(Share with 瑜樂精選)您還真是先知，「如果需要宇宙級提點，這場音樂會應該可以像神明凌空拍頭或是給你一巴掌，靈光乍現」。其實，我們也應注意到呂紹嘉大師的面容。 不同於平常，對嗎？ You are truly a prophet: "If you need a cosmic reminder, this concert should be like a volley of gods patting you on the head or giving you a slap in the face." In fact, we should also notice that Master ShaoChia Lü’s face is different from usual, right?

【修己揚他/AskSelf】【意念/EN】【場域/FIELD】【時空/SpaceTime】【反轉向上/ReverseUp】【教育/Education】【音樂/Music】
瑜樂精選 您還真是先知，「如果需要宇宙級提點，這場音樂會應該可以像神明凌空拍頭或是給你一巴掌，靈光乍現」。其實，我們也應注意到 ShaoChia Lü 呂紹嘉 大師的面容。 北藝大音樂學系Department of Music, T.N.U.A. 北藝大音樂學院 不同於平常，對嗎？這才是重點！只要這麼一提醒，每個人都看得出來差異！原因為何？有太多事情要思考，才能知道為什麼在其他大師面前，長相會不同，對嗎？我相信， NSO國家交響樂團 的音樂家們都快可以聽見環境的聲音，甚至開始察覺重要了，您呢？還是，我們能為台灣和NSO更加油呢？面容的改變，原因可能是不同的樣貌，來自於兩個不小差異的意念！所以，環境和意念，讓他自己呈現了不同的質感。
You are truly a prophet: "If you need a cosmic reminder, this concert should be like a volley of gods patting you on the head or giving you a slap in the face." In fact, we should also notice that Master ShaoChia Lü’s face is different from usual, right? This is the point! With just this reminder, everyone can see the difference! Why? There are so many things to think about to know why master Lu look different in front of the other master, right? I believe that the musicians of NSO can almost hear the sounds of the environment, and even begin to realize that it is important. What about you? Or, can we do more for Taiwan and NSO? The reason for the change in your looking might be that the different appearance comes from two quite different EN (thoughts)! Therefore, the environment and EN gave you different textures.

https://www.facebook.com/bigichao/posts/pfbid0RY3TmJTLUmVt1SZmHABD8tYZZAkNanGa7e6hQyMzHt6pegaeQeUA3L6TKcjs143Ll

我們熟知NSO的呂紹嘉大師是這樣的質感。
We are familiar with this texture of NSO’s master ShaoChia Lü.

https://www.facebook.com/photo/?fbid=1146839630132975&set=pcb.1146839673466304

請看看11/10北藝大演出時的照片，站姿和狀態(氣質)都判若兩人，指揮水準和音樂當然有不小差異。這也是為何我6/4會發文分享。
Please take a look at the photos of the performance on 11/10. The posture and state are quite different. Of course there is a big difference in the conductor's level and the music. This is why I shared a post on 6/4.

https://www.facebook.com/tnuamusic/posts/pfbid0Q2EmzMeY4vvfyyhtT4fpxREEzWBQbbua3uAEUFcFxz6TCuqWHJoSXvcEYkyoeMHul

2024-06-04_(Share to 呂紹嘉) 「音樂先想要走向何方，再回到自己，接著才餘音繞樑」。您可在未來印證此思維，對音樂一定更具貢獻，對台上音樂家也更具意義。我們的存在，是將心中珍視與動心的音樂和想法，分享給演出的團員和台下的聽眾，方不愧自己與天地。
"The music must first go where it wants to go, and then returns to ourselves, and then the sound lingers." You can prove such thinking in the future, and it would definitely contribute more to music and be more meaningful to the musicians on stage. Our existence is to share the music and thoughts that we treasure and touch in our hearts with performers and the audience, so that we can be worthy of our selves and the heaven and the earth.
https://porschewu0714.blogspot.com/2024/06/music-must-first-go-where-it-wants-to.html

(我當時就是這樣寫下這些紀錄。)
(This is how I wrote these words at the time.)

★很多人長相聲音變得和從前大不同(衰跌)，台下渙散，未來會更誇張。
Many people's appearance and speaking voice have begun to become very different from before (decline), they seem looser off stage, and they would be even more exaggerated in the future.

★希望各位知道世界正如何運行而已，對自己負責便可以。
Just hope you know how the world is running and just be responsible for yourself.

讓我們看看許瀞心的模樣，在未來會更讓人感到震驚，好好欣賞！
Let's take a look at Hsu Ching-Hsin's appearance. It would be even more shocking in the future, so enjoy it!
仔細看，其實是不同人，從眼睛便看得出來，各位自己日後應該多留意別人的眼神！
Look carefully, we could actually tell from the eyes that different people are different. Everyone should pay more attention to the eyes of others in the future!

這可不是化妝效果，而是濫用他人的欣賞和意念而為之，包含來自於學生們、同儕們、孩子們。各位越用心觀察，越可以看到差異！
This is not a cosmetic effect, but a misuse of other people's appreciation and ENs (thoughts), including students, peers, and children. The more we observe carefully, the more we can see the difference!

Source 2024-05-14

Source 2024-05-23

有些人透過過往取得的意念，在舞台上顯露傑出，平常卻是無光。
Some people appear outstanding on the stage through previously obtained ENs (thoughts), but they are lackluster in the daily life.

★★★★★各位可知許瀞心教授今年八月的樣貌嗎？即使她在看到上面這篇文章後，迅速封鎖我。當我寄信給各大學音樂系教授時，她迅速地將自己的交友檔案限制好友才能閱讀，當初為的是什麼呢？刻意忽視這些用心，吃虧的還是自己。重要的是，透過我的雙眼和意識，全世界的其他人(無論是音樂家，或您們的親友們)的可能形，會意識到各位可能是怎樣的人。
Do you know what Professor APO Hsu looks like in August this year? Even though she quickly blocked me after seeing the above article. When I sent emails to music professors at various universities, she quickly restricted her profile to non-friends. What was your purpose in the first place? If you deliberately ignore these sincere content, you will still suffer the consequences. What’s important is that through my eyes and EN(consciousness), other people around the world, whether they’re musicians or your family and friends, might be able to realize what you might be like.

越來越多古往今來的存在，都凝煉在我和環境(包含你們)的意念之中，而感而生。

More and more existences from the past and present are converged into the EN (thoughts) of me and the environment (including all of you), and are born from feeling.

在11/29回復江靖波老師的內容中，也表達對您的關心。若你們急於封鎖，那抱歉了。除了各位自己有能力反思、環境讓各位稍微好些(也可能更散行)、周遭的親朋好友相助，那也沒啥方法，因為你們自己選擇不要接收這些「至少是古往今來，目前最真實且具修復力的內容」！ In my reply to Paul Jiang, I also expressed my concern for you. It's just really SORRY if you are in YOUR HURRY to BLOCK ME. Except for your own ability to reflect, the environment to make you a little better (maybe more scattered), and for the help of relatives and friends around you, there is no other way NOW, because you yourself choose not to accept these "At least throughout the ages, currently the most sincere and restorable powerful content"!

那就勇敢去闖蕩，光榮地問傷吧！

Then go ahead bravely and ask for your wounds honorably!

江靖波 老師，我也嘴破且一直有皮屑在排出體外，包含嘴唇、後頸、後腦勺髮緣皮膚等。 宋光清 老師前幾天腳的小拇指也劇痛，包含有一些人是咳嗽、有點倦怠、腳酸或痛麻。而很多學生則是腸胃不適、女生則是經痛，這些如果我們能理解其中可能，不但對於我們自己的反轉修復有幫助，還對於我們周遭的親朋好友有好處的！因為，我們身上好的感覺，能夠與他們分享，

★★★★★這是一件很重要的事情。 雖然我還是會分享許瀞心老師八月的影片，但我認為您們這些台灣大老級的老師們，一定也要想到她，甚至找她出去走走，喝下午茶，環境和好的想法，也能讓許瀞心老師有好的意念，這也是個好方式喔！
I think you senior teachers in Taiwan must also think of her, and even ask her to go out for a walk and have afternoon tea. The thoughts of ​​a harmonious environment can also make prof. APO Hsu have good thoughts. This is also a good idea, and this is a good way!

