200811250940[英文範文]--01 The Language of Music

01 The Language of Music

http://en2tc.mojolingo.com.tw/m2m-0000/www.yingyu.com/zhongxueyingyuxuexi/yingyubeisong100pian/2008-02-26/42938.shtml
時間﹕ 2008-02-26 11:44:10 作者﹕ 來源﹕

   A painter hangs his or her finished pictures on a wall, and everyone can see it. A composer writes a work, but no one can hear it until it is performed. Professional singers and players have great responsibilities, for the composer is utterly dependent on them. A student of music needs as long and as arduous a training to become a performer as a medical student needs to become a doctor. Most training is concerned with technique, for musicians have to have the muscular proficiency of an athlete or a ballet dancer. Singers practice breathing every day, as their vocal chords would be inadequate without controlled muscular support. String players practice moving the fingers of the left hand up and down, while drawing the bow to and fro with the right arm─two entirely different movements.

  Singers and instruments have to be able to get every note perfectly in tune. Pianists are spared this particular anxiety, for the notes are already there, waiting for them, and it is the piano tuner’s responsibility to tune the instrument for them. But they have their own difficulties; the hammers that hit the string have to be coaxed not to sound like percussion, and each overlapping tone has to sound clear.

  This problem of getting clear texture is one that confronts student conductors: they have to learn to know every note of the music and how it should sound, and they have to aim at controlling these sound with fanatical but selfless authority.

  Technique is of no use unless it is combined with musical knowledge and understanding. Great artists are those who are so thoroughly at home in the language of music that they can enjoy performing works written in any century.

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   A painter hangs his or her finished pictures on a wall, and everyone can see it. A composer [cəmˈpozɚ] writes a work, but no one can hear it until it is performed [pɚˈfɔrmd] . Professional singers and players have great responsibilities [rɪˌspansə'bɪlətɪs], for the composer is utterly ['ʌtɚlɪ] dependent on them. A student of music needs as long and as arduous ['arʤuəs] a training to become a performer as a medical student needs to become a doctor. Most training is concerned with technique[tɛk'nik], for musicians have to have the muscular ['mʌskjəlɚ] proficiency [prə'fɪʃənsɪ] of an athlete ['æθlit] or a ballet ['bæle] dancer. Singers practice breathing ['briðɪn] every day, as their vocal ['vokḷ] chords would be inadequate [ɪn'ædəkwɪt] without controlled muscular support [sə'port] .

String players practice moving the fingers of the left hand up and down, while drawing the bow to and fro[fro] with the right arm─two entirely different movements.

  Singers and instruments['ɪnstrəmənts] have to be able to get every note perfectly in tune.

Pianists[pɪ'ænɪsts] are spared this particular anxiety[æn'zaɪətɪ], for the notes are already there, waiting for them, and it is the piano tuner’s responsibility to tune the instrument for them. But they have their own difficulties['dɪfəˌkʌltɪs]; the hammers that hit the string have to be coaxed[kokst] not to sound like percussion[pɚ'kʌʃən], and each overlapping tone has to sound clear.

  This problem of getting clear texture is one that confronts[kən'frʌnts] student conductors[kən'dʌktɚs]: they have to learn to know every note of the music and how it should sound, and they have to aim at controlling these sound with fanatical[fə'nætəkḷ] but selfless authority[ə'θɔrəltɪ].

  Technique is of no use unless it is combined with musical knowledge and understanding. Great artists are those who are so thoroughly[ɝolɪ] at home in the language of music that they can enjoy performing works written in any century.

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   A painter hangs his or her finished pictures on a wall, and everyone can see it. A composer (作曲家) writes a work, but no one can hear it until it is performed. Professional singers and players have great responsibilities, for the composer is utterly (完全地) dependent on them. A student of music needs as long and as arduous (艱鉅的) a training to become a performer (演奏者) as a medical student needs to become a doctor. Most training is concerned with technique, for musicians have to have the muscular proficiency (熟練) of an athlete or a ballet dancer. Singers practice breathing every day, as their vocal chords (聲帶) would be inadequate (不能勝任的) without controlled muscular support (支撐). String players practice moving the fingers of the left hand up and down, while drawing the bow to and fro with the right arm─two entirely different movements.

  Singers and instruments have to be able to get every note (音符) perfectly in tune (曲調). Pianists are spared this particular anxiety, for the notes (音符) are already there, waiting for them, and it is the piano tuner’s responsibility to tune the instrument for them. But they have their own difficulties (難題); the hammers that hit the string have to be coaxed (耐心地處理) not to sound like percussion (敲打樂器), and each overlapping tone has to sound clear.

  This problem of getting clear texture is one that confronts (面臨) student conductors (指揮): they have to learn to know every note of the music and how it should sound, and they have to aim at controlling these sound with fanatical (入迷的) but selfless authority (權力).

  Technique is of no use unless it is combined with musical knowledge and understanding. Great artists are those who are so thoroughly at home in the language of music that they can enjoy performing works written in any century.

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   當畫家把他完成的作品掛上牆壁時,每個人都可以欣賞到他的作品。作曲家寫了一首作品,卻要等到作品被演奏了,大家才可以聽得到。專業的演唱家和演奏家有著極大的責任,因為作曲家的作品要完全地靠他們的表演演奏出來。學習音樂的學生需要長期的培養和艱鉅的訓練,才能成為一名演奏者,就像一名醫學院的學生變成醫生的訓練一樣。大部分的訓練是關係到技巧,對音樂家而言,必須具備運動家或芭蕾舞者般的肌肉的熟練度。歌手每天練習呼吸,以至於他們聲帶,在無控制下的支助下會是不能勝任的。String players practice moving the fingers of the left hand up and down, while drawing the bow to and fro with the right arm─two entirely different movements.

  Singers and instruments have to be able to get every note perfectly in tune. Pianists are spared this particular anxiety, for the notes are already there, waiting for them, and it is the piano tuner’s responsibility to tune the instrument for them. But they have their own difficulties; the hammers that hit the string have to be coaxed not to sound like percussion, and each overlapping tone has to sound clear.

  This problem of getting clear texture is one that confronts student conductors: they have to learn to know every note of the music and how it should sound, and they have to aim at controlling these sound with fanatical but selfless authority.

  Technique is of no use unless it is combined with musical knowledge and understanding. Great artists are those who are so thoroughly at home in the language of music that they can enjoy performing works written in any century.

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