關於 western music history ，我們在網路上蒐集到這些相關的討論、資訊與評價

🇲🇾 Book Exhibition 10/17-12/19 🇲🇾
The Invisible Future, Facing the Visible Past : Photobooks of Malaysia

🎉 Opening will be on this Saturday (10/17) 14:00-20:00, join us at Lightbox to see, taste and hear Malaysia.

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Through a collection of 20 photobooks, 100 extended works and 3 events, this exhibition invites its audience to dive into the intricate histories and diverse cultures of Malaysia. Following the path mapped by curators, the audience will see the changing of Malaysian society and landscape over the centuries, the situations of its people after independence, and the concerns of contemporary Malaysian artists for their country. Curated by Malaysian artists Jeffery Lim and Bernice Chauly, this is the very first international photobook exhibition Lightbox Photo Library co-hosts.

In the mid-twentieth century, Malaysia broke free from the British colonization and began the journey of recollecting its identity. How did Malaysians view themselves? What roles did photography play in the process of exploring, reflecting and presenting? With travel photography of early western explorers, images taken from the perspective of colonizers, and photography as art, propaganda and historical documentation, how can we, under the complicated context of history and ethnicity, find a way to face the past and imagine a future? Or, is there a way?

To answer these questions and to re-create the Malaysia in their mind, our curators have strived to collect a total of 120 photobooks, 20 of which have been highlighted as the main works of this exhibition, complemented by introductory texts penned by the curators. The remaining 100 books will also be exhibited as extended reading materials. Moreover, according to the content of the photobooks, this exhibition includes introductions to the society and history of Malaysia to help the audience get a clearer picture.

Who are we? What are the stories of our land that have shaped the society we live in and the people we are today? These are the questions that haunt all who wish to re-construct their self-identity. No matter how well or little you know about Malaysia, we sincerely invite you to participate in this rare event, to learn more about the southern neighbor of Taiwan, and to embark on a journey of discovery of self and the past through the photobooks of Malaysia.

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〖 About the book exhibition 〗
*Date: 2020/10/17-12/19
*Time: Every Tue-Sat 13:00-20:00 (except for 10/24)
*Venue: Lightbox Photo Library (19, Ln. 269, Sec. 3, Roosevelt Rd., Taipei)　
*Curator: Jeffrey Lim（林猷進）、Bernice Chauly

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〖 About the events 〗

🇲🇾 10/17 Sat. Opening day
*Time: 14:00-20:00
*Contents: Provide Malaysian snacks ,music and exhibition guide (for 1hr in Mandarin, please sign up to join.)

🇲🇾 10/17 Sat. Exhibition guide (in Mandarin)
*Time: 14:00-15:00
*Sign up: https://forms.gle/bNvggRXrijaak9JD6
We will reserve seats for those who signed up.
* The guide would be live broadcasted.
* Please wear a mask during the guide.

🇲🇾 11/14 Sat. Curator's talk (in English)
*Time: 14:30-17:00
*Speaker: Jeffrey Lim（林猷進）、Bernice Chauly
*Moderator: 鄭文琦
* The talk would be live broadcasted.
* Please wear a mask during the talk.
* We will announce more detailed informations later.

🎹鋼琴的大千世界/名家名言：「為何稱我為大師？主人在這裡（指著鋼琴），我只是他的奴才。」

— 李斯特著名的弟子，德國鋼琴家、作曲家、教育家 萊森奧爾(Alfred Reisenauer)

Why, there is the master (pointing to the piano), I am only the slave.”

— Alfred Reisenauer (1 November 1863 – 3 October 1907) German pianist, composer, and music educator.

📹 跟隨在李斯特學習長達十二年至李斯特過世(1874-1886)的萊森奧爾，演奏李斯特的第十號匈牙利狂想曲：
https://youtu.be/e12YwuHiQtY

📰 延伸閱讀 - 【李斯特學派 / the school of Liszt】♩.♪
https://www.facebook.com/notes/fan-chiang-yi-%E8%8C%83%E5%A7%9C%E6%AF%85/%E6%9D%8E%E6%96%AF%E7%89%B9%E5%AD%B8%E6%B4%BE-the-school-of-liszt/289155141104454/

———————————————————————1905-1906 鋼琴名家萊森奧爾（Alfred Reisenauer）在美國進行數月的巡迴演出，並接受美國著名音樂雜誌”Etude”的專訪。文章於1906年七月出版，隔年他在德國巡迴演出期間於下榻的飯店房間內過世。

📰 藝術家的養成 - 萊森奧爾的見解
The Making of an Artist - The Views of Alfred Reisenauer.

