關於 german high school ，我們在網路上蒐集到這些相關的討論、資訊與評價

出版界大前輩：Einstein一直被謠傳高中數學成績差。

諾貝爾官方前幾天弄到愛因斯坦在1896年就讀瑞士阿勞市高中的成績單，人家明明代數幾何都滿分（最低1最高是6），甚至歷史化學也是頂尖好。

看了一下最低分是法文，3分。BUT，他高中同時修的語言還有：德文、英文、義大利文⋯⋯分數都有5！」

👨🏻‍💻：我死之前，一定會把我所有成績表都燒掉，才會死得甘心。

Contrary to a widespread myth, Albert Einstein was good at mathematics in high school.

This certificate of maturity was issued to Albert Einstein at the age of 17, after attending the Cantonal High School in Aarau, Switzerland. In this scoring scheme, 6 is the highest, and 1 the lowest grade. The photo was taken the very same day he received his grades on 3 October 1896.

Einstein received the following grades:
German language and literature: 5
French language and literature: 3
English language and literature: —
Italian language and literature: 5
History: 6
Geography: 4
Algebra: 6
Geometry (planimetry, trigonometry, stereometry and analytical geometry): 6
Descriptive geometry: 6
Physics: 6
Chemistry: 5
Natural history: 5
In drawing: 4*
In technical drawing: 4*
*The performance over the course of the year is considered.

More about Einstein: https://bit.ly/2x1BLbH

🎹鋼琴的大千世界/名家名言：「為何稱我為大師？主人在這裡（指著鋼琴），我只是他的奴才。」

— 李斯特著名的弟子，德國鋼琴家、作曲家、教育家 萊森奧爾(Alfred Reisenauer)

Why, there is the master (pointing to the piano), I am only the slave.”

— Alfred Reisenauer (1 November 1863 – 3 October 1907) German pianist, composer, and music educator.

📹 跟隨在李斯特學習長達十二年至李斯特過世(1874-1886)的萊森奧爾，演奏李斯特的第十號匈牙利狂想曲：
https://youtu.be/e12YwuHiQtY

📰 延伸閱讀 - 【李斯特學派 / the school of Liszt】♩.♪
https://www.facebook.com/notes/fan-chiang-yi-%E8%8C%83%E5%A7%9C%E6%AF%85/%E6%9D%8E%E6%96%AF%E7%89%B9%E5%AD%B8%E6%B4%BE-the-school-of-liszt/289155141104454/

———————————————————————1905-1906 鋼琴名家萊森奧爾（Alfred Reisenauer）在美國進行數月的巡迴演出，並接受美國著名音樂雜誌”Etude”的專訪。文章於1906年七月出版，隔年他在德國巡迴演出期間於下榻的飯店房間內過世。

📰 藝術家的養成 - 萊森奧爾的見解
The Making of an Artist - The Views of Alfred Reisenauer.

▪️With Liszt

“When I had reached a certain grade of advancement it was my great fortune to become associated with the immortal Franz Liszt. I consider Liszt the greatest man I have ever met. By this I mean that I have never met, in any other walk of life, a man with the mental grasp, splendid disposition and glorious genius. This may seem a somewhat extravagant statement. I have met many, many great men, rulers, jurists, authors, scientists, teachers, merchants and warriors, but never have I met a man in any position whom I have not thought would have proved the inferior of Franz Liszt, had Liszt chosen to follow the career of the man in question. Liszt’s personality can only be expressed by one word, ‘colossal.’ He had the most generous nature of any man I have ever met. He had aspirations to become a great composer, greater than his own measure of his work as a composer had revealed to him. The dire position of Wagner presented itself. He abandoned his own ambitions— ambitions higher than those he ever held toward piano virtuosity—abandoned them completely to champion the difficult cause of the great Wagner. What Liszt suffered to make this sacrifice, the world does not know. But no finer example of moral heroism can be imagined. His conversations with me upon the subject were so intimate that I do not care to reveal one word.

