become clearer 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. 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 absent-mindedly bathes in the sound. A kind of brainless but attractive state of mind is engendered by the mere sound appeal of the music.

3?????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 world 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.

4?????Yes, the sound appeal of music is a potent and primitive force, but you must not allow it to usurp a disproportionate share of your interest. The sensuous plane is an important one in music, a very important one, but it does not constitute the whole story.

5?????The second plane on which music exists is what I have called the expressive one. Here, immediately, we tread on 成部分，那么这个过程会更清晰一些。 从某种意义上来说，我们听音乐有三个不同的层次。 由于缺乏更好的术语，我们姑且把它们命名为：（1）感官层次；（2）表现层次；（3）纯音乐层次。 把听的过程机械地分割为以上三个假想的层次，唯一的好处是让我们更清楚地了解自己是怎样听音乐的。 ???????听音乐最简单的方式是为了去获取乐声带来的纯粹的愉悦感，这是音乐的感官层次。 在这个层次上，我们只是听音乐，不做任何思考。 我们打开收音机，一边做着其他的事情，一边心不在焉地沉浸在音乐中。 乐声本身的魅力带我们进入一种无需思考的美妙心境。

???????令人意外的是，许多自认为是合格的音乐爱好者在听音乐时过多地使用了这一层次。 他们去听音乐会是为了忘却自我。 他们把音乐当成一种慰藉，一种逃避，由此他们进入了一个可以忘却日常生活的理想世界。 当然，他们也没有在思考音乐。 音乐允许他们离开现实，到另一个地方去做梦，因为音乐而做梦，做有关音乐的梦，却从没有真正欣赏过音乐。 ???????的确，乐声的魅力是一种强大而原始的力量，但是你不该让它占据你过多的兴趣空间。 感官层次是音乐的一个重要层次，非常重要，但并不是音乐的全部。 ???????音乐存在的第二个层次就是我所说的表现层次。 一提到这个问题，我们马上就进入到一个颇具争议的领域。 作曲家总是设法避开有关音乐表现方面的讨论。 斯特拉温斯基不是曾经声称他的音乐是一个“物体”，是一件有自我生命的“东西”，除了纯音乐性的存在之外没有任何别的含意吗？斯特拉温斯基这种不妥协的态度可能源于这样的一个事实：有

controversial ground. Composers have a way of shying away from any discussion of music's expressive side. Did not Stravinsky himself proclaim that his music was an

\with no other meaning than its own purely musical existence? This intransigent

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 \

6?????Listen, if you can, to the 48 fugue themes of Bach'2s Well-Tempered Clavichord. Listen to each theme, one after another. You will soon realize that each theme mirrors a different world of feeling. You will also soon realize that the more beautiful a theme seems to you the harder it is to find any word that will describe it to your complete satisfaction. Yes, you will certainly know whether it is a gay theme or a sad one. You will be able, in other words, in your own mind, to draw a frame of

emotional feeling around your theme. Now study the sad one a little closer. Try to pin down the exact quality of its sadness. Is it pessimistically sad or resignedly sad; is it fatefully sad or smilingly sad?

7?????Let us suppose that you are fortunate and can describe to your own satisfaction in so many words the exact meaning of your chosen theme. There is still no guarantee that anyone else will be satisfied. Nor need they be. The important thing is that each one feels for himself the specific expressive quality of a theme or, similarly, an entire piece of music. And if it is a great work of art, don't expect it to mean exactly the same thing to you each time you return to 那么多的人尝试着从众多的音乐作品中读出完全不同的含意。 确实，要准确地说出一部音乐作品的含意已经很难了，要肯定并确定地说出来，还要使每个人对你的解释都感到满意，是难上加难。 但我们不该因此走到另一个极端，不能去剥夺音乐“表现”的权利。 ???????可能的话，你不妨听听巴赫的《平均律钢琴曲集》中的48个赋格主题。 依次地、一个个地听听其中的每一个主题，你很快就会意识到每个主题都反映了一个不同的情感世界，你很快也会意识到你越觉得某个主题美妙，就越难找到令你完全满意的字眼来描述它。 是的，你当然知道那个主题是欢快的还是悲伤的。 换句话说，你能够在脑海中勾勒出那个主题的情感框架。 那么就更仔细地听一下这个悲伤的主题吧，要明确悲伤的性质。 是悲观厌世的悲伤，还是无可奈何的悲伤？是时运不济的悲伤，还是强颜欢笑的悲伤？ ???????假设你很幸运，能用许多词句充分表达你对选中主题的确切理解。 但这仍然无法保证其他人对你的理解都感到满意，他们也完全没有必要感到满意。 重要的是，每个人能亲自感受某个主题的表现力，或以同样的方式去感受一部完整的音乐作品独特的表现力。 如果是一部伟大的音乐作品，就别指望每次去听它都能给你带来相同的感受。

???????音乐存在的第三个层次是纯音乐层次。 除了令人愉悦的乐声及其所表现的情感之外，音乐也因其音符本身以及对音符的处理而存在。 多数听众都没有充分认识到音乐的这第三个层次。 ???????对我们所有人来说，更加充分地认识这个纯音乐层次非常重要。 毕竟乐曲使用的是实实在在的音乐材料。 聪明的听众一定

it.

