【正文】 to all of these elements is listening on the sheerly musical plane. 對我們大多數(shù)人來說對純音樂 層面變得敏感是非常重要的，畢竟，真正音樂就用到它。明智的聽眾必須作好準備，提升自己對音樂素材的意識和它的發(fā)展趨勢。他必須會唱旋律、節(jié)奏、和聲，有意識的欣賞音色。為了能夠跟的上創(chuàng)作者思想的主線，首當其沖的是，要懂音樂形式的規(guī)律，按以上各因素去聽音樂是純音樂層次上的欣賞。 I have split up mechanically the three hypothetical, separate planes on which we listen merely for the sake of greater clarity , Actually, we never listen on only one or the other of the three planes What we do is to correlate themlistening in all three ways at the same time. It takes no mental effort, for we do it instinctively. 我機械地把聽音樂分成三個假設(shè)的互相分隔的層面，是為了把它分析得更清楚，實際上，我們決不會 只有在三個層面的某一個層面聽音樂，我們本能地同時在三個層面上聽音樂。 In a sense, the ideal listener is both inside and outside the music at the same moment, judging it and enjoying it, wishing it would go one way and watching it go another—almost like the poser at the moment he poses it。 because in order to write his music, the poser must also be inside and outside his music, carried away by it and yet coldly critical of it. A subjective attitude is implied in both creating and listening to music. 一句話，明智的聽眾同時能夠穿進音樂，又能穿出音樂，評判它，欣賞它， ……就像作曲家創(chuàng)作的時刻，為了寫好音樂，作曲家必須深入到音樂里面，然后再跳出來，一方面，要陶醉于它，一方面又冷靜地評判它，那才是創(chuàng)作音樂和欣賞音樂的主觀態(tài)度。 What the listener should strive for, then is a more active kind of listening ,Whether you listen to Mozart or Duke Ellington, you can deepen your understanding of music only by being a more conscious and aware listenernot someone who is just listening, but someone who is listening for something. 聽眾首先要做到積極主動地聽音樂，聽莫扎特的也好，聽迪克 埃令頓的也好，只要你成為一個有意識的聽眾，你就會加深對音樂的理解 一個人不僅僅是要聽，而是要聽出點什么。 鐘候波 P100 英譯漢 As a devoted participant in the college annual song contest for the past two years ,it has e to my attention that petitiveness and the desire to win have overthrown the school spirit and overall togetherness that the event was designed to generate. When classes are so bent on winning that they actually resort to spying on their rivals in hopes they can turn their opponents in on some technicality, things in my opinion, have gone just a bit too far, Is it really worth winning if it means deliberately damaging your petition to do it? 在過 去的兩年中，我一直是一年一度校園歌詠比賽的積極參加者。我注意到，競爭和想取勝的欲望違背了我們的學校精神，違背了學校通過比賽達到全校同學共同參與的初衷。如果某個年級取勝心切，不惜采取刺探的手法將別人的技巧 ―偷 ‖到手，我以為這種做法已經(jīng)有些過分了。倘若這樣做就意味著比賽原則遭到破壞，那么即使贏了又有什么意義呢？ P100 漢譯英 Let‘s suppose there are three hypothetical, separate planes on which we listen to music. The first plane is sensuous. It is the plane on which we listen for the sheer pleasure of the musical sound itself and we hear music without thinking, without considering it any way. This is the simplest way of listening to music. The second is the expressive plane. On this plane we listen not only for the pleasure of the musical sound but also for the understanding of what the piece of music is saying. All music has a theme. But while listening, each listener feels for himself the specific expressive quality of the theme. The third plane on which music exists is the sheerly musical plane. When we listen to music we must be prepared to increase our awareness of the melodies. The rhythms, the harmonies etc. Actually, we never listen on only one or the other of the three planes. What we do is to instinctively listen in all three ways at the same time. 