《花非花》是最近在练的一首曲子，虽然曲子的旋律听着熟悉，但我一直也不知道这首曲子到底是为什么谱的。看到曲作者的名字“黄自”，没来由的就让我觉得《花非花》应该是首革命歌曲。前天读《未央歌》的时候里面提到了黄自谱曲的另一首歌《玫瑰三愿》，这个听起来就离着革命歌曲太遥远了。要是《花非花》真的是一首革命歌曲，那这个黄自倒是很引起我的兴趣，能够有这么广泛的创作范围，值得诂苟之。
去诂苟大学学习之后发现，这个错误犯的简直和当初对《江河水》的猜测有的一拼了！《花非花》原来出自白居易的一首诗，而且很朦胧、缠绵，完全和革命不搭界的。不过，“黄自”这个名字所引起的革命联想倒是对的。《抗战歌》、《旗正飘飘》、《中华民国国旗歌》都是黄自所作。而且读了维基上“黄自”的条款才晓得原来人家很是个人物的，只是自己孤陋寡闻了。不过，造成这种结果当然少不了党的贡献。正是Denovo的日记里那句话“I don't need sex, the government fucks me everyday.”
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百度上的《花非花》条款：
花非花
作者:【白居易】 年代：【唐】 体裁：【词】 类别：【未知】
花非花，雾非雾，
夜半来，天明去。
来如春梦不多时，
去似朝云无觅处。
【注释】：
①花非花、雾非雾：说它是花么？不是花，说它是雾吗?又不是雾。
②来如句：来的时候像一场春梦，停留没有多时。
③去似句：去了以后，如早晨飘散的云彩，无处寻觅。
这是一首情诗。说花非花，说雾非雾，本不是花，本不是雾，花有所指，雾有所喻。欲言又止，但止不住又说出真情——夜半来，天明去，既非花，又非雾，说明确有人来。谁来谁去？隐而不吐。为什么来？春梦无多，回味无穷；朝云遽散，惋惜惆怅。春梦者，春情也；朝云者，“旦为朝云，暮为行雨，朝朝暮暮，阳台之下”事也。此诗由一连串的比喻构成，描述隐晦而又真实，于朦胧中有节律整饬与错综之美，是情诗的一首佳作。后人曾谱为曲子，广为流传。
--引自李济洲编著之《全唐诗佳句赏析》http://tshjj.yeah.net/
白居易诗不仅以语言浅近著称，其意境亦多显露。这首“花非花”却颇有些“朦胧”味儿，在白诗中确乎是一个特例。
诗取前三字为题，近乎“无题”。首二句应读作“花——非花，雾——非雾”，先就给人一种捉摸不定的感觉。“非花”、“非雾”均系否定，却包含一个不言而喻的前提：似花、似雾。因此可以说，这是两个灵巧的比喻。苏东坡似从这里获得一丝灵感，写出了“似花还似非花，也无人惜从教坠”（《水龙吟》）的名句。苏词所咏为杨花柳絮，而白诗所咏何物未尝显言。但是，从“夜半来，天明去”的叙写，可知这里取喻于花与雾，在于比方所咏之物的短暂易逝，难持长久。
单看“夜半来，天明去”，颇使读者疑心是在说梦。但从下句“来如春梦”四字，可见又不然了。“梦”原来也是一比。这里“来”、“去”二字，在音情上有承上启下作用，由此生发出两个新鲜比喻。“夜半来”者春梦也，春梦虽美却短暂，于是引出一问：“来如春梦几多时？”“天明”见者朝霞也，云霞虽美却易幻灭，于是引出一叹：“去似朝云无觅处”。
诗由一连串比喻构成，这叫博喻。它们环环紧扣，如云行水流，自然成文。反复以鲜明的形象突出一个未曾说明的喻意。诗词中善用博喻者不乏其例，如《古诗十九首》（明月皎夜光）之“南箕北有斗，牵牛不负轭”，贺铸《青玉案》的“一川烟草，满城风絮，梅子黄时雨”。但这些博喻都不过是诗词中一个组成部分，象此诗通篇用博喻构成则甚罕见。再者，前一例用南箕、北斗、牵牛等星象作比，喻在“嘘名复何益”；后一例用烟草、风絮、梅雨等景象作比，喻在“借问闲悉都几许”，其喻本（被喻之物）都是明确的。而此诗只见喻体（用作比喻之物）而不知喻本，就象一个耐人寻思的谜。从而诗的意境也就蒙上一层“朦胧”的色彩了。
虽说如此，但此诗诗意却并不完全隐晦到不可捉摸。它被作者编在集中“感伤”之部，同部还有情调接近的作品。一是《真娘墓》，诗中写道：“霜摧桃李风折莲，真娘死时犹少年。脂肤荑手不坚固，世间尤物难留连。难留连，易销歇，塞北花，江南雪。”另一是《简简吟》，诗中写到：“二月繁霜杀桃花，明年欲嫁今年死”，“大都好物不坚牢，彩云易散琉璃碎”，二诗均为悼亡之作，它们末句的比喻，尤其是那“易销歇”的“塞北花”和“易散”的“彩云”，与此诗末二句的比喻几乎一模一样，连音情都逼肖的，它们都同样表现出一种对于生活中存在过、而又消逝了的美好的人与物的追念、惋惜之情。而《花非花》一诗在集中紧编在《简简吟》之后，更告诉读者关于此诗归趣的一个消息。此诗大约与《简简吟》同时为同一目的所作吧。
此诗运用三字句与七字句轮换的形式（这是当时民间歌谣三三七句式的活用），兼有节律整饬与错综之美，极似后来的小令。所以后人竟采此诗句法为词调，而以“花非花”为调名。词对五七言诗在内容上的一大转关，就在于更倾向于人的内在心境的表现。在这点上，此诗也与词相近。这种“诗似小词”的现象，出现在唐代较早从事词体创作的诗人白居易笔下，原是很自然的。
时过而后学，则勤苦而难成
这句话是最近读《未央歌》的时候看到的，原出于《礼记•学记第十八》。当时读了觉得真是―――一句话撞到了心坎上，说得正是我呀！
