我看「全世界華人鋼琴大賽」(下)

丁. 弘揚西方正統音樂文化

I. 前奏

本人認為「新唐人電視台」希望通過是次「全世界華人鋼琴大賽」向世人宏揚西方正統文化。

西方古典樂曲被認為是西方正統音樂文化，而巴赫、莫扎特、貝多芬及蕭邦等偉大的作曲家更是正統音樂文化的佼佼者。「正統」(Authenticity) (的文化)的意義，根據《新世界百科全書》(The New World Encyclopedia)的解釋，一定是純真、原創的，能反映人性真純的本質，建立在人與神的關係上，維繫於一套道德標準，涉及到文化內涵、人民慣性生活模式及思考常規，會帶給人們美好的生活(注四十九)。巴赫、莫扎特、貝多芬及蕭邦的音樂既符合「原創」的條件、且建立在作曲家「與神的關係」上，已經融入了西方人民的「生活」及「思維」數百年而不衰，已「帶給人民美好的生活」。

II. 西方古典音樂的功能

愛因斯坦(Albert Einstein)(1879-1955)被問及他如何構思出「相對論」時，他這樣響應：「它(相對論)從直覺而來，直覺背後的推動力是音樂，我的發現是音樂知覺的結果」(注五十)。

大量研究指出西方古典音樂能增進腦部功能(Leng & Shaw, 1991; Black, 1997; Schlaug, 2001; Trainor, 2006)和加速左右腦的神經交往(Bever & Chiarello, 1974)，提升的範圍包括智能(Blackwell, 2006; Trainor, 2006)、認知、模仿和輪次(Bunt, 1994)、推理和專注(Stratton & Zalanowski, 1984, Bunt, 1974)、文字記憶(Trainor, 2006)、語言(Trainor, 2006; Musacchia et al, 2007)、發聲(Bunt, 1994)、閱讀(Leng, 1985)、數學(Leng, 1985; Trainor, 2006)、視覺空間感(Trainor, 2006)、空間感-推理(Rauscher, Gordon & Katherine, 1995; 林珍如等譯，1999；Brown, 1997)、肢體協調、聽覺接收與眼球肌肉的協調(Richards, 1968)等能力。

兒童借著音樂聆聽可以額外為腦部增生神經元 (Inglish, 2008)、提升智商(Inglish, 2008)、增進學習數學(Armstrong, 1988; Inglish, 2008)、科學和其他主要學校學科及運用知識的能力(Inglish, 2008)，提高學生專注力、聽力與閱讀技巧(Roskam, 1979)、文字記憶(Chan, 2003)、學習生字能力(Bygrave, 1995-1996)、算數技巧(Miller, Dorow & Greeter, 1974; Armstrong, 1988)、繪畫與語文創作(Inglish, 2008)、和改善過動行為(Scott, 1970)。孩子接受早期音樂訓練可以提高腦部能力(Leng & Shaw, 1991; Schlaug & Christian, 2001)，包括發展比例推理的空間感(Graziano, Peterson & Shaw, 1998)。自幼接受正統音樂訓練的小學生在閱讀(Douglas & Willatts, 1994)、數學、語言、閱讀理解、學習動機及專注力上普遍都得到提高(Morison & Barbara, 1986; Spychiger et al, 1993)。接受了為期七個月至一年音樂密集式訓練課程的小一學生，他們的閱讀程度比其他同班同學高(Hurwitz et al, 1975；Dickson, 1984； Waltrip, 1990)。甚至曾接受音樂胎教的嬰兒，他們的專注力、發聲以至於模仿人聲的能力也較佳(Shelter, 1985)。

參加器樂演奏、樂隊或管弦樂團的學生藉此能增進認知能力(Kuffler, 1980)、專注力、記憶力、視力和聽力(Mueller, 1984)、知覺、視覺能力、想像力和審美觀念(Sinatra, 1986)、手眼協調能力(Wishey, 1980; Mueller, 1984)、腦幹對言語聲音的敏感度(Kraus, 2007)，學科積分(Kluball, 2000)和學年總平均分(Horne, 1983)也顯著提高，計有：數學(Friedman, 1959; Anello, 1972; Miller et al., 1983; Maltester, 1986; Roehmann, 1988; Kluball, 2000; Trent, 2000)、英文和社會科學(Anello, 1972)、語文學科(language arts)(Trent, 2000)、閱讀(Friedman, 1959; New York City Board of Education, 1980; Robitaille & O』Neil, 1981; Roehmann, 1988; Catterall, 1997)、語文理解(Carlson, 1985)、寫作(Roehmann, 1988)及科學(Kluball, 2000)，加州基本能力測試成績(California Test of Basic skills) (Robitaille & O』Neil, 1981) 與 SAT積分(Catterall, 1997)等公開考試成績也得獲得提高，另外還提升個人的自尊(Sward, 1989)、成就感、鑑賞力、紀律、樂趣、主動參與感和成熟的人際關係(Brown, 1980 & 1985)。Wilson(1989)更強調只有器樂學習能幫助發展人的腦部動覺系統，非其他活動所能代替，要想全面發展人的腦部，音樂絕對需要。

此外，學生學習閱譜能提升閱讀、聆聽、預測、記憶、專注和速讀等能力(Winston, 1982)。教小學生基本節拍的方式來教分數比傳統數學方式來教分數更能使學生100%掌握到分數和數學、科學上的比例觀念(Rauscher, 1999)。

除了上述科學實驗結果，調查亦有類似發現。1981年，在南加州Mission Viejo中學，音樂學生的平均學年總成績為3.59分，非音樂學生的平均學年總成績為2.91分；16%音樂學生的平均學年總成績達4.0分，而只有 5%非音樂學生的平均學年總成績達4.0 分(Horn, 1981)。根據College-Bound Seniors National Report (1995), 參與音樂演奏的學生在SAT分數中，文字分數比沒有音樂演奏的多51分，數學分數比沒有音樂演奏的多39分，而演奏經驗超過四年者，文字分數比沒有音樂演奏的多59分，數學分數比沒有音樂演奏的多44分。2001年，參與音樂演奏的學生在SAT分數中，文字分數比沒有音樂演奏的多57分，數學分數比沒有音樂演奏的多41分(College Board, 2001)。2002年，參與音樂演奏的學生在SAT分數中，文字分數比沒有音樂演奏的多57分，數學分數比沒有音樂演奏的多41分；參與音樂聆聽的學生在SAT分數中，文字分數比沒有音樂聆聽的多64分，數學分數比沒有音樂聆聽的多43分(College Board, 2002)。

