俗二分』的压力，导致很多人莫名所以地期望自己能欣赏古典音乐。但是艺术一定是有门坎的，没有主观喜好却单凭价值观上的动力来『学习』古典音乐、而不是『喜欢』古典音乐，遂造成《入门问题》成为现实上或网络上古典音乐界最常出现的讨论，更导致很多真假莫辨的古典音乐欣赏现象与信息流通。因此，需要一套解释方法来帮助真心喜好古典音乐的爱乐者面对这种社会。&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<br>
<br>
<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<br>
●&nbsp;古典音乐的《门坎》：&nbsp;<br>
<br>
　　古典音乐的《入门问题》中，最浮滥的就是：『我要如何开始听古典音乐？』，常见的答案是『只要去听就好了！』。这句话是非常容易误解的，因为它混淆了一个古典音乐与一般音乐最大的根本差别：『古典音乐往往是「阅读」的而不只是「聆听」的』。&nbsp;<br>
　　想象一下原始人类：第一次发现不同长短的弓弦拨起来有不同的音高，他着迷了，尝试做出不同音高的弦，聆听不同的感觉。然后，他发现长度为整数倍的弦(也就是八度音)，会有一种音高的相似性，于是他们开始感受到『音阶』、『音调』，从而开始唱出『旋律』出来，而成为世界上的第一首歌。&nbsp;<br>
　　什么是『歌』、『旋律』呢？就是以『音符』(音调、音高、音色)为最基本的语言要素，制造出一句完整的话(乐句)，刻划出一个完整故事主角(旋律、主题)。刚开始，故事都是短短的(民谣)；后来，文明越来越发达后，短短的创作故事己经无法满足美感需要，所以开始有诗词歌赋、有小说、有戏剧、有史书......文字越来越长，越要求『阅读』字句的组合，越要求故事结构的起承转合。同样的，音乐从短短的民谣歌曲，也发展出曲式、和声、对位，要求音乐如同阅读文章一样有起承转合（例如，奏鸣曲式或轮旋曲式），再组合成长篇大论的奏鸣曲、交响曲、歌剧等等．．．．．。&nbsp;<br>
　　如何欣赏贝多芬的命运交响曲？无论使用什么方法入门而喜欢听这首音乐，喜欢听只是『表象』。想要真正感受『为什么古典音乐要有这么长的篇幅？而不是像民谣一样两三句话就好？』，那就得像阅读长篇小说一样，记住那个旋律是主角、那个旋律是配角，从而感受到这首音乐的起承转合。我们绝对不可能宣称我喜欢看金庸的小说，却不知道小龙女到底嫁给令狐冲还是杨过；而喜欢看电影《铁达尼号》却不知道Rose在Jack死后产生什么人生巨大转变，对电影的感受当然不可能全面。同样的，听不到命运交响曲的旋律与节奏如何起承转合呈现一个完整结构的乐章，就不容易真正感受到古典音乐的艺术特色了。&nbsp;<br>
　　当然了，这里的起承转合的结构不见得一定符合音乐学的曲式分析；就好像前述的电影《铁达尼号》，每个人『看到』的故事都会有差异：有人觉得铁达尼号只是俗烂的爱情肥皂剧、有人觉得它呈现出『爱情成为拯救力量』、有人看到『自由与尽责的双主题』．．．．不管原意如何，至少都是一个完整的『故事』。同样的，仔细『阅读』完命运交响曲的『音乐结构』，也会听到一个『故事』；只是这个故事不见得符合正规的曲式分析，展现个人不同的主观欣赏旨趣。&nbsp;<br>
　　因此，欣赏古典音乐是有《门鉴》的。如果硬是把古典音乐认为没有门鉴，那古典音乐就会完全失去艺术价值，只是一种独特的音响与歌曲而己。如果聆听古典音乐只喜欢听旋律、节奏与音质，却无法欣赏到『阅读音乐的结构』，在这种层次底下古典音乐与流行音乐、民间歌谣是完全没有差别的；如此一来欣赏古典音乐的意义，很容易变成只是迎合圣俗二分的媚俗价值观而己。&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<br>
<br>
<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<br>
●&nbsp;自我认知的不可靠性：&nbsp;<br>
<br>
　　提出上述看法，最容易引起的误解就是：我听了几十年古典音乐，都只想轻轻松松听，从来没想过古典音乐要『阅读音乐的结构』，我是不是完全不懂古典音乐？&nbsp;<br>