▪️With Liszt

“When I had reached a certain grade of advancement it was my great fortune to become associated with the immortal Franz Liszt. I consider Liszt the greatest man I have ever met. By this I mean that I have never met, in any other walk of life, a man with the mental grasp, splendid disposition and glorious genius. This may seem a somewhat extravagant statement. I have met many, many great men, rulers, jurists, authors, scientists, teachers, merchants and warriors, but never have I met a man in any position whom I have not thought would have proved the inferior of Franz Liszt, had Liszt chosen to follow the career of the man in question. Liszt’s personality can only be expressed by one word, ‘colossal.’ He had the most generous nature of any man I have ever met. He had aspirations to become a great composer, greater than his own measure of his work as a composer had revealed to him. The dire position of Wagner presented itself. He abandoned his own ambitions— ambitions higher than those he ever held toward piano virtuosity—abandoned them completely to champion the difficult cause of the great Wagner. What Liszt suffered to make this sacrifice, the world does not know. But no finer example of moral heroism can be imagined. His conversations with me upon the subject were so intimate that I do not care to reveal one word.

▪️Liszt’s Pedagogical Methods

“His generosity and personal force in his work with the young artists he assisted, are hard to describe. You ask me whether he had a certain method. I reply, he abhorred methods in the modern sense of the term. His work was eclectic in the highest sense. In one way he could not be considered a teacher at all. He charged no fees and had irregular and somewhat unsystematic classes. In another sense he was the greatest of teachers. Sit at the piano and I will indicate the general plan pursued by Liszt at a lesson.”

Reisenauer is a remarkable and witty mimic of people he desires to describe. The present writer sat at the piano and played at some length through several short compositions, eventually coming to the inevitable “Chopin Valse, Op. 69, No. 1, in A flat major.” In the meanwhile, Reisenauer had gone to another room and, after listening patiently, returned, imitating the walk, facial expression and the peculiar guttural snort characteristic of Liszt in his later years. Then followed a long “kindly sermon” upon the emotional possibilities of the composition. This was interrupted with snorts and went with kaleidoscopic rapidity from French to German and back again many, many times. Imitating Liszt he said, “First of all we must arrive at the very essence of the thing; the germ that Chopin chose to have grow and blossom in his soul. It is, roughly considered, this:（見譜例圖四）

Chopin’s next thought was, no doubt:（見譜例圖五）

But with his unerring good taste and sense of symmetry he writes it so:（見譜例圖六）

Now consider the thing in studying it and while playing it from the composer’s attitude. By this I mean that during the mental process of conception before the actual transference of the thought to paper, the thought itself is in a nebulous condition. The composer sees it in a thousand lights before he actually determines upon the exact form he desires to perpetuate. For instance, this theme might have gone through Chopin’s mind much after this fashion:（見譜例圖七）

The main idea being to reach the embryo of Chopin’s thought and by artistic insight divine the connotation of that thought, as nearly as possible in the light of the treatment Chopin has given it.

“It is not so much the performer’s duty to play mere notes and dynamic marks, as it is for him to make an artistic estimate of the composer’s intention and to feel that during the period of reproduction, he simulates the natural psychological conditions which affected the composer during the actual process of composition. In this way the composition becomes a living entity—a tangible resurrection of the soul of the great Chopin. Without such penetrative genius a pianist is no more than a mere machine and with it he may develop into an artist of the highest type.”

▪️A Unique Attitude.

Reisenauer’s attitude toward the piano is unique and interesting. Musicians are generally understood to have an affectionate regard for their instruments, almost paternal. Not so with Reisenauer. He even goes so far as to make this statement: “I have always been drawn to the piano by a peculiar charm I have never been able to explain to myself. I feel that I must play, play, play, play, play. It has become a second nature to me. I have played so much and so long that the piano has become a part of me. Yet I am never free from the feeling that it is a constant battle with the instrument, and even with my technical resources I am not able to express all the beauties I hear in the music. While music is my very life, I nevertheless hate the piano. I play because I can’t help playing and because there is no other instrument which can come as near imitating the melodies and the harmonies of the music I feel. People say wherever I go, ‘Ah, he is a master.’ What absurdity! I the master? Why, there is the master (pointing to the piano), I am only the slave.”