那时候弹《世上只有妈妈好》已经有四个星期了。不敢说练习过上百遍至少也有七八十遍了，可是节奏总是弹不好。有节拍器辅助的时候还好，一离了拐棍就一会儿快了一会儿慢了的，真是跟小孩子学走路一样磕磕绊绊。幸好邻居们都是美国人，大约没人知道《世上只有妈妈好》这样一首中文歌，要不然大家得觉得多好笑呀！一个三张大的老学生在这里没完没了的弹“世上只有妈妈好”，说您“天真可爱”吧，您隔着半个地球打电话回家还跟老妈拌嘴；说您自恋吧，您也没当上妈呢，没资格呀！备受挫折之后看到这句话，不知是该些微有些安慰呢还是更加绝望？安慰是因为，圣人已经说了“时过而后学，则勤苦而难成”，所以自己弹得不好不是因为资质太差，或者不够用功，而是“时过”了。可是如果真的就这么接受这个真理，又忍不住绝望―――难道我真的就学不成了么？一点可能也没有了么？
接下来的一个周末又去上课，下课的时侯一个意外的惊喜让我又重新拾回了信心。接在我下面上课的是一个年纪比我更大的学生。老师为我们介绍的时候才认出来她就是在６月份的音乐会上和夏冰老师一起演奏过二重奏的那个人。我不好意思问人家“芳龄几何”只是问了她学琴几年了，她说９年了。我想９年前她刚开始学琴的时候大约比我年青不到哪去，既然前辈已经证明了“时过而后学，虽勤苦仍可成”，那咱们就不怕了。勤苦是学任何东西都要经历的，当然时过之后的勤苦可能会成倍增长，可是好在这多出来的几十岁年纪也不是白长的，至少成年以后的毅力比五六岁的小孩子强多了，虽然不免有时信心脆弱，可是承受打击的能力还是有的。那咱就以有余补不足，不要被圣人的一句“时过而后学，则勤苦而难成”给吓趴下了。
再接再厉，继续假装天真可爱，天天以《小燕子》、《小虾游来了》骚扰邻居。:))))))))))
那时候弹《世上只有妈妈好》已经有四个星期了。不敢说练习过上百遍至少也有七八十遍了，可是节奏总是弹不好。有节拍器辅助的时候还好，一离了拐棍就一会儿快了一会儿慢了的，真是跟小孩子学走路一样磕磕绊绊。幸好邻居们都是美国人，大约没人知道《世上只有妈妈好》这样一首中文歌，要不然大家得觉得多好笑呀！一个三张大的老学生在这里没完没了的弹“世上只有妈妈好”，说您“天真可爱”吧，您隔着半个地球打电话回家还跟老妈拌嘴；说您自恋吧，您也没当上妈呢，没资格呀！备受挫折之后看到这句话，不知是该些微有些安慰呢还是更加绝望？安慰是因为，圣人已经说了“时过而后学，则勤苦而难成”，所以自己弹得不好不是因为资质太差，或者不够用功，而是“时过”了。可是如果真的就这么接受这个真理，又忍不住绝望―――难道我真的就学不成了么？一点可能也没有了么？
接下来的一个周末又去上课，下课的时侯一个意外的惊喜让我又重新拾回了信心。接在我下面上课的是一个年纪比我更大的学生。老师为我们介绍的时候才认出来她就是在６月份的音乐会上和夏冰老师一起演奏过二重奏的那个人。我不好意思问人家“芳龄几何”只是问了她学琴几年了，她说９年了。我想９年前她刚开始学琴的时候大约比我年青不到哪去，既然前辈已经证明了“时过而后学，虽勤苦仍可成”，那咱们就不怕了。勤苦是学任何东西都要经历的，当然时过之后的勤苦可能会成倍增长，可是好在这多出来的几十岁年纪也不是白长的，至少成年以后的毅力比五六岁的小孩子强多了，虽然不免有时信心脆弱，可是承受打击的能力还是有的。那咱就以有余补不足，不要被圣人的一句“时过而后学，则勤苦而难成”给吓趴下了。
再接再厉，继续假装天真可爱，天天以《小燕子》、《小虾游来了》骚扰邻居。:))))))))))
From 《The Music of Man》 (10)
But it is not wise for us to ascribe everything about the discovery of harmony, overtone, and scales to man alone. Not long ago I had an extraordinary experience on the island of Mykonos, in the Aegean Sea south of mainland Greece. Outside the harbor of Mykonos, there is a tiny island, uninhabited except for many, many bees. There is one small sloping beach, and at the topmost point of the isle, a little stone chapel for the rare visitor. The terrain is rather rugged, with a steep cliff rising sharply where the beach ends. One day in April when I was walking on the flowering cliff top, listening to the buzzing of the bees on their honey-making rounds, I distinctly heard one sound, which I will call the fundamental, and another sound exactly a fifth above. When I came closer, it seemed to my eye and ear that a larger bee was producing the lower sound and a small bee the upper one. It struck me as quite extraordinary that such an adjustment of sounds should be achieved by two bees. Then they were joined by another, making a sound that fell exactly in between the other two, which was in fact a third above the fundamental, establishing a full major chord. I was so surprised I had to go back in the afternoon to make sure; and there is was still, that same sound.