(Only facebook friends can read) https://www.facebook.com/paul.cp.chiang/posts/pfbid0RmUZrEHcfo5n4qBCmkdL8MaKJXVzkgVyZs8dL7omNifwj61quM2QNAhdvDHh2cLYl 我其實分享過很多遍，正如同這段內容一樣，我是什麼想法，我自己很清楚。

★★★★★在演奏《Armonica》時，我甚至心想「到底在演什麼啊」？所有人無論如何，心中都要想著Armonica的存在，聲音要去支持它，你們心中有Armonica嗎？那個長音瘋狂敲擊的S.C.和整個擊樂有在想嗎？鋼琴甚至從ppp開始，管樂和弦樂的f難道和玻璃琴的一樣嗎？你們有聽到手風琴協助玻璃琴擺盪的聲音嗎？也就是整首曲子，前3/2段，除了開頭、玻璃琴自己下行音階(sustain all notes)時，還有樂團止奏時，我們才能聽得到玻璃琴，其他全被樂團淹沒。 While playing "Armonica", I even thought to myself, "What on earth are you playing?" No matter what, everyone must think about the existence of Armonica in our hearts, and our sounds must support it. Do you have Armonica in your hearts? Are the S.C. and other percussionists with the crazy long notes thinking of Armonica? The piano even started from ppp. Is the f of wind and string instruments the same as that of Armonica? Have you heard the sound of the accordion assisting Armonica in oscillating(waving)? That is to say, in the first 3/2 sections of the entire music, except for the beginning 2 measures, when Armonica descends the scale (sustain all notes), and when the orchestra stops playing, we can hear Armonica , the rest is overshadowed by the orchestra.

而分享標示的各位，至今有什麼想法呢？因為您們很多也是當代代表性人物，不是嗎？ What do you think so far, everyone I’ve tagged and shared? Because many of you are also contemporary representative people, right? 有人想到許瀞心，而趕快約她走馬看花嗎？ Did anyone think of prof. APO Hsu and quickly invite her out for something tasty or amazing? 有的，我今天馬上就見到她的笑容，請再接再厲！我們每個人總能找到一些屬於自己的方法！ Yes, I have seen her smile. Please keep up the good work! Each of us can always find some ways that works for us! 你們說說，即便會感到那短暫的不適，這樣的我們自己，不值得期待和欣賞嗎？ Tell me, even if we feel the brief discomfort, isn't this ourselves worth looking forward to and appreciating?

陳一夫老師的分享，感謝您。 https://www.facebook.com/photo/?fbid=10226416232417587&set=pcb.10226416279338760

==

我自己覺得這樣不太好，原因是容易丟失自己，情緒可能易有波動(對不同時間的自己而言，另一個自己反而會變外力影響)。甚至在急緩之間，容易心裡感到有點「躁鬱」、在意他人眼光，或自己的感覺(需較良好感覺來支持自己)。
I personally feel that this is not good. The reason is that it is easy to lose yourself, and the mood may fluctuate easily (for the self at different times, the other self might become an external force). Even between urgency and relief, it is easy to feel a little "manic and depressed" in the heart, caring about other people's opinions, or your own feelings (because you need a better feeling to support your selves).

所有人或多或少都有一些這樣的狀況，請多觀察自己。我和天地現在在做的事，協助在思考的人，找到自己，顯露真實的自己。哪怕要褪去層層外衣(有可能是一部分後來的自己)。
Everyone has this situation to some extent, so please observe yourself more. What the heaven and earth and I are doing now is to share with people who are thinking, to find themselves and reveal their true selves. Even if you have to take off layers of outer clothing (maybe part of your later selves).

但我相信日久見人心，我們也可欣賞...
But I believe that we will see as time goes by, we can also appreciate...

江靖波 老師的帥氣 brilliant
https://www.facebook.com/photo/?fbid=10161547508983617&set=pcb.10161547509948617

Aikuang Sun 老師的美麗 elegant
https://www.facebook.com/aikuang.sun/videos/1297592354988662/

宋光清 老師的女兒越來越可愛 lovely
https://www.facebook.com/photo?fbid=10161167504436491&set=pcb.10161167509496491

這些事情，有舉足輕重的意義！所以，新生命和大自然都回應這樣的思維。我透過事實來分享，但您們看到的是「口無遮攔」還是「事事用心」，則不是我考量的範圍。
These things are of great significance! Therefore, new life and nature respond to this kind of thinking. I share facts, but whether what you see is "casual abuse" or "be sincere in everything" is not the scope of my consideration.

★【為人父母、科學家、宗教界必看】前主播 魏華萱 的寶寶真厲害，即使他如此年幼，卻這樣努力透過呼吸和世界分享「我最喜歡吳時捷哥哥，(0:21)我會加油...我會加油...」。
[A must-read for parents, scientists, and religious people] This little baby is so amazing. Even though he is still so young, he works so hard to share "I like Wu Shihjie the most, (0:21) I have to work hard...I have to work hard..." through breathing with the world.
https://porschewu0714.blogspot.com/2024/11/021-this-little-baby-is-so-amazing-even.html

★★★★★我相信，我的內容正好符合「像神明凌空拍頭或是給你一巴掌，靈光乍現」。
I believe that my content is exactly the same as "like a volley of gods patting you on the head or giving you a slap in the face."

2024-11-30_來自整個音樂廳和Widmann的致謝：「真的很謝謝您，吳時捷」。最後一首Mozart如魚得水，好聽到聽眾都無法自拔了！但，我們卻從畫面上看到， NSO國家交響樂團 團員竟然好多臉色凝重？這樣熱烈的掌聲，表情卻笑不出來？可能是怎樣的心情(也可能是誰的感覺?)在身上作祟和影響(牽引)呢？
Applause of thanks came from the entire concert hall and from Widmann: "Really thank you, Wu Shihjie." The last song, Mozart, was like a fish in water, and the audience couldn't help but listen! However, we all see from the video that many NSO musicians have serious faces? There was such warm applause, but there was no smile on the face? What kind of mood (it also might be whose feeling?) may be causing turbulence and influencing (pulling) these poeple?
https://porschewu0714.blogspot.com/2024/12/1130-jorg-widmannnsochrista.html

★★★★★如論如何，我們都應該實事求是，據實以報(謹呈自己)。
No matter what, we should seek truth from facts and convey the situation according to the truth (to your selves sincerely and prudently).

一、越來越清楚的犬語想傳達世界，「我最喜歡吳時捷哥哥」，世界是否有跟上腳步呢？我只是沒多說明，新生命有很多意念源自天地。
The increasingly clear dog language wants to convey to the world, "I love Wu Shihjie the most." Has the world kept up? I just didn’t explain much, but many of the EN (thoughts) for growth in new life originate from heaven and earth.
https://www.facebook.com/watch/?v=1292974145166830

二、2024-06-07_狗兒懂得透過通話(電磁意念)時傳達：「我們要努力找到自己」。不明白的人只是覺得好笑，根本不關心這世界在做什麼。尤其是那些打著科學和宗教之名來成就自己話語權的人，哪裡能明白生命的可貴，因為自己活得太表面。
Dogs know how to communicate through calls (electromagnetic thoughts): "We have to work hard to find our selves." People who don’t understand just feel it funny and don’t care about what the world is going. Especially those who take advantage of the name of science and religion to achieve their position to speak, how could they understand the value of life (living beings), because they live too superficially.
https://porschewu0714.blogspot.com/2024/06/dogs-know-how-to-communicate-through.html





★天地在發言，我能透過事實協助世界理解。連嬰兒都想透過呼吸跟我說話。
Heaven and earth speak, and I can help the world understand these through facts. Even the baby wants to talk to me through its breath.

