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[爆卦]抒情鋼琴音樂譜是什麼？優點缺點精華區懶人包

雖然這篇抒情鋼琴音樂譜鄉民發文沒有被收入到精華區：在抒情鋼琴音樂譜這個話題中，我們另外找到其它相關的精選爆讚文章

在 抒情鋼琴音樂譜產品中有41篇Facebook貼文，粉絲數超過0的網紅，也在其Facebook貼文中提到， 楊牧〈故事〉​ ​ （用韻Philip Glass, Metamorphosis 2）​ ​ 假如潮水不斷以記憶的速度​ 我以同樣的心，假如潮水曾經​ 曾經在我們分離的日與夜​ 將故事完完整整講過一遍了​ 迴旋的曲律，纏綿的​ 論述，生死俯仰​ 一種迢迢趕赴的姿勢​ ​ 在持續轉涼的海面上​ 如白鳥...

　同時也有41部Youtube影片，追蹤數超過0的網紅雨果輕音樂，也在其Youtube影片中提到，【緩解自律神經緊張、失眠、頭暈、煩躁耳鳴、焦慮、恐懼】唯美的旋律~舒壓音樂〡放鬆音樂 〡讀書音樂 🎧 免費訂閱聽更多音樂☛https://bit.ly/35suKBQ 🎧 ARTLIST免費兩個月優惠連結！☛ https://artlist.io/HUGO-1459196 打開“🔔”，以獲得新版本的...

「抒情鋼琴音樂譜」的推薦目錄

抒情鋼琴音樂譜 在 Yiu Fai Chow Instagram 的精選貼文

2020-05-17 02:43:56

Repost from @coolmusicforum using @RepostRegramApp - 【年代百大選】 二零一零年代精選五十唱片 #7 (第6－50位，排名不分先後) 新預言書 - C AllStar [2011] 10年代初，電影《2012》把末日話題炒至熱烘烘，C AllS...

抒情鋼琴音樂譜 在 Hans 陳思翰 Instagram 的最讚貼文

2020-05-09 14:29:29

#數位平台全面上架  抒情歌是華語音樂天生的DNA，華流抒情歌，90’/00’ 的精華萃取 在這個世代的耳朵裡總是那麼熟悉，特別動聽 我渴望回到華語音樂橫掃的黃金輝煌年代，屬於我們的年代 “Make C-Pop Great Again”  -音樂唱作人- HANS陳思翰   即將...

