我看“全世界华人钢琴大赛”(下)

丁. 弘扬西方正统音乐文化

I. 前奏

本人认为“新唐人电视台”希望通过是次“全世界华人钢琴大赛”向世人宏扬西方正统文化。

西方古典乐曲被认为是西方正统音乐文化，而巴赫、莫扎特、贝多芬及肖邦等伟大的作曲家更是正统音乐文化的佼佼者。“正统”(Authenticity) (的文化)的意义，根据《新世界百科全书》(The New World Encyclopedia)的解释，一定是纯真、原创的，能反映人性真纯的本质，建立在人与神的关系上，维系于一套道德标准，涉及到文化内涵、人民惯性生活模式及思考常规，会带给人们美好的生活(注四十九)。巴赫、莫扎特、贝多芬及肖邦的音乐既符合“原创”的条件、且建立在作曲家“与神的关系”上，已经融入了西方人民的“生活”及“思维”数百年而不衰，已“带给人民美好的生活”。

II. 西方古典音乐的功能

爱因斯坦(Albert Einstein)(1879-1955)被问及他如何构思出“相对论”时，他这样响应：“它(相对论)从直觉而来，直觉背后的推动力是音乐，我的发现是音乐知觉的结果”(注五十)。

大量研究指出西方古典音乐能增進脑部功能(Leng & Shaw, 1991; Black, 1997; Schlaug, 2001; Trainor, 2006)和加速左右脑的神经交往(Bever & Chiarello, 1974)，提升的范围包括智能(Blackwell, 2006; Trainor, 2006)、认知、模仿和轮次(Bunt, 1994)、推理和专注(Stratton & Zalanowski, 1984, Bunt, 1974)、文字记忆(Trainor, 2006)、语言(Trainor, 2006; Musacchia et al, 2007)、发声(Bunt, 1994)、阅读(Leng, 1985)、数学(Leng, 1985; Trainor, 2006)、视觉空间感(Trainor, 2006)、空间感-推理(Rauscher, Gordon & Katherine, 1995; 林珍如等译，1999；Brown, 1997)、肢体协调、听觉接收与眼球肌肉的协调(Richards, 1968)等能力。

儿童借着音乐聆听可以额外为脑部增生神经元 (Inglish, 2008)、提升智商(Inglish, 2008)、增進学习数学(Armstrong, 1988; Inglish, 2008)、科学和其他主要学校学科及运用知识的能力(Inglish, 2008)，提高学生专注力、听力与阅读技巧(Roskam, 1979)、文字记忆(Chan, 2003)、学习生字能力(Bygrave, 1995-1996)、算数技巧(Miller, Dorow & Greeter, 1974; Armstrong, 1988)、绘画与语文创作(Inglish, 2008)、和改善过动行为(Scott, 1970)。孩子接受早期音乐训练可以提高脑部能力(Leng & Shaw, 1991; Schlaug & Christian, 2001)，包括发展比例推理的空间感(Graziano, Peterson & Shaw, 1998)。自幼接受正统音乐训练的小学生在阅读(Douglas & Willatts, 1994)、数学、语言、阅读理解、学习动机及专注力上普遍都得到提高(Morison & Barbara, 1986; Spychiger et al, 1993)。接受了为期七个月至一年音乐密集式训练课程的小一学生，他们的阅读程度比其他同班同学高(Hurwitz et al, 1975；Dickson, 1984； Waltrip, 1990)。甚至曾接受音乐胎教的婴儿，他们的专注力、发声以至于模仿人声的能力也较佳(Shelter, 1985)。