　　心理学的研究早就指出了：人类永远无法直接内省、运思而表达出他完整的感觉经验。以音乐欣赏体验而论，即使学有专长的音乐学者、作曲家或演奏家，都不见得能正确表达他对音乐的真实感觉。因此，『自认为』不属于上述欣赏音乐方式的爱乐者，不代表他就不是这种爱乐者。例如以上述问题而论：&nbsp;<br>
　　你愿意浪费几十年心力时间去聆听古典音乐，而不是选择容易获得的流行音乐，这就表示你从古典音乐所获得的感觉与流行音乐不一样。那么，对你而言，两者到底有什么真正的不一样感觉？了解古典音乐的『阅读音乐结构』欣赏方法后，将会发现自己多年来的古典音乐的真正感觉应该是什么？&nbsp;<br>
　　例如我自己，这几年来对法国古典音乐的正确体验，就让我发现：我原先误以为古典音乐『只是』线条的艺术，从而在认知上彻底排除音色艺术的解释。但是，我的『原始感觉』仍然完全正确地辨认出马洛维奇与巴黎拉慕鲁乐团的伟大演奏；即使我当年完全不知道什么叫做音色艺术，但是我的真实感觉仍然正确地感受到。于是我写了一篇推荐该唱片的乐评，却没有写出真正的重点，把他们的艺术表现通通曲解成线条营造的能力。&nbsp;<br>
　　所以我喜欢把古典音乐的欣赏历程，称为『重新认识自己』的历程。很多的音乐的感觉都是早就能感受到的，但是得等到学会更进阶的音乐欣赏能力后，才能『再发现』自己过去无法正视的部份感觉。因此，你如果能保持多年真心诚意的欣赏古典音乐，而不是别有居心的收集、炫耀自己的唱片，那你的古典音乐赏能力绝对不会只是『听得爽就好！』，一定是因为古典音乐有某种不同于流行音乐的特性让你选择了它。这些特性当然可能有很多种类，以目前我个人的研究而论，倾向认为『阅读音乐的结构』是最基本的差异点。&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<br>
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●&nbsp;修行主义与道德一元论的谬误：&nbsp;<br>
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　　正因为圣俗二分的偏见，探讨古典音乐入门问题或门坎问题，常常被扭曲成道德问题或修行问题。因为被当成道德问题，当然在道德压力下就害怕被人说自命清高而强烈主张古典音乐没有门坎。因为被当成修行问题，当然在表现境界高妙的修行下就得宣称古典音乐只要顿悟就可以成大道......但是，『事实』到底是什么？&nbsp;<br>
　　如果我们根本无法正确地描述『古典音乐爱好者』的真实现象是什么，怎么可能正确地了解古典音乐入门的问题呢？『入门』就是从『不喜欢古典音乐』变成『喜欢古典音乐』，既然是两种状态的转变，前一种与后一种有什么真实现象上的巨大差别，当然才是最重要的事实问题。&nbsp;<br>
　　试想存在一个人，一向只聆听一首短短几分钟的好听流行歌曲；他觉得非常舒服非常愉悦，于是他认为『喜欢音乐就是很愉悦』。&nbsp;<br>
　　有天他听到舒伯特的第二十一号钢琴奏鸣曲D.960第二乐章：这个乐章超过10分钟，内容则是同一主题旋律不断地重复与变形。这个欣赏者的『真实心理感受』是：他抓到那个不停变换的主题当成故事的主角，而且在不停的变形与重复中，得到主角表现在完整故事的『阅读快感』，了解『最后一段就是最初主题的延申』，了解『加了不同伴奏音型会造成音乐气氛转变』.........&nbsp;<br>
　　但是，这种真实心理感觉，往往个人『不知道如何用文字表达』。于是，基于修行主义与道德一元论的谬误习惯，这个古典音乐的欣赏会自称：他只是听得爽、很愉悦而己。&nbsp;<br>
　　问题是：如果只是听得爽，那随便一间教堂的吟咏声，与D.960的第二乐章听起来根本完全一模一样。只有你真正注意并『阅读』到『最后一段就是最初主题的延申』、『加了不同伴奏音型会造成音乐气氛转变』这些事实，你才会选择听D.960而不去听吟咏声。因此，只要这个爱乐者明显表现出偏好与选择，不管他如何谦称自己不懂古典音乐、只是觉得好听......事实上他完全阅读出古典音乐的意义。&nbsp;<br>
