来源: 姜宝宝 于 2015-02-10 11:24:28
舒曼的音乐家训
舒曼，德国浪漫主义音乐大师。1848年《少年曲集》出版（“Album for the Young”）。这篇音乐家训虽然和曲集同时写成，不过直到1850年该曲集第二版，才被收录书中。说是给孩子们的“家训”，我倒觉的大人小孩都可以看看。原文当然是德文。英文版来自网络，中文翻译版来自上海教育出版社2011版曲集。一共68条，翻译上作了改动以便小孩阅读。
Music Rules for Life and the Home
Robert Schumann
1. Aural training is the most important thing. Make
efforts from the start to recognize keys and notes. The bell, the window-pane,
the cuckoo – investigate the sounds they make.
2. You should play scales and other finger
exercises diligently. There are, however, many who think they can achieve
everything by spending many hours a day practicing mechanically right into old
age. That is just like trying to say the ABC as quickly as possible, getting
quicker and quicker, every day. Make better use of your time.
efforts from the start to recognize keys and notes. The bell, the window-pane,
the cuckoo – investigate the sounds they make.
2. You should play scales and other finger
exercises diligently. There are, however, many who think they can achieve
everything by spending many hours a day practicing mechanically right into old
age. That is just like trying to say the ABC as quickly as possible, getting
quicker and quicker, every day. Make better use of your time.
3. The so-called ‚silent keyboard’ has been
invented. Try it for a while and you will see that it is of no use. The silent
cannot teach you how to speak.
4. Play in time! Some virtuosos’ playing sounds
like a drunk walking. Do not use this as your example.
5. Learn the basic rules of harmony early on.
6. Do not be afraid of words like: theory,
thoroughbass, counterpoint etc. They will treat you kindly if you do likewise.
7. Never just plunk away. Always play as if afresh
and never stop halfway through a piece.
8. Dragging and hurrying are equally bad mistakes.
9. Try to learn to play easy pieces well and
beautifully; it is better than a mediocre performance of a difficult piece.
10. You should always play on a tuned instrument.
11. You must not know your pieces only via your
fingers; you must also be able to hum them away from the piano. Teach your
imagination so that you can recall not just the melody of a composition but
also the harmony that goes along with it.
12. Even if you have a weak voice, try to sing at
sight without the help of the instrument; by doing this, the sharpness of your
hearing will improve continually. If you have a melodious voice, waste no
opportunity to have it trained, and treat it as the finest gift heaven can
bestow on you!
13. You must reach the stage when you can understand
music by just seeing it on the page.
14. When you are playing, do not concern yourself
with whoever may be listening.
15. Always play as though a great master were
listening to you.
16. If someone places a composition in front of you
for you to play, and you have never seen it before, read it through first.
17. If you have done your daily musical work and
feel tired, then do not force yourself to go on working. It is better to rest
than to work without freshness and pleasure.
18. When you are older, do not play fashionable
pieces. Time is precious. You would need a hundred lifetimes just to get to
know all the good pieces there are.
19. Children are not raised healthily by being fed
sweets, cakes and sweetmeats. As with food for the body, spiritual food must be
plain and wholesome. The latter has been amply provided by the great masters;
stick to it.
20. Fancy passage work fades over time. Technical
accomplishment is only of value where it serves a higher purpose.
21. You must not promote bad compositions; on the
contrary, you should expend every effort to help suppress them.
22. You should not play bad compositions; neither
should you listen to them, unless you are forced to.
23. Do not search just for technique and so-called
bravura. In a composition seek to bring out the expression that the composer
had in mind, and no more. Anything beyond that is a caricature.
24. Changing anything, leaving anything out or
adding new-fangled embellishments in pieces by good composers must be
considered an abomination. It is the greatest outrage you can inflict upon Art.
25. Ask your elders which pieces you should choose
to study. This way you will save a lot of time.
26. Gradually, you must acquire a thorough knowledge
of all the important works by all the great masters.
27. Do not be led astray by the applause which is
often accorded the so-called virtuosos. The approval of artists is of greater
value to you than that of the masses.