参加器乐演奏、乐队或管弦乐团的学生藉此能增進认知能力(Kuffler, 1980)、专注力、记忆力、视力和听力(Mueller, 1984)、知觉、视觉能力、想象力和审美观念(Sinatra, 1986)、手眼协调能力(Wishey, 1980; Mueller, 1984)、脑干对言语声音的敏感度(Kraus, 2007)，学科积分(Kluball, 2000)和学年总平均分(Horne, 1983)也显著提高，计有：数学(Friedman, 1959; Anello, 1972; Miller et al., 1983; Maltester, 1986; Roehmann, 1988; Kluball, 2000; Trent, 2000)、英文和社会科学(Anello, 1972)、语文学科(language arts)(Trent, 2000)、阅读(Friedman, 1959; New York City Board of Education, 1980; Robitaille & O’Neil, 1981; Roehmann, 1988; Catterall, 1997)、语文理解(Carlson, 1985)、写作(Roehmann, 1988)及科学(Kluball, 2000)，加州基本能力测试成绩(California Test of Basic skills) (Robitaille & O’Neil, 1981) 与 SAT积分(Catterall, 1997)等公开考试成绩也得获得提高，另外还提升个人的自尊(Sward, 1989)、成就感、鉴赏力、纪律、乐趣、主动参与感和成熟的人际关系(Brown, 1980 & 1985)。Wilson(1989)更强调只有器乐学习能帮助发展人的脑部动觉系统，非其他活动所能代替，要想全面发展人的脑部，音乐绝对需要。

此外，学生学习阅谱能提升阅读、聆听、预测、记忆、专注和速读等能力(Winston, 1982)。教小学生基本节拍的方式来教分数比传统数学方式来教分数更能使学生100%掌握到分数和数学、科学上的比例观念(Rauscher, 1999)。

除了上述科学实验结果，调查亦有类似发现。1981年，在南加州Mission Viejo中学，音乐学生的平均学年总成绩为3.59分，非音乐学生的平均学年总成绩为2.91分；16%音乐学生的平均学年总成绩达4.0分，而只有 5%非音乐学生的平均学年总成绩达4.0 分(Horn, 1981)。根据College-Bound Seniors National Report (1995), 参与音乐演奏的学生在SAT分数中，文字分数比没有音乐演奏的多51分，数学分数比没有音乐演奏的多39分，而演奏经验超过四年者，文字分数比没有音乐演奏的多59分，数学分数比没有音乐演奏的多44分。2001年，参与音乐演奏的学生在SAT分数中，文字分数比没有音乐演奏的多57分，数学分数比没有音乐演奏的多41分(College Board, 2001)。2002年，参与音乐演奏的学生在SAT分数中，文字分数比没有音乐演奏的多57分，数学分数比没有音乐演奏的多41分；参与音乐聆听的学生在SAT分数中，文字分数比没有音乐聆听的多64分，数学分数比没有音乐聆听的多43分(College Board, 2002)。

1976 年，纽约城市表演艺术学校(New York City School of Performing Arts)有90%毕业生考進初级大学(Kaufman, 1976)。初级大学中的音乐主科生有66%考進医学院，而生化学系主科生只有44%；大学音乐主科生在阅读科上比英文系、生物系、化学系和数学系的主科生考得较佳成绩(Wood, 1994)。

调查且发现学生参加学校音乐活动与学生对学业产生高学习动机(Marshall, 1978; Lillemyr, 1983)、考获优良学业成绩(Lillemyr, 1983)、提高个人自觉(Whitwell, 1977)、建立正面自我形象(Marshall, 1978; Lillemyr, 1983)与培养良好个人自尊(Lillemyr, 1983)有高度相关。学生参加学校音乐活动能提高他们的正面的人生观、正面的个人形象、做事的积极态度、与人共事的合作性、??体性和订定目标的能力 (Eisner, 1987)。

除了主流学生和成人外，即使是有学习困难的学生或成年人，研究亦发现他们在学习过音乐后，他们的认知能力、协调、语言、专注力和记忆力皆有進步(Bunt & Alberman, 1981, Salmon, 1981 & Sutton, 1995)。弱智儿童可以藉音乐来改善适性及过动行为(Lathom, 1964)，年长的弱智病人可以改善到目光专注、专注持久力及发声(Odell, 1995)，严重的弱智成人也可以改善对工作的参与感和手部拿放的能力(Oldfield & Adams, 1995)。利用音乐中的旋律与言语中的声调的“旋律声调治疗”(Melodic Intonation Therapy)可以有效令失语症(aphasia)病人痊愈，恢复他们的说话能力(Belin et al., 1996)。

