[2012.06.01] 最好的乐器系列之一：钢琴

引用 niaonazi 2012-6-2 08:57

没有之一——钢琴

引用 1838787356 2012-6-2 11:21

学会了好多乐器哦

引用 菊酒兰茗 2012-6-2 12:12

非常美的文章

引用 join_soon 2012-6-2 12:34

before we can treat it as a toy, before it is cheap comparing with income, I will always dislike piano. I dislike it because most people, consciously or subcounsciously, if not all people except very few like myself, feel that piano is part of high culture and therefore is good.

It does not matter whether it is good or not, as long as it is part of high culture, the "professional" culture, then, I will despite it, and find every opportunity to make fun of it.

I encourage some young people practice it, not to show off, but to make fun of it, make it low.

引用 neverzone 2012-6-2 12:59

引用 contrary 2012-6-2 17:00

本帖最后由 contrary 于 2012-6-2 22:34 编辑

发几首我喜欢的钢琴曲

纯钢琴版的野蜂飞舞，我觉得相当有味道
RimskyKorsakov- Flight of The Bumble Bee 林姆斯基高沙可夫：大黄蜂飞行.mp3 (3.09 MB, 下载次数: 288)

2012-6-2 16:58 上传

点击文件名下载附件

http://ecocn.org/forum.php?mod=attachment&aid=NDYyMzV8MzA2NjgwZThlMGY5NTliMTVjYWY5NzdkMDllZmUwZmN8MTczMjM4MTU5OA%3D%3D&request=yes&_f=.mp3

这个没说的，经典卡农，乔治·温斯顿演奏版
Variations on the Kanon by Pachelbel.mp3 (4.94 MB, 下载次数: 57)

2012-6-2 16:59 上传

点击文件名下载附件

http://ecocn.org/forum.php?mod=attachment&aid=NDYyMzZ8ODdlMDNlN2FkNzMzNjRiOTA1Y2NmOGU5MzZkMmExYWR8MTczMjM4MTU5OA%3D%3D&request=yes&_f=.mp3

这首比较现代，也相当有FEEL
Wedding Rain.mp3 (7.85 MB, 下载次数: 66)

2012-6-2 16:59 上传

点击文件名下载附件

http://ecocn.org/forum.php?mod=attachment&aid=NDYyMzd8Y2NjNGIwZDk0NDY3ZDhiNmNiMGQzYTkzMWI2NGM5Nzd8MTczMjM4MTU5OA%3D%3D&request=yes&_f=.mp3

引用 坏娃娃 2012-6-2 17:37

no other instrument is quite like the piano, which can conjure up sounds from birdsong to a sunken cathedral...
这句话可不可以翻成：在乐器家族之中极为与众不同，它能像魔法师一样奏出鸟儿高亢的啼鸣，也能奏出教堂低沉的萧肃之音。
sunken;情绪低落的，沮丧的。

引用 坏娃娃 2012-6-2 17:44

一架史坦威或是蓓森朵夫尽情弹奏时那发自内心的音质是无法比拟的
弹奏这个动词在中文里的主语应该是人而不是物吧？你看这样行吗：一架史坦威或是蓓森朵夫钢琴尽情欢唱时从它们内心流淌出来的音质无与伦比，

引用 skittos 2012-6-2 20:14

本帖最后由 skittos 于 2012-6-2 20:59 编辑

lz又快又好，同感钢琴的浑厚宽域是无以比拟的～！


你没有办法把它塞在手提箱里。但是钢琴可以打开整个音乐世界
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先有 钢琴 才有代词 它？



一架史坦威或是蓓森朵夫尽情弹奏时那发自内心的音质是无法比拟的，
-----------
同意前面点评，这句感觉演奏者与钢琴被混为一谈了。一架史坦威或是蓓森朵夫如何尽情弹奏、发自内心？
visceral quality 有深层、原始、物质之意
there is 的隐含主语是演奏者
在一架史坦威或是蓓森朵夫上弹尽情奏时，那种发自其骨子里的原始音质是无以比拟的？



Most composers see a piano as the best means of trying out ideas as they commit them to paper.
大多数作曲家都把钢琴视为在实际写下谱子之前尝试各种作曲构思最好的方法。
--------------------------
作曲家一般边弹边写，as they commit them to paper表示同时进行。
大多数作曲家在谱曲落笔之时，都把钢琴作为尝试各种作曲构思的最佳选择。

引用 join_soon 2012-6-3 12:11

skittos 发表于 2012-6-2 20:14
lz又快又好，同感钢琴的浑厚宽域是无以比拟的～！

visceral quality
--原始音质?
in evolution theory is right, emotion is a more ancient facility, so, in that regard, primitive and emotional are equivilent.