1976 年，紐約城市表演藝術學校(New York City School of Performing Arts)有90%畢業生考進初級大學(Kaufman, 1976)。初級大學中的音樂主科生有66%考進醫學院，而生化學系主科生只有44%；大學音樂主科生在閱讀科上比英文系、生物系、化學系和數學系的主科生考得較佳成績(Wood, 1994)。

調查且發現學生參加學校音樂活動與學生對學業產生高學習動機(Marshall, 1978; Lillemyr, 1983)、考獲優良學業成績(Lillemyr, 1983)、提高個人自覺(Whitwell, 1977)、建立正面自我形像(Marshall, 1978; Lillemyr, 1983)與培養良好個人自尊(Lillemyr, 1983)有高度相關。學生參加學校音樂活動能提高他們的正面的人生觀、正面的個人形像、做事的積極態度、與人共事的合作性、??體性和訂定目標的能力 (Eisner, 1987)。

除了主流學生和成人外，即使是有學習困難的學生或成年人，研究亦發現他們在學習過音樂後，他們的認知能力、協調、語言、專注力和記憶力皆有進步(Bunt & Alberman, 1981, Salmon, 1981 & Sutton, 1995)。弱智兒童可以藉音樂來改善適性及過動行為(Lathom, 1964)，年長的弱智病人可以改善到目光專注、專注持久力及發聲(Odell, 1995)，嚴重的弱智成人也可以改善對工作的參與感和手部拿放的能力(Oldfield & Adams, 1995)。利用音樂中的旋律與言語中的聲調的「旋律聲調治療」(Melodic Intonation Therapy)可以有效令失語症(aphasia)病人痊癒，恢復他們的說話能力(Belin et al., 1996)。

除了人知性的發展外，音樂對人的行為和情緒都有明顯的影響。大量研究指出西方古典音樂能有效去舒緩人的情緒(Chebat, Gelinas-Chebat & Filiatraut, 1993)及心理壓力(Harrer & Harrer, 1978)，令人保持心理平衡(Ridgeway, 1976)，使人放鬆9(Standley, 1995)，減低焦慮和壓力(Rider, 1987; Knight & Rickard, 2001; Chafin et al, 2004; BMJ, 2005)，減低挫敗感，減輕反叛、作對及反社會行為(Steele, 1968; Jorgensen, 1974)，並且能調節呼吸、脈搏、血壓和心跳(Harrer & Harrer, 1978；Standley, 1995)，舒緩身體不適、痛楚和對死亡的恐懼感(Standley, 1995)，治療人的身心協調、情緒及心理問題(Harrer & Harrer, 1978)。在校車內播放音樂也能減少學生在校車內的頑皮行為(McCarty, 1978)。另一方面，音樂可以提升人正面的情緒和決定能力(Crozier, 1997)，增強心理衛生與免疫力(Charnetski & Brennan, 1998; Blackwell, 2006), 對心臟病、中風的好轉有幫助(BMJ, 2005)，減低在手術室前等候的焦慮(Updike & Charles, 1987)，提增自我形像、社交能力和人際關係(Standley, 1995)。音樂能提升自閉症兒童的情緒發展(Molnar-Szakascs, 2008)。

III. 鋼琴音樂的功能

鋼琴一直以來都是西方正統音樂的主要樂器，亦有大量研究顯示彈奏鋼琴對人的腦部發展有莫大的裨益。

學齡前的孩子分別接受八個月的鋼琴、唱歌、計算機課或沒有上任何訓練課，發現只有上鋼琴課的一組在空間─時間推理上有明顯進步，而空間─時間推理對學生學習數學和科學尤為重要(Rauscher et al, 1996)。六歲的孩子接受完九個月每周一次的鋼琴課，他們的智商積分比未上鋼琴課前增加了七分，比戲劇組和無訓練組平均多了2.7分 (Schellenberg, 2004)。七歲之前學習鋼琴的音樂家，他們在左右腦中間連接左右腦的大腦並胝體的神經纖維比一般的粗了12%，大腦神經中樞的網絡會重新連結 (Sharon, 1996)。研究又以小二學生為對像，讓他們接受為期六個月每周一次的鋼琴課，發現鋼琴學習能提高人腦袋的空間─時間推理，在拼圖測驗上多得分數34%，而空間─時間推理對學生學習數學和科學都十分重要(Graziano et al, 1997)。另一批小二學生接受為期四個月每周一次的鋼琴課，發現鋼琴學習能提高人腦袋的空間─時間推理或是對像在空間與時間的轉換和對像的形像化，他們在比例數學和分數測驗卷上的積分比起學英語科或沒有學習鋼琴或英語科的高了27%(Graziano et al, 1999)。十至十一歲的學生學習了鋼琴兩年，他們在言語、數學，尤其是空間感比沒有學習鋼琴的學生明顯進步(Costa-Giomi, 1997)。

青少年時期前學習鋼琴的鋼琴家，他們的腦部有較大的空間去容納手指的感知能力，人的手指更靈活及手眼協調能力更佳(Sandra, 1995)。研究人員檢視29個彈了鋼琴15至21年而當時亦有每星期練琴10至40小時的人士和13個沒有鋼琴技能的二十多歲人士的腦部聽覺區，發現曾接受早期鋼琴教育的人，他們的抽象思維技巧及與數學科和科學有關的空間─時間推理得到提高，比起從計算機學科得到的提高還要高，能增強人的心智、改善大腦的認知結構(Pantev et al, 2007)。