除了人知性的发展外，音乐对人的行为和情绪都有明显的影响。大量研究指出西方古典音乐能有效去舒缓人的情绪(Chebat, Gelinas-Chebat & Filiatraut, 1993)及心理压力(Harrer & Harrer, 1978)，令人保持心理平衡(Ridgeway, 1976)，使人放松9(Standley, 1995)，减低焦虑和压力(Rider, 1987; Knight & Rickard, 2001; Chafin et al, 2004; BMJ, 2005)，减低挫败感，减轻反叛、作对及反社会行为(Steele, 1968; Jorgensen, 1974)，并且能调节呼吸、脉搏、血压和心跳(Harrer & Harrer, 1978；Standley, 1995)，舒缓身体不适、痛楚和对死亡的恐惧感(Standley, 1995)，治疗人的身心协调、情绪及心理问题(Harrer & Harrer, 1978)。在校车内播放音乐也能减少学生在校车内的顽皮行为(McCarty, 1978)。另一方面，音乐可以提升人正面的情绪和决定能力(Crozier, 1997)，增强心理卫生与免疫力(Charnetski & Brennan, 1998; Blackwell, 2006), 对心脏病、中风的好转有帮助(BMJ, 2005)，减低在手术室前等候的焦虑(Updike & Charles, 1987)，提增自我形象、社交能力和人际关系(Standley, 1995)。音乐能提升自闭症儿童的情绪发展(Molnar-Szakascs, 2008)。

III. 钢琴音乐的功能

钢琴一直以来都是西方正统音乐的主要乐器，亦有大量研究显示弹奏钢琴对人的脑部发展有莫大的裨益。

学龄前的孩子分别接受八个月的钢琴、唱歌、计算机课或没有上任何训练课，发现只有上钢琴课的一组在空间─时间推理上有明显進步，而空间─时间推理对学生学习数学和科学尤为重要(Rauscher et al, 1996)。六岁的孩子接受完九个月每周一次的钢琴课，他们的智商积分比未上钢琴课前增加了七分，比戏剧组和无训练组平均多了2.7分 (Schellenberg, 2004)。七岁之前学习钢琴的音乐家，他们在左右脑中间连接左右脑的大脑并胝体的神经纤维比一般的粗了12%，大脑神经中枢的网络会重新连结 (Sharon, 1996)。研究又以小二学生为对象，让他们接受为期六个月每周一次的钢琴课，发现钢琴学习能提高人脑袋的空间─时间推理，在拼图测验上多得分数34%，而空间─时间推理对学生学习数学和科学都十分重要(Graziano et al, 1997)。另一批小二学生接受为期四个月每周一次的钢琴课，发现钢琴学习能提高人脑袋的空间─时间推理或是对象在空间与时间的转换和对象的形象化，他们在比例数学和分数测验卷上的积分比起学英语科或没有学习钢琴或英语科的高了27%(Graziano et al, 1999)。十至十一岁的学生学习了钢琴两年，他们在言语、数学，尤其是空间感比没有学习钢琴的学生明显進步(Costa-Giomi, 1997)。

青少年时期前学习钢琴的钢琴家，他们的脑部有较大的空间去容纳手指的感知能力，人的手指更灵活及手眼协调能力更佳(Sandra, 1995)。研究人员检视29个弹了钢琴15至21年而当时亦有每星期练琴10至40小时的人士和13个没有钢琴技能的二十多岁人士的脑部听觉区，发现曾接受早期钢琴教育的人，他们的抽象思维技巧及与数学科和科学有关的空间─时间推理得到提高，比起从计算机学科得到的提高还要高，能增强人的心智、改善大脑的认知结构(Pantev et al, 2007)。