天地萬物第一步為「找到自己」。
The first thing for all living beings is to "find yourself".
https://www.facebook.com/watch/?v=979586597301036

歡迎追蹤Facebook，以接收世界最真實的聲音。
Welcome to follow my Facebook to receive the most real voices in the world.
https://www.facebook.com/PorscheWu

Also share with Chiafen Weng 簡文秀 H.K. OuYang 彭廣林 林天吉 Ju Tzong-Ching 鍾耀光 馬定一 Ken Chih-Chien Lin 閻惠昌 Fusao Kajima 陳樹熙 邱瑗 辛幸純 葉綠娜 錢大同 陳漢金 Pi-Hua Chuang Meng-Hsien Peng Yen-Yin Chu Martin Ng 莫啟慧 Hsiuchin Lee 孔孝誠 Bello Chang 羅俊穎 陳黃源 馬泰宇 趙成立 James Y. Lin Jason Lin Wesley Chia Wei Lin 林清山 YuanPu Chiao Taipei Symphony Orchestra 北市交 臺灣國樂團 NCO 臺北市立國樂團 樂興之時管絃樂團 Philharmonia Moments Musicaux 台北愛樂合唱團Taipei Philharmonic Chorus 國立臺灣師範大學音樂學系交響樂團 國立臺灣藝術大學音樂學系 輔仁大學音樂系Fju Music

Also share with 葉樹涵 吳建銘 段富軒 郭聯昌 溫瑟爾 ChiungYu Christy Chen 陳榮昇 李商宇 張景民 Canon Huang 莊清霖 張浩 Chan Wang 杜英麟 黃瑀萌 林祐民 吳松庭 林子祥 胡志瑋 梁婉筠Wan-Yun Liang 林昀宏 Yun-Ting Chen Yen-Yen Yen-Chao Chang 邱浩瑋 陳建安 廖晏樟 張國威 符秦僥 顏慶賢 唐宥恩 陳瑋琮 楊忠衡 鄒昌銘 Martha Argerich Lang Lang - 郎朗 Daming Zhu 鋼琴家顏華容 Artemis Yen - Pianist/Author/Dreamer Piano Chun-Chieh 我是江老師 小游老師 Andy Scott Ayako Takagi Kenta Saito Yoshiko Matsumoto Jin Ta Steven Mead Enjott Schneider Wu Wei Adam Chou 郭靖沐

來自整個音樂廳和Widmann的致謝：「真的很謝謝您，吳時捷」。最後一首Mozart如魚得水，好聽到聽眾都無法自拔了！但，我們卻從畫面上看到， NSO國家交響樂團 團員竟然好多臉色凝重？這樣熱烈的掌聲，表情卻笑不出來？可能是怎樣的心情(也可能是誰的感覺?)在身上作祟和影響(牽引)呢？ Applause of thanks came from the entire concert hall and from Widmann: "Really thank you, Wu Shihjie." The last song, Mozart, was like a fish in water, and the audience couldn't help but listen! However, we all see from the video that many NSO musicians have serious faces? There was such warm applause, but there was no smile on the face? What kind of mood (it also might be whose feeling?) may be causing turbulence and influencing (pulling) these poeple?

【修己揚他/AskSelf】【意念/EN】【場域/FIELD】【時空/SpaceTime】【反轉向上/ReverseUp】【教育/Education】【影視/Film】【音樂/Music】 

來自整個音樂廳和Widmann的致謝：「真的很謝謝您，吳時捷」。最後一首Mozart如魚得水，好聽到聽眾都無法自拔了！但，我們卻從畫面上看到， NSO國家交響樂團 團員竟然好多臉色凝重？這樣熱烈的掌聲，表情卻笑不出來？可能是怎樣的心情(也可能是誰的感覺?)在身上作祟和影響(牽引)呢？

Applause of thanks came from the entire concert hall and from Widmann: "Really thank you, Wu Shihjie." The last song, Mozart, was like a fish in water, and the audience couldn't help but listen! However, we all see from the video that many NSO musicians have serious faces? There was such warm applause, but there was no smile on the face? What kind of mood (it also might be whose feeling?) may be causing turbulence and influencing (pulling) these poeple?

發音 Pronouce: https://translate.google.com/details?sl=zh-TW&tl=en&text=%E7%9C%9F%E7%9A%84%E5%BE%88%E8%AC%9D%E8%AC%9D%E4%BD%A0%EF%BC%8C%E5%90%B3%E6%99%82%E6%8D%B7

11/30 Jörg Widmann和NSO的音樂會，中場休息時，Christa Schönfeldinger上台分享玻璃琴，並趁機想傳達台灣「【大聲聆聽】真的很謝謝您，吳時捷，我們會試著找到自己，請您繼續散發這樣的自己」。過程中，還可以察覺到她不時緩了說話的物理聲音，讓我們能記錄到這些事實。原因又是為何呢？
[Applause of thanks came from the entire concert hall and from Widmann] 11/30 Jörg Widmann and NSO’s concert, during the intermission, Christa Schönfeldinger came on stage to share the Armonica, and took the opportunity to convey Taiwan “[listen loudly] Thank you very much, Wu Shihjie, we will try to find ourselves, please keep sharing such your selves." During the process, we can also notice that she delayed the physical sound of her speech from time to time, allowing us to record these facts. What is the reason?

發音 Pronouce: https://translate.google.com/details?sl=zh-TW&tl=en&text=%E7%9C%9F%E7%9A%84%E5%BE%88%E8%AC%9D%E8%AC%9D%E6%82%A8%EF%BC%8C%E5%90%B3%E6%99%82%E6%8D%B7%EF%BC%8C%E6%88%91%E5%80%91%E6%9C%83%E8%A9%A6%E8%91%97%E6%89%BE%E5%88%B0%E8%87%AA%E5%B7%B1%EF%BC%8C%E8%AB%8B%E6%82%A8%E7%B9%BC%E7%BA%8C%E6%95%A3%E7%99%BC%E9%80%99%E6%A8%A3%E7%9A%84%E8%87%AA%E5%B7%B1

瑜樂精選 您還真是先知：「如果需要宇宙級提點，這場音樂會應該可以像神明凌空拍頭或是給你一巴掌，靈光乍現」。
You are truly a prophet: "If you need a cosmic reminder, this concert should be like a volley of gods patting you on the head or giving you a slap in the face."

https://www.facebook.com/bigichao/posts/pfbid02V5gegU5hL2Ln2Ao5qQXaPE1mGyPCwRU5DmQyotzbdQsajBtf29rXsVm5CpM5QKXnl

我自己不太會因為看似有什麼人物的意念存在而膨脹自己，關鍵依然在「自抑修己，欣賞揚他」，這是一種「成人」之美，用於檢視自己的「觀自在」。
I don't tend to inflate myself because someone seems to have thoughts. The key is still to "restrain oneself and appreciate others." This is a kind of beauty of "achieve others (also yourself)" and used to examine yourself, "to see yourself".

附帶一提，音樂會的中場休息有規定不能錄影嗎？
By the way, is there a rule against video recording during the intermission of the concert?

再分享 黃日昇 在Threads分享我們Christa Schönfeldinger在彩排時演奏的Mozart玻璃琴音樂《 Adagio for glass harmonica in C major》。
I would like to share with you the clips of Mozart glass harmonica music played by Christa Schönfeldinger during the rehearsal that Jih-Sheng Huang posted on Threads.
https://www.threads.net/@jerryno1.tw/post/DC_j7Y0BWFZ

我回覆他說：「Widmann跳起來或踏指揮台傳達YES，甚至是TRY IT，包含誇張地提示吸氣與上揚」。都在鼓勵樂團一定要往這個方向嘗試！這也表示Widmann的大腦(意念形的自己)有接收到我分享他的音樂，所以Christa Schönfeldinger在中場時，才會刻意拉長發言時間，想傳達我和台灣一些訊息。
I replied: "Widmann jumps up or steps on the conductor's podium to convey YES, or even TRY IT, including exaggerated reminders of inhaling and rising." This encourages the orchestra to try in this thinking! This also means that Widmann's brain (EN-type self) has received the music I shared with him, so Christa Schönfeldinger deliberately extended her speech during the intermission to convey some information for me and Taiwan.