▪️Liszt’s Pedagogical Methods

“His generosity and personal force in his work with the young artists he assisted, are hard to describe. You ask me whether he had a certain method. I reply, he abhorred methods in the modern sense of the term. His work was eclectic in the highest sense. In one way he could not be considered a teacher at all. He charged no fees and had irregular and somewhat unsystematic classes. In another sense he was the greatest of teachers. Sit at the piano and I will indicate the general plan pursued by Liszt at a lesson.”

Reisenauer is a remarkable and witty mimic of people he desires to describe. The present writer sat at the piano and played at some length through several short compositions, eventually coming to the inevitable “Chopin Valse, Op. 69, No. 1, in A flat major.” In the meanwhile, Reisenauer had gone to another room and, after listening patiently, returned, imitating the walk, facial expression and the peculiar guttural snort characteristic of Liszt in his later years. Then followed a long “kindly sermon” upon the emotional possibilities of the composition. This was interrupted with snorts and went with kaleidoscopic rapidity from French to German and back again many, many times. Imitating Liszt he said, “First of all we must arrive at the very essence of the thing; the germ that Chopin chose to have grow and blossom in his soul. It is, roughly considered, this:（見譜例圖四）

Chopin’s next thought was, no doubt:（見譜例圖五）

But with his unerring good taste and sense of symmetry he writes it so:（見譜例圖六）

Now consider the thing in studying it and while playing it from the composer’s attitude. By this I mean that during the mental process of conception before the actual transference of the thought to paper, the thought itself is in a nebulous condition. The composer sees it in a thousand lights before he actually determines upon the exact form he desires to perpetuate. For instance, this theme might have gone through Chopin’s mind much after this fashion:（見譜例圖七）

The main idea being to reach the embryo of Chopin’s thought and by artistic insight divine the connotation of that thought, as nearly as possible in the light of the treatment Chopin has given it.

“It is not so much the performer’s duty to play mere notes and dynamic marks, as it is for him to make an artistic estimate of the composer’s intention and to feel that during the period of reproduction, he simulates the natural psychological conditions which affected the composer during the actual process of composition. In this way the composition becomes a living entity—a tangible resurrection of the soul of the great Chopin. Without such penetrative genius a pianist is no more than a mere machine and with it he may develop into an artist of the highest type.”

▪️A Unique Attitude.

Reisenauer’s attitude toward the piano is unique and interesting. Musicians are generally understood to have an affectionate regard for their instruments, almost paternal. Not so with Reisenauer. He even goes so far as to make this statement: “I have always been drawn to the piano by a peculiar charm I have never been able to explain to myself. I feel that I must play, play, play, play, play. It has become a second nature to me. I have played so much and so long that the piano has become a part of me. Yet I am never free from the feeling that it is a constant battle with the instrument, and even with my technical resources I am not able to express all the beauties I hear in the music. While music is my very life, I nevertheless hate the piano. I play because I can’t help playing and because there is no other instrument which can come as near imitating the melodies and the harmonies of the music I feel. People say wherever I go, ‘Ah, he is a master.’ What absurdity! I the master? Why, there is the master (pointing to the piano), I am only the slave.”

▪️The Future of Pianoforte Music.

An interesting question that frequently arises in musical circles relates to the future possibilities of the art of composition in its connection with the pianoforte. Not a few have some considerable apprehension regarding the possible dearth of new melodic material and the technical and artistic treatment of such material. “I do not think that there need be any fear of a lack of original melodic material or original methods of treating such material. The possibilities of the art of musical composition have by no means been exhausted. While I feel that in a certain sense, very difficult to illustrate with words, one great ‘school’ of composition for the pianoforte ended with Liszt and the other in Brahms, nevertheless I can but prophesy the arising of many new and wonderful schools in the future. I base my prophecy upon the premises of frequent similiar (sic) conditions during the history of musical art.” These are Reisenauer’s views upon this matter.

Continuing, he said: “It is my ambition to give a lengthy series of recitals, with programs arranged to give a chronological aspect of all the great masterpieces in music. I hope to be enabled to do this before I retire. It is part of a plan to circle the world in a manner that has not yet been done.” When asked whether these programs were to resemble Rubinstein’s famous historical recitals in London, years ago, he replied: “They will be more extensive than the Rubinstein recitals. The times make such a series posssible (sic) now, which Rubinstein would have hesitated to give.”