另一研究指出學習了鋼琴三年的學生比沒有學習鋼琴的學生有較佳的自尊(Costa-Giomi, 1999)。

IV. 非正統音樂的負面影響

反過來說，「非正統」的文化會帶來人心的敗壞，對成長起負面影響(Brown & Hendee, 1993)。有很多研究指出流行曲或搖滾樂會「擾亂大腦運作、使人學習效率下降、思考能力減退、(精神)緊張、(做事)容易犯錯」(注五十一)，又會打亂身體的自然節奏，令心靈空虛和有反社會(Roe, 1985 & 1987)、反叛(Bleich, Zillmann & Weaver, 1991; Robinson, Weaver & Zillmann, 1996)、反道德、反社會行為與傾向接受暴力(Hansen & Hansen, 1990)，追求感觀刺激(Zuckerman, 1979; Dollinger, 1993)，向學心較差與容易接受暴力(Johnson, Jackson & Gatto, 1995)，容易濫用藥物(King, 1988; Arnett, 1911)，引致學校成績低落、學校行為問題、性行為增多、吸毒、酗酒與被逮捕次數增多(Took & Weiss, 1994)，且有危險駕駛、進行不負責任性行為和高賣(Arnett, 1991)等行為，衝擊著正統音樂對人、社會及整個世界走向和諧、美好的價值觀。

V. 西方古典音樂對動植物的影響

Maya Pines讓實驗室的動物聽了巴洛克音樂，它們減慢腦波和身體的節奏，從而加倍了它們的學習速度(Menezes, 2008)。聽了搖滾樂的植物生長得非常高，但不健康，枝葉低垂，伸延遠離音樂，甚至16天內就死去；植物則較喜歡巴赫的音樂(Retallack, 1973)。母雞聽了古典音樂會多生一些雞蛋，乳牛生產多一些牛乳，麥子長得更快，老鼠走完隧道選擇去播放巴赫音樂的八音盒而不選擇去播放搖滾音樂的八音盒(O』Donnell, 1999)。聽了莫扎特鋼琴奏鳴曲K.448的老鼠比聽了微毛抽象派音樂、白噪音或沒有聽任何聲音的老鼠較快和以較少錯誤去完成走迷宮 (Rauscher, 2007)。聽了搖滾樂的老鼠自相殘殺，而聽莫扎特音樂的老鼠則沒有這樣做；聽了搖滾樂的老鼠在走迷宮的測試中比原來多用了20分鐘來完成後期測試，沒有聽任何音樂的老鼠少用了5分鐘，而聽莫扎特音樂的老鼠則更少用了8.5分鐘(Merrill, 2008)。

VI. 巴洛克、古典樂派和浪漫派音樂對人的影響

巴洛克音樂能提高人學習外語(McMaster, 2007)、數學和其它主要學科的能力(Inglish, 2008)。每分鐘50至80拍的巴洛克音樂更能令人達致高度專注，慢板巴洛克音樂且能刺激創作力(林珍如等譯，1999)。慢速度一分鐘約55-65拍的巴洛克協奏曲最適宜用作音樂治療，這類音樂能降低血壓、減慢心跳、減低快速的beta腦波6%、增快放鬆的alpha腦波6%，在數分鐘內刺激左右腦協作力，使心智平靜而又能令腦部有更大的能量活動(Menezes, 2000)。人聆聽一分鐘60拍的巴洛克音樂能令人加強心智活動、減慢身體節奏至與音樂同步，從而使人學習得更有效率，用以往一半的時間就能掌握到繪圖技巧、減輕壓力以致令駕車者減低緊張心情、減少人酗酒和抽香菸的習慣(Menezes, 2000)。Lind Institute推廣慢板的巴洛克音樂來讓人鬆弛，以快板的巴洛克音樂激化腦部細胞，使人以最大的能量和生產力去工作、學習、思考和活動 (Harvey, 1997)。人聆聽巴洛克音樂一段時間後可以睡得深沉，從而減少睡眠時間(Menezes, 2000)。克裡夫蘭聖路家醫院(Cleveland St. Luke Hospital)醫生讓病人聆聽巴洛克音樂，以減少病人服食止痛藥(Menezes, 2000)。古典樂派音樂能增強人的專注力和記憶力(林珍如等譯，1999)。浪漫派音樂能提升人的感官能力和同情心與愛的感悟力(林珍如等譯，1999)。

VII. 巴赫、莫扎特、貝多芬和蕭邦的音樂對人的影響

巴赫音樂能刺激人腦部功能、增進學習能力、創作力和專注力(林珍如等譯，1999； Sarkamo, 2008)、穩定情緒(Sarkamo, 2008)，並帶給人高尚的情操和對神的敬仰(林珍如等譯，1999)。George Lozanov博士採用一分鐘60拍包括巴赫的巴洛克音樂來增進聽覺記憶力，改善記憶力最低達25%(Lozanov, 2008)。

莫扎特的音樂能增進人智能發展、改善人的認知能力(Shaw, 2000; Hughes, 2001; Jausovec et al, 2004, 2006; Lahiri, 2007)、記憶力(林珍如等譯，1999)、專注力(林珍如等譯，1999；Ho et al, 2007; Zhu et al, 2008)、視覺腦部活動(Norbert & Habe, 2004)及空間─時間推理能力(Rauscher et al, 1993; Rauscher et al, 1995; Wilson & Brown, 1997; Johnson et al, 1998; Jausovec et al, 2007)。George Lozanov博士採用一分鐘60拍包括巴赫在內的巴洛克及莫扎特的音樂來活化學生的左右腦，以刺激學生學習外語的能力，一天能學習到近1000個字或詞組，記憶率達92%，30天內就成功地使學生增進學習效率85-100%，四年後仍記憶到近100%(O』Donnell, 1999)。

貝多芬的音樂能刺激人的腦細胞發展，增強左右腦互動功能(Azar, 2008)。聆聽了三個月貝多芬音樂的早期中風病人在文字記憶上達60%的進步、17%的專注力改善，聆聽有聲書本在文字記憶上得18%的進步、甚麼也沒有聽的有29%的進步，聆聽貝多芬音樂對活化腦細胞、腦細胞重新生長神經纖維網絡、以及人的認知能力和防止負面情緒都有裨益(Sarkamo, 2008)。

蕭邦的音樂增進人的感官能力和同情心與愛的感悟力(林珍如等譯，1999)。
莫扎特、巴哈、貝多芬和蕭邦的音樂都能令癲癇症病人減少發作(Hughes, 2002; Lahiri & Duncan, 2007)。貝多芬、巴哈、莫扎特和蕭邦的音樂比時代曲、搖滾樂更能令水結出完美的結晶(長安靜美譯，2002、2004)。

