我艱難的早期音樂之旅
Dr. Angela's Difficult Early Musical Journey
Written by Dr. Angela Chan Ph.D.  May 2020
由陳寶瑤博士撰寫 (英文原文)

摘錄自我的著作《音樂藝術教學指南-音樂表達教學的藝術和科學》

音樂人生史

自2016年以來,寫本書以記錄教學經歷的想法就開始萌芽。我很高興直到現在才寫電子書,因為在過去的幾年中,我積累了很多可以揭示的經驗。我相信,現在無疑是我與讀者分享我的知識的時候了。

我想向您介紹我的身份,以及為什麼您必須閱讀本書並因此在我所提供的內容中找到價值。

這是我的一些背景。我於1960年代中期出生在越南西貢。我的父親是一名醫生,我的母親是一名專職家庭主婦。我是他們唯一的孩子。由於戰爭,我的父母是中國人,被迫作為難民從我的出生地逃到香港。在香港的頭幾年,我們沒有很多東西。

由於缺乏商品和資源,我不得不用我可以稱做玩具的少量補給物。作為幼兒,我與母親非常親密。我養成了非常不尋常的習慣-可能是對母親的一種依戀。我喜歡在她的絲質睡衣褲角上打個小結,並嘗試將這些剛硬的衣服角壓在我的指尖上。我發現它具有令人難以置信的舒緩和安撫作用。我可以做幾個小時直到睡著。我無法解釋為什麼,但是我只是喜歡那種觸感,指尖上有輕微但集中的壓力。這是音樂迷的前身,這是他一生的旅途中的一部分,使我成為了今天的人。

儘管經濟困難,我父親還是設法購買了一個小型電子鍵盤。那是我唯一的玩具,但我喜歡它。父親不僅鼓勵我玩遊戲,還鼓勵我並教我比賽。我從父親那裡學過隨便彈鋼琴,父親是一名業餘流行鋼琴演奏者。他開始教我按照他小心地按在白色鍵上的數字演奏。我父親主要教我如何死記硬背,有時我會根據他為我寫下的數字學習新的樂曲。我最喜歡挑選電視上聽到的新音樂。我可以演奏一曲又一曲。我的父母稱讚我並與我一起唱歌-承認我的努力的一種很好的方式,這使我更加努力。鋼琴是一種玩具,一種歡樂,也是與父母聯繫的一種方式。

有一天,我的鍵盤壞了,我無法再演奏音樂了。出於絕望,我發明了另一種娛樂自己的方式。我調高電視機的音量,然後從客廳的抽屜櫃中拉出中間抽屜。我坐下,開始在電視機的壁架上播放音樂。當我的父母離開廚房時,他們注意到我發明了一種製作音樂的方法。這一集立刻使他們相信我愛彈鋼琴,並且我已經正式為上鋼琴課做好了準備。

我從六歲開始上鋼琴課,而我的第一位鋼琴老師是一位女高音,恰巧在旁邊教鋼琴。我的父母通過介紹一位朋友找到了她。這位朋友告訴他們,作為老師,她非常認真,嚴格,為我打下良好的基礎。

我可以清楚地記得,在上完第一堂課後,我對彈鋼琴失去了興趣-主要原因是我的老師對我太嚴格了。我被教導要讀一堆筆記,並按照她對某些手部姿勢的調整,這是我不介意的。但是她的授課方式無疑使我感到恐懼。如果我第一次沒看清楚內容,她會大喊大叫(考慮到她的背景有職業危害)。她是一位高超的女高音,這一事實進一步加劇了這種情況。結果是我避免練習鋼琴。我開始看到彈鋼琴是一件繁瑣的事。我要等到下一堂課的一天深夜,然後去上鋼琴,練習幾分鐘,為第二天的鋼琴課做準備。這種情況造成了一個惡性循環,一直持續到我上小學的最後一年。

在我上小學的最後一年,我必須參加一系列的中學入學考試,稱為“ SSEE”(中學入學考試)。為了準備這些考試,我不知所措,幾乎沒有足夠的時間睡覺,更不用說時間彈鋼琴了。結果,我上課之前沒有練習鋼琴。我媽媽看到我的老師對我的耐心正在減弱,所以她向她道歉,並警告她,我將無法按照她的苛刻標准進行練習(由於我的學業)。我可憐的母親指望鋼琴老師的理由還沒有為意外的反彈做好準備,在這種情況下,老師譴責我的母親沒有適當的優先次序。她不可避免地引起了激烈的爭論,我的鋼琴老師對我媽媽大吼大叫,對她大喊:“學術研究不如彈鋼琴重要!”我相信,這是導致與我的第一任老師六年恐怖關係結束(期待已久)的最後一根稻草。

經歷了這段經歷之後,我的父母決定另找一位寬容的鋼琴老師。通過口口相傳,他們找到了我的第二位老師。這位老師畢業於上海音樂學院。她確實是一位非常善良的女士。儘管我花了大部分時間只是看書,但她從不譴責我,也不反對我的演奏。我不是一個好學生,我很少練習課程。我相信我之所以能夠成功,是因為我的視線閱讀能力足夠,鼓勵我的老師對自己的進步保持樂觀的態度。...

想閱讀更多...訂購我的書
"音樂感教學指南-教音樂感的藝術與科學" 


Written by Dr. Angela Chan Ph.D.  (Original text in English)

Excerpt from my book "A Guide to Musical Artistry - the Art and Science of Teaching Musical Expression"


My Musical Life History 

The idea of writing a book to document my teaching experiences has been germinating since 2016. I am glad that I haven’t written my eBook until now, as in the last few years, I have accumulated much more experience that I can reveal. I believe that now it is undoubtedly the time for me to share my knowledge with my readers.