讓我們假設(shè)人們聽音樂有三個層面。第一個是感官層面。在這個層面上，聽音樂的方法最簡單。聽音樂不用思考，純粹為了消遣聽音樂美妙的聲音。第二個是表意層面。我們聽音樂不僅聽悅耳的聲音，還要了解音樂所表達的意思。每支樂曲都有它的主題，但是，不同的人對同樣的音樂有不同的感悟。最后一個是純音樂層面。我們聽音樂時，應(yīng)該注意音樂的旋律、節(jié) 奏、和聲等。其實，我們決不會只在這三個層面的某一個層面上聽音樂。我們本能地同時在三個層面上聽音樂。 鐘候波 英語第 8單元 Unit 8 Text1 A Romance That War Cannot Silence There’s not a single false gesture in Frances Itani’s ―Deafening.‖ Despite its subjectswar, romance, disabilityit’s a story of careful, measured emotion, bleached of all sentimentality. The publisher has poisoned the novel as a debut in America, but Canadians have been reading Itani for decades, and every page of this story betrays the hands of a mature writer. 弗朗思 伊塔妮的作品 ―聾啞 ‖中并不是僅有啞語，雖然它的主題是戰(zhàn)爭、浪漫和殘疾。但它是一個細膩，多情，被感傷漂洗了的凄美故事。盡管加拿大人讀伊塔妮的作品已幾十年了，但出版商還是把她的這部小說定位在美洲首發(fā)，并且這部小說每一章頁都有有違于這位成熟作家的以前的寫作手法。 The heroine, Granis O’Neill, was robbed of her hearing at the age of 5 in the early 20th century. Itani narrates her life in a voice filled with the rhythm of the deaf girl’s thoughts and sensibilities, a technique that submerges us in Grania’s silent but vivid world, a place ―divided into things that move and things that don’t move.‖ 故事的女主人公格蘭麗亞 歐 內(nèi)爾，生活在 20 世紀早期，她五歲時喪失了聽力。伊塔妮描述了一個充滿聾啞女孩思想情感節(jié)奏的生動的故事。她的這種寫作手法給我們再現(xiàn)了格蘭麗亞靜默但形象的內(nèi)心世界。 Her parents are too burdened by guilt and too involved in difficulty in hopes for a miracle to work with their daughter’s obvious intelligence, but her grandmother remains determined to teach Grania to read. The process involves studying simple pictures and words, feeling her grandmother’s throat, and attending to the slight fluttering of others’ lips. Every everywhere, there are traps and tricks, puns and homonyms, silent k’s and g’s, and, worst of all, mustaches that hide speakers’ words. 她的父母負擔太重，雖肩負著艱難困苦，但他們還是希望在自己聰明的女兒身上再現(xiàn)奇跡。她的祖母拿定決心教她讀書。最初學習過程是學習簡單圖片和單詞，讓她手觸外祖母喉嚨，同時要注意觀察別人嘴唇的輕微振動。學習過程中處處是陷阱和詭計，很多雙關(guān)詞和同音異形詞，清輔音 g`s和 k`s 也難以分辨。更為糟糕的 是說話者的大胡子使她分不清說話者的詞語。 But ―nothing will stop Grania,‖ Itani writes. ―when she is alone she stands on tiptoe on the stoop at the back, behind the laundry, and she watches her reflected mouth in the narrow window. She takes a bite. She studies each word separately. She holds her voice as close to herself as she can. It is like pressing a pillow against her chest, the way the boy in the picture presses the book to his sailor suit.‖ ―但什么也難不倒格蘭麗亞 ‖伊塔妮寫道， ―當她獨自一人時，她踮著腳尖背對走廊站著，那后面是洗衣店。在狹窄的走廊過道上觀察反射回的自己的嘴唇，她一點一滴地，分別學習每一個詞。她盡可能使聲音，緊緊接近自己，就像把一個枕頭緊緊靠在胸前，也像掛圖上的小男孩一樣，緊緊把書靠近他的海軍蘭外衣。 ‖ Showing Grania pull herself into the world of language so deliberately