Re: [情報] 問孩子：在音樂中，你想說什麼？
剛好復習了一下 J. Hofmann 的書, 裡面有很多內容跟這個題目有關
我提個關係最密切的好了...
(有興趣起查閱 Piano Playing - with Piano Questions Answered 一書,
後半部 q and a 有很多內容, 我這提的是 p.79-82 的內容
懶的找重要的文字了, 我就整段抄
有重要的沒寫到或不重要的有寫到我也不管了 XD
寫完後沒空校正內容, 拚錯字的我也懶的管了 XD)
Technic is a chest of tools from which the skilled artisan draws
what he needs at the right time for the right purpose. The mere possession
of the tools means nothing; it is the instinct - the artistic intuition
as to when and how to use the tools - that counts. It is like opening
the drawer and finding what one needs at the moment.
There is a technic which liberates and a technic which represses the
artistic self. All technic ought to be a means of expression. It is
perfectly possible to accumulate a technic that is next to useless.
I recall the case of a musician in Paris who studied counterpoint,
harmony and fugue for eight years, and at the end of that time he was
incapable of using any of his knowledge in practical musical composition.
Why? Because he had spent all of his time on the mere dry technic of
composition, and none in actual composition. He told me that he
had been years trying to link his technic to the artistic side of
things-to write compositions that embodied real music, and not merely the
reflex of uninspired technical exercises. I am a firm believer in having
technic go hand in hand with veritable musical development from the start.
Neither can be studied alone; one must balance the other. The teacher who
gives a pupil a lcing course in strict technic unbroken by the intelligent
study of real music, is producing a musical mechanic-an artisan, not an
artist.
"Please do not quote me as making a diatribe against technic. I believe
in technic to the fullest extent in its proper place. Rosenthal,
who was unquestionably one of the greatest technicians, once said to me:
'I have found that the people who claim that technic is not an important
thing in piano playing simply do not possess it.' For instance, one hears
now and then that scales are unnecessary in piano practice. A well-played
scale is a truly beautiful thing, but few people play them well because
they do not practice them enough. Scales are among the most difEcult
things in piano playing; and how the student who aspires to rise above
mediocrity can hope to succeed without a thorough and far-reaching drill
in all kinds of scales, I do not know. I do know, however, that I was
drilled unrelentingly in them, and that I have been grateful for this
all my life. Do not despise scales, but rather seek to make them beautiful.
其實這段內容跟這個討論主題不完全有關. 只是覺得算是個有名的鋼琴家的看法,
就提出來分享了. 覺得內容有問題的請去找 Hofmann 不要來找我 XD
(其實這裡本來是在講 pedal 的 :P)
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