short的意思-融洽的近义词

1. We all listen to music according to our separate capacities. But, for the sake of analysis, the whole listening process may become dearer if we break it up into its component parts, so to speak. In a certain sense we all listen to music on three separate planes. For lack of a better terminology, one might name these: (1) the sensuous plane, (2) the expressive plane, (3) the sheerly musical plane. The only advantage to be gained from mechanically splitting up the listening process into these hypothetical planes is the clearer view to be had of the way in which we listen.
我们都根据各自不同的能力听音乐。但为了便于分析，如果把听音乐的过程分成姑妄称之为其构成部分，那么就可以说得清楚一些。从某种意义上说来，我们都在三个不同的层次上听音乐，因为缺少更确切的词汇，姑且称之为：1)美感层次，2)表现层次，3)纯音乐层次。 将听音乐的过程机械地分成这些假设的层次能得到的唯一好处是可以对我们听的方式有个较清楚的观察。
2. The simplest way of listening to music is to listen for the sheer pleasure of the musical sound itself. That is the sensuous plane. It is the plane on which we hear music without thinking, without considering it in any way. One turns on the radio while doing something else and absentmindedly bathes in the sound. A kind of brainless but attractive state of mind is engendered by the mere sound appeal of the music.
听音乐最简单的方式就是从乐声本身中获取纯粹的美的享受，这就是美感层次。在这个层次上我们听音乐时不动脑筋，不在任何方面去进行思考。我们一面做着什么事，一面打开收音机，心不在焉地沉浸在乐声之中。单纯是音乐的感染力造成了一种无思维的然而是极有吸引力的心境。
3. You may be sitting in a room reading this book. Imagine one note struck on the piano. Immediately that one note is enough to change the atmosphere of the room ––proving that the sound element in music is a powerful and mysterious agent, which it would be foolish to deride or belittle.
你也许正坐在一个房间里读着这本书。想像一下在钢琴上奏出了一个音符。这一个音符便足以立刻改变房间里的气氛—证明了音乐中声的因素是个有力而神秘的作用力量，嘲笑或贬低它都是愚蠢的。

4. The surprising thing is that many people who consider themselves qualified music lovers abuse that plane in listening. They go to concerts in order to lose themselves. They use music as a consolation or an escape. They enter an ideal worm where one doesn’t have to think of the realities of everyday life. Of course they aren’t thinking about the music either. Music allows them to leave it, and they go off to a place to dream, dreaming because of and apropos of the music yet never quite listening to it.
令人惊奇的是，许多自认
t attitude of Stravinsky’s may be due to the fact that so many people have tried to read different meanings into so many pieces. Heaven knows it is difficult enough to say precisely what it is that a piece of music means, to say it definitely, to say it finally so that everyone is satisfied with your explanation. But that should not lead one to the other extreme of denying to music the right to be “expressive.”
音乐存在的第二个层次是我称之为表现层次的。一提到此，我们便立即进入了引起争论的领域。作曲家们有避开任何对音乐的表现性方面的讨论的习惯，斯特拉温斯基本人不就声明他的音乐是一个“物体”，一样“东西”，有自己的生命，除了自己纯粹的音乐的存在以外，没有任何别的含义吗? 斯特拉温斯基的这一强硬态度可能是由于这个事实而生的：有这样多的人试图把不同的含义塞进对这样多的乐曲的理解中去。老天知道，要确切说出一件音乐作品的意思是什么，肯定地、决定性地说出其意思，使每个人都对你的解释满意，要这样做是够难的。但不应该因此而走入另一极端，否认音乐具有“表现性”的权利。
8. My own belief is that all music has an expressive power, some more and some less, but that all music has a certain meaning behind the notes and that that meaning behind the notes constitutes, after all, what the piece is saying, what the piece is about. This whole problem can be stated quite simply by asking, “Is there a meaning to music?” My answer to that would he, “yes.” And “Can you state in so many words what the meaning is?” My answer to that would be. “No.” Therein lies the difficulty.
我个人相信，一切音乐均具有表现能力，有的大些，有的小些，但在一切音乐的音符背后都有某种意思，归根结底音符背后的意思构成了整个乐曲表达的内容：它说些什么，是关于什么的。整个问题可以很简单的通过提问来表明：“音乐有没有什么含义”? 我的回答会是“有的。” 进而再问， “你能用明确的语言说出其含义吗?” 对此我的回答则会是， “不能。”这就是困难之所在。
9. Simple-minded souls will never be satisfied with the answer to the second of these questions. They always want to have a meaning, and the more concrete it is the better they like it. The more the music reminds them of a train, a storm, a funeral, or any other familiar conception the more expressive it appears to be to them. This popular idea of music’s meaning – stimulated and a- betted by the usual run of musical commentator – should be discouraged wherever and whenever it is met. One timid lady once confessed to me that she suspected something seriously lacking in her appreciation of music because of her inability to connect it with anything definite. That is getting the whole thing backwar
takes no mental effort, for we do it instinctively.
让我再重复一遍，我将听音乐的过程机械地分成了三个独立的层次，目的只是为了看得更清楚一些。实际上，我们从来不只听其中一个层次。我们的作法是将它们联系起来—同时三个方面都听。这并不需要在思想上做出特殊的努力，因为我们本能地就会这样去做。
21. Perhaps an analogy with what happens to us when we visit the theater will make this instinctive correlation clearer. In the theater, you are aware of the actors and actresses, costumes and sets, sounds and movements. All these give one the sense that the theater is a pleasant place to be in. They constitute the sensuous plane in our theatrical reactions.
也许将此与我们看戏时的情况相比可以把这种本能的联系说得更清楚些。在剧院里，你意识到有男女演员、服装布景、音响动作。这一切使你感到剧院是个令人愉快的地方。这些构成了我们在美感层次上对戏剧的反应。