另一研究指出学习了钢琴三年的学生比没有学习钢琴的学生有较佳的自尊(Costa-Giomi, 1999)。

IV. 非正统音乐的负面影响

反过来说，“非正统”的文化会带来人心的败坏，对成长起负面影响(Brown & Hendee, 1993)。有很多研究指出流行曲或摇滚乐会“扰乱大脑运作、使人学习效率下降、思考能力减退、(精神)紧张、(做事)容易犯错”(注五十一)，又会打乱身体的自然节奏，令心灵空虚和有反社会(Roe, 1985 & 1987)、反叛(Bleich, Zillmann & Weaver, 1991; Robinson, Weaver & Zillmann, 1996)、反道德、反社会行为与倾向接受暴力(Hansen & Hansen, 1990)，追求感观刺激(Zuckerman, 1979; Dollinger, 1993)，向学心较差与容易接受暴力(Johnson, Jackson & Gatto, 1995)，容易滥用药物(King, 1988; Arnett, 1911)，引致学校成绩低落、学校行为问题、性行为增多、吸毒、酗酒与被逮捕次数增多(Took & Weiss, 1994)，且有危险驾驶、進行不负责任性行为和高卖(Arnett, 1991)等行为，冲击着正统音乐对人、社会及整个世界走向和谐、美好的价值观。

V. 西方古典音乐对动植物的影响

Maya Pines让实验室的动物听了巴洛克音乐，它们减慢脑波和身体的节奏，从而加倍了它们的学习速度(Menezes, 2008)。听了摇滚乐的植物生长得非常高，但不健康，枝叶低垂，伸延远离音乐，甚至16天内就死去；植物则较喜欢巴赫的音乐(Retallack, 1973)。母鸡听了古典音乐会多生一些鸡蛋，乳牛生产多一些牛乳，麦子长得更快，老鼠走完隧道选择去播放巴赫音乐的八音盒而不选择去播放摇滚音乐的八音盒(O’Donnell, 1999)。听了莫扎特钢琴奏鸣曲K.448的老鼠比听了微毛抽象派音乐、白噪音或没有听任何声音的老鼠较快和以较少错误去完成走迷宫 (Rauscher, 2007)。听了摇滚乐的老鼠自相残杀，而听莫扎特音乐的老鼠则没有这样做；听了摇滚乐的老鼠在走迷宫的测试中比原来多用了20分钟来完成后期测试，没有听任何音乐的老鼠少用了5分钟，而听莫扎特音乐的老鼠则更少用了8.5分钟(Merrill, 2008)。

VI. 巴洛克、古典乐派和浪漫派音乐对人的影响

巴洛克音乐能提高人学习外语(McMaster, 2007)、数学和其它主要学科的能力(Inglish, 2008)。每分钟50至80拍的巴洛克音乐更能令人达致高度专注，慢板巴洛克音乐且能刺激创作力(林珍如等译，1999)。慢速度一分钟约55-65拍的巴洛克协奏曲最适宜用作音乐治疗，这类音乐能降低血压、减慢心跳、减低快速的beta脑波6%、增快放松的alpha脑波6%，在数分钟内刺激左右脑协作力，使心智平静而又能令脑部有更大的能量活动(Menezes, 2000)。人聆听一分钟60拍的巴洛克音乐能令人加强心智活动、减慢身体节奏至与音乐同步，从而使人学习得更有效率，用以往一半的时间就能掌握到绘图技巧、减轻压力以致令驾车者减低紧张心情、减少人酗酒和抽香烟的习惯(Menezes, 2000)。Lind Institute推广慢板的巴洛克音乐来让人松弛，以快板的巴洛克音乐激化脑部细胞，使人以最大的能量和生产力去工作、学习、思考和活动 (Harvey, 1997)。人聆听巴洛克音乐一段时间后可以睡得深沉，从而减少睡眠时间(Menezes, 2000)。克里夫兰圣路家医院(Cleveland St. Luke Hospital)医生让病人聆听巴洛克音乐，以减少病人服食止痛药(Menezes, 2000)。古典乐派音乐能增强人的专注力和记忆力(林珍如等译，1999)。浪漫派音乐能提升人的感官能力和同情心与爱的感悟力(林珍如等译，1999)。

VII. 巴赫、莫扎特、贝多芬和肖邦的音乐对人的影响

巴赫音乐能刺激人脑部功能、增進学习能力、创作力和专注力(林珍如等译，1999； Sarkamo, 2008)、稳定情绪(Sarkamo, 2008)，并带给人高尚的情操和对神的敬仰(林珍如等译，1999)。George Lozanov博士采用一分钟60拍包括巴赫的巴洛克音乐来增進听觉记忆力，改善记忆力最低达25%(Lozanov, 2008)。