From 《The Music of Man》 (9)
That sense of tension and relaxation is in fact built directly into Western harmony, in the alternation between the major and minor. The major chord is the first and only pure one we encounter in natural overtones, and the major is generally regarded as happy, the minor as sad. I think this has to do with the fact that the minor has dropped the natural interval of the middle note in the chord by an artificial semitone. In C major the natural middle note is E, and in C minor that note becomes E-flat, where it conflicts with the implied E. The conflict is not so strong as to upset the strength of the basic three-note chord, but it is disturbing to the natural overtone series bey9ond. And what is sadness? It is a division, a sense that things are not right, that you want what you cannot have or lament what you have not done. You bewail the loss of something, you are not at one with yourself or the world. In that minor chord, that loss is the purity of the middle note, which wants to rise, to become major, to unite again with its natural series.
From 《The Music of Man》 (8)
For music to speak to us, it needs more than the structure of a scale, of intervals, or even of our emotions. It needs a recognizable form corresponding to something in our own being. I have often thought that the earliest musical form must have been a simple repetition, a double image rather like the right and left halves of a leaf when folded upon each other. We recognize the repetition of two roughly equal halves in a rhythm or melody, and this gives us a sense of security and completion, and with that musical memory we begin to build. Once we hear a sound we can repeat it, creating a simple rhythm at first. When we put a few sounds together in groups or phrases of related tones, we have the beginnings of melody, a blend of feeling with logic. We can also turn these phrases or rhythms upside down or backwards, for one of the basic tools of conceptual thinking is to consider a situation in its reverse.