As to American composers, Reisenauer is so thoroughly and enthusiastically won over by MacDowell that he has not given the other composers sufficient attention to warrant a critical opinion. I found upon questioning, that he had made a genuinely sincere effort to find new material in America, but he said that outside of MacDowell, he found nothing but indifferently good salon-music. With the works of several American composers he was, however, unfamiliar. He has done little or nothing himself as a composer and declared that it was not his forte.

▪️American Musical Taste.

Reisenauer says: “American musical taste is in many ways astonishing. Many musicians who came to America prior to the time of Thomas and Damrosch returned to Europe with what were, no doubt, true stories of the musical conditions in America at that time. These stories were given wide circulation in Europe, and it is difficult for Europeans to understand the cultured condition of the American people at the present time. America can never thank Dr. Leopold Damrosch and Theodore Thomas enough for their unceasing labors. Thanks to the impetus that they gave the movement, it is now possible to play programs in almost any American city that are in no sense different from those one is expected to give in great European capitals. The status of musical education in the leading American cities is surprisingly high. Of course the commercial element necessarily affects it to a certain extent; but in many cases this is not as injurious as might be imagined. The future of music in America seems very roseate to me and I can look back to my American concert tours with great pleasure.

▪️Concert Conditions in America.

“One of the great difficulties, however, in concert touring in America is the matter of enormous distances. I often think that American audiences rarely hear great pianists at their best. Considering the large amounts of money involved in a successful American tour and the business enterprise which must be extremely forceful to make such a tour possible, it is not to be wondered that enormous journeys must be made in ridiculously short time. No one can imagine what this means to even a man of my build.” (Reisenauer is a wonderfully strong and powerful man.) “I have been obliged to play in one Western city one night and in an Eastern city the following night. Hundreds of miles lay between them. In the latter city I was obliged to go directly from the railroad depot to the stage of the concert hall, hungry, tired, travel worn and without practice opportunities. How can a man be at his best under such conditions—yet certain conditions make these things unavoidable in America, and the pianist must suffer occasional criticism for not playing uniformly well. In Europe such conditions do not exist owing to the closely populated districts. I am glad to have the opportunity to make this statement, as no doubt a very great many Americans fail to realize under what distressing conditions an artist is often obliged to play in America.”

No Forbidden Zones in Reading (Lee Yee)

German philosopher Hegel said, “The only thing we learn from history is that we learn nothing from history.”

In April 1979, the post-Cultural Revolution era of China, the first article of the first issue of Beijing-based literary magazine, Dushu [meaning “Reading” in Chinese]," shook up the Chinese literary world. The article, titled “No Forbidden Zones in Reading”, was penned by Li Honglin. At the time, the CCP had not yet emerged from the darkness of the Cultural Revolution. What was it like in the Cultural Revolution? Except for masterpieces by Marx, Engels, Lenin, Stalin and Mao, and a small fraction of practical books, all books were banned, and all libraries were closed. The Cultural Revolution ended in 1976, and 2 years later in 1978, the National Publishing Bureau decided to allow 35 books to be “unbanned”. An interlude: When the ban was first lifted, there was no paper on which to print the books because the person with authority over paper was Wang Dongxing, a long-term personal security of Mao’s, who would only give authorization to print Mao. The access to use paper to print books other than Mao was a procedural issue. The Cultural Revolution was already on its way to be overturned. The door to printing these books was opened only after several hang-ups.

“No Forbidden Zones in Reading” in the first issue of Dushu raised a question of common sense: Do citizens have the freedom to read? “We have not enacted laws that restrict people’s freedom of reading. Instead, our Constitution stipulates that people have the freedom of speech and publication, as well as the freedom to engage in cultural activities. Reading ought to be a cultural activity,” argued Li. It was not even about the freedom of speech, but simply reading. Yet this common sense would appear as a subversion of the paralyzing rigid ideas formulated during the Cultural Revolution, like a tossed stone that raises a thousand ripples. Dushu’s editorial department received a large number of objections: first, that there would be no gatekeeper and mentally immature minors would be influenced by trashy literature; second, that with the opening of the Pandora box, feudalism, capitalism and revisionism would now occupy our cultural stage. The article also aroused waves of debates within the CCP. Hu Yaobang, then Minister of Central Propaganda, transferred and appointed Li Honglin as the Deputy Director of the Theory Bureau in his department. A colleague asked him directly, “Can primary school students read Jin Pin Mei [also known in English as The Plum in the Golden Vase, a Chinese novel of manners composed in late Ming dynasty with explicit depiction of sexuality]?”