VIII. 尾聲

由此觀之，正統音樂確能令人修心養性，帶給人們身心靈健康，使人、社會及世界起到正本清源、靜化人心靈的力量，為人類帶來美好的生活。再者，正統音樂乃為「神傳文化」，來自神的啟示和恩賜，能與天地共融。今次「新唐人電視台」舉辦了「全球華人鋼琴大賽」可謂功德無量，將人類正統音樂的精粹顯現人間舞台，對鋼琴有一定造詣和修養的華人不容錯過，應該踴躍參加。

戊. 提供作品演繹方向

有研究指出鋼琴家演奏的樂曲能令人感動，而同一首樂曲由計算機奏出就達不到同樣效果(Koelsch, 2008)，正如匈牙利音樂家兼音樂教育家高大宜(Zoltan Kodaly, 1882-1967)所謂：「音樂正是人類精神的彰顯」(Brest, 2007)。正面的音樂會引起聆聽者正面的情緒，能令人在解決社交問題時作出正面的決定(Bryan, 1998)。

要演繹好巴赫、莫扎特、貝多芬及蕭邦的參賽作品，是一件相當考工夫的事。首先，參賽者就得像巴赫、莫扎特、貝多芬及蕭邦一樣，「對鋼琴熱愛，能委身式練習，建立到高水平的鋼琴技巧」(注五十二)，才能讓自己隨心去彈奏好這些作品，巴赫是管風琴家、古鋼琴家和大鍵琴家，莫扎特是古鋼琴家、大鍵琴家和鋼琴家，貝多芬及蕭邦是鋼琴家，他們都是演奏─作曲家(pianists-composers)。另一位同期浪漫派作曲家費力克斯.門德爾頌(Bartholdy Felix Mendelssohn, 1809-1849)認為蕭邦的鋼琴演奏「基本上有些東西很個人，同時造詣亦那麼精湛，可以稱得上是一個真正完美無瑕的鋼琴大師，」(注五十三)，因此，擁有高水平的鋼琴演奏技巧實在是在所難免。

高超的鋼琴技巧之後，就是要把握好各作曲家的創作風格、作品特色及背景，正如貝多芬所說，演奏家要將整首樂曲「同本質地、作為一個統一的實體，呈現出一個思考周詳的作品」的方式來演繹(注五十四)，才能將作曲家「寫作」樂曲的精神表達出來。這些仍然是基本層次，是對演奏者的初步要求，這些技巧可以從書本及偉大的演奏家的錄音或錄像數據中揣摩得到。演奏樂曲時，演奏家與音樂「融為一體」，研究發現可以將人類細胞蛋白質轉換成古典音樂(Takahashi & Miller, 2007)，由此推論當人聆聽和演奏音樂的時候，人的細胞會「吸收」音樂而建立與音樂融為一體的形像，因此，當演奏家演奏的時候，他一定是「整個人」去演奏，平日多聆聽高質量的音樂尤為重要。蕭邦被稱為「鋼琴詩人」，意謂他比任何人都了解鋼琴(注五十五)，喬治桑這樣子去描述蕭邦的鋼琴演奏技巧：「他能夠使聽眾的情緒陷入至喜或至憂傷的深淵，因為他的音樂能夠緊抓著人的靈魂」(注五十六)，由此觀之，演奏者借著樂曲彈奏出的樂音要能夠緊控制著人的情緒、緊抓著人的心靈，這樣才算演繹好樂曲，才能成為「具說服力的鋼琴家」(注五十七)。

再者，演奏者的素質，如個人的品德修養、文化素質與外在、內在修為都影響到樂曲的演繹水平，蕭邦演奏鋼琴時就會「將你(他)整個靈魂放進音樂裡，用你(他)感覺到的方式去演奏」(注五十八)，難怪有研究發現「音樂就是心智的一面鏡子」(注五十九)，上好的音樂能觸動人的心靈深處。再進一步深入去看，這些作品都有「神傳」的內涵，依本人經驗，演奏者要表達到樂曲的「神萃」，就要栽種出純真、善良、堅忍的心靈，還要培養到「與神同在」的心境。在此，再一次表達本人對是項比賽的支持，希望以後主辦機構經常都會舉辦類似比賽，順祝各參賽者為大賽的準備一切順利，且在大賽中有出色的表現，並祝今次比賽圓滿結束，收到預期的理想效果。

己. 終曲

本人對音樂作了多年的探討，認為音樂，包括西方古典音樂和中國傳統音樂，都有「神傳」的文化根基，開辦了「香港弱能、健全、資優兒童音樂、教養家庭」十多年，教導了學生鋼琴這麼多年，已建立到一套有系統的鋼琴教學模式，在短短的數年間栽培到十一、十二歲學生考獲英國皇家音樂學院鋼琴演奏級文憑，相等於音樂學院或大學音樂系主修鋼琴的學生的鋼琴水平，除了增進他們的鋼琴造詣外，我也從演繹「神傳音樂」這方面去教導學生，雖然要以地上的樂器來演繹「天上」的「神曲」是非常困難，甚至是一件不可能的事，但教學生去演繹樂曲時，仍儘量以「神韻」的境界去引領他們，同時也會引導學生在行為操守上朝著「真、善、忍」的方向邁進，期望學生能真正彈奏出樂曲的「神萃」。

在撰寫本文途中，適逢八月二十三日，本宅花園鋼閘上開了42朵優曇婆羅花，至今優曇婆羅花仍盛放。據佛經記載：優曇婆羅花乃靈瑞之花，《法華文句》四上記載：「優曇花者，此言靈瑞。三千年一現，現則金輪王出。」《慧琳音義》卷八載明：「優曇婆羅花為祥瑞靈異之所感，乃天花，為世間所無，若如來下生、金輪王出現世間，以大福德力故，感得此花出現。」《大般若波羅蜜多經》中又云：「人身無常，富貴如夢，諸根不缺，正信尚難。況值如來得聞妙法，不為稀有如優曇花？」撮意為：優曇婆羅花為祥瑞靈異之花，從天而來，三千年一現於世，自釋迦牟尼佛以降三千零三十五年來從未在世上出現過，至今優曇婆羅花又再盛開，意味金輪聖王出現世間，以大福德普渡眾生。發現優曇婆羅花開當天日曆通勝寫上「宜普度」，希望本文能給予讀者一個啟示，不要錯過這個萬年不遇的機遇，有興趣者請自行從頭至尾閱讀《轉法輪》，從而全面理解其中法理。