▪️The Future of Pianoforte Music.

An interesting question that frequently arises in musical circles relates to the future possibilities of the art of composition in its connection with the pianoforte. Not a few have some considerable apprehension regarding the possible dearth of new melodic material and the technical and artistic treatment of such material. “I do not think that there need be any fear of a lack of original melodic material or original methods of treating such material. The possibilities of the art of musical composition have by no means been exhausted. While I feel that in a certain sense, very difficult to illustrate with words, one great ‘school’ of composition for the pianoforte ended with Liszt and the other in Brahms, nevertheless I can but prophesy the arising of many new and wonderful schools in the future. I base my prophecy upon the premises of frequent similiar (sic) conditions during the history of musical art.” These are Reisenauer’s views upon this matter.

Continuing, he said: “It is my ambition to give a lengthy series of recitals, with programs arranged to give a chronological aspect of all the great masterpieces in music. I hope to be enabled to do this before I retire. It is part of a plan to circle the world in a manner that has not yet been done.” When asked whether these programs were to resemble Rubinstein’s famous historical recitals in London, years ago, he replied: “They will be more extensive than the Rubinstein recitals. The times make such a series posssible (sic) now, which Rubinstein would have hesitated to give.”

As to American composers, Reisenauer is so thoroughly and enthusiastically won over by MacDowell that he has not given the other composers sufficient attention to warrant a critical opinion. I found upon questioning, that he had made a genuinely sincere effort to find new material in America, but he said that outside of MacDowell, he found nothing but indifferently good salon-music. With the works of several American composers he was, however, unfamiliar. He has done little or nothing himself as a composer and declared that it was not his forte.

▪️American Musical Taste.

Reisenauer says: “American musical taste is in many ways astonishing. Many musicians who came to America prior to the time of Thomas and Damrosch returned to Europe with what were, no doubt, true stories of the musical conditions in America at that time. These stories were given wide circulation in Europe, and it is difficult for Europeans to understand the cultured condition of the American people at the present time. America can never thank Dr. Leopold Damrosch and Theodore Thomas enough for their unceasing labors. Thanks to the impetus that they gave the movement, it is now possible to play programs in almost any American city that are in no sense different from those one is expected to give in great European capitals. The status of musical education in the leading American cities is surprisingly high. Of course the commercial element necessarily affects it to a certain extent; but in many cases this is not as injurious as might be imagined. The future of music in America seems very roseate to me and I can look back to my American concert tours with great pleasure.

▪️Concert Conditions in America.

“One of the great difficulties, however, in concert touring in America is the matter of enormous distances. I often think that American audiences rarely hear great pianists at their best. Considering the large amounts of money involved in a successful American tour and the business enterprise which must be extremely forceful to make such a tour possible, it is not to be wondered that enormous journeys must be made in ridiculously short time. No one can imagine what this means to even a man of my build.” (Reisenauer is a wonderfully strong and powerful man.) “I have been obliged to play in one Western city one night and in an Eastern city the following night. Hundreds of miles lay between them. In the latter city I was obliged to go directly from the railroad depot to the stage of the concert hall, hungry, tired, travel worn and without practice opportunities. How can a man be at his best under such conditions—yet certain conditions make these things unavoidable in America, and the pianist must suffer occasional criticism for not playing uniformly well. In Europe such conditions do not exist owing to the closely populated districts. I am glad to have the opportunity to make this statement, as no doubt a very great many Americans fail to realize under what distressing conditions an artist is often obliged to play in America.”

