Tuesday, January 31, 2006

[talk] The Art of Listening (to Music, Language, Mind)

I will conduct a 3-day workshop in Ocean Lotus Farm during May 5-7, 2006. This is the introduction to the workshop. If you are interested in participating, please contact Ocean Lotus Farm for further details.

The Art of Listening

Ocean Lotus Farm Workshop

Tsan-Kuang Lee

May 5-7, 2006

Introduction

Music,language, and thoughts come so easily in our daily life that most of ustake them for granted and stop interacting with them meaningfully. Wehear music without listening to it; we let our spouses talk to uswithout knowing what they are really saying; we hear our own innervoices but constantly ignore them.

In this workshop, we learn theart of listening. We learn how to listen to and enjoy music; we learnhow to listen to and comprehend language; we learn how to listen to andbecome union with our thoughts.

Music

Fewpeople would say they don't love music. Music empowers an army,preludes the birthday cake serving, announces a friend's call,farewells the use of your computer, and accompanies our showering. It'sso close to our daily life, but why are there moments when we wonder,how come some people are so crazy about symphonies in the concert hall,jazz solos in the bar, or loud raps on the street? Why, while an operaand a movie may both take two hours, most people find the lengths of thetwo psychologically so different?

Of course, it's a matter ofpreference and taste. Some love operas; some love movies. In fact, mostof us can manage to be with music for a while in the concert hall, inthe bar, or on the street. We can also learn when to applaud, when toscream, or when to shake and nod our heads. However, how the musicitself really interacts with us internally, is probably irrelevant tothe social codes that make us good audience.

How do we really enjoy music?

Again,the question is, how "we" "really" "enjoy" "music". First, it's"enjoyable", not boring, nor patience-challenging; neither does it makeus feel arrogant or ignorant. Second, the enjoyment is "really"experienced, not imagined or pretended. Third, the satisfaction comesfrom the "music", not from the well-decorated concert hall, thedressed-up audience, the gossips about a famous conductor, or "theattractive girl/boy who saw me go to Philadelphia Symphony Orchestra". Mostimportantly, "we" participate in the whole process.

In this workshop, we will (re-)learn to listen to music, and learn to appreciate different types of musical expressions.

Language

Thanks to the best-sellers, everybody today knows thatlistening plays an essential role in effective communication. However,being proficient in Martian and Venusian does not seem to guaranteebetter understanding. While we try very hard to listen, we still hearsomething very different from what's intended or even what's said. Howdo we fill the gap between theory and practice?

In this workshop,we will re-evaluate our listening ability and investigate the factorsthat hinder it. Then we learn to establish new listening habits tobreak from the bad cycles of poor communication that we were so used to.

Mind

Thetechniques of taming one's mind have been around for several thousandyears, and have been used by many different traditions, from religions(Buddhist, Catholic , Christian, Taoist, to name a few), to moderntraining (music performance, business leadership, athletics, military,etc.), and healing (stress reduction, meditational curing, etc.).However, most of us still have little control over our own minds.Running thoughts take over easily and many of us either ignore itseffects or totally give up on disciplining our minds.

Why do weneed to discipline our minds? Aren't discursive minds more creative?Don't we relax more when we just let our minds go free? Aren't mindsmore natural without control?

It's no surprise that many of ushave such questions. On the other hand, we also wish we had the powerto stop thinking in a sleepless night;musicians/speakers/athletes/examinees hope to concentrate on theirperformance instead of worrying about what would happen to them if theydon't do well; in classrooms we hope to focus so we can learn better.

Atrained mind does not only benefit us in those achievement-orientedgoals. Obviously, if we are worrying about our tax return when we arein the Grand Canyon, we certainly are missing something; if we keepchecking the time for the parking meters outside of the concert hall,we certainly won't be able to enjoy the music; if we are nervous aboutan exam on the table, we certainly won't be able to taste the breakfastfully.

A chaotic mind may actually harm us. We bite ourselvesbecause our minds are not with us when eating; we fall because ourminds aren't walking with us; we have car accidents because our mindsaren't alert enough.

It actually goes deeper if we take itseriously: we say harmful words to others because our negative thoughtsrule us; we ignore important signals/signs of dangers because our mindsaren't clear; we fail to hear our own voices among other noises in ourminds and regret not listening to ourselves.

Mindful techniqueswill be instructed and used throughout the workshop. We learn to payfull attention to music, language, and thoughts. Then we hope to applythe same techniques to other things and improve the quality of ourdaily life.

Workshop Rules

In this workshop of the Art ofListening, we want to emphasize the practice of listening instead oftalking and expressing. Therefore, we require the participants toobserve the following rules during the whole time of the workshop(including non-class time), for the sake of ourselves and others:

- No talking except for in-class discussion.

- No phone calls. (All emergency incoming calls should be taken and redirected by Ocean Lotus Farm administration.)

- No emailing.

- No reading, unless asked to.

- No listening to personal music/speech.

Theserules really help protect our minds from going away. According to ourexperiences, these simple rules turn out to be very powerful and enableone to go into a deeper level of observation and concentration.

Powerfultransformation comes from a determined mind willing to change badhabitual patterns. Let's make it our Lesson One: when we come to theworkshop, we bring our full mind here. We deal with other thingsbefore or after, but not during, the workshop.

About the Speaker

Thisworkshop will be led by composer/linguist/meditator Tsan-Kuang Lee, whowill share his insights on how to listen to music/language/mind deeply.

Trainedto be a scientist in high school, turning to literature incollege, but ending up studying linguistics and computer science ingraduate school; with several established musicians' help, Tsan-Kuangis now working as a composer/arranger/performer, as well as a softwaredeveloper. Inrecent years, he has been learning to re-exam himself through Zenpractices; he has found Zen practices sharpen one's sensibility, deepenone's understanding, break one's prejudice, and free one's concepts,while at the same time, cultivate one's compassion and bring oneharmony.

Friday, January 27, 2006

[FW] A Rescued Whale Thanked her Rescuers

I got a short summery of a news report from a friend's email. It's about a whale entagled in traps and the rescuers risked their lives to save her; afterwards, she thanked the rescuers.

I got a short summery of a news report from a friend's email.

If you read the front page story of the SF Chronicle on-- Thu, 15 Dec 2005 -- you would have read about a female humpback whale who had become entangled in a spider web of crab traps and lines. She was weighted down by 100s of pounds of traps that caused her to struggle to stay afloat. She had 100s of yards of line (rope) wrapped around her body - her tail, her torso, a line tugging in her mouth.

A fisherman spotted her just east of the Farralone Islands (outside the Golden Gate) and radioed an environmental group for help. Within a few hours the rescue team arrived and determined that she was so bad off, the only way to save her was to dive in and untangle her - a very dangerous proposition; One slap of the tail could kill a few rescuers. They worked for hours with curved knives and eventually freed her. When she was free, the divers say she swam in what seemed like joyous circles. She then came back to each and every diver, one at a time, and nudged them, pushed them gently around - she thanked them... some say it was the most incredibly beautiful experience of their lives. The guy who cut the rope out of her mouth says her eye was following him the whole time, and he will never be the same.

By checking TruthOrFiction.com, I found it's a true story and its original source.

This article was written by Peter Fimrite (see his email at the end of the article) and was originally posted on San Francisco Chronicle on December 14, 2005.

Daring rescue of whale off Farallones

Humpback nuzzled her saviors in thanks after they untangled her from crab lines, diver says

- Peter Fimrite, Chronicle Staff Writer

A humpback whale freed by divers from a tangle of crab trap lines near the Farallon Islands nudged its rescuers and flapped around in what marine experts said was a rare and remarkable encounter.

"It felt to me like it was thanking us, knowing that it was free and that we had helped it," James Moskito, one of the rescue divers, said Tuesday. "It stopped about a foot away from me, pushed me around a little bit and had some fun."