引用 shadoweing 2012-6-4 00:02

楼主翻译的这两篇文艺系列，钢琴和吉他，翻译的真好~让我的意识流又多了一点地方涌动呢。
说来就来，不马虎哈。
。。。
钢的琴，吉他弦
钢琴黑白键，吉他六根线
钢琴五线谱，吉他品位图。
钢琴的指法，吉他的弹法
钢琴的奏章，吉他的篇幅
。。。。。
好多能将这两篇放一起的断句，嘻嘻。深夜感想，切楼主看过一笑了之吧。嘻嘻

这个月出版的杂志好多题目都挺有意思的，呵呵~期望楼主佳作~

引用 yannanchen 2012-6-4 00:35

本帖最后由 yannanchen 于 2012-6-4 01:21 编辑

It’s true that you cannot pack it in your hand luggage as you can a guitar, fiddle or flute. But the piano opens up the whole world of music because, uniquely, it can translate into sound the full range of harmony of orchestral and choral scores. There is no substitute for the visceral quality of a Steinway or Bösendorfer in full flow, with its ability to move instantly from the highly percussive to the warmly lyrical.确实，和吉他、提琴或是笛子不同，你没有办法把它塞在手提箱里。但是钢琴可以打开整个音乐世界，因为只有钢琴可以表达交响乐谱或是声乐谱上所有的和音音域。一架史坦威或是蓓森朵夫尽情弹奏时那发自内心的音质是无法比拟的，它可以在瞬间从响亮的打击声转变成温暖的抒情乐。
评论：because, uniquely, it can translate into sound the full range of harmony of orchestral and choral scores.
因为只有钢琴才能用声音诠释管弦乐和大合唱总谱里和声的全域

引用 yannanchen 2012-6-4 00:38

本帖最后由 yannanchen 于 2012-6-4 00:39 编辑



La cathédrale engloutie (The Sunken Cathedral) is a prelude written by the French composer Claude Debussy for solo piano. It was published in 1910 as the tenth prelude in Debussy’s first of two volumes of twelve piano preludes each. It is characteristic of Debussy in its form, harmony, and content.

Contents [hide]
1 Musical Impressionism
2 Legend of Ys
3 Musical Analysis
4 Notes
5 External links


[edit] Musical ImpressionismThis prelude is an example of Debussy's musical impressionism in that it is a musical depiction, or allusion, of an image or idea. Debussy quite often named his pieces with the exact image that he was composing about, like La Mer, Des pas sur la neige, or Jardins sous la pluie. In the case of the two volumes of preludes, he places the title of the piece at the end of the piece, either to allow the pianist to respond intuitively and individually to the music before finding out what Debussy intended the music to sound like, or to apply more ambiguity to the music's allusion. [1] Because this piece is based on a legend, it can be considered program music.

[edit] Legend of YsThis piece is based on an ancient Breton myth in which a cathedral, submerged underwater off the coast of the Island of Ys, rises up from the sea on clear mornings when the water is transparent. Sounds can be heard of priests chanting, bells chiming, and the organ playing, from across the sea. [2] Accordingly, Debussy uses certain harmonies to allude to the plot of the legend, in the style of musical impressionism.To begin the piece, Debussy uses parallel fifths. The first chord of the piece is made up of sonorous Gs and Ds (open fifths). The use of stark, open fifths here allude to the idea of church bells that sound from the distance, across the ocean. [3] The opening measures, marked pianissimo, introduce us to the first series of rising parallel fifth chords, outlining a pentatonic scale. These chords bring to mind two things: 1) the Eastern pentatonic scale, which Debussy heard during a performance of Javanese gamelan music at the 1889 Universal Exhibition in Paris,[4] and 2) medieval chant music, similar to the organa in parallel fifths from the Musica enchiriadis, a 9th century treatise on music. [5] The shape of the ascending phrase is perhaps a representation of the cathedral's slow emergence from the water.

After the beginning section, Debussy gently brings the cathedral out of the water by modulating to B major, shaping the melody in a wave-like fashion, and including important narrative instructions in measure 16: Peu à peu sortant de la brume (Emerging from the fog little by little). This shows Debussy at his closest manifestation of musical impressionism.[6] Then, after a section marked Augmentez progressivement (Slowly growing), the cathedral has emerged and the grand organ is heard at a dynamic level of fortissimo (measures 28-41). This is the loudest and most profound part of the piece, and is described in the score as Sonore sans dureté. Following the grand entrance and exit of the organ, the cathedral sinks back down into the ocean (measures 62-66) and the organ is heard once more, but from underwater. To attain this underwater effect, most performers use a "half-pedal," so that the dampers of the piano are only slightly off of the strings, creating a murky, muffled sound (measures 71-82). Finally, the cathedral is gone from sight, and only the bells are heard, at a distant pianissimo.

[edit] Musical AnalysisForm: This piece is in binary form (AB, or, abab), one of Debussy's most common compositional forms.[7] The first section is contained in measure 1-46 and is repeated (with some themes slightly shortened or elongated) from measures 47-89, forming the B section.