昨天，非常非常難過。真的，很難過。
難過到唔想寫嘢。大家都知點解。

Morricone去了，2016年，我和他擦身而過。
不再了。
不再了。
人生，美好的不再，再明白生命無常，
有時都忍不了劇痛。
我不是那些他死了才寫他的人。
這一篇，2016年寫的，更早的都有。
希望與喜歡他的人，一起懷緬。

音樂，選了，英國電影《The Mission》的樂章，
不是他最熱最為人熟悉之選。
卻是他自己其中最喜歡、最喜歡的。
我愛不釋手了很多個夜晚與日月星辰。

希望你也喜歡。

//不枉一生就是他

有些人，獲獎是他／她的榮譽，有些大師，得獎是頒獎禮叨他的光。

Maestro Ennio Morricone，名字之前，誰都心服口服必恭必敬奉為”Maestro”，正是位處這高度的大師。

1928年生，如今87歲了，意大利音樂宗師Ennio Morricone，為450還是500套電影配過樂，他自己也說不準了，剛憑塔倫天奴電影《冰天雪地八惡人》，贏得本屆奧斯卡最佳配樂，六度提名，首次獲獎，他形容二人的合作是：”perfect”。

「Tarantino找我的時候，什麼也沒說，簡介沒有，要點沒有，就叫我寫十分鐘關於雪的音樂」，大師心想：十分鐘，電影怎夠用？

便自己寫了足半小時的樂曲，但寫什麼怎樣寫，他也沒和塔倫天奴談過，導演是大師錄音當天才直接去了布拉格第一次聽，並認為配樂「完美」。他得到的是絕對的自由和信任。

他一生，享有過不少這種難得的自由和信任，信手拈來，鼎鼎大名的名導Brian De Palma、Terrence Malick、Roman Polanski及 Bernardo Bertolucci都愛他。著名的「意粉西部片」（spaghetti western）大導Sergio Leone，部分作品被指有些情節嫌慢，大師說導演為了遷就音樂，把畫面加長了。何求？

一生不為討好評審寫音樂，不為荷里活的厚愛去學英文更不玩他們的遊戲，永遠靠翻譯溝通，永遠以羅馬為基地，拒絕過免費的荷里活豪宅，大概因為不識抬舉，你不賣荷里活帳人家亦五次提名都不頒獎給你。

剛剛才在倫敦O2場館開完演奏會的他，很多藝深的音樂人認為他不論品味或是級數，都令榮獲過五個奧斯卡最佳配樂的John Williams相形見小學雞。他的一生，是one fine life。

獲獎當然高興，他說，”but it’s not my main goal. What makes me nervous is that tonight I have a concert, and I would like to do my best. That is the matter of concern, not the Oscar”。

音樂才是真章。Morricone認為「音樂需要空間呼吸」，像紅酒的音符，在他手中愈煉愈醇。他從來相信天份、經驗、加上鑽研是成功的先決，而且”studying the history of musical composition over the centuries is very, very important”。世上沒有幸運午餐，才華以外，一切是修來的。

那年他和馬友友合作，《Yo-Yo Ma Plays Ennio Morricone》加上Roma Sinfonietta Orchestra聽得我出神。和他合作過的人還少嗎？但馬友友把他音樂的優雅，奏出細膩的婉轉清揚，氣度高遠。

特別是大碟第一、二首歌曲，都是英國電影《The Mission》的樂章，我相信是大師親自挑選的，詩意之中透靈氣，這關於西班牙耶穌會修士遠赴南美傳教的英國電影，宗教色彩濃厚，出世的贖世情懷，以仁愛反思殖民的野蠻與侵略。

影片以聖經約翰福音第一章第五節：「光在黑暗中照耀，黑暗決不能勝過衪。」完結，音樂超然之中善美無塵，世界變得安靜無爭。Morricone大概自己特別滿意，1986年此電影沒有為他贏得奧斯卡，敗了給Herbie Hancock的《Round Midnight》爵士樂，他說是「賊劫」（Theft）。耿耿於懷。

今年奧斯卡大會宣佈他得獎時，我在電視機前超興奮喪拍掌，現場滿座的名導演、明星、大製片全場紛紛起立致敬，場面動人，獎有攸歸。他老人家縱然沙場馳騁經年，亦難掩激動之情。獲獎無數國際尊崇，啟發好幾代作曲家、音樂人以致流行歌手，他的閃閃履歷少一個奧斯卡不少，多一個奧斯卡不多，但站在90人大樂隊加90合唱團前，”Everyone started clapping, and then a standing ovation. It was a nice sensation, and also a pleasant surprise because I didn’t expect to be nominated”。千帆過盡，有激悅，還有謙卑。

他相信他對後世有深刻影響，因為他的音樂簡單（believes his vast influence among pop artists is due to his simplicity），”I often use the same harmonies as pop music, because the complexity of what I do is elsewhere”。