注釋：

一. 原文為 「It is the essence of order and leads to all that is good and just and beautiful.」 引自A series of Info-Beliefs about 「the Power of Music in Shaping our Children’s Lives」, Foundation for Universal Music Literacy Research Materials.
二. 原文為：Music was "a gift from God, not a human gift."引自〈http://www.newworldencyclopedia.org/entry/Johann_Sebastian_Bach〉。
三. 原文為：「It (music) is no invention of ours: it is a gift from God."引自A series of Info-Beliefs about 「the Power of Music in Shaping our Children’s Lives」,Foundation for Universal Music Literacy Research Materials.
四. 原文為：「…… according to Christian cosmogony, the Creator animates all things, including music." 「In 『Tonal Allegory in the Vocal Music of J. S. Bach』, Chafe suggests that Bach’s use of the term Symbolum in association with at least one of his canon suggests a metaphoric dimension『permitting us to take the canons as statements about the nature of meaning and the relationship between art and theology』. He writes『Artists of the Baroque period had meanings of expressing basic relationships between art and transcendent meaning.」引自Smith, Timothy A. (1996). Why did Bach write canon? Sojurn. Available at: 〈http://jan.ucc.nau.edu/~tas3/whycanon.html〉.
五. 原文為：「True music」 (is) called 「the recreation of soul."引自 Hurwitz, David (2008). Christoph Wolff: Johann Sebastian Bach: The Learned Musician. Classics Today. Available at:〈http://www.classicstoday.com/features/f1_0900.asp〉.
六. 原文為：「Music is an agreeable harmony for the honour of God and the permissible delight of the soul."引自World of Quotes:Johann Sebastian Bach Quotes. Available at: 〈http://www.worldofquotes.com/author/Johann-Sebastian-Bach/1/index.html〉。
七. 原文為：「Dreyfus believes that the human side of the compositional process is what must interest us about Bach, the sense of intelligence adhering strictly to the rules he considered God-given,……"引自Butt, John (2008). Bach and the patterns of invention by Laurence Dreyfus. Early Music. Available at: 〈http://www.hup.harvad.edu/catalog/DREBAP.html?show=reviews〉.
八. 原文為：「Bach’s harmonic and contrapuntal complexity, his progressive exploration of the most extreme manifestations of musical science as he knew it, offered to him as much evidence of the spiritual reality of God in nature as Newton’s researches."引自 Hurwitz, David (2008). Christoph Wolff: Johann Sebastian Bach: The Learned Musician. Classics Today. Available at:〈http://www.classicstoday.com/features/f1_0900.asp〉.
九. 原文為：「Soli Deo Gloria」―「to the only God be glory."引自 Farstad, Arthur L. (1996). Grace in the art: An evangelical musical genius: 「J. S. B.: S. D. G.」. Journal of the Grace Evangelical Society, Spring, Volume 9: 16. Available at:〈http://www.faithalone.org/journal/1996i/Farstad.html〉.
十. 原文為：「…… I live, with God ever before me. I recognize His omnipotence, I fear His anger; I acknowledge His love, too, His compassion and mercy towards all His creatures, He will never desert Those who serve Him.」這是莫扎特於1777年10月25日在Ausburg給也他的爸爸的一封信，引自Kerst, Fridrich & Krehbiel, Henry Edward (2001). Mozart: The Man and the Artist, as Revealed in His Own Words. No. 244, p. 67. Retrieved Project Gutenberg Etext #4042, May 2003 from〈http://www.gutenberg.org/dirs/etext03/wamma11.txt〉.
十一. 原文為：「I am entirely submissive to the will of God.」這是莫扎特於1777年12月3日在Mannheim給也他的爸爸的一封信，引自Wolfgang Amadeus Mozart(translated by Lady Wallace)(2005). The Letters of Wolfgang Amadeus Mozart, No. 244, p. 67. Retrieved Project Gutenberg Etext #5307, 13th August 2005 from〈http://www.gutenberg.org/dirs/etext04/1wam110.txt〉.
十二. 原文為：「I dare not bury the talent for composition which a kind God gave me in such generous measure.」這是莫扎特於1778年2月7日在Mannheim給他的爸爸的一封信，引自Kerst, Fridrich & Krehbiel, Henry Edward (2001). Mozart: The Man and the Artist, as Revealed in His Own Words. No. 123, p. 40. Retrieved Project Gutenberg Etext #4042, May 2003 from〈http://www.gutenberg.org/dirs/etext03/wamma11.txt〉.
十三. 原文為：「Opinion on Mozart,…… images of the divinely inspired creator, the self taught genius,…….」引自Stewart, Andrew (2006). Wolfgang or Amadeus? Mozart Anniversary. Retrieved from〈http://www.mozartanniversary.com/insight.htm〉.
十四. 原文為：「Once I have my theme another melody comes.」出自Launceston (2006). Our true goal. In Wolfgang Amadeus Mozart: Mozart’s Compositional Process. 引自〈http://www.topix.net/forum/who/wolfgang-amadeus-mozart/TIEGKPB7MEFJAO650〉。
十五. 原文為：「When I am, as it were, completely myself, entirely alone, and of good cheer; say traveling in a carriage, or walking after a good meal, or during the night when I cannot sleep; it is on such occasions that my ideas best and most abundantly. Whence and how they come I know not, nor can I force them. Those ideas that please me, I retain in…… memory, and accustomed, as I have been told, to hum to myself. If I continue in this way, it soon occurs to me, how I turn this or that morsel to account, so as to make a good dish of it, that is to say, agreeable to the rules of counterpoint, to the peculiarities of the various instruments,……」 「All this fires my soul, and provided I am not disturbed, my subject enlarges itself, becomes methodized and defined, and the whole, though it be long, stands almost finished and complete in my mind, so that I can survey it, like a fine picture or a beautiful statue, at a glance. Nor do I hear in my imagination the parts successively, but I hear them, as it were, all at once…… When I proceed to write down my ideas, I take out of the bag of my memory, if I may use that phrase, what has previously been collected into it, in the way I have mentioned. For this reason, the committing to paper is done quickly enough, for everything is, as I said before, already finished; and it rarely differs on paper from what it was in my imagination」這封莫扎特的信件被部份學者質疑其真確性，它於1815年被出版家Friedrich Rochlitz刊登在Allgemeine Musikalische Zeitung。引自 Neal Zaslaw(1997).Der neue Kochel. Mozart Society of America Newsletter, Volume 1, Number 1, 27 January；或〈http://www.mozartquartet.com/article2.html〉。