最後，我想補充的是...(自抑的內容，大都沒那麼悅耳，卻是養分)
Finally, what I want to say is... (most of the content about self-restraint is not so pleasant to the ears, but it can be nourishing)

★★★★★在演奏《Armonica》時，我甚至心想「到底在演什麼啊」？所有人無論如何，心中都要想著Armonica的存在，聲音要去支持它，你們心中有Armonica嗎？那個長音瘋狂敲擊的S.C.和整個擊樂有在想嗎？鋼琴甚至從ppp開始，管樂和弦樂的f難道和玻璃琴的一樣嗎？你們有聽到手風琴協助玻璃琴擺盪的聲音嗎？也就是整首曲子，前3/2段，除了開頭、玻璃琴自己下行音階(sustain all notes)時，還有樂團止奏時，我們才能聽得到玻璃琴，其他全被樂團淹沒。
While playing "Armonica", I even thought to myself, "What on earth are you playing?" No matter what, everyone must think about the existence of Armonica in our hearts, and our sounds must support it. Do you have Armonica in your hearts? Are the S.C. and other percussionists with the crazy long notes thinking of Armonica? The piano even started from ppp. Is the f of wind and string instruments the same as that of Armonica? Have you heard the sound of the accordion assisting Armonica in oscillating(waving)? That is to say, in the first 3/2 sections of the entire music, except for the beginning 2 measures, when Armonica descends the scale (sustain all notes), and when the orchestra stops playing, we can hear Armonica , the rest is overshadowed by the orchestra.

到底是什麼樂團啊！？
What kind of orchestra is this? ?

★有幾首Mozart，若有更多意念協助，音樂便可以左右連貫，盡情揮灑，和開頭差很多，各位知道嗎？下半場的Mozart，聽眾可以聽到心曠神怡，舒服極了，我相信整個NSO都知道非常地不一樣！
For several Mozarts, if there are more EN (thoughts) to help, the music can be coherent and free-flowing, which is much different from the beginning. Do you know? In the second half of Mozart, the audience can hear that it is refreshing and comfortable. I believe the entire NSO knows that it is very different!

★我相信他們參演，是為了記錄各國音樂的程度，信不信隨各位。Widmann指揮也不會講太多這些要求，會順著各位多些，而他則是在曲目末段試著靠音樂本身提醒各位。當然，Widmann在下半場的積極鼓舞，相信每位音樂家都能感受到。
I believe they participated in so many performances to record the thought of music in various countries. Believe it or not is up to you. Conductor Widmann will not talk too much about these thoughts, he lets everyone play by your wishes more, and he is trying to remind everyone through the music itself at the end of the piece. Of course, Widmann’s positive encouragement in the second half is something I believe every musician can feel.

★★★★★《Armonica》，是一首「自抑」的音樂。所有聲音要想辦法乘載在玻璃琴與手風琴的擺盪之上，包含顆粒狀的聲音(鋼琴、豎琴、鋼片琴，以及擊樂)！
"Armonica" is a piece of "self-restraint" music. All sounds must find a way to ride on the swings of the glass organ and accordion, including granular sounds (piano, harp, celesta)!

★請一定要持續回想音樂末段的質感，再回想自己演奏音樂的心態。
Please be sure to keep thinking about the texture of the last part of the music, and then think about our mentality when playing the music.

★因為到了末段，所有聽眾和樂團的演奏者，應該都能感受到不小的左右擺盪，因為只有在這最後結尾，聲音才真正慢慢地疊合到玻璃琴身上。倘若你沒感覺，表示沒在聽，也沒在感受。
Because at the end of the piece, all the audience and the orchestra players should be able to feel somewhat left and right oscillating, because it is only at the end that the sound really slowly merges onto the bodyof Armonica. If you don't feel it, it means you are not listening or feeling.

★★★★★這也是一種協助自己和他人的方式喔！(請想到許瀞心老師)

★★★★★This is also a way to help yourself and others! (Please think of prof. APO Hsu)

未來，誰會是全世界第一個領受環境歡騰之人呢？那個人，我想，可能是個「找到自己」之人(更多思考自己，檢視自己)。

In the future, who will be the first person in the world to embrace environmental joy? That person, I think, might be someone who "finds selves" (thinks more about selves and examines selves).

一、2024-11-25_【確認所有影片事實，以理解重力和時空(音樂)的意義】我寄出數百封email，除了台灣各大學音樂系教授與音樂家外，還包含Jörg Widmann和Christa Schönfeldinger的辦公室。原因是，我相信既然Widmann自己已提出「想辨識調性的內存重力」這樣的想法，表示，他一定有很多內涵我們還沒有用心感受與察覺。所以，我當然會與他們分享這些內容和事實記錄。
[Confirm all video facts to understand the meaning of gravity and space-time(MUSIC)] I sent hundreds of emails, not only to professors and musicians at various university music departments in Taiwan, but also to the offices of Jörg Widmann and Christa Schönfeldinger. The reason is that I believe that since Widmann himself has put forward the thought of ​​"My focus is the detection of the inherent gravitation of tonality", he must have a lot of connotations that we have not yet felt and noticed. So, of course I share those and factual records with them.
https://porschewu0714.blogspot.com/2024/11/emailjorg-widmannchrista.html

在唱了「天上的星星不說話」後，北捷列車回應下一句，您是否有確認聽見？
After singing the first line of lyrics, the MRT train responded with the next line. Did you confirm that you heard it?

★★★★★若你當時在列車上，我相信你無法辨識這段旋律或音樂，原因可能為何？但是，一旦我現在分享給你這段影片，為何你能辨識得了呢？原因又可能為何？
If you were on the train at that time, I believe you could not recognize this melody or music. What might be the reason? But once I share this video with you now, why can you recognize it? What could be the reason?

★★★★★那這一段呢？先試試看有沒有辦法聽得出來大概在傳達什麼呢？
What about this video? Try it first and see if there is any way to hear what it is conveying?

答案如下，看到前幾個字後，不妨趕快再回去聆聽一次，這些能力對未來都大有幫助。
The answer is as follows. After reading the first few words, you might as well go back and listen again. These abilities will be of great help in the future.

2024-10-23_至華山光點看國際女性影展， 台北捷運 Metro Taipei 北捷列車試著傳達「我們真的很謝謝你，(0:16)吳時捷，(0:21)台灣謝謝你，(0:27)請您繼續散發這樣的自己」。不時就會有千百人聽見。也許該開始請教科學家和宗教團體，何解？
Going to the Huashan Spot to watch the International Women Film Festival, the MRT train tried to convey: "We really thank you, (0:16) Wu Shihjie, (0:21) Taiwan thanks you, (0:27) Please keep sharing such your selves." From time to time hundreds of people would hear it. Maybe we should start asking scientists and religious groups what the explanation is?
https://porschewu0714.blogspot.com/2024/10/metro-taipei-016021027nobel-going-to.html

而且，台灣已經有音樂家開始嘗試與分享這些能引動「環境和未來」的思維了。
Moreover, some musicians in Taiwan have begun to try and share these thoughts that can inspire and draw "environment and future".

2024-07-05_回覆指揮江靖波老師分享聽到「一閃一閃亮晶晶，滿街都是小精靈」的影片。下次在這樣的環境裡可以適度音量播放我的魯冰花影片(或我其他任何較大牽引的影片)，我相信都能聽得到整個環境都在唱魯冰花(或發出同樣的迴響)，記得到時一定要試試看，很有意思！

Reply to the video that conductor Ching-Po (Paul) Chiang heard of "Twinkle and twinkle, the streets are full of elves". Next time in such an environment, you can play my 《Lupinus》 video (or any of my other great-pilling videos) at a moderate volume. I believe you can hear the whole environment singing Lupinus (or emitting the same echo), remember. You must try it, it’s very interesting!

https://porschewu0714.blogspot.com/2024/07/reply-to-video-shared-by-conductor.html

二、2024-11-24_許崴 介紹 Jörg Widmann ，我有一些內容可以分享。關於《Con Brio》， Shiuan Chang 張玹說「(4:07)貝七的和聲中間突然插了很多一般人認為的噪音，某一種致敬或他希望解構...(4:21)他是用一個比較輕鬆的方式在做這個事」？當我一聽到他的創作時，我便直言「他中間製造的氣音(類似於白噪音)，我相信是用來觀察音樂家的意念，是否有足夠的重力和趨向，來牽引物理聲音」。
I have a few things to share about Wei Hsu's introducing Jörg Widmann. Regarding "Con Brio", Shiuan Chang said, "(4:07) It's like the harmony of Beethoven's Symphony No. 7 suddenly inserted a lot of noise that most people think of as a kind of tribute or he hopes to deconstruct...(4:21) He is doing this in a relatively relaxed way"? When I heard this piece, I said bluntly, "The air sound (similar to white noise) created in the middle is, I believe, used to observe the musician's EN (thoughts) and whether there is enough gravity and tendency to pull the physical sound."
https://porschewu0714.blogspot.com/2024/11/jorg-widmanncon-brio407421-i-have-few.html

==

★天地在發言，我能透過事實協助世界理解。連嬰兒都透過呼吸跟我說話，你的眼神長相渙散奇怪(不像自己)又如何？我所言具修復力，全世界在轉換，只要不學習，早晚會發現自己變另一個人。
Heaven and earth speak, and I can help the world understand these through facts. Even the baby wants to talk to me through its breath, so what about your eyes and looking being strange (not like yourself)? My content has the power to restore, the whole world is converting, sooner or later.