Sunday's daring rescue was the first successful attempt on the West Coast to free an entangled humpback, said Shelbi Stoudt, stranding manager for the Marine Mammal Center in Marin County.

The 45- to 50-foot female humpback, estimated to weigh 50 tons, was on the humpbacks' usual migratory route between the Northern California coast and Baja California when it became entangled in the nylon ropes that link crab pots.

It was spotted by a crab fisherman at 8:30 a.m. Sunday in the open water east of the Farallones, about 18 miles off the coast of San Francisco.

Mick Menigoz of Novato, who organizes whale watching and shark diving expeditions on his boat the New Superfish, got a call for help Sunday morning, alerted the Marine Mammal Center and gathered a team of divers.

By 2:30 p.m., the rescuers had reached the whale and evaluated the situation. Team members realized the only way to save the endangered leviathan was to dive into the water and cut the ropes.

It was a very risky maneuver, Stoudt said, because the mere flip of a humpback's massive tail can kill a man.

"I was the first diver in the water, and my heart sank when I saw all the lines wrapped around it," said Moskito, a 40-year-old Pleasanton resident who works with "Great White Adventures," a cage-diving outfit that contracts with Menigoz. "I really didn't think we were going to be able to save it."

Moskito said about 20 crab-pot ropes, which are 240 feet long with weights every 60 feet, were wrapped around the animal. Rope was wrapped at least four times around the tail, the back and the left front flipper, and there was a line in the whale's mouth.

The crab pot lines were cinched so tight, Moskito said, that the rope was digging into the animal's blubber and leaving visible cuts.

At least 12 crab traps, weighing 90 pounds each, hung off the whale, the divers said. The combined weight was pulling the whale downward, forcing it to struggle mightily to keep its blow- hole out of the water.

Moskito and three other divers spent about an hour cutting the ropes with a special curved knife. The whale floated passively in the water the whole time, he said, giving off a strange kind of vibration.

"When I was cutting the line going through the mouth, its eye was there winking at me, watching me," Moskito said. "It was an epic moment of my life."

When the whale realized it was free, it began swimming around in circles, according to the rescuers. Moskito said it swam to each diver, nuzzled him and then swam to the next one.

"It seemed kind of affectionate, like a dog that's happy to see you,'' Moskito said. "I never felt threatened. It was an amazing, unbelievable experience."

Humpback whales are known for their complex vocalizations that sound like singing and for their acrobatic breaching, an apparently playful activity in which they lift almost their entire bodies out of the water and splash down.

Before 1900, an estimated 15,000 humpbacks lived in the North Pacific, but the population was severely reduced by commercial whaling. In the 20th century, their numbers dwindled to fewer than 1,000. An international ban on commercial whaling was instituted in 1964, but humpbacks are still endangered. Between 5,000 and 7,500 humpbacks are left in the world's oceans, and many of those survivors migrate through the Gulf of the Farallones National Marine Sanctuary.

Whale experts say it's nice to think that the whale was thanking its rescuers, but nobody really knows what was on its mind.

"You hate to anthropomorphize too much, but the whale was doing little dives and the guys were rubbing shoulders with it," Menigoz said. "I don't know for sure what it was thinking, but it's something that I will always remember. It was just too cool."

Humpback whales hold a special place in the hearts of Bay Area residents ever since one that came to be known as Humphrey journeyed up the Sacramento River in 1985. The wayward creature swam into a slough in Rio Vista, attracting 10,000 people a day as whale experts tried desperately to turn it around. Humphrey went back to sea after 25 days of near-pandemonium and worldwide media attention.

In the fall of 1990, Humphrey turned up again inside the bay in shallow water near the Bayshore Freeway, finally beaching on mud flats near Double Rock, just off the Candlestick parking lot. He remained stuck for 25 hours, until volunteers, helped by a 41-foot Coast Guard boat, pulled him free and sent him back to the ocean. He has not been seen since.

Humpbacks like Humphrey do seem to relate to people more than other whales, according to Stoudt.

"You do hear reports of friendly humpbacks, whales approaching boaters, especially in Baja California," Stoudt said, "but, for the most part, they don't like to be interacted with."

E-mail Peter Fimrite at pfimrite@sfchronicle.com

Page A - 1
URL: http://sfgate.com/cgi-bin/article.cgi?file=/c/a/2005/12/14/MNGNKG7Q0V1.DTL
©2006 San Francisco Chronicle

[FW] 偶爾離開象牙塔

我有個做文化研究的朋友對吳淡如女士(的文章)有很深的成見,但我卻常從吳淡如女士的文章中,看到她令人激賞的關懷,也看到自己不夠慈悲,不夠謙虛。我覺得我們的社會能讓這樣的作家/觀察家的聲音出來,是我們社會的福報。

偶爾離開象牙塔

◎吳淡如

我常自稱,主持節目的我,好像是百貨公司的站櫃小姐。

因為我的每個節目都得站著主持,而錄影時間又比實際播出時間長了許多,所以我常站到兩腿痠麻,青筋浮腫,但臉上也得和百貨公司小姐一樣笑臉迎人,腦袋也得每分每秒隨機應變,更要控制氣氛,雖然「貨物」不是我發明製造的,但消費者買不買帳,全仗我的態度和我的說服力。

所不同的是,拜節目多樣化之賜,會來上電視的人,比會到百貨公司某一個專櫃買東西的人的「族群」廣泛一些。相對於寫作,它不是我最愛的工作,但卻是一個我捨不得放下、也還能樂在其中的工作。因為,主持電視節目是我觀察人的一個管道,讓我不至於把自己關在自己的「象牙塔」內。

別以為只有高知識分子才有象牙塔,每個人其實都有自己的象牙塔。儘管這個世界上存在著形形色色的人,物以類聚,因為地緣關係,年齡層的關係,教育程度的關係,工作的關係,收入的關係,或生活動線的關係……每個人都有自己的「生活圈」,在自己的生活圈中,我們常常誤以為:世界就是我所看到的這個樣子,大家都是這麼想的,久而久之,有些人的生活,和我的生活範圍隔得很遠,他們的想法和語言就會變成和外星人的密碼一樣。

因為電視節目的製作單位常會邀請來自各個階層的人,使我有許多機會、很豐富的題材,可以觀察到每個人不一樣的生活圈。

我聽過一個十五歲的少女很驕傲地告訴我,她有三個「老公」,她覺得自己很有魅力。

我遇過一個還算年輕的丈母娘,用女兒設下仙人跳,結果女兒弄假成真,執意要跟那男人在一起,後來在附帶條件之下(男方要出聘金一百多萬元),同意了未成年的女兒嫁給她的男友,在婚後因為女兒和女婿沒法把錢籌出來而苦苦相逼。女兒希望媽媽放自己老公一馬,這母親卻還是氣勢凌人地上電視指責女兒不孝,雖然她否認自己是為錢反目,但旁人都聽出了「死要錢」的口氣。

我訪問過一位退休的娼妓,她對以皮肉錢賺了一幢房子而自豪,但我委婉地問她從事這工作是否有些掙扎呢?她很輕鬆地說:「我昨天的事,今天就忘記。」

也訪問過理直氣壯地說「我只是打她幾拳,她又不會死」或「我找女人是我的事,她在跟我結婚以後,還跟別的男人在一起就不應該」的男人。

我所見過的人,形形色色,老實說,我和他們還真的有無數「代溝」呢,但我總會提醒自己兩個原則:

1.先觀察,別急著做判斷。急著做判斷,就沒法做全盤客觀的了解。

2.先傾聽,不急著否定。就算我不能夠將心比心,接受他們的說法,我也不該扮演著「傳教士」的角色。

所謂傳教士的角色,就是:我覺得信仰神很快樂,所以你為什麼不信仰神呢?趕快說服你。這樣的人,久而久之只會聽見「選擇性的聲音」,沒有人願意跟我說話,而我所了解的人性也只能偏於一隅。