莫扎特的音乐能增進人智能发展、改善人的认知能力(Shaw, 2000; Hughes, 2001; Jausovec et al, 2004, 2006; Lahiri, 2007)、记忆力(林珍如等译，1999)、专注力(林珍如等译，1999；Ho et al, 2007; Zhu et al, 2008)、视觉脑部活动(Norbert & Habe, 2004)及空间─时间推理能力(Rauscher et al, 1993; Rauscher et al, 1995; Wilson & Brown, 1997; Johnson et al, 1998; Jausovec et al, 2007)。George Lozanov博士采用一分钟60拍包括巴赫在内的巴洛克及莫扎特的音乐来活化学生的左右脑，以刺激学生学习外语的能力，一天能学习到近1000个字或词组，记忆率达92%，30天内就成功地使学生增進学习效率85-100%，四年后仍记忆到近100%(O’Donnell, 1999)。

贝多芬的音乐能刺激人的脑细胞发展，增强左右脑互动功能(Azar, 2008)。聆听了三个月贝多芬音乐的早期中风病人在文字记忆上达60%的進步、17%的专注力改善，聆听有声书本在文字记忆上得18%的進步、甚么也没有听的有29%的進步，聆听贝多芬音乐对活化脑细胞、脑细胞重新生长神经纤维网络、以及人的认知能力和防止负面情绪都有裨益(Sarkamo, 2008)。

肖邦的音乐增進人的感官能力和同情心与爱的感悟力(林珍如等译，1999)。
莫扎特、巴哈、贝多芬和肖邦的音乐都能令癫痫症病人减少发作(Hughes, 2002; Lahiri & Duncan, 2007)。贝多芬、巴哈、莫扎特和肖邦的音乐比时代曲、摇滚乐更能令水结出完美的结晶(长安静美译，2002、2004)。

VIII. 尾声

由此观之，正统音乐确能令人修心养性，带给人们身心灵健康，使人、社会及世界起到正本清源、静化人心灵的力量，为人类带来美好的生活。再者，正统音乐乃为“神传文化”，来自神的启示和恩赐，能与天地共融。今次“新唐人电视台”举办了“全球华人钢琴大赛”可谓功德无量，将人类正统音乐的精粹显现人间舞台，对钢琴有一定造诣和修养的华人不容错过，应该踊跃参加。

戊. 提供作品演绎方向

有研究指出钢琴家演奏的乐曲能令人感动，而同一首乐曲由计算机奏出就达不到同样效果(Koelsch, 2008)，正如匈牙利音乐家兼音乐教育家高大宜(Zoltan Kodaly, 1882-1967)所谓：“音乐正是人类精神的彰显”(Brest, 2007)。正面的音乐会引起聆听者正面的情绪，能令人在解决社交问题时作出正面的决定(Bryan, 1998)。

要演绎好巴赫、莫扎特、贝多芬及肖邦的参赛作品，是一件相当考工夫的事。首先，参赛者就得像巴赫、莫扎特、贝多芬及肖邦一样，“对钢琴热爱，能委身式练习，建立到高水平的钢琴技巧”(注五十二)，才能让自己随心去弹奏好这些作品，巴赫是管风琴家、古钢琴家和大键琴家，莫扎特是古钢琴家、大键琴家和钢琴家，贝多芬及肖邦是钢琴家，他们都是演奏─作曲家(pianists-composers)。另一位同期浪漫派作曲家费力克斯.门德尔颂(Bartholdy Felix Mendelssohn, 1809-1849)认为肖邦的钢琴演奏“基本上有些东西很个人，同时造诣亦那么精湛，可以称得上是一个真正完美无瑕的钢琴大师，”(注五十三)，因此，拥有高水平的钢琴演奏技巧实在是在所难免。