From 《The Music of Man》 (7)
The circle of fifth is a human deduction, not a natural phenomenon. Nature always has its loose ends, elements that appear to our minds as mistakes, as if they simply should not happen. In our arrogance we feel that we should offer nature a correction, squaring the circle. The beauty of nature is that there is always an element that allows for mystery, for development or evolution. So it is with the circle of fifths, for when you come back to the note with which you started, providing the fifths have all been perfectly tuned, you find that this note has gone a little sharp. It is one of the mysteries of nature, as the Chinese knew by observation. We had to wait for Pythagoras to establish the precise mathematics of the difference, and it is now known as the Pythagoras to establish the precise mathematics of the difference, and it is now known as the Pythagorean Comma. Its existence is an important aspect of the difference between Western music and that of much of the rest of the world --- our music has always been based on pure or natural intervals (at least until this century). As we shall see, the rise of the keyboard instruments --- the organ, harpsichord and piano --- brought on a crisis in tuning precipitated by the conflict between pure intervals in one key and those in another. As with so much else in Western life, we adjusted the tuning to an uncomfortable compromise, a homage to the keyboard with which the voice and the string player are never totally comfortable.
From 《The Music of Man》 (6)
五声音阶的来历：
呵呵，还是五声音阶的精神境界高呀！
这个Le Ly Kim 是谁？这个蹩脚的“Virtue is our favorite flower. Music is the perfume of that flower”怎么翻译回原文呢？
The overtone principle is like that of the skipping rope we all turned as children. We discovered quickly that by turning the rope faster, it could be made to divide into two or three loop segments, perhaps even five or six if the rope was long and was wielded with a strong wrist. These extra loops appeared because the rope had to follow the laws of tension and inertia, like molecules of vibrating air. When the loop segments multiplied, they turned in opposed waves, forming a continuous peak and trough. Ripples on a lake and sound waves in the air follow the same laws of the balance of opposing forces.
A string player constantly uses the overtone phenomenon, for he can produce the same effect on his vibrating string as the multiple loops in the jump rope. By touching the string at exactly its midpoint, he makes it vibrate in two opposed halves, producing a sound exactly an octave above the note to which the string is tuned. Touching the string lightly at one-third its length makes it vibrate in three equal parts, producing a sound a fifth higher still. At the quarter length, the string vibrates in four parts, giving a note two octaves above the fundamental. Those are the first three overtones. But touch the string at one-fifth its length and a critical new note appears, a major third above the fundamental, though two octaves higher up. This note completes the components of a major chord, the foundation of western harmony. It is also nature’s great secret, hidden for so long because that fourth overtone is so far above its parent. The overtone series continues upward in smaller steps, maintaining an unvarying sequence of mathematically pure ratios.
Although we can derive the entire scale, the twelve semitones of the octave from the overtone series, scales probably originated as social conventions, and there are many scales in the world that do not maintain pure intervals. Some scales may have arisen from a desire to produce evenly spaced holes on a flute or frets on a string instrument. The resultant scales sound quite unnatural to Western ears.
Such words as “octave” and “fifth” are themselves only convenient Western labels that have come into common usage because of our widely adopted seven-note major and minor scales. In this system, the note vibrating at twice the speed of another is always to be found eight notes up the scale. The fifth is another matter, for the Western scale is built of whole and half steps, again handy labels, and the distance between any five steps in the scale is not always a perfect fifth. Our scale system was probably derived from the circle of fifth, rather than from the overtones, and that circle is a closed one --- almost.
So far as we know the Chinese were the first to examine the relationship between fifths. Surviving documents, predating 3000 BC, show the importance to them of these relationships. They found that a series of fifths in a row will produce twelve separate notes before the notes begin repeating. Those twelve notes put in a series include all the semitones of our Western scale. Starting at the bottom on the piano, the circle can be played. You will find the thirteenth note at the top, seven octaves higher, is the same as the one on which you started.
They discovery of the circle of fifths was a great one to the Chinese, for they honor the number five as sacred, dividing the basic elements into five, namely earth, fire, water, wood, and metal, as they also recognize five basic human relationships and five basic kinds of grain. The Chinese used the circle of fifths to establish the five-tone pentatonic scale. Extending this series by two more intervals produced the notes needed to complete a major scale as we know it in the West. Music based on this seven-note scale did become popular in China, and later Chinese music used a scale with all twelve of the semitones we know. The Chinese also evolved a form of musical notation. Yet the five-note scale remained sacred, and was maintained for music expressing the highest moral, ethical or spiritual ideals, while the seven-note scale was designated to serve the music of the court or street.