28. Anything in fashion will one day be out of
fashion. If you pursue it into your old age you will make a fop of yourself,
and nobody will respect you.
29. Playing a lot in society does more harm than
good. Look at people, but do not play anything of which you would feel inwardly
ashamed.
30. Waste no opportunity to make music with other
musicians, in duos, trios etc. This makes you play fluently and with animation.
Also, accompany singers often.
31. If everyone wanted to play first violin, then
there would be no orchestras. Each musician should therefore appreciate his proper
place.
32. Love your instrument, but do not be so vain as
to think it is the most important or the only one. Remember that there are
others which are equally beautiful. Remember also that there are singers, and
that both choirs and orchestras give expression to the highest things in music.
33. When you get older, occupy yourself more with
scores than with virtuosos.
34. Work at playing fugues by good Masters, above
all by J. S. Bach. The ‘Well-Tempered Clavier’ should be your daily bread. Then
you are sure to become an able musician.
35. Among your friends, seek out those who know more
than you.
36. As a respite from your musical studies, read a
lot of poetry. Take lots of walks in the fresh air.
37. A lot can be learned from singers, but do not
believe everything they tell you.
38. There are many people in the world. Be modest;
you have yet to invent or think of something that has not already been invented
or thought of by someone else. If you do think of something original, regard it
as a gift from above to be shared with others.
39. The study of the history of music, together with
listening to live performances of masterpieces from different periods, is the
quickest cure for complacency and vanity.
40. A good book on music is: ‘On the Purity of
Musical Composition’ by Thibaut. Read it often when you are older.
41. If you pass a church and hear the organ being
played, go inside and listen. If you are fortunate enough to be allowed to sit
on the organist’s bench, then put your little fingers on the keys and be
astonished at the omnipotence of Music.
42. Miss no opportunity to practice on the organ. No
other instrument takes such an immediate revenge on sloppiness in composition
and playing as the organ.
43. Sing regularly in a choir, especially the middle
parts. This makes you musical.
44. What, then, does being musical mean? You are not
musical if you gaze anxiously at the notes and laboriously play your way
through to the end of the piece. Neither are you musical if somebody who is
turning for you turns two pages instead of one and you stop and cannot
continue. You are musical, however, when you can feel what might be coming in a
new piece of music, or in a familiar one; in other words, when you have music
not just in your fingers, but in your mind and in your heart.
45. And how does one become musical? Dear child, the
most important things – a good ear and quick perception – like all such things,
are sent from above. But your given abilities can be developed and enhanced.
You will not do this by shutting yourself up like a hermit and working for days
on end on mechanical studies; rather you will do so by taking part in a variety
of live musical activities, especially those involving choirs and orchestras.
46. Acquaint yourself early on with the range of the
four main types of human voice; listen to them especially in choirs, find out
which intervals have the greatest strength and which others are suitable for
soft and gentle treatment.
47. Make sure you listen often to all the folksongs;
they are a treasure chest of beautiful melodies and open your eyes to the
characters of different nations.
48. Learn early on to read the old clefs. If you do
not, many treasures from the past will be withheld from you.
49. Notice early on the tone and character of the
different instruments; try to impress their characteristic tone colours upon
your ear.
50. Never miss an opportunity to hear good opera!
51. Hold the old in high esteem, yet also warmly
embrace the new. Hold no prejudice against names unknown to you.
52. Do not judge a composition on a single hearing;
the things that first catch your attention are not always the best. The great
masters must be studied. Many things will only become clear to you in later
life.
53. When judging compositions, distinguish between
those which are true works of art and those written to please dabblers. Stand
up for the former, but do not be angered by the latter!
54. ‘Melody’ is the battle-cry of dilettantes, and
certainly music without a melody is no music at all. But be clear about this:
What they mean by melody is but something simple and pleasantly rhythmic.
However, there are other melodies of quite a different kind, and if you look at
Bach, Mozart and Beethoven, they will greet you in a thousand different forms.
Then, hopefully, you will soon become weary of the meagre monotony of the
latest Italian opera melodies.