如果我聽了之後真的很生氣,我會告訴自己:了解不等於認同,包容絕不是贊成。看見這個世界的多重樣貌,不只對一個作者來說是很重要,對任何人都很重要。我不想在精神上做任何的「居家隔離」,因為世界本來就不是一個無菌室,有抗體才有免疫力,而能夠接受挑戰的人才懂得堅持。

如果願意跨出自己的生活圈,我們一定會看到很多「代溝」,我這裡所謂的代溝問題,其實發生在各個不同的生活圈裡,不只是在兩代之間而已。

說個例子好了:

最近有個設計師朋友告訴我,有一位企業家第二代的女兒要出嫁了,希望他為她的新家做設計裝潢,但他不只在當設計師,還在當這一對準新人的心理輔導師,因為富家女嫁的雖然也是個富家男,但兩家的財富畢竟還是有小巫與大巫的分別,富家女家中光廚師和佣人就有近二十人之多,富家男的父親只是地方上的財主。

兩人在美國念書時相戀成婚,結婚前不能溝通的問題就頻頻出現。富家男的父親為小倆口準備的新房「只有」一百多坪,富家女一直嫌小,扣除她自己要用的面積,可能根本容不下傭人和未來的小孩活動,因此常對準夫婿發脾氣,也不斷地改設計師的設計圖,一談妥,不多久她又覺不妥,都是因為空間「左支右絀都不夠」的關係。

她對停車位也很有意見。理由是那幢豪宅的「停車位離電梯口太遠了」,如果她得自己開車的話,那麼她下車後可能要走「長達一分鐘」才能到達電梯口,

「萬一有歹徒要來綁架我怎麼辦?為什麼你買這間房子時沒考慮進去呢?」

後來,這位設計師覺得這個案子實在太難搞了,寧可犧牲他之前已經付出的時間和心血,很客氣地懇辭了這份工作。

你聽了這個例子,可能跟我一樣覺得很驚奇,因為這種生活離一般人太遠了。但對富家女而言,這樣的考慮似乎是理所當然的。

不過,我一點也不羨慕這個富家女,縱然天生好命,活得這麼褊狹其實是很可憐。生活圈太褊狹,我們難保不會變成看到路上有人餓死,還問大臣說:「何不食肉糜?」的晉惠帝。

我也常碰見一上節目就長篇大論像在教課,滿口洋文和自認為每個人都應該懂一口「某某主義」專有名詞的學者,看起來很「高尚」,但據我了解,他們對「學術圈怎麼看我」,其實都有一般人不能了解的耿耿於懷。你覺得沒那麼嚴重的事,他們卻憂心忡忡。

每個人都住在一座象牙塔裡。走出自己的象牙塔,才能看到這個世界的真實風景,才能真正遠離紛擾與混亂,才能學會真正的「淡然處之」與「無入而不自得」。因為,在經過各種辯證之後,我才能擁有自己的人生堅持。

Thursday, January 26, 2006

版權與著作權、半慷慨半自私

[摘要]

...之前在另一篇「Change of My Copyright Policy 版權更動」裡提到我想在Creative Common(創用 CC)和PublicDomain(公共智財中擇一為我在網上出版作品的條款。基本上,PublidDomain就是把作品捐給大眾,有人要拿去營利也可以,但CreativeCommon能讓我保留一些基本權利,限制作品被拿去商用。我原來比較傾向捐出來,這樣我也沒有什麼多餘的負擔。但我還有一些擔心:...

之前在另一篇「Change of My Copyright Policy 版權更動」裡提到我想在Creative Common(創用 CC)和Public Domain(公共智財中擇一為我在網上出版作品的條款。基本上,Publid Domain就是把作品捐給大眾,有人要拿去營利也可以,但Creative Common能讓我保留一些基本權利,限制作品被拿去商用。我原來比較傾向捐出來,這樣我也沒有什麼多餘的負擔。但我還有一些擔心:

首先,如果我捐出來,有人拿去說是他的作品,申請了版權,我是否就沒辦法再出版自己的作品?即使法律保護,我是否要負擔舉證的成本?

自己不學無術,請教專家去:

-----Original Message-----
From: Tsan-Kuang Lee
Sent: Tuesday, January 10, 2006 4:44 PM
To: Li Shu Hsien 李書賢
Subject: Public Domain

書賢,

我想把我一些文字與音樂作品捐給 public domain, 也就是 no right reserved. 如果未來有個人拿了我的曲子,說是他的作品,我是不是完全不受保護?

我的理解是著作權和版權是不同的。只要作品是我寫的,他用他的名字再發表,應該就不行。但法律可有保護這點?也就是說,我如果發表「命運交響曲」,因為貝多芬已死去多時,作品已是公共財,我是不是就不會受到任何法律的約束?謝謝你的回答。我在考慮用 creative common 但有很多想不通的問題。

璨光

以下是回答:

著作權分成「著作人格權」和「著作財產權」

「著作人格權」,可以簡單的想像成是著作人的姓名表示權,這個權利只有著作人有、不能讓與他人。死亡仍保有。

「著作財產權」,則可簡單地想成是,著作的使用權,此種權利可以讓與及授權他人使用。死後五十年後即消失。

既然是你的作品,雖然你捐給他人使用的權利(著作財產權),但姓名表示權還是你的(著作人格權),他人還是無法侵犯。

姓名表示權(著作人格權)不會因著作人死亡而消失,所以原則上你不能說貝多芬的作品是你作的,但實際的賠償問題(賠償給誰??)就比較不知道了。有問過其他相關的事務所,他們的回答是,這種情形下,沒有被害人(著作人掛了)提出被侵害權利的情況,所以雖然是違法,但可能不會有人求償。

就先這樣啦
希望有回答到你的問題

書賢

ps. 附上一些你回答你問題的法條,及這些法條的出處
http://www.rdo.fcu.edu.tw/otl/laws/writings.htm
第十條
著作人於著作完成時享有著作權。但本法另有規定者,從其規定。

第十六條
著作人於著作之原件或其重製物上或於著作公開發表時,有表示其本名、別名或不具名之權利。...

第十八條
著作人死亡或消滅者,關於其著作人格權之保護,視同生存或存續,任何人不得侵害。...

第二十一條
著作人格權專屬於著作人本身,不得讓與或繼承。

第三十條
著作財產權,除本法另有規定外,存續於著作人之生存期間及其死亡後五十年。
著作於著作人死亡後四十年至五十年間首次公開發表者,著作財產權之期間,自公開發表時起存續十年。

第四十二條
著作財產權因存續期間屆滿而消滅。於存續期間內,有下列情形之一者,亦同︰
一 著作財產權人死亡,其著作財產權依法應歸屬國庫者。
二 著作財產權人為法人,於其消滅後,其著作財產權依法應歸屬於地方自治團體者。

第四十三條
著作財產權消滅之著作,除本法另有規定外,任何人均得自由利用。

第八十五條
侵害著作人格權者,負損害賠償責任。雖非財產上之損害,被害人亦得請求賠償相當之金額。
前項侵害,被害人並得請求表示著作人之姓名或名稱、更正內容或為其他回復名譽之適當處分。

再來的問題是,我把把作品捐出來,但作品的流通程度不平均,也就是說,某些人能掌握,另外一些人不能,會不會造成不誠實或是不公平的現象?舉例而言,學生寫報告時,如果抄襲網上找來的資料,但老師們卻由於資訊不夠流通而不知道學生並沒有自己寫作業。當然,不管是抄李白或是李璨光,都不應該;但以李白的情況來說,學生並不用擔心被李白告侵權,但如果我在法律上仍保留追訴學生侵(兩種)權行為的權利,也許可以減少抄襲的情形。

另外一點,則和我個人的修行程度有關。我和一個禪修很久(而且不願具名)的朋友討論智慧財產權的事,他認為人類智慧木來就應該朝共享的方向走。有人發明鑽木取火的方法,卻去申請專利,讓所有用火的人都得付費使用,對人類來說絕對不是好事。同樣的,有好的思想好的作品,應該要能讓公眾享用。理想來說,創作者應該是自發創作,而不是為利益而創作。這讓我想到一個典故:

荊人有遺弓者而不肯索,曰:「荊人遺之,荊人得之,又何索焉?」孔子聞之曰:「去其荊而可矣。」老聘聞之曰:「去其人而可矣!」故老聘則至公矣。(《呂氏春秋.貴公》)

想到這裡,我突然發現,原來自己離「無私無我」還太遠。對自己的作品還是有很大的執著。在法律事務所工作的朋友來信中引的法條裡,第十八條是「著作人死亡或消滅者,關於其著作人格權之保護,視同生存或存續,任何人不得侵害。...」從這個觀點看,就是「我執」的延伸了。

「我執」是佛家用語。意思就是對自我的執著與不捨。佛家講去我執,因為發現我執帶來的問題很大。我們貪心,因為我們覺得身外之物應該變成我們的一部份;我們生氣,因為我們把我們自己希望被對待的期待,延伸到他人身上。上面兩點,就是「貪、嗔」了。「痴」的意思,就是執著,執迷。

原來我選擇Creative Common來當做版權條款,背後還有我很多本來看不到的自私原因,並不是自己以為得那麼慷慨哩!

Tuesday, January 24, 2006

About Category Jazz 關於爵士樂區

開始作曲以來,我一直為爵士樂的即興本質著迷。可以說,即興演奏,就是在當下作曲,而且在音樂發生時,能帶給演奏/作曲者自己許多驚奇。(雖然我這麼說,我仍覺得傳統作曲很重要。這大概是因為人心智的極限吧 ── 我們能想像一個交響樂團以即興的方式而能夠奏出像春之祭一樣結構複雜的作品嗎?)對我個人而言,即興精神和禪的本質很接近 ── 抓住當下。

我自己演奏爵士鋼琴,也為爵士樂團編作曲。對我來說,這很好玩,很有成就感,同時也是我這個禪修者很好的練習。每次我聽到大師的即興演奏,總是能提醒自己要學習更謙虛,更學著來活在當下。

這個類別裡,我會放一些我過去演講介紹爵士樂的講綱,一些我向網友推薦爵士樂曲的信文,也可能會分享這幾年我個人的思考與心得。

I've been fascinated by the improvisational nature of jazz since I started composing. In a sense, it's like composing in real-time, full of surprises even for the composer/performer himself/herself. (That said, I still value planned composition a lot due to the limitation of human mind -- imagine an orchestra improvises and produces a symphony that's as neat and tight as Rite of Spring.) And for me personally this is very close to Zen -- moment to moment awareness.

I play jazz piano and compose/arrange for jazz bands. For me, it's fun, satisfying, and a great practice for me as a Zen pratictioner. The excitement of listening to great jazz musicians' improvisation has always taught me to be humble and be more in the moment.

In this category, I will put some handouts of my early talks introducing jazz, some email I wrote to recommend standard tunes, and perhaps some reflections I got over the years.

Monday, January 23, 2006

追求音響效果

我有一個很年輕但很有才情與想法的朋友,常常和我分享她生命中的觀察與感想。這一次,她去參觀一個長輩的音響室,覺得很羨慕人家追求品質的生活態度。我則提供另外一個角度的想法。

[他]無論在購買音響、選擇唱片、放置消磁機&離子排列器,都很清楚自己的要求和目標,著眼點在性能功用和器材間的相互兼容,追求極高的音質&技巧。

...

老哥:如果你有機會享受那些音響器材,肯定會愛不釋手、開心到不得了。

以前一定會,現在大概不會了。這種追求沒有止盡。不管在品質上或是在成本上都是。

玩家們間常形容音響這東西是「錢坑」。就是形容這些音響迷們,基本上是拿一張張的鈔票去填一個大坑。更新更棒的器材會一直出來,升了一級又一級,永無止盡。我知道有些人,每年都會換車,不管是什麼新款式的車一出來,他們以能馬上買到這樣的車,馬上開上路為傲。有些人是追求今年流行的衣服或鞋子;有些人的電腦設備總是要最新;有些人要在每一家新餐廳或咖啡廳開出來就要馬上去光顧;有些人是搜集最新出版的專輯...

回到音響。想想看,如果妳聽過這樣的設備,然後很執著只有這樣才能完全高度享受音樂,那萬一妳沒有能力/時間負擔得起這樣的設備時,是不是一輩子大部份的時候聽音樂都有很大的遺憾?好,就算妳真的在家裡裝了這樣的設備,但那是不是表示出門了就不能好好享受音樂了?

同樣的邏輯也適用於有些人對音樂廳音響效果的挑剔。音響不好的音樂廳就不去。想想看這樣的態度會讓他錯過多少好的音樂會。

當然,有好的音響設備在眼前,沒有理由不好好在當下把握這樣的機會。把握當下的機會,但事情過去了就不執著了。

追求「音樂本身」或「音響效果」?這個問題一直被吵著,兩方各說各話;也有說兩者皆重要的。但我的觀點比較是跳開來看「追求」本身。

記得我自己也有好長一段時間因為耳朵的敏感度增加,而開始對所有的音響都不滿。聽到音樂,就希望聲部的平衡能再好一點;聽到一個小錯音,就覺得整首都不對;聽到混音不佳的成品,就沒辦法再去好好地地聽音樂本身。

現在往回看,可一點也不覺得那是什麼值得驕傲的事。

妳知道為什麼"allergy"翻成「過敏」嗎?過敏就是過分敏感。當這樣的事發生在我們身體上,它帶來的問題,我們看得很清楚。但我們在生活上,卻不自知地讓自己對愈來愈多的事過敏。

我認為,追求品質、培養好的品味,還是要建築在一個健康的態度上。雖然我們常常會用「痴」、「狂」來形容某些人對事物的極度投入,這種執著雖然帶來一時的成就,但長遠來看,對當事人人生的其他面向可不見得是好事。

Friday, January 20, 2006

Sound and Music copyright for this blog 本網誌聲音音樂版權

Audio/Music 聲音/音樂

Effective 生效日期: 2006/01/20

Creative Commons License

The audio/music works on this blog, unless otherwise noted, are licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 2.5 License.

除另外註明,本網誌的聲音與音樂著作係採用創用 CC 姓名標示-非商業性-禁止改作 2.5 授權條款授權。

Text copyright for this blog 本網誌文字版權

Text 文字

Effective 生效日期: 2006/01/20

Creative Commons License

The text works on this blog, unless otherwise noted, are licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 2.5 License.

除非另外註明,本網誌上所有文字使用創用 CC 姓名標示-非商業性-相同方式分享 2.5 授權條款

Copyright for this blog 本網誌版權

By default, text works on this blog use this license. Music works use this license.

You can find a note I wrote about the change of the copyright and my thoughts on the copyright of my website over the years. And here's the copyright history from 1998/05/19 to 2006/01/10.

Saturday, January 14, 2006

About Category Studio 關於錄音室與錄音工程

關於錄音室與錄音工程

About Category Studio

原本我打算有系統地把我一些錄音室相關的經驗整理出來,但幾年來一直未來成願。反倒是回答一些網友的來信詢問,久而久之竟也累積了一些可供參考的資料。

I'vebeen hoping to share my own experience in the music studio, but as timegoes by, very little was done. However, my answers to friends'questions over the years seem to be useful for some people out there;thus I put them here.

Tuesday, January 10, 2006

Change of My Copyright Policy 版權更動

1998年起架了第一版個人網頁時,就開始寫版權文件。... 大概在2004年夏天左右,我開始有把這些文字作品版權釋出的想法。原因大抵有二: ....

I wrote my first Copyright Statement in 1998 when I created my first version of personal website. ... In 2004 summer, I started considering releasing the copyright of my articles, for two main reasons: ....