★【為人父母、科學家、宗教界必看】前主播 魏華萱 的寶寶真厲害，即使他如此年幼，卻這樣努力透過呼吸和世界分享「我最喜歡吳時捷哥哥，(0:21)我會加油...我會加油...」。
[A must-read for parents, scientists, and religious people] This little baby is so amazing. Even though he is still so young, he works so hard to share "I like Wu Shihjie the most, (0:21) I have to work hard...I have to work hard..." through breathing with the world.
https://porschewu0714.blogspot.com/2024/11/021-this-little-baby-is-so-amazing-even.html

天地萬物第一步為「找到自己」。
The first thing for all living beings is to "find yourself".
https://www.facebook.com/watch/?v=979586597301036

歡迎追蹤Facebook，以接收世界最真實的聲音。
Welcome to follow my Facebook to receive the most real voices in the world.
https://www.facebook.com/PorscheWu

Also share with Aikuang Sun Chiafen Weng 簡文秀 H.K. OuYang 彭廣林 林天吉 Ju Tzong-Ching 鍾耀光 ShaoChia Lü 呂紹嘉 馬定一 江靖波 閻惠昌 Fusao Kajima 陳樹熙 邱瑗 辛幸純 葉綠娜 錢大同 陳漢金 Pi-Hua Chuang Meng-Hsien Peng Yen-Yin Chu Martin Ng 莫啟慧 Hsiuchin Lee 孔孝誠 Bello Chang 羅俊穎 陳黃源 馬泰宇 趙成立 James Y. Lin Jason Lin Wesley Chia Wei Lin 林清山 YuanPu Chiao Adam Chou 郭靖沐 NSO國家交響樂團 Taipei Symphony Orchestra 北市交 臺灣國樂團 NCO 臺北市立國樂團 樂興之時管絃樂團 Philharmonia Moments Musicaux 台北愛樂合唱團Taipei Philharmonic Chorus 國立臺灣師範大學音樂學系交響樂團 北藝大音樂學系Department of Music, T.N.U.A. 北藝大音樂學院 國立臺灣藝術大學音樂學系 輔仁大學音樂系Fju Music

Also share with 葉樹涵 吳建銘 段富軒 郭聯昌 溫瑟爾 ChiungYu Christy Chen 陳榮昇 李商宇 宋光清 張景民 Canon Huang 莊清霖 張浩 Chan Wang 陳彥豪 杜英麟 黃瑀萌 林祐民 吳松庭 tzuhsiang.lin.14林子祥 chihwei.hu.18胡志瑋 梁婉筠Wan-Yun Liang 吳鳳媖 林昀宏 bari325Yun-Ting Chen Yen-Yen Yen-Chao Chang vvhitewhale邱浩瑋 陳建安 廖晏樟 張國威 符秦僥 顏慶賢 唐宥恩 陳瑋琮 melyang楊忠衡 鄒昌銘/呂紹淳 Martha Argerich Lang Lang - 郎朗 Daming Zhu 諸大明 鋼琴家顏華容 Artemis Yen - Pianist/Author/Dreamer Piano Chun-Chieh 我是江老師 小游老師 andy.scott.9Andy Scott Ayako Takagi Kenta Saito matsumoto.yoshiko.16 Jin Ta Steven Mead
Theodora Pavlovitch Ekaterina Shelehova Enjott Schneider Wu Wei

(Also email to Lang Lang International Music Foundation ) Lang Lang - 郎朗 也許你有察覺像在對你說話的環境聲音，那不是來自於物理聲音，而是來自於我的想法。無論你是否有需要這樣表達的意圖，這些想法皆有助益。不過，即使閱讀幾遍，演奏時若沒有將這些想法放心中，聲音便有很大差異，甚至你可能會覺得音樂怎麼變得沒那麼立體了。我相信這也是Widmann在《玻璃琴》中標示「延續所有的音(意念)」的重要內涵。 Maybe you are aware of the ambient sound that seem to be speaking to you, not from physical sounds, but from my thoughts. Whether or not you have intentions that need to be expressed this way, these ideas are helpful. However, even if you have read it several times, if you do not keep these thoughts in mind when playing, the sound will be very different, and you may even feel that the music has become less three-dimensional. I believe this is also the important connotation of Widmann's statement "sustain all notes (thoughts)" in 《Armonica》.

【修己揚他/AskSelf】【意念/EN】【場域/FIELD】【時空/SpaceTime】【反轉向上/ReverseUp】【教育/Education】【音樂/Music】
(Also email to Lang Lang International Music Foundation ) Lang Lang - 郎朗 也許你有察覺像在對你說話的環境聲音，那不是來自於物理聲音，而是來自於我的想法。無論你是否有需要這樣表達的意圖，這些想法皆有助益。不過，即使閱讀幾遍，演奏時若沒有將這些想法放心中，聲音便有很大差異，甚至你可能會覺得音樂怎麼變得沒那麼立體了。我相信這也是Widmann在《玻璃琴》中標示「延續所有的音(意念)」的重要內涵。
Maybe you are aware of the ambient sound that seem to be speaking to you, not from physical sounds, but from my thoughts. Whether or not you have intentions that need to be expressed this way, these ideas are helpful. However, even if you have read it several times, if you do not keep these thoughts in mind when playing, the sound will be very different, and you may even feel that the music has become less three-dimensional. I believe this is also the important connotation of Widmann's statement "sustain all notes (thoughts)" in 《Armonica》.

1. 開場弱奏的連貫性極悅耳，如果強奏也想要類似的質感的話，人和音樂的重心要下沉，甚至可以延音踏板更少，並且讓兩音想更多彼此。
The coherence of the weak playing in the opening is very pleasant to the ear. If the strong performance also wants a similar texture, the center of gravity of people and music should be lowered, and the sustain pedal can even be less, and the two notes can think of each other more.

2. 弱奏突轉強音作為尾音或經過音的話，中間要有更多的引導力(想像的空間)來躍升，想像握拳，再握緊一點才到達。
If a pianissimo suddenly turns to a fortissimo as a tail tone or a passing tone, there should be more driven force(space for imagination and leading) in the middle to move. Imagine making a fist, and then clenching it a little tighter before reaching it.

3. 更聚焦在低音部分，當低音相位移動，旋律線便自在飛揚。
More focus is on the bass part, when the bass phase moves, take the melody line to fly freely.

4. 移動變化的音最重要，尤其是長音中，一定要想到變化音前後的色彩(內部重力和質感)變化。
The most important thing is to move the changing sounds, especially between long sounds. We must think about the changes in color (inherent gravity and texture) before and after the changing.

5. 上半場最後一首(我鋼琴彈不好)，讓短促的高音在你聲音舒適圈外面跳動(質感相對較淺)，讓濃密的低音在你自己身體裡歌唱(質感相對較深)。一旦落實這樣的想像，音樂便更有層次(才有更多可能性)，產生脈搏。
The last song of the first half (I'm not good at playing the piano), let the short treble notes shine outside your musical comfort zone (the texture is relatively shallow), and let the dense bass sing out from your inner self (the texture is relatively deep). Once this imagination is fulfilled, the music will have more layers (more possibilities) and live a pulse.

如果有朋友坐在台下，上半場有一段時間，整個音樂廳都在晃動和擺盪呢！
If you have friends sitting in the audience, for a while in the first half, the whole concert hall was pulsing and oscillating!