55. It is certainly very pleasant for you to make up
little melodies at the piano, but if they come to you on their own, not at the
piano, then you can be even happier since an inner feeling for music is
stirring within you. -The fingers must do what the head wants, not the other
way round.
56. If you begin to compose, then do it all in your
head. Only when you have completely finished it should you try a piece out on
the instrument. If your music has come from deep within you, if you really felt
it, then it will affect others in the same way.
57. If you have been given a vivid imagination from
above, then you will often find yourself spending solitary hours sitting at the
piano as if in a trance searching for harmonies to express your inner feelings.
The more mysteriously you feel yourself drawn as if into a magic circle, the
more elusive seems the world of harmony. These are the happiest hours of youth.
But beware of surrendering to a talent that may lead you to waste time and
energy on phantoms. The mastery of form, the power of clear arrangement, can be
acquired only through the fixed symbols of notation. Therefore write more, and
dream less.
58. Learn early on about conducting, and watch good
conductors often; even try to conduct pieces alone in your head, where you are
your own master. This will bring you clarity.
59. Take a good look at life, including other art
forms and sciences.
60. The laws of morality are also those of Art.
61. The road to improve is always through hard work
and perseverance.
62. A few pennies can be made from one pound of
iron, yet many thousands of watch-springs too, which are worth hundreds of
thousands. Use the pound that God has given you faithfully.
63. Without enthusiasm, nothing worthwhile can be
accomplished in Art.
64. The purpose of Art is not to acquire wealth.
Just strive always to be a better and better artist; everything else will
follow of its own accord.
65. Only when the form becomes clear to you will the