任何笨蛋都懂得把事情複雜化，把東西簡化，可以是很繁複的事，明白這道理，執行到這道理，便豁然開朗了，不過有些人要用上大半生。//

原文傳送門：https://bit.ly/38x2Gy5

#RememberingMorricone🙏

#'89年にトーセが開発、バンダイが発売した、アクションRPG作品でありシリーズ一作目。
週刊少年ジャンプの創刊20周年を記念して発売された作品であり、当時連載中だった人気作品のキャラクターたちが一堂に会するクロスオーバーものの作品。
アイテムを手に入れたりお使いをしてジャンプ戦士を集め、ジャンプワールドの征服を目論むピッコロ大魔王を倒す事が目的。

BGMはSDガンダム外伝 ナイトガンダム物語(FC/'90年)や、ドラゴンボールＺ 強襲！サイヤ人(FC/'90年)等の安達氏と、同じくトーセの川西さんによる共同作曲。

作曲：安達晴樹氏、ペルー(川西敏子)さん

Manufacturer: 1989.02.15 BANDAI / TOSE
computer: family computer
Hardware: RP2A03(APU)
Composer: Haruki Adachi, Toshiko Kawanishi (Peru)
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00:00 01.Anniversary Jump 20th (週刊少年ジャンプ創刊20周年記念)
00:06 02.Anniversary Jump 20th 2 (週刊少年ジャンプ創刊20周年記念 2)
00:11 03.The Beginning of The Story (物語の始まり～出会い～冒険の曲/プロローグ)
03:04 04.Password (パスワード)
04:02 05.Rush to Jump World (JUMP WORLDへ突入)
04:27 06.Meeting with You (君との出会い)
05:33 07.Adventure! (冒険だ!/JUMPワールド)
07:06 08.Friend or Foe (敵か味方か)
07:46 09.Fujiyama Western (フジヤマ ウエスタン)
08:56 10.Labyrinth (迷宮)
10:02 11.Suspense of Shiver (戦慄のサスペンス)
12:16 12.Battle of Hero (勇者の戦い)
13:14 13.Hilarious City (陽気な街)
15:16 14.Shopping (ショッピング)
16:08 15.Item Get (アイテム入手)
16:10 16.Item Window (アイテム画面)
18:16 17.Time Slip (タイムスリップ)
18:25 18.Penguin Village (ペンギン村)
20:07 19.I Sometime Walked Here (フィールド・過去)
20:56 20.I Sometime Walked Here 2 (フィールド・過去 2)
23:24 21.Honobono Town (ホノボノタウン)
25:30 22.Telephone Fami-shin (テレフォンファミ神)
25:51 23.H Video (Hビデオ)
25:56 24.Training! (修行じゃ!)
26:37 25.Kintoun (筋斗雲)
27:34 26.baseball (野球)
28:37 27.Mini Game Clear (ミニゲームクリア)
28:42 28.Go! Go! Elekers (Go! Go! エレキーズ)
29:11 29.Submarine (潜水艦)
29:50 30.Last Decisive Battle Evil of Thirteen (最終決戦 悪の十三人衆)
31:41 31.Last Battle (ラストバトル)
33:30 32.To The Universe (宇宙へ)
33:46 33.History of Heroes (英雄列伝)
36:24 34.Game Over (ゲームオーバー)
36:29 35.Unused (未使用 1)
38:30 36.Last Decisive Battle / mankichi [Patience] (最終決戦/必殺技 万吉[ここは一つ我慢])
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Rentak Selangor 2019 aims to educating, promoting & sharing the "Dendang Hati ?, Lagu Jiwa?, Irama Kita ?" to the public

Beats of Selangor ? ~ Chinese
A great ?? efforts of Catholic High School (CHS) to preserve the Chinese heritage, art & cultures to ? generation ?????????? of all Malaysians ????? Sharing some of the details which all credited to her media friend, Ms Lily ??‍♀️;

Chinese Orchestra
It's based on the structure & principles of a Western symphony orchestra using Chinese instruments. The orchestra is divided into 4️⃣ sections ~ wind, plucked strings, bow strings & percussion. It's usually performs modernized traditional music. Some of the instruments used are;