8?????The third plane on which music exists is the sheerly musical plane. Besides the pleasurable sound of music and the

expressive feeling that it gives off, music does exist in terms of the notes themselves and of their manipulation. Most listeners are not sufficiently conscious of this third plane.

9?????It is very important for all of us to become more alive to music on its sheerly musical plane. After all, an actual musical material is being used. The intelligent listener must be prepared to increase his awareness of the musical material and what happens to it. He must hear the melodies, the rhythms, the harmonies, the tone colors in a more conscious fashion. But above all he must, in order to follow the line of the composer's thought, know something of the principles of musical form. Listening to all of these elements is listening on the sheerly musical plane.

10????Let me repeat that I have split up mechanically the three separate planes on which we listen merely for the sake of

greater clarity. Actually, we never listen on one or the other of these planes. What we do is to correlate them—listening in all three ways at the same time. It takes no mental effort, for we do it instinctively. 11????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.

12????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 要做好准备，随时提升自己对音乐材料以及这些材料的使用的理解。 他必须要更加有意识地倾听音乐的旋律、节奏、和弦及音色。 但最重要的是，为了能够跟上作曲家的思路，他还必须了解一些音乐形式方面的知识。 去听所有这些成分就是在纯音乐层次上欣赏音乐。 ???????让我重复一遍，我仅仅是为了讲解得更清楚才把听音乐的三个层次机械地分割开来的。 事实上，我们从来都不会只在其中的一个层次上听音乐。 我们其实是把它们联系起来，同时在三个层次上听音乐。 这并不需要付出多少脑力，因为我们是凭本能这么做的。

???????也许，用去剧院看戏来作类比，能使这种本能的联系更加明白易懂。 在剧院里，你能注意到男女演员、服装和布景、声音和动作。 这些东西组合在一起，会让我们觉得剧院是一个令人愉悦的地方，它们构成了我们欣赏戏剧的感官层次。

???????戏剧的表现层次来自于你看舞台表演时获得的感受。 它激起你的怜悯、兴奋或是愉悦。 正是这种笼统的感觉，除了听台词所感受到的，主要是存在于舞台上的某种情感的东西，与音乐的表现性相类似。

???????剧情以及剧情的发展相当于我们所说的纯音乐层次。 剧作家塑造和发展戏剧人物的方式，和作曲家创造和发展主题的方式是一样的。 你能否成为一个聪明的听众，取决于你对剧作家或音乐家处理艺术材料的手段的了解有多深。

???????显然，看戏的人从来就不会单独注意到这其中的一个元素。 他是同时注意到了一切。 听音乐的道理也是一样的，我们同时地、不假思索地在三个层次上倾听音

aside from the particular words being 乐。 spoken, a certain emotional something

which exists on the stage, that is analogous to the expressive quality in music.

13????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.

14????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.

Unit5-1

Dinner at Joanne's

1?????It was snowing heavily, and

although every true New Yorker looks forward to a white Christmas, the

shoppers on Fifth Avenue were in a hurry, not just to track down the last-minute presents, but to escape the bitter cold and get home with their families for Christmas Eve.

2?????Josh Lester turned into 46th Street. He was not yet enjoying the Christmas spirit, because he was still at work, albeit a working dinner at Joanne's. Josh was black, in his early thirties, and an agreeable-looking person, dressed

smartly but not expensively. He was from a hard-working family in upstate Virginia, and was probably happiest back home in his parents' house. But his demeanor concealed a Harvard law degree and an internship in DC with a congressman, a junior partnership in a New York law firm, along with a razor-sharp intellect and an ability to think on his feet. Josh was very

乔安妮餐厅的晚餐

雪下得很大，虽然每个真正的纽约人都盼着过一个白色的圣诞，可还在第五大道购物的人们却行色匆匆，他们不但要在最后一刻前挑选到心仪的圣诞礼物，还要避开严寒，回家和亲人们共度圣诞夜。

乔希 ? 莱斯特拐进了第四十六街。 他还没来得及享受圣诞的气氛，因为他仍在工作着，虽说是要在乔安妮餐厅吃一顿工作餐。 乔希是黑人，三十出头，长得平易近人，穿着时髦得体，却不华贵。 他来自弗吉尼亚州北部，父母都是辛勤工作的人，或许只有回到父母家里才最让他感到幸福。 单从他的行为举止，别人看不出他拥有一个哈佛法学院的学位，一段在华盛顿特区跟从国会议员实习的经历，还有纽约一家律师事务所初级合伙人的身份。他才华横溢，思维敏捷，聪明过人。

这次会面意味着乔希要过了圣诞夜才能回家了。 他并没有因此而不高兴，因为他要见的人是康涅狄格