專業鋼琴調音師 湯 生 的私人專頁, 看音樂趣事, 聽好音樂, 作音樂交流, 更可以在這樣找到專業的鋼琴護理意見.
2013年12月6日星期五
2013年11月8日星期五
2013年10月17日星期四
2013年10月10日星期四
2013年10月1日星期二
淺談美國的音樂教育
(紐約訊）美國不是所有的小學都設有音樂課，只有那些得到政府資助的學校才能開音樂課。除了一般性的音樂基礎課程外，一般到了四、五年級還會成立樂隊及弦樂團。
Jessica的選擇
Mike的成長
教人與育人
Jessica的選擇
Jessica即將成為四年級的學生，她一直夢想加入學校的樂隊，但不知哪種樂器較適合她。所幸在三年級學年結束前，學校的音樂老師帶了幾位在樂團及樂隊表現優異的學生，到三年級的每個班上進行表演，就在那時Jessica便對豎笛著了迷。
剛進樂隊時的Jessica什麼都不會，還好學校適時提供了樂器的分組教學，才讓她上了軌道。一開始Jessica還是很喜歡豎笛，但因疏於練習，經常無法跟上老師的進度而產生了想換吹長笛的念頭。老師試著告訴她，如果不好好練習，無論演奏任何樂器都一樣。但Jessica仍然執意想吹長笛，結果也自然如她所願。但經過一段時間後，Jessica發現長笛並不如她想像中的容易，所以Jessica又換回吹奏豎笛。
經由老師的評估，老師建議Jessica另外找一位專業豎笛老師來輔導她學習更深入的音樂技巧，因為這位老師可以提供更專業的音樂知識及練習方法。果然，Jessica通過專業豎笛老師的教導，慢慢地找到了吹豎笛的訣竅，這才使她重新找回吹豎笛的樂趣與信心。
一般學校音樂老師的教學方法是採取通才式教育，所以難免無法顧及所有學生的需求。家長若要自己的孩子在他們所選的樂器中有較傑出的表現，選擇專業老師上一對一課程是必要的。個別課程若表現優秀，有時還可經由校內老師推薦去參加一些表演或比賽，這些活動會有助於學生們將來申請大學時的加分考量。
Mike的成長
Mike是學校樂團首席的大提琴手，他從很小的時候就開始學琴。採用「鈴木教學法」學習大提琴的Mike上了五年級之後，依然持續上提琴課程。除了平常參加一年一度的州立檢定考試，提琴課老師還經常鼓勵他參加各種表演和比賽。
但美中不足的是，Mike獨奏經驗較多，與大家合奏的經驗則只侷限在學校的樂團。因此媽媽決定跟學校及提琴老師溝通，看看是否有適合Mike的校外樂團，讓他增加與他人合奏的經驗。因為Mike想加入樂團需要準備視奏及指定和自選曲目的測驗，經過一段時間的加強與準備，Mike不負眾望地考上了校外的樂團，為他帶來更多的合奏經驗。
如果Mike未來想走音樂這條路，這些經驗將帶給他很多的幫助，即使他將來不準備當演奏家，這些校、內外的經驗，除了在申請大學時可以增加分數考量外，更是一段人生美好的經歷。
教人與育人
在四、五年級的樂團及樂隊中，學生們更換樂器的情況屢見不鮮。一般學校的音樂老師皆會同意讓學生更換樂器。但也有些情況下是由老師指定某些學生吹奏或拉奏較特殊的低音樂器。因為任何樂團都需要有低音樂器來豐富音樂的和聲，而一般這些低音樂器（如：Tuba、Baritone或 Double Bass ）沒有高音樂器（如：Flute、Clarinet 或Trumpet）來得討喜，學生們較不喜歡選擇演奏這些樂器。但經過音樂老師的分析、引導和鼓勵，會增加學生們學習這些低音樂器的興趣，更瞭解到這些樂器在樂團中所承擔角色的重要性與其功能。
高音樂器是較受大家喜愛的樂器，相對來講競爭得也比較厲害。所以，要讓學生們明白不一定非得吹奏主旋樂器不可。首先家長和學生都不能抱著先入為主的觀念，同時老師和家長更可試著鼓勵學生們嚐試學習各種樂器。說不定您的孩子就在合奏的位置中找到學習音樂的樂趣，而選擇較不令一般人看好的低音樂器。或許正因為如此才比較容易脫穎而出，甚至能成為如：William J. Bell、Tommy Johnson、Riki McDonnell 及Bob Cranshaw等少有的獨奏明星。終有一天綠葉配紅花，令音樂的道路花繁葉茂，前程似錦。學習音樂的道理是這樣，學習做人的道理何嘗不是如此呢？！＠
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作者介紹：沈亮寬，來自台灣，Nyack college講師。專業長笛演奏，並有22年教學經驗。2007年取得皇后學院音樂教育文憑，2007取得紐約州教育證照，1998年紐約大學音樂演奏碩士。曾獲紐約器樂傑出成就獎、西方凱斯儲備大學甘迺迪音樂創意獎、台灣省長笛演奏成人組冠軍。
From:
大紀元
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作者介紹：沈亮寬，來自台灣，Nyack college講師。專業長笛演奏，並有22年教學經驗。2007年取得皇后學院音樂教育文憑，2007取得紐約州教育證照，1998年紐約大學音樂演奏碩士。曾獲紐約器樂傑出成就獎、西方凱斯儲備大學甘迺迪音樂創意獎、台灣省長笛演奏成人組冠軍。
From:
大紀元
2013年9月20日星期五
Steen Nielsen Hammerspinet
Here is a superb example of unique and complicated engineering. This Steen Nielsen Hammerspinet at first glance appears to be a harpsichord, but it is far from it.
