環保袋

8.情人山 (修改)

7.夢中人 (修改)

英文版中國音樂和台灣音樂一、台灣音樂Chinese ethnic music was created by the common Chinese people and passing from generation to generation, accumulated with the ages. It therefore represents the emotion and thought of all the people, surpassing narrow periods, and has formed our long tradition of ethnic arts.Ethnic music has a profound relationship with people’s religious beliefs, customs and folkways, legends and proverbs, songs and stories, concept of life, and social structure. It is inseparable from vernacular literature, chantefables, folk theater and dancing, various rites, etc.； and their performances often combine several elements.The transmission of ethnic music is mainly through oral rendition. Therefore, the same piece may undergo some modification depending upon the time, place, person or troupe; but we can trace it back to its roots, and its evolution shows us how much music is a living tradition.In the history of Chinese music, folk music, court music, and Tartar music appeared as three separate but not mutually exclusive systems of music. Folk music very often played the role of a bridge between Tartar music and court music by understanding, absorbing and transfusing alien music into the mainstream. It thus innovated and enriched our musical tradition.On the other hand, three different levels of music can be found in Chinese music of the past： court music, intellectuals’ music, and folk music, responding to different levels of society. Folk musicians of various specialties and backgrounds were sometimes summoned to the musical institution of the court to serve there, and brought folk music to the court. Conversely, when they went back, they brought at least some of the court music to the masses. As for the music the intellectuals appreciated, such as ch’in （seven-string zither） music and poetry music, they were usually rather sophisticated and profound, but sometimes had to borrow from folk songs and folk music to sustain their vitality . Thus, there were frequent interchanges among these layers.In Taiwan, ethnic music is most colorful and full of variety. The aborigines of Taiwan still retain unique songs, dances and ritual music. Their folk music manifests such richness and sophistication that it is a marvel to the international circle of ethnomusicologists logists.The Fulao theater music in Taiwan includes the 〝pei-kuan〞（northern school）theater music derived from the 〝luan-t’an〞of Northern China, and the 〝nan- kuan〞（southern school）theater music, which descended from the 〝li-yuan〞theater of Chuanchow in South China；and these are without doubt the most precious and oldest existing forms of traditional Chinese theater music on the island. There are also Hakka〝shan-ko〞folk songs and 〝pa-yin〞instrument music, nan- kuan 〝chih-p’u-ch’u〞music, and 〝chen-t’ou〞dance music, etc.Lastly, after 1949, folk music of each province of the Mainland was brought to Taiwan, making Taiwan the confluence point of all Chinese ethnic music. 二、中國音樂The word for 〝music〞 in Chinese is yue, which is represented by the ideograph 樂, This same ideograph, however, can also be pronounced le, meaning happiness or enjoyment, thereby symbolizing an etymological relationship between music and enjoyment. The archaic form of the ideograph yue/ le has both extrinsic and intrinsic references. Extrinsically it pertains to sensuality while intrinsically it embodies all the arts： the performing arts of music and dance, literature, the fine arts, architecture and even the culinary arts as well. It is these inclusive meaning of yue that characterize the entire artistic evolution and manifestation, and which are of vital importance for understanding the underlying purposeness of Chinese music. Music in Chinese culture is not an isolated phenomenon, but rather a contextual phenomenon broadly related to all aspects of living. As will become evident in the ensuing chapters, music in historical China was integrally related to banquets, archery events, dance, etc. These sensuous associations of yue, 〝music〞, were well-established as early as the first millennium B. C. during the Zhou dynasty.Yue in its inclusive meaning, that is, referring to the 〝arts〞 and music, was traditionally considered to be one of the four fundamental societal functions together with morals（li）, law（xing）and politics（zheng）. Primarily because of this emphasis, every feudal state, dynasty and republic throughout history had established an official music organization or bureau of music. There have been, for example, the Office of the Grand Music Master （dashiyue）in the Zhou dynasty, the 〝Music Bureau〞（Yuefu） in the Han dynasty, and so forth until the present Minister of Culture in the People’s Republic of China. The traditional establishment of governmental music organizations is unique to China and indicates the import of music within the society. Re-compositional Craftsmanship 再創作的藝術家From what is known through historical documentation-written literature and music manuscripts-and through oral documentation, the majority of Chinese music compositions are re-composed from existing folk and popular oral and written musical sources. A personified musical creation, that is, a statement evolving from the maker’s individual emotions and ideas as found in the 18th and 19th century European tradition, seems foreign to Chinese musical culture before Westernization . Musical composition, therefore, is most often a re-arrangement, an assemblage or a new version of a previous composition.（This practice is largely responsible for the continuity of musical ideas.） Authorship of a Musical Work and the Cyclic Phenomenon一個音樂工作和循環現象的作曲者來源Authorship in Chinese music is mostly anonymous as evidenced by the folk derivation of musical sources. Even the official court music of a given dynasty was also a re-creation from anonymous folk material. Folk music was adopted by the courting the form of ritual or banquet music, which was them disseminated by way of the various court music institutions for the pleasure of the aristocracy and gentry class. The diffusion of court music to the folk lever, however, occurred when the dynasty was overthrown or fell into decline and the hundreds of court musicians were released to find new stations among the commoners. Thus for millennia this cyclic pattern multiplied as new rulers initiated the musical practices for their kingdoms. 話說這是我的寒假作業令人難以理解的英文版中國音樂和台灣音樂...偏偏我得作翻譯、寫內容摘要和評論... 說真的，我學習中國音樂也不少時間，英文也不差結果，看了英文版，再著手翻譯為中文還是「霧 煞 煞」！= =+難道是我退化了！〈驚〉 嘛，無論如何，還是加油吧！難產還是得生下來的...夥伴們，咱們一同努力吧！ ps.這是寫作業寫到怨念叢生的產物... .msgcontent .wsharing ul li { text-indent: 0; } 分享 Facebook Plurk YAHOO! .