　　所以，讨论古典音乐如何入门的问题，陷阱就在这里。诉诸古典音乐爱好者本身的『内省报告』，后果一定错得非常非常离谱！因为古典音乐爱好者常常『无法正确描述自己为什么喜欢古典音乐』、甚至常常『严重扭曲地描述自己为何听古典音乐』；再加上修行主义与道德一元论的谬误习惯，遂造成现实上与网络上充满了对古典音乐入门问题言不及义的空泛清谈。&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<br>
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●&nbsp;阅读音乐数据与阅读文字数据：&nbsp;<br>
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　　如上所述，进入古典音乐的一个很重要的门鉴，就是愿意花时间去『阅读它』。当然，『阅读古典音乐的音乐数据』远比『阅读古典音乐的文字数据』还要难上非常多，因为人类先天不容易专注在听觉讯息(这部份会另有专文论述)。于是古典音乐界往往出现诡异现象：对古典音乐相关数据了如指掌，却明显没有听到音乐的真实内容。&nbsp;<br>
　　在圣俗二分的价值观偏差底下，造成非常多本性上对古典音乐毫无兴趣的人，为了社会地位与圣俗二分的美名，强迫自己假装成古典音乐爱好者。要假装成古典音乐爱好者，当然不会费心去『阅读古典音乐的音乐数据』，当然会选择最简单的『阅读古典音乐的文字数据』。于是，一个很简单的判准就可以辨认出来：『他愿不愿意阅读古典音乐的音乐数据？』，有，才是真正的古典音乐爱好者。没有，基本上他的信息是有问题的。&nbsp;<br>
　　无论网络上或现实生活上，欺世盗名的古典音乐『收集者』实在太多了。你会发现他们勤于『阅读古典音乐的文字数据』，对于各种古典音乐数据文字定见朗朗上口。但是，古典音乐的文字数据多的是来自蓄意吹捧的商业文宣，唱片的真实听感与资料文宣南辕北辙的事实到处可见。基本上，我完全不承认这叫做古典音乐欣赏者，所以特别称之为『收集者』。&nbsp;<br>
　　要如何分辨这种『收集者』呢？很简单，如果你是欣赏者，你一定可以辨认出『收集者』。欣赏者的意见偏好可能南辕北辙甚至大打出手，但是都能默会对方真的听到了音乐内容。理由是，欣赏者往往『不知道如何用文字表达』他的感觉，所以他看到有人提出与他感受类似的文字描述会产生共鸣的狂喜感，看到有人提出与他感受相反的文字描述他会有挨巴掌的挫折感。相对的，收集者的文字数据不是从音乐内容的感受而来，所以对欣赏者而言不痛不痒；信息错误不会令人挫折，数据正确也不会令人狂喜。换句话说，如果你看懂一篇音乐文字之后没有反感或狂喜，很可能有某一方就只是收集者。&nbsp;<br>
　　如果不先仔细反省：『聆听古典音乐的意义是什么？我为什么需要浪费时间去接触一种艺术？』就冒然谈论如何入门，往往导致『收集者』的现象；造成许多自称古典音乐爱好者，事实上只是『伪装的古典音乐迷』。&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<br>
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●&nbsp;一个价值观的反省：&nbsp;<br>
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　　我们常常看到很多不屑流行音乐的古典音乐收集者，很可能，这种人原本听古典音乐的目的就是要满足圣俗二分的虚荣心，当然会故意轻视流行音乐来自我标榜，这当然就是『伪装的古典音乐迷』。真正的古典音乐欣赏者，古典音乐不是用来自我标榜的工具，而是与欣赏者同好心灵相遇的纯洁桥梁，他们当然不会以轻视流行音乐来自命清高，最多只是因为太沈迷古典音乐而导致对流行音乐彻底忽略。这种真诚热爱而导致的视野窄化，正反映出一个人是否拥有货真价实的艺术心灵，反而是应该被赞许的。&nbsp;<br>