高超的钢琴技巧之后，就是要把握好各作曲家的创作风格、作品特色及背景，正如贝多芬所说，演奏家要将整首乐曲“同本质地、作为一个统一的实体，呈现出一个思考周详的作品”的方式来演绎(注五十四)，才能将作曲家“写作”乐曲的精神表达出来。这些仍然是基本层次，是对演奏者的初步要求，这些技巧可以从书本及伟大的演奏家的录音或录像数据中揣摩得到。演奏乐曲时，演奏家与音乐“融为一体”，研究发现可以将人类细胞蛋白质转换成古典音乐(Takahashi & Miller, 2007)，由此推论当人聆听和演奏音乐的时候，人的细胞会“吸收”音乐而建立与音乐融为一体的形象，因此，当演奏家演奏的时候，他一定是“整个人”去演奏，平日多聆听高质量的音乐尤为重要。肖邦被称为“钢琴诗人”，意谓他比任何人都了解钢琴(注五十五)，乔治桑这样子去描述肖邦的钢琴演奏技巧：“他能够使听众的情绪陷入至喜或至忧伤的深渊，因为他的音乐能够紧抓着人的灵魂”(注五十六)，由此观之，演奏者借着乐曲弹奏出的乐音要能够紧控制着人的情绪、紧抓着人的心灵，这样才算演绎好乐曲，才能成为“具说服力的钢琴家”(注五十七)。

再者，演奏者的素质，如个人的品德修养、文化素质与外在、内在修为都影响到乐曲的演绎水平，肖邦演奏钢琴时就会“将你(他)整个灵魂放進音乐里，用你(他)感觉到的方式去演奏”(注五十八)，难怪有研究发现“音乐就是心智的一面镜子”(注五十九)，上好的音乐能触动人的心灵深处。再進一步深入去看，这些作品都有“神传”的内涵，依本人经验，演奏者要表达到乐曲的“神萃”，就要栽种出纯真、善良、坚忍的心灵，还要培养到“与神同在”的心境。在此，再一次表达本人对是项比赛的支持，希望以后主办机构经常都会举办类似比赛，顺祝各参赛者为大赛的准备一切顺利，且在大赛中有出色的表现，并祝今次比赛圆满结束，收到预期的理想效果。

己. 终曲

本人对音乐作了多年的探讨，认为音乐，包括西方古典音乐和中国传统音乐，都有“神传”的文化根基，开办了“香港弱能、健全、资优儿童音乐、教养家庭”十多年，教导了学生钢琴这么多年，已建立到一套有系统的钢琴教学模式，在短短的数年间栽培到十一、十二岁学生考获英国皇家音乐学院钢琴演奏级文凭，相等于音乐学院或大学音乐系主修钢琴的学生的钢琴水平，除了增進他们的钢琴造诣外，我也从演绎“神传音乐”这方面去教导学生，虽然要以地上的乐器来演绎“天上”的“神曲”是非常困难，甚至是一件不可能的事，但教学生去演绎乐曲时，仍尽量以“神韵”的境界去引领他们，同时也会引导学生在行为操守上朝着“真、善、忍”的方向迈進，期望学生能真正弹奏出乐曲的“神萃”。

在撰写本文途中，适逢八月二十三日，本宅花园钢闸上开了42朵优昙婆罗花，至今优昙婆罗花仍盛放。据佛经记载：优昙婆罗花乃灵瑞之花，《法华文句》四上记载：“优昙花者，此言灵瑞。三千年一现，现则金轮王出。”《慧琳音义》卷八载明：“优昙婆罗花为祥瑞灵异之所感，乃天花，为世间所无，若如来下生、金轮王出现世间，以大福德力故，感得此花出现。”《大般若波罗蜜多经》中又云：“人身无常，富贵如梦，诸根不缺，正信尚难。况值如来得闻妙法，不为稀有如优昙花？”撮意为：优昙婆罗花为祥瑞灵异之花，从天而来，三千年一现于世，自释迦牟尼佛以降三千零三十五年来从未在世上出现过，至今优昙婆罗花又再盛开，意味金轮圣王出现世间，以大福德普渡众生。发现优昙婆罗花开当天日历通胜写上“宜普度”，希望本文能给予读者一个启示，不要错过这个万年不遇的机遇，有兴趣者请自行从头至尾阅读《转法轮》，从而全面理解其中法理。