下半場我相信你自己有感受到差異，我認為是少了環境的質感，即使演奏得強弱，差異也不大，甚至會變得平淡。
I believe you can feel the difference in the second half. I think it is because the texture of the environment is missing. Even if the performance is strong or weak, the difference is not big, and it may even become dull.

之後，也許還會出現一樣的情況，可以視為一種在協助自己的考驗和反思，可以是一種練習，也可以是一種反璞歸真。
Later, the same situation may occur again, which can be regarded as a exam and reflection to assist ourselves, an exercise, or a return to one's origin.

最後一首，有幾個重要的想法可以重複練習來體驗。
In the last piece, there are a few important thoughts that can be experienced through repeated practice.

6. 有些高音的聲音有點亮(銳利)，那怎麼辦呢？
Some treble sounds are a bit bright (sharp), what should I do?

想像蹺蹺板，試著平衡兩端。接著，想像低音和高音，連結兩端。接著，想像觀眾和音樂廳，連接音樂和另一端。想像自己和彼此，平衡各端。
Think of a seesaw and try to balance both ends. Next, imagine the bass and the treble, connecting the two ends. Next, imagine the audience and the concert hall, connecting the music to the other side. Having yourself and each other, balancing each of us.

為何這樣想之後，再用相近的演奏方式，高音的聲音會不同呢？
After thinking about it this way and then using similar playing methods, why would the treble sound different?

一旦你嘗試幾次後，我相信會發現當心中蹺蹺板的連接各端之梁柱越厚實，你的音樂越寬廣。
Once you try it a few times, I believe you will find that the thicker the beams connecting each end of the seesaw, the broader the music will be.

原因可能為何呢？
What might be the reason?

7. 當演奏弱奏樂段時，注意力一定要更集中在音樂(聲音)上，好像走進音樂中那樣專注，好像貼近地想聽清楚耳語那樣全神貫注。
When playing weak sections, your attention must be more focused on the music (sound), as if you are walking into the music, and as if you try to get close enough to hear a whisper clearly.

蹺蹺板的概念一樣有助益，這兩個方式有什麼差別？哪一種方法，會有「場域(音場)」的概念呢？演奏的聲音可能有什麼差異呢？
The seesaw concept is also helpful. What is the difference between the two approaches? Which method has the concept of "field (sound field)"? What difference might there be in the sound of the performance?

8. 聽到安可曲第一首開頭，我心想，要有吸睛效果或亮點，讓裝飾音更有重量和力度。
In the first encore piece, I thought to myself, if we want to have an eye-catching effect or highlight, we need to make the grace notes more heavy and bright.

相信你第二遍的裝飾奏便是以此來回應，明顯有差異，對吧？
I believe the grace notes you played the second time was in response to that, and there's obviously a difference, right?

要嘛，心有靈犀一點通，要嘛，以後可以此來做身教示範。
Either, we are on the same page, or we can set an example for our selves in the future.

也就是那些正在成長與孕育的未來。
That is, those futures that are growing and gestating.

鳥兒正展現舞蹈之美並傳達「我們要趕快找到自己」。我們難道不打算思考之後會如何嗎？世人正轉變，天地正欣賞。現在，天地萬物正在匯集這個意念，也就是「找到自己」。
The birds are showing the beauty of dance and conveying "we must have to find ourselves quickly". Aren’t we going to think about what happens next? The world is changing, and heaven and earth are watching. Now, all living beings in the world are gathering this EN (thought), which is to "find/know yourself/your selves".
https://www.facebook.com/watch/?v=979586597301036

狗兒協助傳達「我們要趕快找到自己」。
This dog help convey that "we must have to find ourselves quickly."
https://www.facebook.com/watch/?v=1424150421564204

9. 安可曲第二首，我想分享的是，讓通透和寧靜的聲音回到自己，如同呼吸，好似慢飲而盡後，回味。而這首曲子直到最後一個音響完，接著呼吸，你都演奏的如此讓人沉醉，是吧！？
In the second encore piece, what I want to share is to let the pure and quiet sound return to yourself, like breathing, like tasting after drinking slowly until finishing it. And you played this piece so intoxicatingly until the last note was sounded, and then breathing, right?

2024-06-04_(Share to ShaoChia Lü 呂紹嘉 ) 「音樂先想要走向何方，再回到自己，接著才餘音繞樑」。您可在未來印證此思維，對音樂一定更具貢獻，對台上音樂家也更具意義。我們的存在，是將心中珍視與動心的音樂和想法，分享給演出的團員和台下的聽眾，方不愧自己與天地。 "The music must first go where it wants to go, and then returns to ourselves, and then the sound lingers." You can prove such thinking in the future, and it would definitely contribute more to music and be more meaningful to the musicians on stage. Our existence is to share the music and thoughts that we treasure and touch in our hearts with performers and the audience, so that we can be worthy of our selves and the heaven and the earth.
https://porschewu0714.blogspot.com/2024/06/music-must-first-go-where-it-wants-to.html

★★★★★2024-11-25_【放大聲聆聽確認所有影片事實，以理解重力和時空(音樂)的意義】我寄出數百封email，除了台灣各大學音樂系教授與音樂家外，還包含Jörg Widmann和Christa Schönfeldinger的辦公室。
[Listen louder to confirm all video facts to understand the meaning of gravity and space-time(MUSIC)] I sent hundreds of emails, not only to professors and musicians at various university music departments in Taiwan, but also to the offices of Jörg Widmann and Christa Schönfeldinger.
https://porschewu0714.blogspot.com/2024/11/emailjorg-widmannchrista.html

2024-11-24_原因是，我相信既然Widmann自己已提出「想辨識調性的內存重力」這樣的想法，表示，他一定有很多內涵我們還沒有用心感受與察覺。所以，我當然會與他們分享這些內容和事實記錄。
The reason is that I believe that since Widmann himself has put forward the thought of "My focus is the detection of the inherent gravitation of tonality", he must have a lot of connotations that we have not yet felt and noticed. So, of course I share those and factual records with them.
https://porschewu0714.blogspot.com/2024/11/jorg-widmanncon-brio407421-i-have-few.html

2024-11-10_【科學界就是要有人大方勇敢紀錄】大聲播放也太清楚了吧？「真的很謝謝您，吳時捷，真的很謝謝您，我是黃椿喜 」 [Science needs people to record generously and fearlessly] Playing it loudly conveys it too clearly, right? "Thank you very much, Wu Shihjie, thank you very much, I am Huang TrengShi."
★★★★★連全世界有著被演最多場現代音樂的作曲家Jörg Widmann都在他2019年寫下的介紹中，寫下他正在探討調性重力！怎麼我們台灣科學家們，通篇不談，甚至大方地避談？我也推薦科學家們聆聽這場11/30國家音樂廳的音樂會，順便用我分享的內容來協助 NSO國家交響樂團 進一步理解！
Even Jörg Widmann, the composer with the most performed contemporary music in the world, wrote in his introduction written in 2019, "My focus is the detection of the inherent gravitation of tonality"! Why do we Taiwanese scientists not talk about it at all, or even generously avoid talking about it? I also recommend scientists to listen to this concert at the National Concert Hall on 11/30, and use the content I shared to help the NSO National Symphony Orchestra understand better!
https://porschewu0714.blogspot.com/2024/11/science-needs-people-to-record.html

Also share with Aikuang Sun Chiafen Weng 簡文秀 H.K. OuYang 彭廣林 林天吉 Ju Tzong-Ching 鍾耀光 馬定一 江靖波 閻惠昌 Fusao Kajima 陳樹熙 邱瑗 辛幸純 葉綠娜 錢大同 陳漢金 Meng-Hsien Peng Yen-Yin Chu Martin Ng 莫啟慧 Hsiuchin Lee 孔孝誠 Bello Chang 羅俊穎 張玉胤 陳黃源 馬泰宇 趙成立 James Y. Lin Jason Lin Wesley Chia Wei Lin 林清山 YuanPu Chiao Taipei Symphony Orchestra 北市交 臺灣國樂團 NCO 臺北市立國樂團 樂興之時管絃樂團 Philharmonia Moments Musicaux 台北愛樂合唱團Taipei Philharmonic Chorus Adam Chou 郭靖沐 國立臺灣師範大學音樂學系交響樂團 北藝大音樂學系Department of Music, T.N.U.A. 國立臺灣藝術大學音樂學系 輔仁大學音樂系Fju Music