“All Four Doors of the Library Should be Open” was published in the second issue of Dushu, as an extension to “No Forbidden Zones in Reading”. The author was Fan Yuming, but was really Zeng Yansiu, president of the People’s Publishing House.

In the old days, there was a shorthand for the three Chinese characters for “library”: “book” within a “mouth”. The four sides of the book are all wide open, meaning that all the shackles of the banned books are released. “No Forbidden Zones in Reading” explains this on a theoretical level: the people have the freedom to read; “All Four Doors of the Library Should be Open” states that other than special collection books, all other books should be available for the public to loan.

The controversy caused by “No Forbidden Zones in Reading” lasted 2 years, and in April 1981, at the second anniversary of Dushu, Director of the Publishing Bureau, Chen Hanbo, penned an article that reiterated that there are “No Forbidden Zones in Reading”, and that was targeting an “unprecedented ban on books that did happen”.

Books are records of human wisdom, including strange, boring, vulgar thoughts, which are all valuable as long as they remain. After Emperor Qin Shihuang burned the books, he buried the scholars. In history, the ban on books and literary crimes have never ceased.

Engraved on the entrance to Dachau concentration camp in Germany, a famous poem cautions: When a regime begins to burn books, if it is not stopped, they will turn to burn people; when a regime begins to silent words, if it is not stopped, they will turn to silent the person. At the exit, a famous admonishment: When the world forgets these things, they will continue to happen.

Heine, a German poet of the 19th century, came up with “burning books and burning people”. There was a line before this: This is just foreplay.

Yes, all burning and banning of books are just foreplay. Next comes the literary crimes, and then “burning people”.

I started working at a publishing house with a high school degree at 18, and lived my entire life in a pile of books. 42 years ago, when I read “No Forbidden Zones in Reading” in Dushu, I thought that banned books were a thing of the past. Half a century since and here we are, encountering the exact same thing in the freest zone for reading in the past century in the place which enlightened Sun Yat-sen and the rest of modern intellectuals, a place called Hong Kong.

Oh, Hegel’s words are the most genuine.

The surprising story of Murayama, a small town in the mountains with big dreams.
Community Subtitles by: Marvin Nauendorff und Manuel Lamprecht (German)
そら, DienaTalks and kamiyu(French), MoonEater (English), Esin @thought_sofa (Turkish Subtitles), Tomo (Finnish) , Indonesian (Flavylium)

Music by
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https://soundcloud.com/joseph-earwicker/keeping-time
and Poolz - "Be Yourself"

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TGIF!!! Come study with me and my friends as we try to speak pure Japanese...without any loan words (katakana).

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✉ H O W T O R E A C H M E
→　http://www.instagram.com/kemushijp
→　http://www.facebook.com/KemushiChan​​
→　http://www.twitter.com/KemushiJP​​

Business Inquiries:
Hello@KemushiChan.com
　
🔍 F A Q
Hi! My name is Loretta, a girl from the U.S. who moved to Japan to start Graduate School via the MEXT Scholarships.

① Do I Speak Japanese? Yep! I was taught formally in High School and have been speaking now for over 15 years.
② What uni did I attend in Japan: Yokohama National University's "Masters of Business Administration" Program
③ How old are you?: Year of the dragon. :D The math is up to you.
④ What camera equipment do you use?: I film my videos with a Canon 60D using a 30mm Sigma Art Lens and I edit with Sony Vegas Pro (with some help from photoshop). Additional cameras include GoPro Hero 7 Black and DJI Majic Air


#languagechallenge #speakjapanese​​ #polyglot

Hello everyone, long time no see! Welcome to 2021! I hope y'all are doing well. I am doing fabulous.
This is my life update! Hope the pandemic will end soon...

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