(English translation followed)

1998年起架了第一版個人網頁時,就開始寫版權文件。

最開始(1998年)的版本是不希望自己作品在未經許可、未標明作者的情況下被拿去販售

第二版的網站於2002年4月6日架設起來後,我就收到大量讀者來信要求引用或使用我的作品。大部份的讀者都是學生,而且來信的時間不外乎寒暑假快結束、學期中或學期末。很顯然大部份的讀者都是要交作業而要求我的授權。

那時候抱著一個推廣尊重智慧財產權的想法,所以很正式地要求年輕的學子們按照一定的程序取得使用許可。為了回應這些請求,我也花了很多時間和精神。從來信學生的年齡、世代、性別、地區等,我觀察到非常不同的態度:從學習慾強烈,和我認真討論起來的音樂新鮮人,到丟一句「你寫的不錯。我要拿來交作業。拜拜!」的讀者,甚至還有「我需要你那篇莫札特文章的英文翻譯,因為我很急,所以請在下週前翻譯好寄給我。3Q!」的情形。老實說,有一度我覺得我和時代嚴重脫節。

大概在2004年夏天左右,我開始有把這些文字作品版權釋出的想法。原因大抵有二:

一方面是覺得,在推廣尊重他人創作的目的上,我已經用文字盡力說明了。本來就懂得尊重他人的讀者,這些說明是多寫的;願意學習尊重的學生,看到這些文字也夠了;而做不到尊重他人的人,既然那些文字沒有效,我再多寫封信似乎也改變不了什麼。

另一方面,2003年我開始學習禪修。禪修讓我清楚地看到自己對名(希望強調原作)、對利(不願他人圖利)、對現象(硬想改變頑石)、對成就(希望知道有多少人用我的作品)的過度執著,也看到自己這些執著事實上是損己不利人的。觀察到自己煩惱心的根源之後,漸漸地,我發現自己愈來愈能放下。

可惜自己一直很忙,無暇更新網頁,所以一直拖到2006年初還沒有機會寫新的版權說明。

目前考慮在public domain與creative common之間擇一,來當做網站大部份作品的預設版權。

(以下是英文翻譯)

I wrote my first Copyright Statement in 1998 when I created my firstversion of personal website.

The first statement (1998) was written because I hope my works wouldn't be used commercially without attribution and my permission again.

Since my second version website was created, I started to receive tons of email requesting my permission to use my articles, mostly from from students, and mostly around the end of summer/winter breaks or semesters. Obviously my articles were used for their homework.

I was very eager to help educate Taiwan society to respect the property of wisdom, so I setup a protocol for students to follow, to get the permission of using my works. Responding to those requests was really time and energy consuming. I actually learned a great deal from the requests from students of different age, gender, region, and generation. Their attitudes vary a lot: from enthusiastic music newbies constantly exchanging ideas with me, to some one leaving a terse note, "Well written. I'll use that for my homework. Bye.", to somebody asking "I need English translation of your Mozart article. Because I have a short deadline, could you please finish the translation and send it to me by Monday? Thank you!".

I have to admit that I once felt so out-dated.

In 2004 summer, I started consideringreleasing the copyright of my articles, for two main reasons:

1. I believe I have written clear enough to explain what copyright is and why it's relevant. For those who alreaady know to respect others, my words don't add anything; those who are willing to learn can learn from what I wrote; as for those who simply can't learn to respect others (yet, hopefully), if my copyright statement couldn't convince them, how would my additional email?

2. I started to meditate in 2003. Meditation enabled me to clearly see my clinging to fame (I made sure my credit is mentioned), to profits (I felt angry when others used my works for their commercial purpose), to phenoma (I couldn't let go whenever I failed to change a student's attitude), and to achievement (I wanted to know how many people used my works). I also realized that these clingings benefited nobody but simply brought me unhappiness. With these observations, my practice gradually equipted me with the power to let go.

Then for a while I got busy in my life so I haven't got any chance to update my copyright statement, until early 2006.

Now I'm choosing between Public Domain and Creative Common. One of them will be the default copyright policy of my blog.

2006-01-10之前的版權歷史

這是2006-01-10之前的版權聲明歷史。2006-01-10之後的版權,請見這篇

使用李璨光文字作品的注意事項

引用辦法

  • 所有的引用與參考,必須在所引用(或參考)的段落旁,附上「參考(或引用)資料出處:李璨光個人網頁tklee.com」或同義字樣。
  • 成品具商業或營利用途者(書報雜誌或各種平面、立體、電子媒體),須經作者本人(李璨光)正式書面授權。

基本上就這樣。如果您願意的話,可以寫封信與我分享您閱讀我作品的心得。

始末

1997年我架設個人網頁時,是希望能將過去PC BBS討論音樂的風氣換另一種網路媒體繼續下去。可是,這麼多年來,我所收到的一兩百封信裡,絕大部份都是學生來信要求「借用」我的文章,來應付音樂課作業、暑假作業、壁報展等。當初與樂會友的目的沒有達到,反倒讓許多學生有一個方便應付音樂報告的方法。除了一位國中音樂老師來信討論學生抄襲問題外,我在實際的教書經驗裡,也為學子們習慣抄襲的問題頭疼不已。因此,我也花了不少時間和口舌來試著傳播一個尊重他人創作的習慣,與正確參考、引用的方法。原本我要求需要我授權引用我作品的人提供姓名、用途(校名課名等)及授權期限。我接到來信後,會回寄一封具法律效用的電子簽章授權書。

對於來信要求授權的朋友,我鄭重表達我的稱許與感謝。這些朋友願意在搜尋到資料後,試著讓原作者知道他的作品將被使用。

有許多朋友並沒能真正明瞭尊重原作的意義,以匿名、別名、無效電子郵件住址來信,或是提供假的資訊。這點令我不解 ── 一份寫給就讀「某國中某年級的大牛」的授權書,要如何有法律效用?如果不願意以真面目與我接觸,寫一封「你寫得不錯,我要拿來交報告,謝啦!」的信,到底意義何在?

當初要求使用真實姓名,無非是要建立一個彼此尊重、彼此信任的友善關係。我希望藉此培養在學學子一個正確引用參考的好習慣。這樣的習慣,在一個成熟的社會裡,應該是很基本的修養。

經過了這幾年的經驗,我發現,我原來的辦法只會讓原本就願意尊重他人創作的人更麻煩而已;對於不在乎的人完全沒有影響。所以,我決定改變引用我作品的辦法。

過去的版權說明

2004/08/21

辦法更新:本網站所有內容之版權由本人李璨光保留。欲轉載、引用,請見使用李璨光文字作品的注意事項


2003/02/05

我收到許多匿名網友的來信要求引用我的文章。有的雖不是完全匿名,但使用暱稱或是難以解讀的代號。在此說明,我的授權書,無法授權給沒有法律效用的稱號。因此,我要求來信者附上以下資料 :

  1. 真實姓名(若使用筆名出版,請加附筆名)
  2. 用途 (出版品請附刊物名及出版處,學校報告請附上校名、班系級、課名及授課者姓名)。
  3. 需要授權的時間期限

我將給您一份經電子簽名的授權書。您的資料,未經您授權,我保證不流出。

在您拿到我的電子簽名授權書後,您始有權在標注原出處的情形下引用或轉載。出處請標明「李璨光個人網頁 http://tklee.com」。

以下這封來信算是讓我大開眼界了:

我跟幾個同學要交報告...

so..會用到你一些資料

我會再下方著名來源的

.....就這樣.....

你做的很好......8

您好,

在取得本人授權書授權您引用之前,您引用本人資料是違法的。若您仍需使用本人文章,請提供真實資料。請參考 http://www.tklee.com/Big5/copyright.html 謝謝。

李璨光


不夠詳細??