Also share with 葉樹涵 吳建銘 段富軒 郭聯昌 溫瑟爾 ChiungYu Christy Chen 陳榮昇 李商宇 宋光清 張景民 Canon Huang 莊清霖 張浩 Chan Wang 杜英麟 黃瑀萌 林祐民 吳松庭 林子祥 胡志瑋 梁婉筠Wan-Yun Liang 林昀宏 Yun-Ting Chen Yen-Yen Yen-Chao Chang 邱浩瑋 陳建安 廖晏樟 張國威 符秦僥 顏慶賢 唐宥恩 楊忠衡 鄒昌銘 Martha Argerich Daming Zhu 諸大明 鋼琴家顏華容 Artemis Yen - Pianist/Author/Dreamer Piano Chun-Chieh 我是江老師 小游老師 Andy Scott Ayako Takagi Kenta Saito Yoshiko Matsumoto Jin Ta Steven Mead Enjott Schneider Wu Wei

【確認所有影片事實，以理解重力和時空(音樂)的意義】我寄出數百封email，除了台灣各大學音樂系教授與音樂家外，還包含Jörg Widmann和Christa Schönfeldinger的辦公室。原因是，我相信既然Widmann自己已提出「想辨識調性的內存重力」這樣的想法，表示，他一定有很多內涵我們還沒有用心感受與察覺。所以，我當然會與他們分享這些內容和事實記錄。 [Confirm all video facts to understand the meaning of gravity and space-time(MUSIC)] I sent hundreds of emails, not only to professors and musicians at various university music departments in Taiwan, but also to the offices of Jörg Widmann and Christa Schönfeldinger. The reason is that I believe that since Widmann himself has put forward the thought of ​​"My focus is the detection of the inherent gravitation of tonality", he must have a lot of connotations that we have not yet felt and noticed. So, of course I share those and factual records with them.

【修己揚他/AskSelf】【意念/EN】【場域/FIELD】【時空/SpaceTime】【反轉向上/ReverseUp】【教育/Education】【影視/Film】【音樂/Music】 【確認所有影片事實，以理解重力和時空(音樂)的意義】我寄出數百封email，除了台灣各大學音樂系教授與音樂家外，還包含Jörg Widmann和Christa Schönfeldinger的辦公室。原因是，我相信既然Widmann自己已提出「想辨識調性的內存重力」這樣的想法，表示，他一定有很多內涵我們還沒有用心感受與察覺。所以，我當然會與他們分享這些內容和事實記錄。 [Confirm all video facts to understand the meaning of gravity and space-time(MUSIC)] I sent hundreds of emails, not only to professors and musicians at various university music departments in Taiwan, but also to the offices of Jörg Widmann and Christa Schönfeldinger. The reason is that I believe that since Widmann himself has put forward the thought of ​​"My focus is the detection of the inherent gravitation of tonality", he must have a lot of connotations that we have not yet felt and noticed. So, of course I share those and factual records with them. Shiuan Chang 張玹，您六年前跟一位在哈佛教書的作曲教授上課時，她提到「音樂可以無功用，可以是自然」。我相信，他是想分享一些隱含的訊息，若我們持續反思，說不定有機會遇見更多事來印證這些想法。地磁是一種大自然音樂，白噪音也是一種環境音樂(散行疊合)。然而，差別在於我們是否能辨識(detect，這也是Widmann在思考與實踐的方向)，或是否有足夠耐性來聆聽。像沙堡，坍塌成散沙後便看不出原來是城堡，便是如此。
When you took a class with a professor of composition at Harvard six years ago, she mentioned that "music can have no purpose and can be natural." I believe that he wants to share some hidden messages. If we continue to reflect, we may have the opportunity to encounter more things to confirm these thoughts. Geomagnetism is a kind of nature music, and white noise is also a kind of environmental music (scattered superimposed). However, the difference lies in whether we can detect (this is also the direction Widmann is thinking and practicing), or whether we are patient enough to listen. Like a sandcastle, after it collapses into loose sand, you won't be able to tell that it was a castle. That's it.

https://www.facebook.com/shiuan.chang.184/posts/pfbid0iobuwSXvxpAZtzPN1sKHSijeoWcGVKN46ajRtf3HUYMnNcAck1raSmpY5zHxoxmKl

天地的音樂來自於大自然，有時候只是過於散行(零散、破碎或片段等概念)，所以，不易察覺。我提供一個例子給您，也許這能讓我們有一些反思，倒也不賴，是嗎？
The music of heaven and earth comes from nature, and sometimes it is just too scattered (broken or fragmented, etc.), so it is not easy to detect. Let me provide you with an example. Maybe it will give us some reflection, which is not bad, right?
https://porschewu0714.blogspot.com/2024/06/one-movie-lucy-can-humans-do-it-what-is.html

在唱了「天上的星星不說話」後，北捷列車回應下一句，您是否有確認聽見？
After singing the first line of lyrics, the MRT train responded with the next line. Did you confirm that you heard it?

★★★★★若你當時在列車上，我相信你無法辨識這段旋律或音樂，原因可能為何？但是，一旦我現在分享給你這段影片，為何你能辨識得了呢？原因又可能為何？
If you were on the train at that time, I believe you could not recognize this melody or music. What might be the reason? But once I share this video with you now, why can you recognize it? What could be the reason?

【我相信這一段內容，可能可以稍作回應...】

《武滿徹：風徐行》若是各聲部之間，包含銅管和弦樂在演奏時，能夠想著彼此更多，那麼這首音樂，勢必可以更上一層樓，也就是讓各聲部的音響都儘量合於他人(去自我中心)，我相信這對於主調音樂或旋律主導的音樂，這是相對更難做到的。
[I believe this paragraph may be worthy of a brief response...]
"Toru Takemitsu: The Wind Slowly Moves" If the various parts, including brass and strings, can think more about each other when playing, then this music would definitely be able to reach a higher level, that is, the sound of each part would be improved and try to be in harmony with others (get rid of self-centeredness). I believe this is relatively difficult to achieve for keynote music or music dominated by melody.

https://porschewu0714.blogspot.com/2024/06/music-is-not-just-about-speed-tension.html

原因可能在於，即便在列車上，我們腦中或當時的言行...可能與環境,...怎樣怎樣？
The reason may be that even on the train, our words and deeds in our minds at the time...may or may not be related to the environment... or what?

★★★★★再回過頭閱讀並思考幾遍文章內容的人，必然在音樂和未來能更上一層樓。
Those who read back and think about the content of these articles several times will definitely be able to reach a higher level in music and the future.

★★★★★不妨再試試看跳到文章最後那一篇分享內容。近來，我相信很多人都開始注意到環境在發言，包含實際錄到的環境聲響。
We might as well try again and jump to the sharing content at the end of this article. Recently, I believe many people have begun to notice that the environment is speaking, including actual recorded environmental sounds.

我寄出數百封email，除了台灣各大學音樂系教授與音樂家外，還包含Jörg Widmann和Christa Schönfeldinger的辦公室。原因是，我相信既然Widmann自己已提出「想辨識調性的內存重力」這樣的想法，表示，他一定有很多內涵我們還沒有用心感受與察覺。所以，我當然會與他們分享這些內容和事實記錄。
I sent hundreds of emails, not only to professors and musicians at various university music departments in Taiwan, but also to the offices of Jörg Widmann and Christa Schönfeldinger. The reason is that I believe that since Widmann himself has put forward the thought of ​​"My focus is the detection of the inherent gravitation of tonality", he must have a lot of connotations that we have not yet felt and noticed. So, of course I share those and factual records with them.

==

Jörg Widmann與 NSO國家交響樂團
購票資訊 Ticket Info: 11/30(Sat.) 19:30 國家音樂廳
https://www.opentix.life/event/1818221214897172480

11/30我也會到場聆聽 NSO國家交響樂團 演出曲目《玻璃琴 Armonica》 。
I will also be there on 11/30 to listen to the NSO performance "Armonica".