注释：

一. 原文为 “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. 原文为：Music was "a gift from God, not a human gift."引自〈http://www.newworldencyclopedia.org/entry/Johann_Sebastian_Bach〉。
三. 原文为：“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. 原文为：“…… 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. 原文为：“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. 原文为：“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. 原文为：“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. 原文为：“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. 原文为：“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. 原文为：“…… 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.”这是莫扎特于1777年10月25日在Ausburg给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. 原文为：“I am entirely submissive to the will of God.”这是莫扎特于1777年12月3日在Mannheim给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. 原文为：“I dare not bury the talent for composition which a kind God gave me in such generous measure.”这是莫扎特于1778年2月7日在Mannheim给他的爸爸的一封信，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. 原文为：“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. 原文为：“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. 原文为：“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”这封莫扎特的信件被部份学者质疑其真确性，它于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. 原文为：“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.”这是莫扎特于1781年8月1日在维也纳给他的爸爸Leopold的一封信，引自〈http://www.wikipedia.org/wiki/Mozart’s_compositional_method〉.
十七. 原文为：“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.”这是莫扎特于1778年7月31日在巴黎给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. 原文为：“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. 原文为：“I shall conclude, for I must now write with all speed; the composing is finished, but not the writing out.”这是莫扎特于1780年12月30日在慕尼黑给他的爸爸的一封信，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. 原文为：莫扎特的音乐 "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. 原文为：“Music is a higher revelation than all wisdom and philosophy.”这是贝多芬于1810年给Bettina von Arnim的评论，引自Karen Menezes, Baroque Music, 23 June 2000〈http://members.tripod.com/k_menezes/baroque.htm〉，与Friedrich Kerst 及 Henry Edward Krehbiel编辑，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. 原文为：“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编辑，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. 原文为：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. 原文为：“In praise of Thy goodness I must confess that Thou didst try with all Thy means to draw me to Thee.”这是从Sturm的日记簿〈关于神在大自然作工的观察〉(Observations Concerning the Works of God in Nature)抄录下贝多芬的说话。引自Friedrich Kerst 及 Henry Edward Krehbiel编辑(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. 原文为：“…… for art and science only cab raise man to godhood.”这是贝多芬于1812年7月17日在Teplitz写给Emilie M. in H.的信件。引自Friedrich Kerst 及 Henry Edward Krehbiel编辑(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. 原文为：“…… 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.”这是贝多芬于1812年8月15日写给Bettina von Arnim的信件。引自Friedrich Kerst 及 Henry Edward Krehbiel编辑(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. 原文为：“I always have a picture in my mind when composing, and follow its lines.”这是贝多芬在Baden于1815年告诉给Neate，当Neate问贝多芬有关〈田园交响曲〉(Pastoral Symphony)的创作。引自Friedrich Kerst 及 Henry Edward Krehbiel编辑(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. 原文为：“Does he believe that I think of a wretched fiddle when the spirit speaks to me?”这是贝多芬写给小提琴家Schuppanzigh的信件，回复他有关他投诉贝多芬一首小提琴曲十分难奏的事。引自Friedrich Kerst 及 Henry Edward Krehbiel编辑(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. 原文为：“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.”这是Schindler在维也纳一份报章的报告，Schindler 评论贝多芬到维也纳的时候只懂少许和声，根本不懂对位法。引自Friedrich Kerst 及 Henry Edward Krehbiel编辑(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. 原文为：“I must accustom myself to think out at once the whole, as soon as it shows itself, with all the voices, in my head.”这是贝多芬于1815在草稿本写的笔记，他当时正在写序曲Egmont和降B三重奏作品97中。引自Friedrich Kerst 及 Henry Edward Krehbiel编辑(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. 