For the Chinese, music was a tool to govern the hearts of the people. It is said in China that when there is music in the home, there is affection between father and son, and when music is played in public, there is harmony among the people. Their standardized scale was one they could duplicate on many kinds of instruments, for instances the zither-like ch'in, ancestor to the Japanese koto, both still in current use. By the seventh century BC, the Chinese poet Le Ly Kim could write, “Virtue is our favorite flower. Music is the perfume of that flower.”
呵呵，还是五声音阶的精神境界高呀！
这个Le Ly Kim 是谁？这个蹩脚的“Virtue is our favorite flower. Music is the perfume of that flower”怎么翻译回原文呢？
From 《The Music of Man》 (5)
After many a concert I have been asked what the music I played "means" to me; we have had to develop an elaborate set of terms to describe what music "means". The key difference lies in the fact that words refer first and foremost to the real world outside of us, to things and actions for which they serve as useful, acceptable symbols. Music, on the other hand, has a special relationship to our inner being. Our feelings become entities in themselves apart from literal meaning, and music shapes and alters them.
From 《The Music of Man》 (4)
小提琴的来历：
In that translucent light and air of the plains (in Africa), it is possible to hear for miles, to smell the coming of a storm, detect the movement of prowling beasts. The hunt became as much as a part of survival as the harvest, and no instrument altered the balance of power more swiftly in man's favor than the discovery of the bow and arrow, which gives man control over the animal from a distance. For the hunter this was not yet a weapon of war, but a matching of forces; only the necessity of food made man and animal antagonists. From the ritual of the hunt sprang music; the bow could produce a mellifluous twang. A widely held view is that the bow and arrow are ancestor to the violin.
From 《The Music of Man》 (3)
The keenness of every creature's senses is part of its ability to survive, to mate, to feed. Thirty thousand years ago, living in caves, among trees or in the open, our senses were our best weapon. Hearing was as important as sight; every rustle had a message; we came to know the noise of every other creature.
Feel like Helen Keller
海伦.凯勒(Helen Keller)就是那个著名的写作《假如给我三天光明》的人。高中的英语课上有一篇课文讲她怎么学会第一个单词“water”的。海伦因为出生不久(19个月)得了猩红热成了一个又聋又哑又瞎的人。没有听觉和视觉，只剩了嗅觉、味觉、触觉，这样一个只有一岁多，对世界还几乎一无所知的人如何和外界交流呢？海伦的学习完全靠触觉了。海伦五岁的时候遇到了她的老师安妮.莎莉文。她和世界的交流从那一刻开始。老师带她去水池边，打开水龙头，让水一直冲洗着海伦的一只手，在另一只手上反复地写“water”这个词，海伦终于明白了“water”就是水的意思。
在学音乐这件事上我时常觉得自己就像海伦一样。水一直冲洗着我的手，可是我不明白冲洗着我的这种东西叫做“water”。我没有办法在这种流动的液体和“water”之间建立起联系。似乎在音乐上我的“听觉”和“视觉”出了问题。
等待我的光明的到来......
在学音乐这件事上我时常觉得自己就像海伦一样。水一直冲洗着我的手，可是我不明白冲洗着我的这种东西叫做“water”。我没有办法在这种流动的液体和“water”之间建立起联系。似乎在音乐上我的“听觉”和“视觉”出了问题。
Music touches our feelings more deeply than most words and makes us respond with our whole being.可是这句话对于我来说只对了一半，I don't know how to respond to music with my whole being. 什么时候我才能够明白“water”就是水的意思呢？
等待我的光明的到来......
From 《The Music of Man》 (2)
Music may happen to be expressive, communicative, moving and inspired, but it is rarely accidental, even when it recalls the everlasting sounds of the sea or the spontaneity of birdsong. The cry of the newborn child is as much the intrinsic sound of music as is the staccato hammering of the woodpecker, the crash of thunder, the rustle of wind through the wheat field, the cooing of the dove, the rattle of seed pods, the clank of metal, the soft tread of feet on underbrush. Is it not in these very natural sounds that is largely found the raw material for the creation of man's music? Out of these we have built, constructed, continue building and constructing, musical languages, whether the most subtle and sophisticated monodic (melodic) and rhythmic textures such as developed thousands of years ago in India, or the most complex harmonic textures which have developed only recently in Western Europe.