好=.=

我某某高中的學生

要做名人傳記

我們決定做莫札特

我要找些參考material

看到使用您的marterial

需要您授權

特來信一封

僅此


2002/04/28

本網站所有內容之版權由本人李璨光保留。欲轉載、引用,請告知本人並在獲本人電子簽名授權書後,以標注出處的方式為之。


2002/04/28

我收到許多匿名網友的來信要求引用我的文章。有的雖不是完全匿名,但使用暱稱或是難以解讀的代號。在此說明,我的授權書,無法授權給沒有法律效用的稱號。因此,我要求來信者附上以下資料:

  • 真實姓名(若使用筆名出版,請加附筆名)
  • 用途(出版品請附刊物名及出版處,學校報告請附上校名、班系級、課名及授課者姓名)。
  • 需要授權的時間期限

我將給您一份經電子簽名的授權書。您的資料,未經您授權,我保證不流出。

在您拿到我的電子簽名授權書後,您始有權在標注原出處的情形下引用或轉載。出處請標明「李璨光個人網頁http://tklee.com」。


2002/04/28

如果您要引用本網站資料,請標注出處,並請來信告知。

如果您是寫學校音樂報告,您不妨參考本站答客問裡,一位國中音樂老師的來信


1998/5/19

李璨光的版權宣言

關於版權宣言

寫這個「宣言」看來有點可笑。好像我自己覺得自己有多麼了不起,深怕別人偷了自己的心血似的。其實,「分享」,本來就是網路的精神,沒什不對的。之所以我會刻意地加上這一篇,實在是幾年前的經驗所致。

那時候,台灣的PC BBS站還只有十幾個的時候,我也架了個GT站台,當做一些同好交流的中心。後來,BBS人口愈來愈多,功能需求也愈來愈大,於是先後改用PC Board,Power Board,Maximus架站,同時廣收站友。

有一次(1990年),我在站上的音樂區介紹莫札特,並把高中時為了愛樂社紀念莫札特199逝世週年寫的曲子(是用AdlibCard的Composer寫的ROL檔)放到站上和大家分享。沒想到,有一次竟在光華商場聽到這首作品,趨前一看,竟是「美女拳」遊戲的全場配樂。天啊!%$@︿@#$︿%$!%!$!諷刺的是,開頭畫面竟也是大喇喇地寫著版權所有,盜拷必究等語云云。

直接盜用作品毫無聲明則已,最令我無法忍受的是這樣的音樂竟被放到這樣的遊戲裡。想想在和「美女」划拳時,聽著莫札特的奏鳴曲的不協調感吧!

唉,除了自嘲該曲大概讓人覺得適合該遊戲外,那時的我,也沒想到要再怎樣了。就當做是一個教訓好了。這裡的這篇宣言,對真君子徒有礙眼之慮,對小人則全無警示之效,那為什麼還要放這裡呢?

人啊,總是天真地依著信念做事嘛。

本文寫於1998/5/19

過去網友來信

我收到的信有數百封,而且都是集中在學校要交作業的時候。下面我隨手挑幾封不同的來信。從不同的語氣中可以看出背後不同的想法。

Date2002-06-17 07:36
Subject急需複製你的作品
去過你的網站 裡頭有我想要的資料
喔 我先自我介紹 我姓x 可以叫我xx 我是一個高中生
因為我的音樂老師要一份有關 w.a.mozart 的資料
而我急需複製你的作品 可能等不到你的回應
在此 我深感抱歉 望請諒解

劉同學您好,

謝謝您的來信。我問了一些攻讀著作權的律師朋友們,他們說我放在網路上的東西雖然大家能輕易取得,但我身為作者仍有完全的著作權。我在網頁上的聲明是有效用的,也就是說,除非我公開聲明放棄權利,所有的引用在我同意之前都是剽竊。

參考可以,但沒有標注出處的「參考」也是剽竊。我不知您指的複製是什麼。但只要您使用我的文字沒有標注出處,我是不同意的,而且那是偷竊行為。

在物主同意之前將東西取走使用,不管是著作或是有形財,都是偷竊行為。您如果在街上看到一台沒有鎖的車子,因為您急著趕到某處,於是在原地留個條子,告訴車主您因急用,可能等不到車主的同意,所以先把車子開走,而您深感抱歉,望請車主諒解。我想大部份的車主,都很難諒解您的行為。而且我想您也很難免去您的法律責任吧。

當然,您車子開走了,警察和車主不一定找得到您。但我想您只是沒有意識到事情的嚴重性,而且並沒有打算一開始就和警察與車主玩見不得人的躲迷藏,否則您的來信一點意義都沒有了。

如果您資料已經交給老師,而您用我的文字沒有標注網址出處,請您將出處補交給老師。出處請標明「李璨光的莫札特網站http://tklee.com 」。如果還沒交,請您務必將出處補上。不管您如何處理,請您來信告知您的處理方式。如果您沒有這樣做,很抱歉,我無法同意您使用任何我放在網路上的資料。如果您仍有未經授權使用我資料的情事,表示您選擇玩見不得人的躲迷藏了。

最後,容我指出,您的來信沒有稱呼,沒有真實姓名,使用免費信箱,行文中也完全看不出真正要徵得原作同意的誠意,在我看來,是非常沒有禮貌的。我好幾個在高中教音樂的朋友們都要我直接拒絕您,而且她/他們都說如果您是她/他們學生,一定會被當。但我認為您並不了解您行為的嚴重性,所以我花一些時間向您解釋這一切。希望對您 (以及其他已遭殃或未遭殃的車主) 有幫助。

末祝

學安

李璨光

PS: 我會將我的回答公佈到網上。但您的 email 住址與稱呼不會被公佈。如果您覺得不妥,請讓我知道。順便也請您看一看過去關於使用我網站資料的著作權相關問答。其中包括一位音樂老師的來信。http://tklee.com/Big5/Music/Mozart/FAQ#Copyright


李先生

我很抱歉讓你有這麼不好的感受 我在我的報告上有附上你的站名

我沒說出我的真實姓名是因為我怕有人會盜用

畢竟這是網路世界 沒什麼不能發生

我姓x 名xx 為了表示我的誠意及我歉意

我願意公開有關我的事務

會使用免費信箱是因為家中電腦尚未架設完整

有任何的疑問可以和我聯絡

我被你信中的內容嚇到 的確 我不知道這樣做的嚴重性

非常謝謝你告訴我

另外我誠心向你道歉 希望你能夠原諒我不當的行為

若你能不記前嫌的話 我很希望和你成為朋友

還有什麼是你對我存有疑問的 我希望你能明確的告訴我

好讓我回答你

BEST WISHSE. xx上

xx,

我沒有要嚇你的意思,只是想提醒你,在一切資訊都更易取得的環境下,要能有所為有所不為,需要更高的修為。我的朋友們寫很多很寶貴的文章、整理很多很有價值的資料,但都不願意公開放在網路上。因為網路的便利性讓抄襲太方便了。最近所聽到朋友身上的一個離譜例子是,網路小說被任意轉載,最後連作者姓名都變了。原作寫信去抗議,冒名者竟說憑什麼證明文章是誰寫的。

很遺憾,我們的教育裡,缺乏尊重他人智慧素養的培育。我們用的課本大部份也不標注資訊來源,好像整個人類文明史都是幾位編者的智慧結晶一樣。有一些以前讀過的教科書,原來以為是原著,還很佩服作者,現在發現原來是從外文整篇照翻,而且沒有標明出處,那種感覺真的很糟糕。堂堂學者的形象馬上變成小偷了。這種文偷,擺明看不起讀者,認為只有偷者自己閱讀夠廣,不會被發現這樣的勾當。

我想起以前有個朋友追女孩子,抄鄭愁予的情詩,說是自己的文釆。結果對方說不願意和騙子交往。那時候我們都是小男生,覺得對方也太不給我們台階下了。當然鄭大詩人絕對不會在乎這種小事,何況詩集是出版流通的,是不是抄襲明眼人一看便知。但如果是從詩人書桌上把草稿偷出來用自己的名字搶先出版,恐怕作者反應就不一樣了。現在我年紀大些了,再想以前這件事,覺得那位女孩子果然成熟。她如果沒有抓到這樣的事,也許她後來會發現她愛上的是包著鄭愁予外衣的騙子,而這個錯誤一點都不美麗。