「璀璨的轉調箏」「璀璨的轉調箏」主 辦：唐鳴箏樂團、新竹縣立國樂團演出者：唐鳴箏樂團票 價：新竹場150 台北場300(全省兩廳院售票系統) 時間與地點：2/10〈六〉19：30新竹縣立文化局演藝廳2/13〈二〉19：30台北市國家演奏廳曲 目： 中國民歌改編：《茉莉花》王立平曲：《牧羊曲》南管改編：《相思燈》廣東小曲：《倒垂簾》林吉良 徐陽 鄭兵：《小牧民》唐代箏曲改編 《春鶯轉》《酒胡子》爵士風組曲《Chicken》、《Blue Mink》、《Olympic Reel》、《Plastic Cakewalk》、《Kentucky Rag》拉丁風組曲：《自由的探戈》、《藍色探戈》、《西班牙鬥牛士》、《TICO-TICO》 歡迎大家蒞臨指教謝謝 購票請洽：0932056004李小姐 02-22401159鄭老師 最近都在練琴和背譜~~~~ .msgcontent .wsharing ul li { text-indent: 0; } 分享 Facebook Plurk YAHOO! .

原來女孩是天使原來女孩是天使 「好好照顧自己身邊的女孩！ 每個女孩都是天使的化身。當她愛上一個男孩時，會為了那個男孩而折斷翅膀降臨這世界。所以，請不要傷害那個愛你的女孩！因為，她已經沒有翅膀飛回原來的天堂了！！ 所以~~~可以 隨 時 牽 手 ~ 但是 不可以 隨 便 放 手」 不知道是誰寫的啊？！好可愛，但也帶著一絲心酸。 比喻的很好很多女孩為了愛不顧一切，只為了能和那心愛的男孩長相廝守，卻總是搞的自己遍體鱗傷。但是，成了折翼天使是進退不得的！天堂回不去，人間也彷彿沒有她的容身之處…只能捧著碎裂的心、帶著淌血的斷翼四處飄蕩… 覺得可愛，是因為最後一句。其實，女孩很容易滿足的，一雙緊握的手、一個溫暖的擁抱，就可以讓女孩的心甜滋滋個大半天。 所以，親愛的男孩們不要輕易放開我們的手喔！ .msgcontent .wsharing ul li { text-indent: 0; } 分享 Facebook Plurk YAHOO! .

取捨之間取捨之間你什麼都想要、什麼都有興趣、什麼都去抓但是，有什麼是專精的？你不可能什麼都抓的住，到最後，你勢必會失去部分或是，你必須有所取捨你喜歡音樂表演、喜歡閱讀寫作你想要崇拜孫協志、想要把握青春遊玩你必須幫忙家事、必須教學生賺生活費你想要做的事情這麼多，但是，你和大家一樣只有24小時你做的完嗎？你只是運用自己的天才解決〈應付？〉了所有的事情但是你覺得好嗎？追求完美主義的你，很不滿意吧！你現在真正抓住了什麼？幾番細思量...  .msgcontent .wsharing ul li { text-indent: 0; } 分享 Facebook Plurk YAHOO! .