spirit then reveal itself.
66. Perhaps only a genius truly understands genius.
67. Somebody once opined that a consummate musician
is one who, on first hearing a complex orchestral work, can visualise it as if
it were before him. This is the highest level imaginable.
68. There is no end to learning.
音乐家训
舒曼
1．练耳最重要。从一开始就要努力学会辨别调式调性。钟声，百叶窗的沙沙声，布谷鸟的歌唱声—— 聆听这些自然界的天籁之音。
2. 你要勤奋地练习音阶与其他指法练习。但很多人错误地认为，每天几个小时的机械训练就可以万事大吉。这个念头，就和我们觉的每天只要重复地朗读ABC就能学好英语一样荒谬。要更好地利用你的时间。
3．有人发明了一种“模型键盘”。要不你就试试吧，不过最终你会发现这家伙一无是处。哑巴怎么能教会你说话呢？
4．按照准确的节奏演奏。许多大师演奏得象个跌跌撞撞的醉鬼一样，可别学他们的坏样。
5．从一开始就要学习和声。
6．别被音乐理论、通奏低音和对位法等等所吓到。好好地学习它们，而你也会得到它们的回报。
7．绝对不要心不在焉第乱弹琴！弹琴时总要带着一些热情，也别弹到一半嘎然而止。
8．弹得慢吞吞和十万火急是两个同样巨大的错误。
9．就算是简单的作品，也要演奏得清澈悦耳。这可比把一个高难度曲子弹得糟糕至极要强多了。
10．乐器一定要音准。
11．仅靠用手指弹奏去熟悉乐器远远不够，你最好能够撇开钢琴哼唱这些弹奏的曲子。发挥想象力，这样你既能听出曲子的旋律，又能记住里面的和声。
12．即使你的嗓音不怎么样，也要不借助乐器，而单独练习视唱。这样一来，你对声音敏锐性将会大大提高。如果你拥有美妙的嗓音，那可别浪费了，而要更好的训练它。这可是老天给你的无价之宝阿。
13．要达到这样的境界：只要看看谱子，就能理解谱子上的音乐。
14．弹琴的时候，别管人家能不能听到。
15．弹琴的时候，要感觉好像有一位音乐大师在旁边聆听你的演奏。
16．要是有人给你一首从来没见过的新曲子，并要你弹一弹，在弹之前，要先把这曲子从头到尾看一遍。
17．如果你已经完成了每天的音乐功课，觉得疲惫不堪，就不要再强迫自己去做进一步的训练。宁愿好好休息，也不要毫无快乐和激情地工作下去。
18．当你长大了，不要因为有些曲子风行一时就去弹奏。时间最宝贵，你得活上一百次，才能接触了解到所有的好曲子。
19．糖果、蛋糕和糖霜无法给小孩子提供营养，让他们健康成长。人们所需要的精神食粮也一样，应该既简单又充满力量。大师们为我们准备了充足的精神食粮，我们应该遵循他们的教导。
20．技巧的炫耀会随着时光而流逝。音乐境界得到升华后，技巧才变得有用。
21．不要助长坏曲子的传播。相反，应该阻止它们流传。
22．不要弹也不要听那些坏曲子，除非你是迫不得已。
23．不要炫技。弹奏曲子的时候，唯一可做的就是尽力表达作曲家所可能表达的原意。任何其他做法都是歪曲。
*（对于以上这点本人呵呵）
24．一些大师作品，被人或是删减或是添加了装饰音。这些被篡改过的曲子，应该让你感到骇然。这些篡改可能是对艺术的最大亵渎。
25．让前辈帮你选曲，这样你可以节省不少时间。
26．要反复钻研大师们的所有重要作品。
27．不要看到那些哗众取宠的炫技大师得到了热烈掌声，就觉得他们很了不起。真正艺术家的赞许，远比那些芸芸众生的吹捧要宝贵的多。
28．时髦的东西都会过时。如果你年纪大了还一味地追求这些东西，那你就是在愚弄自己，人们也不会来理睬你。
29．大量的公开演出弊大于利。要好好了解你的听众，不过也要忠于自己的内心，不要弹愧于自己的东西。
30．不要放弃与其他人一起演奏的机会，如二重奏、三重奏等等。这些表演形式能使你的演奏变得更宽阔更流畅，也可以经常给学声乐的人弹伴奏。
31．如果人人都要做第一小提琴手，那交响乐团恐怕就不能存在了。要会团队合作。
32．要爱自己的演奏的乐器，但也别太骄傲，觉的它是最好，或是独一无二的。记住，别的乐器也必不可少。还有，歌唱、合唱和乐团的合作，可以表现出音乐的最高境界。
33．你长大后，要更多关心乐谱，而不是技巧。
34．专注弹奏大师的赋格曲，尤其是巴赫的作品。让“十二平均律”成为你每天必不可少的联系部分。坚持下来，你将会成为一个合格的音乐家。
35．在你的朋友中，善于找到比你更博学的人。
36．多读读诗，也可以散散步，作为学习之余的调剂。