我从来也不知道那些创作音乐的人是怎么思考的。音乐的表达(expressive, communicative, moving and inspired)不象语言的表达一样对于每一个人来说那么自然，因为我们从小和世界的交流是从会讲话起才变得清晰而意义明确的，所以虽然文字的创作可以有许多的技巧或是玄虚在里面，但是对于我来说还是比音乐要易懂得多。但是语言也是人类进化的产物，也许在没有语言之前，音乐是通过声音表达人类的感受更自然的方式。
刚想到这儿，几页之后就读到了这一段：
Music is our oldest form of expression, older than language or art; it begins with the voice, and with overwhelming need to reach out to others. In fact, music is man far more than words, for words are abstract symbols which convey factual meaning. Music touches our feelings more deeply than most words and makes us respond with our whole being.
本来很基本的东西自己还要思考才能明白。这么没有天份，实在是应该藏拙才对，还要写下来广而告之简直太没有廉耻之心了。但是写下来记录一下学习的足迹，算是对自己的鼓励吧。
From 《The Music of Man》 (1)
The Greeks knew this well and acknowledged man in his wholeness, giving due respect to his dual nature: one half of the Apollonian, always striving for clarity and moderation; the other the Dionysian, driving toward the fantastic and orgiastic. We revel in our senses, as we revel in the powers of our mind and soul. Today these senses are at the mercy of commercial society to whom all tastes are but appetites to be used and abused for the sake of profit. Inexorably, since my boyhood in San Francisco, I have seen the dislocation of the natural and instinctive flair and taste for the genuine twisted to the acceptance of the odorless flavors, the plastic plants, the whole flattening of the aesthetic responses, even to the acceptance of the appalling distortion of pure sound when something termed music pours through various mechanical devices in one long adenoidal wail.
对音乐的了解没有那么深厚，但是如果这句话用在当今的文坛真可谓是一矢中的呀！
卖油翁修炼过程中
陈康肃公尧咨善射，当世无双，公亦以此自矜。尝射于家圃，有卖油翁释担而立，睨之，久而不去。见其发矢十中八九，但微颔之。
康肃问曰：“汝亦知射乎？吾射不亦精乎？”翁曰：“无他，但手熟尔。”康肃忿然曰：“尔安敢轻吾射！”翁曰：“以我酌油知之。”乃取一葫芦置于地，以钱覆其口，徐以杓酌油沥之，自钱孔入，而钱不湿。因曰：“我亦无他，惟手熟尔。”康肃笑而遣之。
古曲网上的古筝论坛里经常有人在讨论基本功和弹曲哪个应该占练琴的时间更多一点，基本功是不是重要。鉴于本新新手还处于原始社会，热衷于那些讨论的都是已经进入了社会主义初级阶段、热情高涨、要朝着共产主义进发的革命小将们，这样的问题对于我来说当然是没有意义的。俺现在这水平也就只能练练基本功。可是我练一晚上单托、单抹、单勾、大撮、小撮、颤音（都是一根弦一根弦单弹，没有曲调，也没什么指法变换）一点也不烦，很少会象革命小将们一样弹不了十分钟就受不了了。反倒是练曲子的时候觉得真是忙不过来呀。