十六. 原文為：「My room that I』m moving to is being prepared;?I』m just off now to hire a keyboard, because I can』t live there until that’s been delivered especially as I』ve go to write just now, and there isn』t a minute to be lost.」這是莫扎特於1781年8月1日在維也納給他的爸爸Leopold的一封信，引自〈http://www.wikipedia.org/wiki/Mozart’s_compositional_method〉.
十七. 原文為：「You know that I immerse myself in music, so to speak―that I think about it all day long―that I like experimenting―studying―reflecting.」這是莫扎特於1778年7月31日在巴黎給也他的爸爸的一封信，引自〈http://www.wikipedia.org/wiki/Mozart’s_compositional_method〉和Wolfgang Amadeus Mozart(translated by Lady Wallace)(2005). The Letters of Wolfgang Amadeus Mozart, No. 110, pp. 163-169. Retrieved Project Gutenberg Etext #5307, 13th August 2005 from〈http://www.gutenberg.org/dirs/etext04/1wam110.txt〉.
十八. 原文為：「The reality of Mozart’s creative approach is,…… Hard graft by modern scholars has shown that Mozart’s works were the product of hard graft. Divine inspiration may have played its part, but surviving sketches, revised versions of pieces and passages in letters suggest that there was no shortage of perspiration involved in his compositional process.」引自Stewart, Andrew (2006). Wolfgang or Amadeus? Mozart Anniversary. Retrieved from〈http://www.mozartanniversary.com/insight.htm〉.
十九. 原文為：「I shall conclude, for I must now write with all speed; the composing is finished, but not the writing out.」這是莫扎特於1780年12月30日在慕尼黑給他的爸爸的一封信，引自Wolfgang Amadeus Mozart(translated by Lady Wallace)(2005). The Letters of Wolfgang Amadeus Mozart, No. 137, pp. 222-223. Retrieved Project Gutenberg Etext #5307, 13th August 2005 from〈http://www.gutenberg.org/dirs/etext04/1wam110.txt〉.
二十. 原文為：莫扎特的音樂 "was so pure that it seemed to have been ever-present in the universe, waiting to be discovered by the master." 引自 Arthur I. Miller, "A Genius Finds Inspiration in the Music of Another," New York Times, January 31, 2006。
二十一. 原文為：「Music is a higher revelation than all wisdom and philosophy.」這是貝多芬於1810年給Bettina von Arnim的評論，引自Karen Menezes, Baroque Music, 23 June 2000〈http://members.tripod.com/k_menezes/baroque.htm〉，與Friedrich Kerst 及 Henry Edward Krehbiel編輯，Project Gutenberg Etext #3528 Beethoven: The Man and the Artist as Revealed in His Own Words by Ludwig van Beethoven, No. 7, p. 12, 〈http://www.gutenberg.org/dirs/etext02/Ivbma11.txt〉。
二十二. 原文為：「I know however, that God is nearer to me than others. I go without fear of Him. I have constantly recognized and understood Him.」 引自〈http://www.newworldencyclopedia.org/entry/Beethoven〉和Friedrich Kerst 及 Henry Edward Krehbiel編輯，Project Gutenberg Etext #3528 Beethoven: The Man and the Artist as Revealed in His Own Words by Ludwig van Beethoven, No. 80, p. 26, 〈http://www.gutenberg.org/dirs/etext02/Ivbma11.txt〉。
二十三. 原文為：In another letter to the Grand Arch Duke Rudolf, the composer wrote, 「Nothing higher exists than to approach God more than other people, and from that to extend His glory among humanity.」引自〈 http://www.newworldencyclopedia.org/entry/Beethoven〉。
二十四. 原文為：「In praise of Thy goodness I must confess that Thou didst try with all Thy means to draw me to Thee.」這是從Sturm的日記簿〈關於神在大自然作工的觀察〉(Observations Concerning the Works of God in Nature)抄錄下貝多芬的說話。引自Friedrich Kerst 及 Henry Edward Krehbiel編輯(11/2002)，Project Gutenberg Etext #3528 Beethoven: The Man and the Artist as Revealed in His Own Words by Ludwig van Beethoven, No. 323, p. 61, 〈http://www.gutenberg.org/dirs/etext02/Ivbma11.txt〉。
二十五. 原文為：「…… for art and science only cab raise man to godhood.」這是貝多芬於1812年7月17日在Teplitz寫給Emilie M. in H.的信件。引自Friedrich Kerst 及 Henry Edward Krehbiel編輯(11/2002)，Project Gutenberg Etext #3528 Beethoven: The Man and the Artist as Revealed in His Own Words by Ludwig van Beethoven, No. 4, p. 11, 〈http://www.gutenberg.org/dirs/etext02/Ivbma11.txt〉。
二十六. 原文為：「…… Then the loveliest themes slipped out of your eyes into my heart, themes which shall only then delight the world when Beethoven conducts no longer.」這是貝多芬於1812年8月15日寫給Bettina von Arnim的信件。引自Friedrich Kerst 及 Henry Edward Krehbiel編輯(11/2002)，Project Gutenberg Etext #3528 Beethoven: The Man and the Artist as Revealed in His Own Words by Ludwig van Beethoven, No. 32, p. 17, 〈http://www.gutenberg.org/dirs/etext02/Ivbma11.txt〉。
二十七. 原文為：「I always have a picture in my mind when composing, and follow its lines.」這是貝多芬在Baden於1815年告訴給Neate，當Neate問貝多芬有關〈田園交響曲〉(Pastoral Symphony)的創作。引自Friedrich Kerst 及 Henry Edward Krehbiel編輯(11/2002)，Project Gutenberg Etext #3528 Beethoven: The Man and the Artist as Revealed in His Own Words by Ludwig van Beethoven, No. 33, p. 17,〈http://www.gutenberg.org/dirs/etext02/Ivbma11.txt〉。