  • 抒情鋼琴音樂譜 在 Facebook 的精選貼文

    2021-09-28 21:08:58
    有 57 人按讚

    楊牧〈故事〉​
    ​
    （用韻Philip Glass, Metamorphosis 2）​
    ​
    假如潮水不斷以記憶的速度​
    我以同樣的心，假如潮水曾經​
    曾經在我們分離的日與夜​
    將故事完完整整講過一遍了​
    迴旋的曲律，纏綿的​
    論述，生死俯仰​
    一種迢迢趕赴的姿勢​
    ​
    在持續轉涼的海面上​
    如白鳥飛越船行殘留的痕跡​
    深入季節微弱的氣息​
    假如潮水曾經​
    我以同樣的心​
    ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀​
    〆〆〆〆〆〆〆〆​
    ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀​
    #楊牧 創作​
    #Gordon 手寫，粉專 字練狂
    ​
    ※本篇收錄於楊牧詩集《#時光命題》（#洪範書店，後集結為《#楊牧詩集III》）。​
    ​
    ※曾珍珍 導讀​
    ​
    這首詩寫於一九九四年，像一封短簡，致遠方知音，懷念曾經聚首清水灣為人文理想同心付出的時光。​
    ​
    楊牧當時在剛成立不久的香港科技大學任教，從學人宿舍陽台俯瞰清水灣，遠近海景一覽無遺。詩題下附注：用韻Philip Glass, Metamorphosis 2，點明朗讀〈故事〉，宜以譜於一九八八年的這首鋼琴名曲盈耳伴奏。詩的結構企圖模擬樂曲。樂曲的背景旋律以同組音符複沓湧現，如潮水，如記憶一波波回返，如綿綿的思念縈迴不已。「假如潮水……／我以同樣的心」首尾封緘，複沓、迴旋，居中的詩行狀若主旋律鏗鏘往前推進，時疾時徐，宛如回憶裡一則故事完整的再現，激切處若敞開的胸懷彼此以美學論辯相互激盪，而音符此起彼落、波谷跌宕，更像各自為詩歌、為人文志業長期傾注心魂，屢仆履起的存在姿勢。​
    ​
    第二段拉回當下目擊海景，船行殘留的痕跡再度喚回過往聚首光陰，而白鳥正是詩人也是知音的寫照，「飛越……深入」，向著未來果敢追尋，迢迢趕赴讓人生死俯仰的精神嚮往。這是詩背後具體情境的蛛絲馬跡，但這首詩神妙之處在於靈巧仿效了音樂的特性，用象徵的語言、潮水般的旋律，適度將故事抽象化，只給出可以引起讀者／聽者共鳴的情思、琴韻。然而，詩畢竟不同於音樂。詩首段反映了詩可以敘事、抒情、言志，次段則更細膩地透過海景的描述──轉涼的海面（溫覺）、白鳥與船痕（視覺／色覺）、季節微弱的氣息（觸覺與嗅覺），再現身體官覺，最後匯聚於「心」，統攝感覺的樞紐。分章佈局，匠心獨運，卻因文字音律渾然天成，讀來不落言詮、鑿痕。值得一提的，白鳥飛越船痕的意象讓人想起狄瑾蓀有首詩，寫人生聚散匆匆，如馬戲拆棚、盛會散場，正是以同樣的象徵作結。​
    ​
    ※導讀引自趨勢教育基金會，網址：​
    https://www.trend.org/column/artical/68

  • Joymusic

    抒情鋼琴音樂譜 在 Joymusic Facebook 的最讚貼文

    2021-06-14 21:05:08
    有 16 人按讚

    【抒情一夏】再兩週即將開課囉！🎷
    上課呈現的試聽可以參考上回線上講座的內容

    【抒情一夏本季主軸】

    這次課程設計以「鋼琴純伴奏」為主要挑戰，提高大家對伴奏的節奏掌握，以及抒情歌的情感表現，將會更著重在音色及音樂性的詮釋張力，挑選的歌曲由易入深，基本功的訓練會是本季的重點，提高每個人對樂器的控制力，以至於能夠有細膩的音樂呈現。

    【抒情一夏課程規範】

    1.為維護報名同學上課權益，請以自由心證勿隨意外流課程平台（包含網址、密碼、樂譜及伴奏）。

    2.課堂內容皆為直播發送，其餘時間可無限次補課、複習。

    3.授課時會以Alto(Eb)樂器固定調說明為主，建議拿Alto練習，另有Soprano、Tenor譜提供給需要的同學。

    4.請擅用上課時間於「Line群組內」即時發問，以利提高學習效果，不清楚或進度太快都可即時反應。

    5.無論線上或實體課同學，皆鼓勵將每堂課最後公布的自主練習內容，以錄音錄影方式回傳給老師，以利針對個別指導。

    #本季課程祭出八折優惠 #12堂24小時
    #供簡譜五線譜 #伴奏音檔 #基本練習
    #歡迎私訊

  • 文茜的世界周報 Sisy's World News

    抒情鋼琴音樂譜 在 文茜的世界周報 Sisy's World News Facebook 的最佳解答

    2021-05-02 01:00:04
    有 2,372 人按讚

    《我的幸福5/2 週末》

    *週日下午兩點誠品信義書店「廿世紀典範人物」新書分享會，我下午二時開始演講，離上次在台灣大學公開演説。快半年了！分享會報名一小時預告已額滿，但TVBS電視台慷慨的支持。派出SNG車，屆時TVBS文茜的世界周報YouTube 及世界周報Facebook 都將同步直播。