37．从歌唱家那里你可以学到很多东西，不过也不要全信。
38．“山外青山楼外楼”，谦虚一点，你能想到的东西，一般早有人想到或是创造出来了。就算你真的想到了一个别人还没想到的妙点子，也要把它当作是上天赐予你的礼物，要跟人分享。
39．学习音乐史，并以通过聆听大师演奏而强化的方式，是治疗自满和虚荣的最好办法。
40．有一本书叫做《关于作曲的纯粹性》，是Thibaut写的。你长大后要常常读这本书。
41．如果当你经过一个教堂的时候管风琴正在奏响，走进去听听吧！如果你运气好，可以用你小小的手指弹弹这架琴的话：你将会为音乐的巨大力量而感到震撼。
42．不要错过任何练习管风琴的机会。没有任何乐器，可以向它一样让有缺陷的作品和演奏马上现形。
43．在合唱团里努力演唱。特别是在中声部里歌唱的时候。这会增强你的乐感。
44． 那么什么是“乐感”呢？假如你只会神经紧张地瞪着音符，或是弹得辛苦吃力，那么，你就缺乏乐感。又假如，仅仅因为有个人一次翻了两页谱子你就弹不下去了，那么，你也没有乐感。当你或多或少地可以可以猜出一首陌生曲子接下来会怎么发展，或者你可以将熟悉的曲子烂熟于心
— 换句话说，你的音乐世界不仅仅存在于你的手指尖，还存在于你的心灵和脑袋里，那你就是有乐感的。(恭喜你)
— 换句话说，你的音乐世界不仅仅存在于你的手指尖，还存在于你的心灵和脑袋里，那你就是有乐感的。(恭喜你)
45．怎么才能成为一个好音乐家？亲爱的孩子，首先你要有一对敏锐的小耳朵，和迅速理解音乐的能力。就和其他才能一样，这是上天给你的礼物。但是你可以发展和改善你的能力。这可不是靠把自己关在房间里，一天到晚苦练就可以做到的。你需要积极参加各种音乐活动，尤其是合唱团和管弦乐团。
46．今早的熟悉人类的和唱，发现哪些音程是最强最有力的，而哪些又是最柔美深情的。
47．专心倾听各种民歌，因为它们是美妙旋律的瑰宝。要注意不同民族音乐的不同个性。
48．要今早学会看早期的音乐谱号，否则大量宝贵的历史财富对你来说可望不可及。
49．要注意各种乐器的不同音质和特征。努力让你的耳朵对各种各样的音质都留下深刻的印象。
50．一定要去听听好的歌剧！
51．对古音乐要敬重，对新音乐要接纳。不要对你所不了解的东西有先入为主的偏见。
52．不要对只听过一次的作品发表看法。能够立即影响到你的东西并不一定是最好的。伟大的作曲家需要细心去研究。很多事情你只有长大了才会理解。
53．评价音乐作品的时候，要区分哪些是真正的艺术作品，哪些只是为了取悦业余爱好者。应该宣扬前者，不过也不要责难后者。
54．“旋律”是音乐菜鸟常常挂在嘴上的词语，当然没有旋律，也根本谈不上什么音乐。不过你要知道这个词语的含义：旋律就是容易辨认，容易记忆，并有着令人愉快的节奏感的东西。不过旋律也分很多种。看看巴赫、莫扎特和贝多芬的作品，你就会发现他们所写的旋律变化多样。然后，但愿你很快就会对那些流行的单调而沉闷的意大利歌剧旋律感到厌倦。
55．如果你喜欢在键盘上作一些小小的曲子，那已经够好的了。如果那曲子没有借助钢琴，而是从你脑瓜里一下子冒出来的，那你真应该感到高兴 —— 这说明你正在获得一种音乐本能。手指应该听从脑袋的指挥，反过来的话就不对了。
56．当你开始作曲时，应该只动脑筋。等到你完成一整首曲子的创作后，你才可以试着用乐器去演奏出来。如果你的音乐是真情流露，发自内心，那别人也一定会得到共鸣。
57．如果你天生具有丰富的想象力，那你可能将会在钢琴旁边度过大量时间，在一种几乎是心醉神迷的状态下，寻找可以表达你内心最深处的和声。打个比方，也许这和声越是虚无缥缈不可捉摸，你就越会感到沉醉，仿佛自己被一种神秘力量吸引到一个魔法圈里。而这也将是你最好的时光。但是要小心，不要沉迷于自己的天赋，而将自己的时间精力浪费在整天无所事事的幻想之中。对音乐结构的掌握，以及清楚表达自己的音乐感想，这些只有通过把音乐切实写下来才可以实现。因此，要花更多的时间写作，而不是幻想。
58．尽早了解指挥，经常看看那些指挥大师，甚至可以尝试在想象中指挥自己的作品。这会让很多事情更加清晰。
59．好好学习生活，还有其他艺术和科学。
60．在艺术上也需要遵循道德准则。
61．勤奋和坚持总会带来进步。
62．价值几分钱的铁块可以被锻炼价值几百几千块的钟表发条。所以要好好利用上帝送给你的那个铁块。
63．从事艺术却缺乏热情，终将导致一事无成。
64．艺术的目的不是发家致富。你要专注于成为一个伟大的艺术家，而剩下的东西总有一天会跑到你的碗里来。
65．形式明瞭，精神才可能被充分展现。
66．也许只有天才才能懂得天才。
67．有人说，完美的音乐家在第一次听到一部交响乐作品时，就似乎可以看见它的总谱，不管这谱子多复杂。这可是凡人所能达到的最高音乐境界了。
68．学无止境。