So that's how distant I am from all of this but let's listen to a little of this.
这就是我和流行音乐的距离,但我们还是来听一下
I mean, as an example, I am a musician, but I go to Borders and Barnes & Noble to hear...
我的意思是,例如,我是一个音乐家,但我去博德斯书店和巴恩斯诺贝尔书店去听……
One of these sites is the ... Right now we're doing poetry. and it mentions about the arts and the music of Japan. It inspired me to use Haiku as the focus of poetry unit.
其中有一个是……,现在我们正在学习诗歌,它提到了日本的艺术和音乐,这启发我把俳句作为诗歌单元的重点。
So doing music, if I'm sight reading, playing, it's a very complex thing, but most of the--most of this music and language processing happens in these-- the--as I mentioned--the left and right auditory cortex.
如果我想创作音乐,即兴创作,即兴表演,那就会很复杂了,但是大多数的语言和音乐处理,都在这部分发生,就是我之前提到的左右听觉皮层
I used to listen to a lot of hip-hop music and heavy metal when I was younger.
我年轻的时候,我常常听一些嘻哈和重金属音乐。
So I love all kinds of music and all kinds of dancing. So I like it.
我喜欢所有种类的音乐和舞蹈。所以我喜欢跳舞。
Oh, I like all the lights and the actions, the music.
哦,我喜欢所有的灯光、动作和音乐。
Why,when dealing with harmony and bass lines, do I want to start by focusing on popular music and then apply those principles to classical music?
为什么在处理和音和低音线时,我是否需要注重流行音乐然后将这些原则应用到古典乐上?
And every musical culture around the world-- and I've talked with ethnomusicologists about this particular point-- every musical culture around the world, Chinese, Japanese, Indonesian, Indian, African whatever, they all use this phenomenon of octave duplication in their music-- octave duplication in the music.
世界各地的每一种音乐文化,我曾经和一些民族音乐学家谈论过这一点,世界各地的每一种音乐文化,中国的,日本的,印尼的,印度的,或是非洲的,大家都有这种现象,即在自己的音乐里运用,这种重复八度
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