    *新書分享會後我將直奔高雄衛武營，參加劉孟捷（李斯特巡禮之年）鋼琴獨奏會。這是劉孟捷回台，最重要的一場音樂會，我目睹他用盡了一切心力。過去即使21歲時在費城代打缺席大師的音樂會，劉孟捷都未曾如此緊張。他此次回台，手術前為了沒有遺憾，共舉行三場音樂會：其中4/17與5/30皆是與國家交響樂團NSO合作：530那一場指揮是呂紹嘉。但他告訴我，某些曲目對他而言，是Piece of Cake ：惟獨衞武營這一場，曲目由他自己決定，現場錄影，並且找了金曲獎錄音師同步錄音。

    5/2衛武營-劉孟捷鋼琴獨奏會《李斯特巡禮之年》購票連結
    https://www.opentix.life/event/1384752689074294784

    劉夢捷明白他即將面對一個大手術，手術風險之外，他的免疫系統疾病，將使他的康復之路更長。

    沒有人可以預知未來，為了圓他的夢，醫院每天都要求他早上、晚上量血壓，報告直接傳給院長。振興醫院院長魏崢雖然是亞洲第一把心臟外科醫師，但也不敢大意。

    畢竟這個人的生命那麼脆弱，他的心臟主動脈剝離，那是實質的「心碎」了：但他仍有詩，仍有音樂夢。在生命的交接處，在白日與黑夜的交义口，劉孟捷想為他的音樂生涯，留下最美好的紀錄。

    他選擇了李斯特。

    在這場音樂會前，他甚至以英文寫下了自己與音樂、疾病的半生回顧：如李斯特的巡禮，有仰望，有沉思，有失落，有幽微的疼痛。他以詩篇般的演奏模式，傾訴，詠嘆。他曾得到天賦，也走過死蔭的幽谷。命運是一層又一層的黑影逼近，老天爺隨時想帶走他。

    而他已不再流淚，不再沉浸於悲愴告別：因為對他而言活著並不容易，他要讓自己更深刻的抓住每一分時光之美。

    如果時間和空間，正如哲人們所形容的
    都是不實際存在的東西：那從不感到衰敗的太陽，也不會比我們了不起多少！

    他如艾略特的詩句中所形容的：我們為什麼要如此貪心總在祈禱，想活上整整一個世紀？

    蝴蝶雖僅活了一天，已經歷了永恆。

    當他的身軀如露水還在藤蔓顫抖時，他送給我們一場「完全浪漫又超技的李斯特」。

    等音樂會結束了，至少有一張CD，一段YouTube 影像：不論孟捷代表生命的那朵鮮花是否枯萎，他彈奏如天使的音聲不會飛離，它會停留在那夜，繼續釋放芬芳。

    這是盡生命之力、之情獨奏的音樂會。劉孟捷説：這樣當他走進手術室時，會少一點悲傷。

    或許快樂的日子本來就不多，但讓這場「完全李斯特．完全劉孟捷」的獨奏會放出神聖的光彩吧！

    我必將赴會，不會錯過！我知道此刻的獨奏會，很難複製，因為它綜合了太多的情感、愛念，釋放與生命的抒情。

    *劉孟捷為此次獨奏會寫下的文字：This past year has seen some unprecedented changes in the world. Many lives have been lost and many have changed. The world has changed while many of us confront the uncertainty of the future.

    For most musicians, life has changed. For months, we have been conducting our lessons online, and concerts have mostly stopped or become an online experience as well. More time has been spent learning how to improve the online teaching experience than one could have imagined. While I have felt the duty to continue teaching, the format the pandemic requires for teaching leaves me unwilling to spend more time than I have to.

    And truly, I have had other things to deal with. When the pandemic started to worry the American public in March, I was in the middle of a tour with the String Quartet-in-Residence at Curtis, the Vera Quartet. However, our concerts were canceled, and everything came to a sudden halt.