This instrument has many features we have never seen in a piano before.
Each key has only one string per note from bass to treble, as well as having all the tuning pins on the rear side of the cabinet, where normally, you would have the hitch pins for the strings.
Keyboard instruments with pedal-board
However unusual or even bizzarre it may seem, the idea of a piano endowed with a pedalboard similar to that of an organ actually has a long history behind it. Its antecedents are the clavichord and the harpsichord with single or double keyboard, which also often had a pedalboard attached. The first citation of a clavichord with pedalboard appeared around 1460 in the section dedicated to musical instruments of the encyclopedic treatise written by the scholar Paulus Paulirinus (1413-1471). It was thus established as an instrument useful for "practice" reasons, in exercises useful for coordinating the hands and feet, that organists could also use if they wished to avoid having to activate the organs' bellows or the rigorous cold of the churches.
Johann Sebastian Bach owned a clavichord with two keyboards and pedalboard for which he composed the Trio Sonata BWV 525-530, the Passacaglia in C minor BWV 582 and other works.
Wolfgang Amadeus Mozart owned a fortepiano with independent pedals, built expressly for him in 1785 by Anton Walter. In the autographed manuscript of the Concerto in D minor K 466, composed the same year, the magnitude of the bass notes is evident. Furthermore, in letters to his father, Mozart mentions use of this piano with pedalboard in public improvisations.
The instrument Robert Schumann refers to as a pedalflügel (piano with pedalboard) first entered his home in Dresden in 1845. Schumann's enthusiasm for this piano endowed with a pedalboard was so great that it inspired him to compose three works: Studies for Pedalflügel Op. 56, Skizzen for Pedalflügel Op.58 and Six Fugues on the name of "Bach" Op.60; he was also able to convince F. Mendelssohn Bartholdy to inaugurate a class especially for the pedalflügel in the Conservatorium of Leipzig.
There are various systems with which a pedalboard was attached to the piano: the most common was that of a pedalboard fastened under the piano that activated its mechanics-keyboard; another System, though less frequent, was that of placing two independent pianos (each with its separate mechanics and strings) one above the other, as with the instrument Mozart required of Anton Walter. With time the request for this polyvalent instrument declined, so much so that works written specifically, such as those of Schumann, were performed more and more often on the organ, or transcribed into versions for four-hands or two pianos.
Inspired by the compositions mentioned above, at the end of this last century the piano-maker Luigi Borgato realized a new instrument, the "DOPPIO BORGATO": a double piano of extensive form, joining a concert-grand together with a second piano activated by a pedalboard comprised of 37 pedals, thus augmenting the expressive qualities of its 18th century predecessors.
The "DOPPIO BORGATO" opens up a new page for the musical world, this particular instrument offering new possibilities to both composers and interpreters.
2013年9月13日星期五
2013年9月12日星期四
2013年9月11日星期三
2013年9月4日星期三
ROLI Introduces the Seaboard GRAND, a Groundbreaking New Musical Instrument
London, England (PRWEB UK) 5 March 2013
An evolution of the piano keyboard, the Seaboard has a soft three-dimensional surface that enables unprecedented real-time, intuitive control of the fundamental characteristics of sound: pitch, volume, and timbre. Piano and keyboard players can instantly transfer their skills to the Seaboard and begin exploring its new capacities.