二十八. 原文為：「Does he believe that I think of a wretched fiddle when the spirit speaks to me?」這是貝多芬寫給小提琴家Schuppanzigh的信件，回復他有關他投訴貝多芬一首小提琴曲十分難奏的事。引自Friedrich Kerst 及 Henry Edward Krehbiel編輯(11/2002)，Project Gutenberg Etext #3528 Beethoven: The Man and the Artist as Revealed in His Own Words by Ludwig van Beethoven, No. 39, p. 18,〈http://www.gutenberg.org/dirs/etext02/Ivbma11.txt〉。
二十九. 原文為：「In order to become a capable composer one must have already learned harmony and counterpoint at the age of from seven to eleven years, so that when the fancy and emotions awake one shall know what to do according to the rules.」這是Schindler在維也納一份報章的報告，Schindler 評論貝多芬到維也納的時候只懂少許和聲，根本不懂對位法。引自Friedrich Kerst 及 Henry Edward Krehbiel編輯(11/2002)，Project Gutenberg Etext #3528 Beethoven: The Man and the Artist as Revealed in His Own Words by Ludwig van Beethoven, No. 46, p. 19,〈http://www.gutenberg.org/dirs/etext02/Ivbma11.txt〉。
三十. 原文為：「I must accustom myself to think out at once the whole, as soon as it shows itself, with all the voices, in my head.」這是貝多芬於1815在草稿本寫的筆記，他當時正在寫序曲Egmont和降B三重奏作品97中。引自Friedrich Kerst 及 Henry Edward Krehbiel編輯(11/2002)，Project Gutenberg Etext #3528 Beethoven: The Man and the Artist as Revealed in His Own Words by Ludwig van Beethoven, No. 53, p. 20,〈http://www.gutenberg.org/dirs/etext02/Ivbma11.txt〉。
三十一. 原文為：「I carry my thought about me for a long time, often a very long time, before I write them down; meanwhile my memory is so faithful that I am sure never to forget, not even in years, a theme that has once occurred to me. I change many things, discard, and try again until I am satisfied. Then, however, there begins in my head and the development in every direction, and, in as much as I know exactly what I want, the fundamental idea never deserts me,…… it arises before me, grows,…… I see and hear the picture in all its extent and dimensions stand before my mind like a cast, and there remains for me nothing but the labour of writing it down, which is quickly accomplished when I have the time, for I sometimes take up other work, but never to the confusion of one with the other.」「You will ask me where I get my ideas. That I cannot tell you with certainty; they come unsummoned, directly, indirectly,……I could seize them with my hands,…… out in the open air; in the woods; while walking; in the silence of the nights; early in the morning; incited by moods, which are translated by the poet into words, by me into tones that sound, and roar, and storm about me until I have set them down in notes.」這是貝多芬於1822-1823年向他一位年輕作曲家朋友Louis Schlosser說的。引自Friedrich Kerst 及 Henry Edward Krehbiel編輯(11/2002)，Project Gutenberg Etext #3528 Beethoven: The Man and the Artist as Revealed in His Own Words by Ludwig van Beethoven, No. 54, p. 20,〈http://www.gutenberg.org/dirs/etext02/Ivbma11.txt〉。
三十二. 原文為：「Ah! It seemed impossible for me to leave the world until I had produced all that I felt upon to produce; and so I prolonged this wretched existence. 」這是貝多芬在Heiligenstadt Will中留下的字句。引自Friedrich Kerst 及 Henry Edward Krehbiel編輯(11/2002)，Project Gutenberg Etext #3528 Beethoven: The Man and the Artist as Revealed in His Own Words by Ludwig van Beethoven, No. 234, pp. 49-50,〈http://www.gutenberg.org/dirs/etext02/Ivbma11.txt〉。
三十三. 原文為：「God, who knows my innermost soul, and knows how sacredly I have fulfilled all the duties but (put) upon me as man by humanity, God and nature will surely some day relieve me from these afflictions.」這是貝多芬於1821年7日18日在Unterubling寫給Rudolph大公爵。引自Friedrich Kerst 及 Henry Edward Krehbiel編輯(11/2002)，Project Gutenberg Etext #3528 Beethoven: The Man and the Artist as Revealed in His Own Words by Ludwig van Beethoven, 〈http://www.gutenberg.org/dirs/etext02/Ivbma11.txt〉。
三十四. 原文為：「Freedom,…… progress, is the art-world as in universal creation,……」這是貝多芬於1819年7日29日在Middling寫給Rudolph大公爵的信件。引自Friedrich Kerst 及 Henry Edward Krehbiel編輯(11/2002)，Project Gutenberg Etext #3528 Beethoven: The Man and the Artist as Revealed in His Own Words by Ludwig van Beethoven, No. 249, p. 51,〈http://www.gutenberg.org/dirs/etext02/Ivbma11.txt〉。
三十五. 原文為：「Only in the divine art is the lever which gives me power to sacrifice the best part of my life to the celestial muses.」這是貝多芬於1824年9日9日在Zurich寫給George Nigeli的信件。引自Friedrich Kerst 及 Henry Edward Krehbiel編輯(11/2002)，Project Gutenberg Etext #3528 Beethoven: The Man and the Artist as Revealed in His Own Words by Ludwig van Beethoven, No. 187, p. 43,〈http://www.gutenberg.org/dirs/etext02/Ivbma11.txt〉。
三十六. 原文為：Christoph Wolff在Johann Sebastian Bach: The Learned Musician一書中指出巴赫「…… belief in God as creator and the perfection of God’s creation were central…… the theme of music being an intermediary between God and the reality of this world……」「…… Mozart’s ability to hear a piece once and then write it all down perfectly; Beethoven’s seemingly unending power to improvise pieces at the keyboard that many witnesses swear were finer than the ones he wrote down……」。引自Said, Edward (2001). Cosmic ambition. London Review of Books. 19 July,〈http://www.lrb.co.uk/v23/n14/said01_.html〉。
三十七. 原文為：「Bach gave us God’s word. Mozart gave us God’s laughter. Beethoven gave us God’s fire. God gave us Music that we might pray without words.」引自A series of Info-Beliefs about 「the Power of Music in Shaping our Children’s Lives」, Foundation for Universal Music Literacy Research Material.
三十八. 資料來自Chronology of Chopin’s Life, Chopin World - A Bravenet.com Hosted Site，〈http://gonechopin.bravehost.com/evenmoreinfo.html〉。