1️⃣ Erhu 二胡
✅ It's 1 of the most important Chinese instruments, with a
history of over 4K years
✅ It's a 2️⃣-stringed bowed Chinese musical instrument,
AKA the Chinese violin / Chinese 2️⃣-stringed fiddle
✅ It can be used in both traditional & contemporary music
arrangements; pop, rock & jazz
✅ It's played vertically, resting on the musician's lap. It has ❌
fingerboard, hence the player's fingers must hold & vibrate the
strings by pressing only against the strings themselves

2️⃣ Pipa 琵琶
✅ It's a 4️⃣-stringed Chinese musical instrument, AKA Chinese lute
✅ It has been played for almost 2K years in China & existed
as early as the Han dynasty
✅ It was once reigned as the “king” of Chinese folk instruments
✅ The instrument has a pear-shaped wooden body & the string
was once made of silk, however today, it is made of nylon-wrapped
steel. Silk strings were played either with a plectrum / with bare
fingers, but steel strings are played with finger picks

3️⃣ Dulcimer 扬琴
✅ AKA yangqin (扬琴) is believed to have originated in Central
Asia & was brought to China by sea-faring European traders at the end of the Ming Dynasty (around AD 1600).
✅ Classified as a plucked string instrument, the Chinese yangqin is also a
hammered dulcimer that is played with rubber-tipped sticks.
✅ The modern dulcimer has been rationalized & has become an essential
instrument in the Chinese orchestra
✅ It's used both as a solo instrument & in ensembles

4️⃣ Bamboo flute 笛子
✅ It's a Chinese transverse flute / Chinese bamboo flute
✅ Traditionally & most of the dizi is made by using (a single piece of) bamboo
✅ It's played using circular breathing "advanced" techniques
✅ It's a key Chinese musical instrument & is used in Chinese folk
music, opera & modern Chinese orchestra

Wushu (武术)
It was developed in 1949 in an effort to standardize the practice of traditional Chinese martial arts. The modern concepts of wushu were fully developed by the Ming & Qing dynasties

Type of performances are Wushu Weapons, Doubles Weapons, Flag, Doubles Taiji Sword, Trio Taiji Broadsword & Trio Taijiquan

The basic wushu movements are;
✅ Ma bu : 马步 - Horse stance
✅ Gong Bu : 弓步 - Bow stance
✅ Pu bu : 仆步 - Flat Stance or Crouch stance
✅ Chong Quan : 冲拳- Fist Punching
✅ Teng Kong Fei Jiao : 腾空飞脚 - Jumping front kick
✅ Bai Lian : 摆莲 - Lotus kick
✅ Xuan Zi : 旋子 - Butterfly kick

Basic wushu sword & boardsword movements are;
✅ Chan tou : 缠头 - Twining around the head with broadsword
✅ Guo nao : 裹脑 - Wrapping around the head with broadsword
✅ Wan Hua : 腕花 - Rotate the wrist, move the sword in forward-downward vertical circles on both sides close to your body, force reaching tip of the sword
✅ Guajian : 挂剑 - Hold the sword straight & move it in upward-backward / downward-backward vertical circles close to your body, with force reaching the front part of the blade
✅ Liao jian : 撩剑 - Move the sword in a forward-upward vertical circle, force reaching the foible

Diabolo 扯铃/ 抖空竹
It's a juggling / circus prop consists of an axle & 2 cups AKA Chinese yo-yo. It's spun using a string attached to 2️⃣ hand sticks. Multiple cups can be spun on a same string too. A large variety of tricks are possible with the diabolo, including tosses & various types of interaction with the sticks, string & various parts of the user's body

24 Season Drum (Ershisi Jieling Gu : 节令鼓)
It's a Malaysian art that was invented in 1988 by a music teacher, Tan Hooi Song & a poet Tan Chai Puan, at Foon Yew High School in Johor. It consists of 24 large drum is called Shigu (獅鼓) that represents the agricultural seasons in the Chinese calendar. The original performance styles depict movements of farmers & activities on a farm. The name of each season is usually written in
Chinese calligraphy on the drum.
The drum is played using 2️⃣ wooden sticks, striking its surface, sides or hitting the 2️⃣ sticks together

Each colour on the drum has a special meaning;
❤️ red symbolizes auspiciousness & passion
? black represents perseverance
? yellow signifies the Chinese culture & tradition

More details soon via ? siennylovesdrawing.wordpress.com

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