    I felt the universe had sent me an unexpected gift, as I had also just received some terrible news concerning my worsening aortic arches and a diagnosis of kidney cancer. The sudden halt in my professional schedule seemed perfect in its timing. I was able to settle into a monastic existence, to simply practice and attempt to heal.

    I see many musicians itching to be concertizing again, and many stepped into new territory, performing on the internet. Many took time to develop new podcasts, and to write new materials for their art. Sadly, many have struggled as they have fallen into desperation without any concert incomes. Altogether the music industry seems to be in peril, and many worry about how music and musicians will survive.

    However, I had my own survival to think about. Having been through many difficult experiences in my life, I knew this might be the most difficult I would encounter. My Doctors describe me as a walking time bomb. My condition could be lethal at any moment if my blood pressure gets out of control. So while others wrestle with the fate of the music industry, I’ve needed to face my own fate and mortality.

    Playing concerts can mean many things to people. At different times throughout my life, I’ve felt the need to express different aspects of myself. When I was young, I wanted to embody the spirit of romanticism, playing lots of Chopin and Schumann. Then there was a period of time when I wanted to challenge myself by showing off pyrotechnics. I had a brooding period where I turned to the pathos of Rachmaninoff, and then felt the need to return to the purity of Schubert and nobility of Brahms. Throughout this pandemic, I wanted to play Bach. Through Bach’s music I found a kind of spiritual sanctuary.

    In considering the program for this concert, I felt again the urge to play music that reflects my current feelings and state of mind. The title of today’s recital, “Years of Pilgrimage” seems to fit exactly what I am experiencing.

    Liszt wrote several volumes of “Années de pèlerinage” throughout his life to reflect on thoughts he had during his travels. He links his philosophical thoughts to the scenery which inspired them. “Au Bord d’un Source” describes feelings of rejuvenation while standing next to a clear stream of water, a symbol and source of life and energy. It seems to say, when the stream is so pure, life can be so full of joy.

    In the Les jeux d'eaux à la Villa d'Este (The Fountains of the Villa d'Este), the water has a magical and supernatural quality, as Liszt himself wrote in the inscription: "But the water that I shall give him shall become in him a well of water springing up into eternal life,"( from the Gospel of John.)

    For me, I have never felt more connected to Liszt than when he looked upon the valley of Obermann and questioned the meaning of existence. At this moment in my life, I often find myself reflecting my experiences of what I see and read into philosophical musings. Perhaps many people come to a time when this is so.

    In all this I have felt gratitude for the love stories and sonnets that one can romantically indulge in, and for storms so violent that they threaten to destroy one’s spirit, even the hell-bound journey which brings up questions about the purpose of life…

    On this journey, I felt full and alive as a human being. Looking back on this journey, I am grateful for everything, whether happy or sad, to have made an impact, found and imparted meaning to this life.

    The unusual time of this pandemic has marked a milestone for me. I have journeyed back home, and as it happened, this is the first time I have spent so much time in my hometown Kaohsiung in over 35 years. It’s particularly nostalgic to play these pieces as some of them were significant in my early musical career. Vallée d’Obermann was the piece I played in my first competition at the junior high school level, in which I won first prize on the national level, which allowed me to be qualified to apply for a special permission to study abroad. This meant my dream to be educated as a musician could be continued in an environment where I could develop fully. In the following year when I was 13, I won the first Asia-Pacific Youth PIano Competition with the Dante Sonata. The competition catapulted me into national attention as I was headlined in several newspapers, and especially since it was held in Kaohsiung, I became a local hero as well. During the same event, I had a fateful meeting with one of the important influences in my life, Mr. Gary Graffman, who then mentored me throughout not only the years when I was studying at Curtis, but throughout my illness and recovery as a pianist. Right before I departed to study in Philadelphia, I played my first solo recital throughout Taiwan, and along with the Dante Sonata, I also performed the three sonnets.