關於網路禮節,不同人有不同看法;不同族群也有不同期待。我只能說,寫給不認識的人的第一封信保守一點,禮貌一點總是安全些。更何況,你是有求於人,用字要特別小心,別給人覺得你在說:「喂,你的東西我看得上眼就很給你面子了。你答應也好,不答應也罷,老子我反正就已經拿來用了。」

這樣酷嗎?我不覺得。從你的來信看來,你應該也不這麼覺得。很遺憾地,有不少人把禮貌與尊重,和「遜」畫上等號,為了語出驚人,不用創意服人,而以粗語自喜。這樣的人,只是故意叛逆挑戰人家明定出來的常規,而不是聰明地翻過大家想都沒想過的思考界線,在我看來,實在很不酷。

我欣賞你敢做敢當敢改的個性,也接受你的道歉,當然也同意你在尊重我著作權的前提下自由使用我的創作。關於公布你資料,我建議保留你的姓名 (也就是匿名)。現在的搜尋引擎容量都很大,一旦你的名字被存入 cache 後,恐怕要很久很久才會改變。你年紀還輕,大概還沒有什麼出版記錄。總不希望人家上網用「xxx(來信者姓名)」搜尋,就只看到這件烏龍事吧。

最後,是不「計」前嫌 (至少我小時候還是「計」);還有,best wish"es".

學安

璨光

From 中學生
Subject 做音樂報告
你好

我是中學生

因為我們要做音樂報告

要交報告

我選定了莫札特

所以能不能以你網站的資料作介紹?
From 李璨光

XX,

沒問題。你是第六十位有發信給我徵得同意的朋友。容我提醒你,許多音樂老師們跟我分享她/他們發現學生們大量引用我網站內容但不標出處的惡習,希望我以後能趁機讓願意寫信給我的年輕朋友知道:寫報告標資料出處是很正式的研究方法;而未標出處直接引用在法律上和道德上都視為剽竊。

我很感謝你願意寫信徵得我同意。我也相信你只是需要參考或引用部份資料,而且會標上出處,以表明您嚴謹認真、尊重他人的學習態度。寫這些話給你,一方面是受許多音樂老師之託,另一方面是表達我對你不同於這一代年輕朋友們的欣賞。

加油。願你和我一樣真正從莫札特的音樂裡得到對生命的感動和熱愛。

璨光

From 學生
Subject Copy文章

對不起唷~

因為作業的需要所以copy你的"莫札特作品介紹"那一頁

請問可以讓我copy嗎?

Sincerely XXXX

From 李璨光

Dear XXXX,

有幾點意見和您分享:

1. 非常感謝您知會我。這代表您願意尊重我。

2. 不知道您說的 copy 指全篇抄用還是指部份參考?不管是那一個,都歡迎您轉錄使用。但我希望您標注參考資料出處。這也會讓您作業顯得正式而嚴謹。

我很好奇,什麼樣的課要求這樣的作業呢?音樂老師要求寫作品介紹嗎?

璨光

From X同學
Subject 引用文章

DEAR SIR:

我因為考試需要參考資料想截錄您大作中有關莫札特的文章,希望您允許!

截錄處:Oh! Mozart!

1...我們常常可以聽到人用「清澈透明、純真自然」來形容他的音樂。Mozart的音樂在表面上的確相當地「簡單」,讓人聽起來細毫沒有什麼困難,沒有Bach(巴哈)複音音樂那種複雜性,也沒有Beethoven般老愛給人「和平、奮鬥、救世界」的那種使命壓力,更不是像Haydn那種簡單到我忍不住用「拙」來形容

2. A great poet uses but the twenty-six letters ofthe alphabet, and without devising a single new word gives voice tooughts undreamed-of. (Mozart 正如一偉大詩人,毋須創造任何新字,僅僅用二十六個字母,道出了我們幻夢未及的情感。)Mozart, His Character, His Work by Alfred Einstein

謝謝

XXX

From 李璨光
X同學,

謝謝您的來信。沒問題,只要您標注資料出處,您可在您參考資料中引用本人文章。您的仔細與對原作的尊重,令人激賞。

以下是關於我以前寫這些文字的一些標注。

信末附上電子簽名的授權書。您只需標注資料出處 (李璨光的莫札特網站 tklee.com),不需在您的大作中附上授權書。
1...我們常常可以聽到人用「清澈透明、純真自然」來形容他的音樂。Mozart的音樂在表面上的確相當地「簡單」,讓人聽起來細毫沒有什麼困難,沒有Bach(巴哈)複音音樂那種複雜性,也沒有Beethoven般老愛給人「和平、奮鬥、救世界」的那種使命壓力,更不是像Haydn那種簡單到 我忍不住用「拙」來形容

今日看到十年前自己少年聽雨所寫的文字,有點汗顏。我希望把對Haydn的偏見收回來。Haydn有其特有的親和力與幽默感。隨著我年紀的增長,再聽Haydn的音樂,所感受到的溫暖已經很不同了。如果您要引用,請您加上原作的日期,好嗎?:)
2. A great poet uses but the twenty-six letters of the alphabet,andwithout devising a single new word gives voice to oughtsundreamed-of. (Mozart 正如一偉大詩人,毋須創造任何新字,僅僅用二十六個字母,道出了 我們幻夢未及的情感。)Mozart, His Character, His Work by Alfred Einstein


這段話我只是翻譯。原文是Alfred Einstein寫的。也請您別忘了標上真正的原作。

再次謝謝您的來信。

祝考試順利。

璨光

電子簽名授權書如下(刪)

Tuesday, January 3, 2006

[QA] 美語補習班課程錄音帶

一個美語補習班需要將上課內容錄起來,讓學生回去複習。目前他們是以雙卡座的音響對拷成一卷卷的錄音帶,但效率有限,希望以最少預算改進現況。

An English language after-school consulted me for a low-cost solution to record their classes for students to review at home. They are using a dual-deck cassette recorder but it's too time-consuming.

(English translation below)

您要考慮:

1. 錄音設備/媒體
2. 複製方式
3. 傳播方式

我認為最好的方式還是用數位的方式,長期下來能節省大量成本。您購買幾台 mp3 錄音設備(或是一間教室裝一台PC來錄音),上課完將錄好的檔案燒錄至光碟(由於mp3檔案小,燒錄速度遠比音樂CD快),或是用USB隨身碟(這就更快了;一個學生買一支應該不為過;一兩個小時的課內容64MB就很夠了),或是放到網站上供學生下載(最方便的方法)。學生應該都有電腦或mp3 player來播放mp3檔案。

一卷卷的錄音帶成本,再加上對錄系統(以及對錄的時間與人力成本),經過幾堂課就會遠遠超過上述設備了。數位的方式能讓你們很容易保存與複製。

如果一定要輸出成錄音帶,又不用錄音室的品質的話(那樣您也需使用較昂貴的帶子),可以用有監聽輸出的錄音設備(一般現代電腦用的可錄音的音效卡就可以了),一邊錄入電腦成數位音檔,一邊錄入錄音帶。然後再用 high speed cassette duplicator 大量複製。購買的時候可以選擇速度,基座數(一次可以拷貝幾卷),以及軌數(單音或立體)。

(以下是英文翻譯)

You need to consider:

1. the recording equiment and media

2. how you duplicate the media

3. how to distribute the media

I would recommend digital means throughout. That would save your cost over time.

You may equipt your classrooms with mp3 recorders or PCs to record the class. Then you can burn the mp3 files, the size of which enables faster burning than audio CDs. You can even use USB thumb drives for even faster file transfer (64MB should be enough for a 2-hour class recording). The easiest way is to provide the files online for students to download themselves. Most students in Taiwan should alreay have an mp3 player or a PC to play the files.