　　当社会存在着圣俗二分的价值观偏差现象，知识分子都能感受到这种价值观的不平等。但是，他们如何表现出对这种偏差问题的社会关怀？很可惜的，从刘小枫《拯救与逍遥》和苏友瑞《修行与救赎》的多年研究，都发现中国知识分子面对社会偏差现象，只能惯常地嘲讽与嘻笑，而不会走入世界真正的改革。于是，看多了『伪装的古典音乐迷』的知识分子，不会真心地想分辨『诚实的乐迷与伪装的乐迷有什么不同？』。他们只会很快的就下结论：『你们看！有水平的古典音乐迷也不过如此嘛.....』于是，当他们面对真正高水平的古典音乐迷时，当然会不分青红皂白地嘲讽：听古典音乐？不就是爱假仙吗？&nbsp;<br>
　　所以，对古典音乐的圣俗二分导致伪装的古典乐迷大增，大增的伪装乐迷又造成惯于愤世嫉俗的知识分子不想努力去好好分辨『孰真孰假』，轻易去嘲讽真心想付出的诚实古典乐迷；于是，接触古典音乐界很容易发现真假莫辨的窘境，这是所有诚实的古典音乐迷最挫折的现象。&nbsp;<br>
　　古典音乐明明是外来文化，却轻易在圣俗二分与修行主义的文化习惯下，发展出西方社会罕见的诡异结果。我个人虽然狂热于专注古典音乐，认识到法国古典音乐界的深厚素养；但是我也知道法国对流行音乐的尊重，一位流行女歌手伊莲被订出全国性的纪念日，一出钟楼怪人舞台剧的音乐令人心醉，这都绝对不是对音乐圣俗二分的社会能出现的价值观平等现象。&nbsp;<br>
　　我个人很不赞成『对多样音乐通通要涉猎』的看法，那是一种太廉价的多元主义，往往是虚无主义的帮凶。我主张的是，多元化的社会并不是人人都多元化，而是人人可以自由选择他自己想要的一元化，多元化社会是透过一元化个人而组合成的。但是我们的文化价值却完全相反：社会明显的圣俗二分一元化，导致伪装的古典乐迷大增；同时却基于修行主义，要求个人要有多元化的修行境界来包容『伪装的古典音乐迷』。结果，不只非古典音乐被岐视而削弱，乍看强势的古典音乐也因为伪装者过多而肤浅谬论当道。&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<br>
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●&nbsp;暂时的结语：能否摆脱这种文化困境？&nbsp;<br>
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　　这个古典音乐的《入门问题》己经不是单纯的学问了，它牵涉到的是整个社会文化特定的结构问题。我相信前述的『阅读音乐的结构』与『自我认知的不可靠性』都不是太深奥的学问，一定有很多人能理解这些入门问题；但是牵涉到文化结构的限制，面对大环境沈沦的知识分子却显得那么无力。真的是生活太累无法兼顾这种文化问题的反省？还是修行主义的惰性导致个人宁可选择沉默不语或怪诞逍遥？&nbsp;<br>
　　网络曾经是一个理想，但随着参与者众，竟无可避免地走向相同的命运：占据大型讨论区与高人气部落格的意见，仍是以资料收集者占绝大多数，分不清网络与杂志有什么太大的不同．．．．．&nbsp;<br>
　　这一切问题，反映的是文化深层的问题：惯于圣俗二分，没有真正的价值观平等，被圣化的古典音乐界反而多出一大堆伪装者。喜欢与尊重古典音乐不能避免这个困境，只有诚实地面对古典音乐、不管是圣是俗都发自真心的热爱古典音乐，积极地走入现实世界分辨真假古典音乐爱好者，或许有可能避免这个难局。&nbsp;<br>
　　相对于西方文化的价值观：任何人只要善尽本份，把现实生活做得尽善尽美，不需要神圣修行境界就可以平等地与圣人同入天堂。这种真正的价值观平等，不会把明明不喜欢古典音乐的摇滚乐迷逼上古典音乐界而导致虚伪，也不会高举古典音乐的神圣而导致单纯的音乐喜好负上无意义的道德包袱。这种文化处境下的古典音乐环境，也许才能让诚实的古典音乐欣赏者安心地分享内心真正的感动。</span><br>
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        <pubDate>2007-02-19  16:43</pubDate>
        <category><![CDATA[默认分类]]></category>
        <author><![CDATA[ImWALLY]]></author>
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