原文为：“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.”这是贝多芬于1822-1823年向他一位年轻作曲家朋友Louis Schlosser说的。引自Friedrich Kerst 及 Henry Edward Krehbiel编辑(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. 原文为：“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. ”这是贝多芬在Heiligenstadt Will中留下的字句。引自Friedrich Kerst 及 Henry Edward Krehbiel编辑(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. 原文为：“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.”这是贝多芬于1821年7日18日在Unterubling写给Rudolph大公爵。引自Friedrich Kerst 及 Henry Edward Krehbiel编辑(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. 原文为：“Freedom,…… progress, is the art-world as in universal creation,……”这是贝多芬于1819年7日29日在Middling写给Rudolph大公爵的信件。引自Friedrich Kerst 及 Henry Edward Krehbiel编辑(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. 原文为：“Only in the divine art is the lever which gives me power to sacrifice the best part of my life to the celestial muses.”这是贝多芬于1824年9日9日在Zurich写给George Nigeli的信件。引自Friedrich Kerst 及 Henry Edward Krehbiel编辑(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. 原文为：Christoph Wolff在Johann Sebastian Bach: The Learned Musician一书中指出巴赫“…… 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. 原文为：“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. 资料来自Chronology of Chopin’s Life, Chopin World - A Bravenet.com Hosted Site，〈http://gonechopin.bravehost.com/evenmoreinfo.html〉。
三十九. 原文为：“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. 原文为 “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.”上文为肖邦本人叙述自己创作钢琴协奏曲作品编号11的过程，引自Chopin Quotes, Chopin World?A Bravenet.com Hosted Site，〈http://gonechopin.bravehost.com/preludes.html〉。
四十一. 原文为 “As something has involuntarily crept into my head through my eyes, I love to indulge it, even though it may be all wrong.”上文为乔治桑描述肖邦创作《雨滴前奏曲》、A小调、E小调或B小调等前奏曲的过程，引自Chopin Quotes, Chopin World - A Bravenet.com Hosted Site，〈http://gonechopin.bravehost.com/quotes.html〉。
四十二. 原文为 “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. 资料来自Heart of Genius, Chopin World?A Bravenet.com Hosted Site，〈http://gonechopin.bravehost.com/heart of genius.html〉。
四十四. 原文见于《旧约圣经》《但以利书》第三章第十节：王啊！你曾降旨说：「凡听见角、笛、琵琶、琴、瑟、笙和各样乐器声音的，都当俯伏敬拜金像。」英文版本见于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. 资料来自Encyclopedia Smithsonian: Hammer Dulcimer: History and Playing. 〈http://www.si.edu/Encyclopedia_SI/nmah/hdhist.htm〉。
四十六. 资料来自The Dulcimer. 〈http://www.music.iastate.edu/antiqua/dulcimer.htm〉。
四十七. 资料来自Virtual Piano Museum-Evolution of the piano.〈http://www.concertpitchpiano.com/Evolution.html〉。
四十八. 资料来自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. 原文为 “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. 谢家安《开启您的智慧》第97-98页中提及Steven Halpern的研究。
五十二. 原文为：“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.”这是Chopin World的作者对肖邦钢琴演奏技巧的评论，引自A Psychoanalysis of Frederic Chopin, Chopin World?A Bravenet.com Hosted Site，〈http://gonechopin.bravehost.com/ Psychoanalysis.html〉。
五十三. 原文为：“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.”这是门德尔颂对肖邦钢琴演奏技巧的评论，引自Quotes about Chopin, Chopin World?A Bravenet.com Hosted Site，〈http://gonechopin.bravehost.com/quotesabout.html〉。
五十四. 原文为：“…… 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.”这是贝多芬于1814年10月与Tomaschek的对话，引自Friedrich Kerst 及 Henry Edward Krehbiel编辑(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. 资料来自Frederic Chopin?Poet of the Piano, Chopin World?A Bravenet.com Hosted Site，〈http://gonechopin.bravehost.com/evenmoreinfo.html〉。
五十六. 原文为：“He was able to plunge his audience into profund bliss or into an abyss of sadness, as his music gripped one’s soul…….”这是乔治桑描述她的男朋友肖邦的钢琴演奏技巧，引自Chopin World?A Bravenet.com Hosted Site，〈http://gonechopin.bravehost.com/evenmoreinfo.html〉。
五十七. 原文为：“Chopis is a pianist of conviction.”这是《法国音乐杂志》(La France Musicale)对肖邦钢琴演奏技巧的评论，引自Quotes about Chopin, Chopin World?A Bravenet.com Hosted Site，〈http://gonechopin.bravehost.com/evenmoreinfo.html〉。
五十八. 原文为：“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. 原文为“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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