If you go with the cassette solution, you may want to consider the cost in the long run (I think the cost will outrun digital solution after several classes). The cost would include the cassettes themselves, the duplication system, and the time and efforts involved in duplication. Digital means also allows easier archiving and duplication.

If cassette is a must, and you don't go after studio quality, you can use recording devices with monitor out (if you use a PC, most likely its sound card would work). This way, you can record into digital files and analog tapes at the same time. Then, you can use something like "high speed cassette duplicator" to make duplications. When you buy a high speed cassette duplicator, you can opt its copying speed, the number of decks (how many tapes you can copy at one run), and the number of channels (mono or stereo).

Monday, January 2, 2006

Idx/Sub Subtitle File Time Adjust (ISFiTA) v0.01

This is a quick and dirty (even the acronym) perl script I use to time-shift/stretch idx/sub subtitle files.



#!/usr/bin/perl


###########################################################################################
#
# Idx/Sub Subtitle File Time Adjust (ISFiTA) v0.01
#
# Author: Tsan-Kuang Lee
# Date: Jan 2, 2006
#
# What does it do?
#
# A video file may have different subtitle files, which not only differ in format
# but also differ in their timestamps. Usually this is because the creators of
# the subtitle files are syncing their subtitles to different video files (of the
# same content, but some with, say, trailors, and others without).
#
# For example, there are two video files: v1 and v2. Let's say v1 has 2 minutes more
# trailors from the beginning before the main content. Subtitle creators make s1 for
# v1 and s2 for v2.
#
# However, we only have v1 and s2 at hand. We want s2 to sync with v1.
#
# If s2 is in plain text subtitle format, e.g. SRT, TXT, SSA, etc. Many excellent
# utilities have been written, such as: SubCreator, http://www.radioactivepages.com/
# ISFiTA deals with idx/sub format.
#
#
# How to use it?
#
# ISFiTA simply reads the idx file (it's a plain text file) and recalculate the
# timestamps, according to the parameters we provide. We'll need to provide the
# several parameters. Here's what you would usually input at the command prompt:
#
# % perl ISFiTA-v0.01.pl 3 film0.idx 00:03:55:735 01:32:53:067 film.idx 00:03:34:535 01:32:32:067
#
# Here's what they mean:
#
# "%" is the command prompt;
#
# "perl ISFiTA-v0.01.pl" launches this script;
#
# "3" is the index code of the language you want to deal with. If you open the idx file
# with a text editor, you would see something like "id: zh, index: 3". zh is the language
# code for Chinese (Zhong-wen), and "3" is what we want here.
#
# "film0.idx" is the original idx file we want to read from.
#
# "00:03:55:735" is the timestamp (the last three digits are in milliseconds) of one
# specific subtitle line in "filem0.idx". Let's say it maps to the line "Let the show begin!".
# Many tools let you see which line "00:03:55:735" maps to, e.g. VobSub. (Of course, you need
# to have film0.sub for VobSub to display the image.)
#
# "01:32:53:067" maps to another line in "film0.idx", say "See you next time!".
#
# "film.idx" is the target file we want to write to.
#
# "00:03:34:535" is the target timestamp for "Let the show begin!". You can get this target
# timestamp from watching the video file, or from a correctly synced subtitle file.
#
# "01:32:32:067" is the target timestamp for "See you next time!".
#
# "Let the show begin!" doesn't have to be the first line in the whole subtitle; likewise,
# "See you next time!" doesn't have to be the last. However, the more apart they are from
# each other, the more accuracy of caculation we get, since the minor time-offs will be
# divided into ignorably small differences.
#
# Don't forget to provide film.sub to complete the idx/sub pair. Just use the original sub and
# correctly rename it.
#
# About
#
# This is a quick and dirty perl script (even its acronym sucks) I use to time-shift/stretch
# idx/sub subtitle files. Do whatever you want with it, at your own risk. If you do improve
# it or rewrite it, I encourage you to share it with the public. Authors of free utilities have
# my highest respects.
#
# Todos for you
#
# Here are some suggestions if you want to contribute something to the Open Source world, or the
# freeware world:
#
# SubCreator has much more sophisticated transformations. For example, you can decide the time
# range in which you want to adjust the time code.
#
# Obviously Perl is not user-friendly for most people. You may want to re-write it in another
# language and compile it into an excuteable.
#
# GUI makes it more approachable.
#
# Bug the authors of VobSub, SubCreator, etc. to include idx/sub time adjust/stretch functions
# into their utilities.
#
#
###########################################################################################


# Command line arguments
unless (@ARGV == 7) { die "Usage: $0 lang_index in_file in_start in_end out_file out_start out_end\n(timestamp format: hh:mm:ss:mis)\n" }
($lang_index, $in_file, $in_start_timestamp, $in_end_timestamp, $out_file, $out_start_timestamp, $out_end_timestamp) = @ARGV;

# Open files
unless (open INFILE, "<", $in_file) {
die "Couldn't open input file $in_file: $!; aborting";
}
unless (open OUTFILE, ">", $out_file) {
die "Couldn't open output file $out_file: $!; aborting";
}


# calculate necessaary transformation (shift, slope)
# simple linear transformation formula :
#
# new_bx = (ax - a1) * (b2-b1)/(a2-a1) + b1 , where
# a1 = in_start ; a2 = in_end
# b1 = out_start; b2 = out_en
# ax = old_time_point

$shift_milliseconds = &convert_to_milliseconds($out_start_timestamp);
$slope = (&convert_to_milliseconds($out_end_timestamp) - $shift_milliseconds) / (&convert_to_milliseconds($in_end_timestamp) - &convert_to_milliseconds($in_start_timestamp));
$in_start_milliseconds = &convert_to_milliseconds($in_start_timestamp);


# start processing

$section = "header";
while ()
{
if ($section eq "header" || $section eq "other_lang")
{
# check language id
# id: zh, index: 2
if ($_ =~ m/^id: *.+, index: *(.+)$/)
{
if ($1 eq $lang_index)
{
$section = "processing";
print "Processing $_";
}
else
{
$section = "other_lang";
}
}
}
elsif ($section eq "processing")
{
# stop when another language id tag appears
if ($_ =~ m/^id: *.+, index: *(.+)$/)
{
$section = "other_lang";
}
elsif ($_ =~ m/^(timestamp: )(\d\d:\d\d:\d\d:\d\d\d)(,.+)$/s)
# only process lines with timestamps, e.g.
# timestamp: 01:22:20:634, filepos: 00011a000
{
$_ = $1 . &calculate_new_timestamp($2) . $3;
}
}
print OUTFILE $_;
}

sub calculate_new_timestamp
{
my ($old_timestamp) = @_;
$new_milliseconds = (&convert_to_milliseconds($old_timestamp) - $in_start_milliseconds) * $slope + $shift_milliseconds;
return &convert_to_timestamp($new_milliseconds);
}

sub convert_to_milliseconds
{
my ($string) = @_;
$string =~ m/(\d+):(\d+):(\d+):(\d+)/;
$milliseconds = $4 + $3*1000 + $2*1000*60 + $1*1000*60*60;
return $milliseconds;
}

sub convert_to_timestamp
{
my ($milliseconds) = @_;

# Although perl supports integer division, the scope of "use integer"
# is global and that would cause slope calculation become integer.
# Therefore, we use redundant division as below. floor() is possible but
# we don't use it here for cross-distribution compatibility
# (some perl distributions don't have that package installed)

my $res_h = $milliseconds % (60*60*1000);
my $hour = ($milliseconds - $res_h) / (1000*60*60);
my $res_m = $res_h % (1000*60);
my $min = ($res_h - $res_m) / (1000*60);
my $res_s = $res_m % 1000;
my $sec = ($res_m - $res_s) / 1000;
my $ms = $res_s;

return sprintf("%02d:%02d:%02d:%03d", $hour, $min, $sec, $ms);
}