Thematic/Motivic Structure: In this piece, as he commonly does, Debussy composes the music using motivic development, rather than thematic development.[8] Fundamentally, the entire piece is made up of two basic motifs, with the first motif existing in three different variations, making 4 fragments in total (not counting the inversions and transpositions of each).[9] The motifs are: 1) D-E-B ascending; 1a) D-E-A ascending; 1b) D-E-G ascending; 2) E-C# descending. Debussy masterfully saturates the entire structure of the piece with these motifs in large- and small-scale ways. For example, motif 1 appears in the bottom of the right-hand chords on the 2nd, 3rd, and 4th quarter notes of measure 14 (D-E-B), and again in the next three quarter note beats (D-E-B). Not by coincidence, motif 1b is heard in the 4th, 5th, and 6th quarter note beats of measure 14 (B-D-E). Motif 1 is heard on a broader scale in the bass notes (dotted whole notes) in measures 1-16, hitting the notes of the motif in inversion and transposition on the down-beats of measures 1, 15, and 16 (G-C-B). Also within measures 1 through 15 are two occurrences of motif 2 (G in measure 1, E in measure 5; E in measure 5, C in measure 15.) Motif 1 is also heard in a soprano voice from measure 1-15: The high D in measures 1, 3, and 5; the soprano E octave that occurs 12 times from measures 6-13; the high B in measures 14 and 15. Throughout all of this motivic repetition, transposition, and inversion, the themes (longer phrases made up of the smaller motifs) stay very much static, with only occasional elongation or shortening throughout the piece: The rising pentatonic theme in measure 1 (theme 1) repeats in measure 3, 5, 14, 15, 16, 17, 84, 85, and with a slight variations in measures 28-40 and 72-83. A second theme (theme 2), appearing for the first time in measures 7-13, repeats in measures 47-51.[10]

Context: This prelude is an example of many of Debussy's compositional characteristics. First, he uses motivic development rather than thematic development. After all, “Debussy mistrusted [thematic] development as a method of composition.”[11] Second, it is a complete exploration of chordal sound that encompasses the entire range of the piano, and that includes one of Debussy's signature chords (a major tonic triad with added 2nd and 6th scale degrees).[12] Third, it shows Debussy's use of parallel harmony (the section beginning in measure 28, especially), which is defined as a coloration of the melodic line. This is quite different from simple melodic doubling, like the 3rds in Voiles, or the 5ths in La Mer, which are not usually heard alone without a significant accompanimental figure. Parallel harmony forces the chords to be understood less with functional roots, and more as coloristic expansions of the melodic line.[13] Overall, this prelude, as a representative of the 24 preludes, shows Debussy's radical compositional process when viewed in light of the previous 200 years of classical and romantic music.

引用 nayilus 2012-6-4 05:48

skittos 发表于 2012-6-2 04:14
lz又快又好，同感钢琴的浑厚宽域是无以比拟的～！

好久不见skittos版

第一句似乎是一种写作方式，开篇第一句故意用不知所谓的代词，后面才揭露，读起来有种独特的感觉，原文也是先it再确定的。

visceral的意思我理解偏差了，查了一下，感觉visceral sound有野性，纯粹的意思，这里似乎又不是很贴切，这里的quality可能不是指音质，而是更广义的指特点。
“一架史坦威或是蓓森朵夫在其野性本质尽情发挥出来时是无法比拟的”？

最后一句照搬，谢谢点评。

引用 坏娃娃 2012-6-4 06:52

坏娃娃 发表于 2012-6-2 17:37
no other instrument is quite like the piano, which can conjure up sounds from birdsong to a sunken c ...

这个是我偷懒，不严谨了，谢谢指正。

引用 amandaQY 2012-6-4 14:00

There is no substitute for the visceral quality of a Steinway or Bösendorfer in full flow,这里可以这样吗----在一架斯坦威或者贝森朵夫钢琴在其与生俱来的本质音乐尽情发挥出来时是无法比拟的。

引用 skittos 2012-6-4 19:23

本帖最后由 skittos 于 2012-6-4 19:27 编辑

好久不见---被钢琴的魔音牵动～

visceral sound----js 指出的那种emotional 是对的，但如何表达？拟人化的发自肺腑、内心、野性、撕心裂肺？感觉倒像大提琴所表达的了。因想如何择词才能衔接上下文而不至于太跳跃或夸张。野性本质？原始本色？与生俱来的本质音乐？eventually there may be a suitable interpretation.~

引用 澄若秋水 2012-6-5 17:10

There is no substitute for the visceral quality of a Steinway or Bösendorfer in full flow,
翻译成“一架斯坦威或蓓森朵夫灵魂深处的波澜壮阔”如何？

引用 Happy_English 2012-6-5 19:19

钢琴听起来比较纯净。

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