三十九. 原文為：「His creation was spontaneous, miraculous. He found it without searching for it, without foreseeing it. It came to his piano suddenly, complete, sublime, or it sang in his head during a walk, and he would hasten to hear it again by, tossing it off on his instrument. But then would begin the most heartbreaking labor I have ever witnessed. It was a series of efforts, indecision, and impatience to recapture certain details of the theme he had heard: what had come to him all of a piece, he now over-analyzed in his desire to write it down, and his regret at not finding it again "neat," as he said, would throw him into a kind of despair. He would shut himself up in his room for days at a time, weeping, pacing, breaking his pens, repeating and changing a single measure a hundred times, writing it and effacing it with equal frequency, and beginning again the next day with a meticulous and desperate perseverance. He would spend six weeks on one page, only to end up writing it just as he had traced it in his first outpouring.」引自Chopin’s Compositional Process: From Piano to Public〈http://www.chopin.pl/biografia/prtw_en.html#6〉。
四十. 原文為 「His genius was filled with the mysterious sounds of nature, but transformed into sublime equivalents in musical thought, and not through slavish imitation of the actual external sounds.」上文為蕭邦本人敘述自己創作鋼琴協奏曲作品編號11的過程，引自Chopin Quotes, Chopin World?A Bravenet.com Hosted Site，〈http://gonechopin.bravehost.com/preludes.html〉。
四十一. 原文為 「As something has involuntarily crept into my head through my eyes, I love to indulge it, even though it may be all wrong.」上文為喬治桑描述蕭邦創作《雨滴前奏曲》、A小調、E小調或B小調等前奏曲的過程，引自Chopin Quotes, Chopin World - A Bravenet.com Hosted Site，〈http://gonechopin.bravehost.com/quotes.html〉。
四十二. 原文為 「There are certain times when I feel more inspired, folled with a strong power that forces me to listen to my inner voice.」引自Chopin Quotes, Chopin World - A Bravenet.com Hosted Site，〈http://gonechopin.bravehost.com/quotes.html〉。
四十三. 資料來自Heart of Genius, Chopin World?A Bravenet.com Hosted Site，〈http://gonechopin.bravehost.com/heart of genius.html〉。
四十四. 原文見於《舊約聖經》《但以利書》第三章第十節：王啊！你曾降旨說：「凡聽見角、笛、琵琶、琴、瑟、笙和各樣樂器聲音的，都當俯伏敬拜金像。」英文版本見於The Old Testament Daniel 3:10 「You, O King, have made a decree, that everyman that shall hear the sound of the cornet, flute, harp, sackbut, psaltery, and dulcimer, and all kinds of music, shall fall down and worship the golden image.」
四十五. 資料來自Encyclopedia Smithsonian: Hammer Dulcimer: History and Playing. 〈http://www.si.edu/Encyclopedia_SI/nmah/hdhist.htm〉。
四十六. 資料來自The Dulcimer. 〈http://www.music.iastate.edu/antiqua/dulcimer.htm〉。
四十七. 資料來自Virtual Piano Museum-Evolution of the piano.〈http://www.concertpitchpiano.com/Evolution.html〉。
四十八. 資料來自Chopin World?A Bravenet. com Hosted Site，〈http://gonechopin.bravehost.com/evenmoreinfo.html〉。
四十九. 原文引自〈http://www.newworldencyclopedia.org/entry/Authenticity〉。
五十. 原文為 「It occurred to me by intuition, and music was the driving force behind that intuition. My discovery was the result of musical perception.」 引自A series of Info-Beliefs about 「the Power of Music in Shaping our Children’s Lives」, Foundation for Universal Music Literacy Research Materials.
五十一. 謝家安《開啟您的智慧》第97-98頁中提及Steven Halpern的研究。
五十二. 原文為：「Chopin’s initiative turned into a passion for the piano.」「Obviously, by his dedicated practice and quick mastery of his piano, Chopin could hardly have felt a sense ofinadequacy.」這是Chopin World的作者對蕭邦鋼琴演奏技巧的評論，引自A Psychoanalysis of Frederic Chopin, Chopin World?A Bravenet.com Hosted Site，〈http://gonechopin.bravehost.com/ Psychoanalysis.html〉。
五十三. 原文為：「There is something fundamentally personal and at the same time so very masterly in his playing that he may be called a really perfect virtuoso.」這是門德爾頌對蕭邦鋼琴演奏技巧的評論，引自Quotes about Chopin, Chopin World?A Bravenet.com Hosted Site，〈http://gonechopin.bravehost.com/quotesabout.html〉。
五十四. 原文為：「…… When the true pianoforte virtuosi played it was always something homogeneous, an entity; it could be transcribed and then it appeared as a well thought-out work. That is pianoforte playing; the other is nothing.」這是貝多芬於1814年10月與Tomaschek的對話，引自Friedrich Kerst 及 Henry Edward Krehbiel編輯(11/2002)，Project Gutenberg Etext #3528 Beethoven: The Man and the Artist as Revealed in His Own Words by Ludwig van Beethoven, No. 62, pp. 23-24,〈http://www.gutenberg.org/dirs/etext02/Ivbma11.txt〉。
五十五. 資料來自Frederic Chopin?Poet of the Piano, Chopin World?A Bravenet.com Hosted Site，〈http://gonechopin.bravehost.com/evenmoreinfo.html〉。
五十六. 原文為：「He was able to plunge his audience into profund bliss or into an abyss of sadness, as his music gripped one’s soul…….」這是喬治桑描述她的男朋友蕭邦的鋼琴演奏技巧，引自Chopin World?A Bravenet.com Hosted Site，〈http://gonechopin.bravehost.com/evenmoreinfo.html〉。
五十七. 原文為：「Chopis is a pianist of conviction.」這是《法國音樂雜誌》(La France Musicale)對蕭邦鋼琴演奏技巧的評論，引自Quotes about Chopin, Chopin World?A Bravenet.com Hosted Site，〈http://gonechopin.bravehost.com/evenmoreinfo.html〉。
五十八. 原文為：「Put all your soul into it. Play the way you feel.」引自Chopin Quotes, Chopin World - A Bravenet.com Hosted Site，〈http://gonechopin.bravehost.com/quotes.html〉。
五十九. 原文為「Music: Mirror of the Mind」，引自American Physical Society (2007, June 15). Music: Mirror of the Mind. ScienceDaily. Retrieved August 11, 2008, from 〈http://www.sciencedaily.com/releases/2007/06/070614084241.htm〉。

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