22. The expressive plane in the theater would be derived from the feeling that you get from what is happening on the stage. You are moved to pity, excitement, or gaiety. It is this general feeling, generated aside from the particular words being spoken, a certain emotional something which exists on the stage, that is analogous to the expressive quality in music.
戏剧的表现层次是从你对舞台上发生的一切的感受中得到的。它引起了你的同情、激动或欢乐。就是这种存在于舞台上的、并非来自具体的台词的笼统的感觉，某种感情上的东西和音乐的表现性是类同的。
23. The plot and plot development is equivalent to our sheerly musical plane. The playwright creates and develops a character in just the same way that a composer creates and develops a theme. According to the degree of your awareness of the way in which the artist in either field handles his material will you become a more intelligent listener.
情节与情节的发展相当于我们的纯音乐层次。剧作家创造和发展一个人物所用的方式与作曲家创造和发展一个主旋律的方式是一样的。根据你对这两个领域中艺术家各自处理自己素材的方法的理解程度，你才会成为更有头脑的欣赏者。
24. It is easy enough to see that the theatergoer never is conscious of any of these elements separately. He is aware of them all at the same time. The same is true of music listening. We simultaneously and without thinking listen on all three planes..
很容易看出，看戏的人从不单独地意识到这些因素中的任何一个，而是同时意识到它们，听音乐也是如此。我们同时不假思索地在全部三个层次上听音乐。

25. 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 an
d watching it go another – almost like the composer at the moment he composes it; because in order to write his music, the composer must also be inside and outside his music, carried away by it and yet coldly critical of it. A subjective and objective attitude is implied in both creating and listening to music.
从某个意义上来说，理想的听众在同一时刻应既在音乐之中又在音乐之外，既评价之又欣赏之，希望它向某一方向发展而又眼看它向另一方向走去—几乎像作曲家在创作的时刻一样。因为为了创作，作曲家也必须既在他所谱写的音乐之中又在它之外，音乐使他失去自制但他却又要对之持冷静的批判态度。在创作音乐和欣赏音乐时都包含了主观与客观两种态度。
26. What the reader 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 con- scious and aware listener – not someone who is just listening, but someone who is listening for something.
因而读者应争取的是一种更为主动的欣赏。不论是在听莫扎特还是听杜克·埃林顿，只有成为更自觉、更有意识的听众，不是一个单单在听着音乐的人，而是一个注意聆听着音乐中存在着的什么的人，你才能加深自己对音乐的理解。

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