當個〝音樂作家〞之路程小鄭〈my dear teacher〉、小蔡〈my dear friend〉都知道，其實，我想做的不只是演奏家或音樂老師，還有〝作家〞，更貼切的描述是：音樂與文學〈藝〉之間的寫作者。喜歡音樂而學習音樂，進而熱愛音樂，也一直在這條路上學習成長。不過，除了音符外，從小對〝文字〞就有著莫名的迷戀，熱愛閱讀，進而開始愛上寫作。所以，我要擁抱我所摯愛的音樂與文學〈藝〉！！ps.我所喜歡的音樂不限東西方、傳統古典&流行喔！ps.maybe加上戲劇也不賴，包含了我喜愛的音樂和文學呢！最近開始喜歡看電影，可惜沒有伴、沒有時間... .msgcontent .wsharing ul li { text-indent: 0; } 分享 Facebook Plurk YAHOO! .

幼獅金門行心得幼獅金門行心得 原來金門是個滿好玩的地方！ 說起來我在幼獅算是個新人，但是這次的金門行，我竟然當上〝家長〞〈將團員分組，共四個家族，我是第四家的家媽。點名、聯絡、照顧團員是任務。〉！不過也多虧於此，讓我認識更多的夥伴。 可能是我的心智年齡不像年輕人吧！我覺得走訪古蹟、戰史館、坑道等金門特有的戰地景觀，很有意思，是個不同於在台灣觀光的特別閱歷，看到什麼都覺得新鮮。即使坑道很黑、很陰暗，讓怕〝超自然現象〞的我，毛骨悚然，〝親愛的〞小酷小姐還故意嚇我！！當然看是和誰去也是重點！大家的想像力總是能讓八股的標語變的有趣，演出時發揮的創意，也讓表演活潑許多！例如：「還我河山」那張照片就是經典到不行！小團跳的舞也讓我難忘，「阿美阿美」第一種版本是：國標舞；第二種是：扭屁股加搞笑… 很慶幸我採納林老師的建議，成為幼獅的一份子，參加了幼獅集訓，讓我變年輕啦！宜萍 .msgcontent .wsharing ul li { text-indent: 0; } 分享 Facebook Plurk YAHOO! .

2006蔡心韻古箏獨奏會2006蔡心韻古箏演奏會 時間：2006/8/17 主辦單位:唐鳴箏樂團演出者：古箏／蔡心韻　鋼琴／李宜萍洽詢電話：02-2240-1159曲目：[N1] 趙詠山：《西塔爾風》山東箏曲《四段錦》周煜國：《雲裳訴》王建民：《西域隨想》三木稔：《狂想曲》趙曼琴：《望月》韋瓦第：〈春〉，選自小提琴協奏曲《四季》蕭邦：小狗圓舞曲票價：200〈兩廳院售票系統〉 目前就讀中國文化大學中國音樂學系四年級的蔡心韻，師事箏樂名家黃好吟老師。從國中、高中一路就讀音樂資優班，並接受專業音樂訓練。其認真又紮實的古箏演奏能力訓練，造就她剛柔並濟的指力及熱情奔放又富想像力的的演奏風格。此次演奏會不但有趙詠山的「西塔爾風」、周煜國的「雲裳訴」、王建民的「西域隨想」、三木稔的「狂想曲」、趙曼琴的「望月」及山東著名箏曲「四段錦」等多首重量級的古箏經典曲目，更嘗試演奏韋瓦第「四季」小提琴協奏曲當中的「春」，還改編浪漫派鋼琴詩人蕭邦的「小狗圓舞曲」。此次演奏會不僅是她九年來學習的成績單，更是古箏演奏能力更上一層樓的功夫淬煉，實在值得愛好箏樂的您一同前來細細聆賞。希望大家可以前來蒞臨指教欣賞喔！我們家心韻可是很厲害的喔！索票請洽：0932056004李小姐.

找個Tenor？！昨天〈3/25〉依舊是興高采烈的去練合唱團！終於，兩個半小時的美聲饗宴結束，大家邊聊天邊收拾東西要回家。我們那可愛的小酷就對我說拉：「我今天騎車耶！你可能要自己做捷運回家囉...」什麼？！嗚嗚嗚~~又拋棄人家~~~之前是一群年輕人坐捷運，現在...卻只剩下我一個...有男朋友的男朋友接，上課的請假，有車的騎車...胡老師~~你看啦！她已經拋棄我孤單一人回家很多次了拉！「唉唷！那你就趕快找一個伴阿！恩~~找一個Tenor〈男高音〉~~這樣就有人接送啦！就不會孤單囉！」偉大美麗的胡老師一臉曖昧的說。.........「對啊！我幫你介紹好了！我們幼獅Tenor好多喔！」興致勃勃的小酷回答。...........親愛的兩位啊！我實在很想跟你們說：「我有努力找個伴阿！但是...唉~~」結局：未知..... .msgcontent .wsharing ul li { text-indent: 0; } 分享 Facebook Plurk YAHOO! .