The Seaboard is the first electronic instrument to enable control of a wide variety of parameters through traditional techniques for expressiveness and virtuosity. As a controller, the Seaboard allows players to manipulate sound like never before. It authentically simulates a plethora of other instruments – guitar note bends, subtle string and horn swells, and much more are expressively created in seconds instead of hours. Both as an instrument and as a controller the Seaboard creates a world of entirely new sonic possibilities, and provides a new bridge between acoustic and electronic approaches to music.
The Seaboard was invented by RCA Design Products graduate Roland Lamb. In 2011, ROLI – the company he founded – won a place in the Design London incubator, and secured grant funding from the UK Technology Strategy Board. ROLI now employs 16 engineers, designers, and musicians in its warehouse studio/workshop in Dalston. Advisory Board members include the designer and architect Ron Arad.
The Seaboard is powered by the patent-pending SEA Interface, ROLI’s disruptive platform sensor technology. SEA Interfaces are highly precise, information-rich, and pressure-sensitive, and can be built in any form factor. They enable seamless transitions between discrete and continuous input, and capture three-dimensional gestures while simultaneously providing the user with tactile feedback. ROLI is currently developing further applications in music, personal computing, robotics, medical devices, gaming, and vehicular and machine control.
The Seaboard GRAND will be featured in 2013’s South by Southwest music conference, where it has been selected to participate in the Music Accelerator, a showcase of the best new start-up companies. Celebrated keyboard player Jordan Rudess of Dream Theater will be premiering the Seaboard with an exclusive performance to demonstrate its versatility and musicality.
A limited edition of 88 Seaboard GRANDs will be available for pre-order worldwide starting in April 2013. Each Seaboard GRAND will be hand-assembled to order in the ROLI studio in the heart of Dalston, East London, and, in recognition of its provenance, each will be named after a particular note on the piano keyboard, from A0 to C8.
Steinway & Sons (史坦威) 出售紐約旗艦展示大樓
鋼琴製造商史坦威樂器公司（Steinway Musical Instrument）將要售出位於紐約的旗艦展示館。史坦威希望以1億9千5百萬美元的價錢售出這棟位於紐約著名音樂廳卡內基廳旁的大樓，在售出大樓之後，史坦威樂器公司可能會以承租的方式繼續使用大樓空間，但也有可能完全撤出，所以以後可能不會在這棟大樓中聽見悠揚的琴聲了。
史坦威的展示中心建於西元1925年，其中有三層樓用來展示他們所生產的各式鋼琴，館內的裝飾典雅富麗，並且還有一間兩層樓高的拱頂大廳可供音樂表演使用。除此之外，史坦威樂器公司的業務、行銷、與客服部門的也是設址於此棟大樓之內。史坦威展示中心在2001年申請通過成為紐約市的歷史文化地標，因而史坦威公司的大樓交易案最後也必須通過紐約的文化遺產保護委員會許可方能成交。
這棟歷史悠久的建築位處卡內基廳附近也臨近其他的藝術機構，因而這棟大樓也是好幾世代鋼琴家的聚集地。20世紀的鋼琴名家霍洛維茲（Vladimir Horowitz）和俄國作曲家拉赫曼尼諾夫（Serge Rachmaninoff）就是在1928年於此處首次相識合作，他們一同研究拉赫曼尼諾夫所作的第三號鋼琴協奏曲，霍洛維茲精彩的詮釋也讓此曲成為這位鋼琴家畢生的代表作。
根據美國古典樂電台WQXR的報導，史坦威公司已積極為這棟建物尋找買主多年，原本大樓交易幾乎已經談妥，卻受美國房市於2008年崩盤影響。當時史坦威原以為交易訂案而不再和大樓內各戶承租的企業單位續約，不料交易受房市影響翻盤，而大樓租金收入又不斷減少，但史坦威公司每年必須在這棟建築上花費500萬美元維護，使得這家老牌樂器大廠愈加急於出售這棟大樓。
史坦威樂器公司表示他們今年業績持平，但是市場重心逐漸由歐美轉向亞洲，和去年同季相比，史坦威鋼琴在中國銷售量成長了百分之31，而日本的銷售也成長了百分之50。而美國則比去年同期下降14個百分點。
根據史坦威公司總裁兼執行長史威尼（Michael Sweeney）在最近的會議上所透露的消息指出，這棟大樓的買家是一名房地產開發商。
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