    It’s perfect that now, back in Kaohsiung, all these memories have flooded back into my head. I feel so lucky to have been born here, and to have met my first teacher, Chin-Li Lee, who inspired me on the path to become a musician. Prof. Alexander Sung filled me with dreams of becoming an artist. I am grateful for his belief in my talent, when he chose to give a 12 year old such philosophical pieces to play.

    Having once again spent some months in Kaohsiung, I can freshly appreciate the source of inspiration it once was for me. I have returned to the source to heal. Having already glimpsed hell’s gate several times, battered and weathered by the storms of life, I know there is a reason life is this way, and it all will be alright.

    Meng-Chieh Liu
    April, 2021

    *劉孟捷衛武營《李斯特巡禮之年》演奏會中，包括李斯特以佩脫拉克三首情詩譜寫的鋼琴琴詩：這三首情詩是從大詩人佩脫拉克一百多首情詩挑出來的，詩本身就很優美，依此激發李斯特的浪漫主義創作靈感，成為琴藝上最困難演奏，但也特別細膩溫柔的琴詩。

    這三首分別是：
    〈佩脫拉克第47號十四行詩〉〈佩脫拉克第104號十四行詩〉及〈佩脫拉克第123號十四行詩〉。
    Franz Liszt（1811-1886）: Sonetto 47 del Petrarca, Sonetto 104 del Petrarca, Sonetto 123 del Petrarca, from Années de pèlerinage, Deuxième année: Italie

    李斯特於1846年先出版藝術歌曲《三首佩脫拉克十四行詩》（Tre sonetti del Petrarca），再改成鋼琴獨奏版。

    三首佩脫拉克十四行詩
    中譯：焦元溥（元溥也是友情贊助，特別準備音樂資料，周日南下，聆賞劉孟捷的樂曲，並且陪同他盯著錄音共三天）

    〈第47〉
    祝福每天、每月、每年，
    所有片刻與鐘點、時間與季節，
    在那美麗的原野，

    我為一雙眼眸魂縈夢牽。

    祝福初遇時的甜，
    與愛同在、受苦不停歇，
    如弓箭刺穿令我淌血，
    傷口永留感動在我心間。

    祝福一切我發出的聲音，
    當呼喚著我深愛的女郎，
    渴望、嘆息、淚濕滿襟。
    祝福我寫下的文字遠揚，
    歌頌她的芳名，萬古長新。
    我心永屬於她，無人能闖。

    〈第104〉
    我找不到和平，也無意打仗，
    我恐懼、我期望，燃燒又冰透。
    我向天飛升，卻躺在地上，
    我一無所有，卻又擁抱整個宇宙。

    我身陷囹圄，監牢又開敞；
    我不受囚禁，卻銬著鎖頭。
    愛情不讓我死，也不讓我飛翔；
    不要我活，也不准我逃離悲愁。

    欲看卻無眼，啞口還在發言，
    我甘心殞滅，卻仍高聲呼救，
    我痛恨自己，但仍愛著他人。

    憂傷滋潤我，淚水伴隨笑臉，
    生命不足惜，死亡也不煩憂；
    我淪落至此，都是妳啊，我的愛人！
    〈第123〉

    我在塵世見到仙子的美，

    她天堂般優雅無與倫比。
    想起她讓我悲傷又歡喜，
    所見如幻夢迷霧與幽黑。

    妳的可愛眼睛使我落淚，
    多少次讓太陽也要妒忌。
    我還聽到四周發出嘆息，
    移動了山嶽停止了河水。

    愛情智慧憐憫憂傷財富，
    在淚水中形成甜美聲響，
    奇妙和諧世上未曾目睹。
    天堂追隨著音樂的流淌，
    雖然枝上樹葉並未飛舞，
    空氣與風息卻充滿芬芳。

    5/2衛武營-劉孟捷鋼琴獨奏會《李斯特巡禮之年》購票連結
    https://www.opentix.life/event/1384752689074294784

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