I would like to give you a background of who I am, and why you have to read this book and therefore find value in what I have to offer. 

Here is a bit of my background. I was born in Saigon, Vietnam, in the mid-1960s. My father was a medical doctor, and my mom was a full-time housewife. I was their only child. Due to the war, my parents, who are Chinese, were forced to flee from my birthplace to Hong Kong as refugees. We didn’t have many belongings in the first few years in Hong Kong. 

Due to the lack of goods and resources, I had to make do with minimal supplies that I could claim as toys. As a pre-toddler, I was very close to my mother. I had developed a very unusual habit - probably as a form of attachment to my mother. I loved to tie tiny knots at the corners of her silk pajamas and would try to press these hardened corners of her clothing against my fingertips. I found that to be incredibly soothing and pacifying. I could do that for hours until I fell asleep. I couldn’t explain why, but I simply loved that tactile feeling of having gentle but focused pressure applied to my fingertips. It was a precursor to a musical captivation that has been part of a lifelong journey that has molded me into the person I am today.

Despite financial difficulties, my father still managed to purchase a small electronic keyboard. That was my only toy, but I loved it. Not just because I enjoyed playing on it, my father also encouraged me and taught me to play. I learned to play the piano casually from my father, who is an amateur pop piano player. He started teaching me to play by following numbers he carefully stuck onto the white keys. My dad mostly taught me to play by rote, and sometimes I would learn new pieces following numbers that he wrote down for me. I most enjoyed picking out new tunes that I heard on television. I could play tune after tune. My parents praised me and sang along with me - a great way of acknowledging my efforts, which led me to play even more. The piano was a toy, a joy, and a means of connecting to my parents. 

One day, my keyboard broke, and I could no longer play my tunes. Out of desperation, I invented another way of entertaining myself. I turned up the television set volume, and I pulled out the middle drawer from the drawer chest in the living room. I sat down and started playing on the ledge of the drawer as music emanated from the television. When my parents came out of the kitchen, they noticed that I invented a way of making music. This episode instantly convinced them that I loved to play the piano and that I was officially ready for piano lessons. 

I started taking piano lessons at six years of age, and my first piano teacher was a soprano who happened to teach piano on the side. My parents found her through the introduction of a friend. They were told by this friend that, as a teacher, she was very serious, strict, and would set a good foundation for me.

I could clearly remember that after my first lesson, I lost interest in playing the piano—the primary reason being that my teacher was too strict with me. I was taught to read a bunch of notes and to follow her adjustments to certain hand positions, which I didn’t mind. But the way she taught unquestionably scared me. She would scream at the top of her lungs (an occupational hazard considering her background) if I did not get the content right the first time. The fact that she was an accomplished soprano further exacerbated the situation. The result was that I avoided practicing the piano. I began seeing piano playing as a chore. I would wait until the late evening of the day before my next lesson and go to the piano and practice perfunctorily for a few minutes “in preparation” for the piano lesson the next day. This situation created a vicious cycle that remained unchanged until my last year of elementary school. 

During my last year of elementary school, I had to attend a series of public examinations called the “SSEE” (Secondary School Entrance Examination) that we need to pass to enter high school. In preparation for those examinations, I was overwhelmed with assignments, and barely had enough time for sleep, let alone time to practice the piano. As a result, I did not practice the piano before my lessons. My mom saw that my teacher’s patience towards me was waning thin, so she apologized to her and forewarned her that I would not be able to practice (because of my academic studies) according to her extremely demanding standards. My poor mother expecting reason from my piano teacher was not ready for the unexpected backlash, where my teacher reprimanded my mother for not having the right priorities. She inevitably caused a heated argument, where my piano teacher lashed out at my mom, yelling at her, saying that “academic studies are not as important as piano playing!”. I believe that was the last straw that caused the (long-awaited) end of our terrifying 6-year relationship with my first teacher.

After this experience, my parents decided to look for another more lenient piano teacher. Through word of mouth, they found my second teacher. This teacher was a graduate of the Shanghai Conservatory of Music. She was indeed a very kind lady. She never reprimanded me, did not disapprove of my playing, despite the fact that I spent most of my time just sight-reading through my pieces. I was not a good student, and I seldom practiced for my lessons. I believe that I was able to get by because my sight-reading skills were adequate, encouraging my teacher to keep a buoyant outlook in my progress. 

For more... order my book 
A Guide to Musicality - The Art & Science to Teaching Musicality

陳寶瑤博士   Dr. Angela Chan  Ph.D. 

Dr. Angela Chan 陳寶瑤博士畢業於Concordia University (Quebec, Canada)。陳博士有超過30年的教學經驗. 超過200名學生(最小的是5歲) 在國際比賽中獲得了國家和國際獎項以及一等獎。學生們在著名的音樂廳如紐約卡內基音樂廳 Carnegie Hall,英國倫敦皇家阿爾伯特音樂廳 Royal Albert Hall (London, England) 以及歐洲,美國,中國和香港的其他主要音樂廳演出。她的學生被新英格蘭音樂學院 New England Conservatory,曼哈頓音樂學院 Manhattan School of Music,Peabody Institute of Music 皮博迪音樂學院,Cleveland Institute of Music 克利夫蘭音樂學院, McGill University麥吉爾大學等主要音樂學院錄取。
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