🎹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.”

【#唔好再讀錯我個名】Vivian vs Wee-wee人

網友V要求暖男叔叔再次為這個美麗的名字平反，就如她所願。

By the way, the unfortunate words used in the example sentence were chosen purely for pedagogical purposes 👉🏻👈🏻

暖男叔叔

【師培專文】英文用錯別急著怪你的「中文腦」。7大種錯誤來源

當沒有教學靈感時，就回到 "learners" 和 "learning" 這兩件事的本質去思考。其中要了解 learners 頭腦裡的語言 (interlanguage)， learner errors 可以給我們很多很多的線索。

提出 The Output Hypothesis 的習得大師 Merrill Swain 指出，errors 是學習者對於語言的錯誤假設 (Wrong hypothesis) 的產物。應用語言學之父 Pit Corder 極為有影響力的論文即命名為：The Significance of Learner Errors.

但學習者和老師都必須要知道：Not all errors are equal. 錯誤可以粗略分成下面幾個來源，有了對錯誤的系統性理解以後，教學者、老師們、甚至學習者才能進而很細緻地去思考 怎樣的 corrective feedback、怎樣的 instruction (pedagogical intervention) 會對於鏟除這些錯誤有幫助 (or 沒幫助) 。

但前提是我們要學習如何：
(1) Collect samples of learner language
(2) Identify the errors
(3) Describe and explain the errors
(4) Evaluate / correct the errors

【學習者錯誤大概可分成下面幾種錯誤】

Type 1️⃣: Errors of Overproduction (過度使用)
小明剛看完一篇文章很不完整地在講定冠詞 the 什麼時候用。滿腦子都是 the，導致於他隔天寫英文時，不需要 the 的地方也用了 the。

當教學、教材不夠完整很容易有這樣的狀況，語言學家 Larry Selinker 曾經用 Transfer of Training 一詞形容「教學可以對學習造成的負面影響」。

➠ 當你看完「英文冠詞八大法」「介系詞就靠這幾招」這樣的文章時，要特別小心，你有可能越學越回去。

Type 2️⃣: L1 Transfer (對於母語對外語的影響，比較先進的說法是 cross-linguistic influence)

中式英文: I'm easy to get lost while driving in a big city. (腦中翻譯: 我很容易。。。)

正確: I get lost easily while driving in a big city.

中式英文: The knowledge I learned from him is very useful. (learn knowledge 是中式搭配詞錯誤，應使用 acquire knowledge)

Type 3️⃣: Developmental Errors (發展型錯誤)

小明學了 Where is the restroom? 後，程度慢慢變好時，學了「間接問句」。有一天他突然不知道到底是 Can you tell me where is the restroom? 還是 Can you tell me where the restroom is?

Type 4️⃣: Inherent difficulty / complexity (語言本身複雜性)

• He went to University of Pennsylvania.

(應該使用 He went to the University of Pennsylvania.)

Type 5️⃣: Overgeneralization (過度類化)

• *We should emphasize on... (將 put emphasis on 的 on 誤送給動詞)

• *We really need to cost down. (來自於 We need to bring the cost down. 的不求甚解學習)

Type 6️⃣: Oversimplification (過度簡化)
*He didn't wear mask today. (應該用 wear a mask，可能是 Type 2 加上 Type 6 的綜合)

Type 7️⃣: 綜合型錯誤 (一個以上的原因加總)

• I suggested him to go to see a doctor immediately.

• He didn't reply my email.

應該是 reply to...可能學生想到 answer my phone、可能是在翻中文、可能是 overgeneralization、及物不及物本身也有複雜性)

✔︎ 台灣英語師培系統過去30年，因課程內容只對了真正在研究「語言學習過程」的第二語言習得 (SLA) 研究做了非常皮毛的「交代」，大多台灣的英文老師，都在不知道怎麼回答之下走進了教室，開始了一年又一年用trial and error 學習教學的過程。

➠ 知名語言學家 Ringbom 在 2007 年一篇 paper 裡也提及: "...we need to know enough about learning before we start making assumptions on the efficiency of teaching."

如果你未來想要當、或現在是個英文老師，認同這個理念，也想要用科學來引導教學、讓自己和學生都能不斷進步，站在世界最前端，那麼我歡迎你參加我的師培課程！

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2016年 深夜の野良猫の狩りの様子がみれないので、猫部屋の猫達に協力してもらい、暗闇の中での動きを赤外線カメラで見てみた。
猫は物を見るために人が必要とする明るさの1/6の場所でも物を見ることができる。絶対輝度閾値は約1.32×10 -7ミリランベルト
参考：Mead, L. C. (1942). Visual brightness discrimination in the cat as a function of illumination. The Pedagogical Seminary and Journal of Genetic Psychology, 60, 223-257.
http://psycnet.apa.org/record/1942-04283-001

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Vera老師用聲樂的方式唱歌，歌聲超好聽，吸引了孩子們。Kindermusik Our Hello Song.

小元寶上Kindermusik第二堂課, Vera老師唱Our Hello Song的時候, 他比了甚麼動作呢? 我們一起來看看吧!
Vera老師用聲樂的方式唱歌, 他是美聲歌手, 曾經是也曾在國家音樂廳演出表演，婚禮歌手，曾培訓Tvbs新人發聲，在大陸對岸有教授歌唱並演出，曾教學央視兒童歌唱比賽第二名四歲選手。
Kindermusik的hello song時間, 孩子們可以用不同的動作說hello, 非常特別, 讓孩子自己思考自己今天想要的動作~ 好好玩!

Kindermusik Story
Inspiration drives success. While studying in Cologne, Germany, Kindermusik founder Dan Pratt discovered a curriculum that empowered young children to learn through music. Determined to bring this pedagogical approach to families around the world, he introduced the first Kindermusik classes in 1978. Steeped in educational theory, Kindermusik's research-based curricula recognizes the potential in every child and sets a strong foundation for a lifetime of learning.

Today, our programs and educators continue to recognize and celebrate the potential in every child, working to enhance knowledge, confidence and enthusiasm for learning through the power of music-making.


"Our Hello Song" lyric
It's our time to sing together
our time to sing together
its our time to sing together
sing hello hello

it's our time to clap to everyone
our time to clap to everyone
it's our time to clap to everyone
clap hello hello

it's our time to pat to everyone
our time to pat to madie
it's our time to pat everyone
pat hello hello

it's our time to swish to Cathy
our to swish to manda
it's our to swish everyone
swish hello hello