以前觉得一分钟很短，通常都是可以忽略不计的，可是弹琴以来觉得一分钟怎么这么长？！一个一分钟的曲子怎么有那么多小节？而且弹起来有那么多事，又要看谱、又要想指法、又要找弦、又要掌握节拍，忙得人晕头转向，根本没有功夫注意触弦的角度、力度了。能磕磕绊绊地把各个该弹的弦都弹到就不错了，节拍彻底没有，时常找错了弦，找对了的时候指法又不对，指法对了的时候指甲又贴弦滑过了，总之问题一箩筐。单独练指法的时候多好，这些问题都没有了，可以专心注意触弦的角度和力度，那才有点“弹”的效果。可是一弹起曲子来，指头们就都象醉汉一样，根本就是从弦上划拉着就过去了。有时候旁边的手指甲还碰到了弦，贡献一点噪音出来，象酒鬼拖在地上的酒葫芦叮叮当当地要弄出一点响声来，时刻提醒它的存在。就这样，现在还只练一只右手的弹奏，五根指头已经忙不过来了。恨不得一只手上长了二十一根指头出来，每根指头伺候一根弦，那就不用前后上下的捣腾来捣腾去了，省了多少力气！不过想象一下42根手指在古筝上忙活，真是一点也不美，倒有点恐怖电影的味道。上节课上老师说我单托、单抹、单勾还好，弹曲子的时候指法就走形了。其实我刚弹琴时，托、抹、勾、撮也都只有形没有神，手指都是轻轻地从弦上滑过去。练习了一段时间手指才有力度，可以成为弹了，音也慢慢显得干净、清脆了。于是清楚了学琴不能着急，基本功的进步－－－“无他，但手熟尔”。想想在节奏、指法变换、看谱等等其他的事情上也都是这样吧。等到一分钟不觉得那么长了，也就是到了“无他，但手熟尔”的境地，也就能够不那么急躁了。
网上还讨论说成人学古筝的问题之一就是常常因为各种原因（工作、家庭等）断断续续，比如象我这样搁了两年了才又有机会从新开始。这样很浪费时间，因为每次重新开始学都要一段时间热身才能达到上次中断时的水平，比一直持续的学下来事倍功半。可是我倒觉得各有利弊。成人这种断断续续的情况在客观上造成了“八荒六合惟我独尊功”的修炼条件，不得不在基本功上多花时间，多学几遍。我倒认为这样是好的。
反正现在也三十多了，学筝纯粹就是为了兴趣，不象小朋友一样有考级的压力啦、有peer pressue啦、要弹得好有利于升学啦……文艺女中年终于度过了那个前半生学习是为了生存的阶段，进入后半生学习完全是为了乐趣了。路上的风景哪一段都很好，干嘛要急急忙忙的赶路呢？俺们就先在这儿平心静气的托、抹、勾、撮着也不错呀。
被乐理困扰
从小的时候开始识字，到大了可以读书，短的也要几年，长的要十几年、几十年。且还不是说学会了认字，书就能读得懂了。识字和读书是两码事，识字只是读书的必要而非充分条件。认识了所有的字也不一定能读得懂书。当然要读懂书是必得识字的。
可是一个人只要耳朵没有缺陷、鼓膜能够被声波振动，可以不懂一点乐理也能被音乐打动。然而，让人苦恼的却是不明白自己究竟是被什么东西打动的，以及如何被打动的。
前一种还好，有圣人说：“人生忧患识字始”，如果一个人不“识字”当然也就没有“忧患”了。可是后一种，圣人没有过总结，总不能说“人生忧患耳朵造的孽”吧。除去音乐还有许多基本的生存需要耳朵的存在，总不能为了不忧患而因噎废食。可是令人烦躁的是，音乐有时在那里骚扰人很久了，又没有一个“识字”“不识字”这样的替罪羊可以抓来做藉口。要回去弄明白到底是什么在那里骚扰人好像是一个比识字要难得多的过程。而更让人焦燥的是已经有“忧患”的结果在那里不停骚扰了，带着这个包袱去寻根究缘总是添了很多燥气，不能象“识字”－>“读书”－>“忧患”那么平顺自然。
当然，这也许是因为Permanent Head Damage的缘故。从graduate school毕业之后，我的脑子已经不适合非理性、非逻辑性思维了。
如果还要给自己一点微薄而虚弱的希望，相信已经permanent damaged head还能够进行非理性、非逻辑性思维和学习的话，就只好抱怨天气太热了，让人浮躁不安。
可是一个人只要耳朵没有缺陷、鼓膜能够被声波振动，可以不懂一点乐理也能被音乐打动。然而，让人苦恼的却是不明白自己究竟是被什么东西打动的，以及如何被打动的。
前一种还好，有圣人说：“人生忧患识字始”，如果一个人不“识字”当然也就没有“忧患”了。可是后一种，圣人没有过总结，总不能说“人生忧患耳朵造的孽”吧。除去音乐还有许多基本的生存需要耳朵的存在，总不能为了不忧患而因噎废食。可是令人烦躁的是，音乐有时在那里骚扰人很久了，又没有一个“识字”“不识字”这样的替罪羊可以抓来做藉口。要回去弄明白到底是什么在那里骚扰人好像是一个比识字要难得多的过程。而更让人焦燥的是已经有“忧患”的结果在那里不停骚扰了，带着这个包袱去寻根究缘总是添了很多燥气，不能象“识字”－>“读书”－>“忧患”那么平顺自然。
当然，这也许是因为Permanent Head Damage的缘故。从graduate school毕业之后，我的脑子已经不适合非理性、非逻辑性思维了。
如果还要给自己一点微薄而虚弱的希望，相信已经permanent damaged head还能够进行非理性、非逻辑性思维和学习的话，就只好抱怨天气太热了，让人浮躁不安。
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