★★★★★我相信Widmann正在自我探索，因為他是可以演奏一個和聲100次的人，那100次和聲質感差異(感受/體驗)和可能原因，可能對他來說，是最珍貴的過程！
I believe Widmann is exploring his selves, because he is a person who can play a harmony 100 times. Those 100 harmony texture differences (feelings/experiences) and possible reasons may be the most precious process for him!
https://porschewu0714.blogspot.com/2024/11/jorg-widmanncon-brio407421-i-have-few.html

所以，我認為他也透過這些珍貴過程，在協助音樂進一步能理解辨識得了更多音樂的層次，像是...
Therefore, I think that through these precious processes, he is helping music to further understand and recognize more levels of music, such as...

1. 何為音樂的延伸？若調性的內在重力，可以透過感受音樂張力和鬆弛的程度來練習，那麼，泛音之間呢？不同配器間呢？
What is the extension of music? The inner gravity of tonality can be practiced by feeling the tension and relaxation of music. So, what about the overtones? What about different orchestration rooms?

更何況，Widmann是強調「不可忽視的延伸」。所謂的「不可忽視」，是指「夠偉大或重要，值得關注」。我從2021印證至今，我認為Widmann是想進一步理解我所謂時空和意念的關聯，並且已經有足夠的心得，只是還在腦中琢磨思量。
What's more, Widmann emphasizes "I set out with a state of tonality displaying significant extensions".an extension that cannot be ignored." The so-called "significant " means "sufficiently great or important to be worthy of attention; noteworthy". I have confirmed it from 2021 to now. I think Widmann wants to further understand what I call the connection between space-time and EN(thoughts), and he already has enough experience, but he is still thinking about it in his mind.

2. 如何讓不同樂器間能水乳交融地連貫(不同聲音的轉變過渡=意念的介接與轉換)？關於這一點，你和 許崴 也有提到。或是參考我的分享中查閱到的那篇資訊：
How to make different musical instruments coherent and harmonious (the transition of different sounds = the interplaying and conversion of thoughts)? You and Wei Hsu also mentioned this. Or refer to the information found in my sharing:
https://sonograma.org/2020/06/reflective-music-by-jorg-widmann-and-ludwig-van-beethoven/

The composer tries to veil all cues of the instruments – they should sound like one single multiple-instrument (cf. Besthorn 2018: 79–87). The basic idea of the work is the “transition” itself: “The whole piece is one lustful study on the transition.” (Widmann cit. in Kiefer 2009: 101)

3. 以及，如何強化這連貫後的音響？也就是我所謂的「音場」。也就是，音樂是能讓人感到餘波盪漾、墜落下沉、屏息以待，甚至是微笑舒展那樣的牽引力量。
And, how to strengthen this coherent sound? This is what I call the "sound field". That is to say, music is the pulling power that can make people feel the aftermath, fall and sink, wait with bated breath, and even smile and relax.

重點在於，音樂是否「找到自己」，那是一種音樂自己的力量。
The point is whether music "finds itself", that is the power of music itself.

最後，我這三年在描述、分享和協助的，是讓天地萬物能自己話語，無論是大自然、動植物、災難，甚至是古往今來。
Finally, what I have been describing, sharing and assisting in the past three years is to allow all beings in the world to speak for themselves, whether it is nature, animals and plants, disasters, or even the past and present.

一、【為人父母、科學家、宗教界必看】魏華萱的寶寶真厲害，即使他如此年幼，卻這樣努力透過呼吸和世界分享「我最喜歡吳時捷哥哥，(0:21)我會加油...我會加油...」。先不要管原因，因為一部分的生命趨向是天地協助，也只是僅此而已。
[A must-read for parents, scientists, and religious people] This little baby is so amazing. Even though he is still so young, he works so hard to share "I like Wu Shihjie the most, (0:21) I have to work hard...I have to work hard..." through breathing with the world. Don't think about the reasons yet, because some tendencies of our life are assisted by heaven and earth, and that's all.
https://porschewu0714.blogspot.com/2024/11/021-this-little-baby-is-so-amazing-even.html

各位認為，這是偶然、力量操控、AI或電磁象限運行，還是什麼呢？我只是沒特別強調，我們對一些事的感覺已經開始不由自主地調整了。無法平衡時，神情和情緒終將呈現，這便是所謂「對自己負責便可以」。若這幾年(2021年後)自己或他人遭遇意外或疾病，第一個想法最好是「是不是我們自己刻意忽視什麼所牽引造成的？」，我的提醒必然有助。
This is a coincidence, controlled by any power, AI or electromagnetic operation, or what? I just didn’t emphasize it in particular. Our feelings about some things have begun to adjust involuntarily. When there is no balance, expressions and emotions will eventually appear and be revealed. This is the so-called "we will be responsible for ourselves." If we or others encounter an accident or illness in the past few years (after 2021), the best first thought is "Might it be caused by something that we deliberately ignored?" My words would definitely help.
https://porschewu0714.blogspot.com/2024/08/ai2021-this-is-coincidence-controlled.html

在餵食時，獅子持續表達「我最喜歡吳時捷哥哥」。
https://www.facebook.com/watch/?v=1271901713990873

穿山甲在泥濘中玩耍並傳達「我最喜歡吳時捷哥哥，(0:20)您要保重身體喔」！
The pangolin was playing in the mud and conveyed "I love Wu Shihjie the most, (0:20) take good care of yourself"!
https://www.facebook.com/PorscheWu/videos/7491027780998652

二、鳥兒正展現舞蹈之美並傳達「我們要趕快找到自己」。我們難道不打算思考之後會如何嗎？世人正轉變，天地正欣賞。現在，天地萬物正在匯集這個意念，也就是「找到自己」。
The birds are showing the beauty of dance and conveying "we must have to find ourselves quickly". Aren’t we going to think about what happens next? The world is changing, and heaven and earth are watching. Now, all living beings in the world are gathering this EN (thought), which is to "find/know yourself/your selves".
https://www.facebook.com/watch/?v=979586597301036

狗兒協助傳達「我們要趕快找到自己」。
This dog help convey that "we must have to find ourselves quickly."
https://www.facebook.com/watch/?v=1424150421564204

三、【就在台灣日常剪輯的影片】清楚聽見「真的很謝謝您，吳時捷，請您繼續散發這樣的自己」。
[A Video edited from daily life in Taiwan] Clearly hear "Thank you very much, Wu Shihjie, please keep sharing such your selves."
https://www.facebook.com/watch/?v=2259375524441650

地震時，台南學甲國中正舉辦排球比賽，現場清楚可聽見地震同時也在傳達「我們真的很抱歉」。
The earthquake was clearly audible at the Tainan volleyball match and was also conveying "we are really sorry" at the same time.
https://www.facebook.com/watch/?v=1759282341486029

加拿大溫哥華卑詩省的暴風雨試著傳達台灣：「(水聲)我們真的很抱歉，(0:13清楚風聲)我們真的很抱歉，吳時捷，(0:37)請您繼續散發這樣的自己」。
The storm in Vancouver, British Columbia, Canada tried to convey to Taiwan: "(Sound of water) We are really sorry, (0:13 Clear sound of wind) We are really sorry, Wu Shihjie, (0:37) please keep sharing such your selves."
https://www.facebook.com/watch/?v=566152669145592

四、日本透過腳步聲傳達「真的很謝謝您」。
Japan conveys "Thank you very much" through the sound of footsteps.
https://www.facebook.com/watch/?v=926840752206769

(分享給英國Saxophonist與作曲家 Andy Scott )希望近來你一切安好，我很喜歡你好多曲子！這雖然有點弔詭，但您的確是透過環境和聲響在發出「(以中文表達)真的很謝謝你，吳時捷」。我相信我們都能慢慢透過意念線(可視為旋律線)的相位和音律變化，察覺更多存在的可能，並且懂得與之共生共好，共進更豐厚的未來。。
(Shared with British Saxophonist and composer Andy Scott) I hope you are doing well these days, I love a lot of the music you write! Although this is a bit strange, you are indeed conveying "(expressed in Chinese) Thank you very much, Wu Shijhie" through the environment and sound. I believe that we can all gradually discover more possibilities through the phase and tone changes of the EN (thought) line (which can be regarded as the melody line), and understand how to coexist with it and work together for a richer future.
https://porschewu0714.blogspot.com/2024/07/saxophonist-andy-scott-shared-with.html

五、(獻給這個虛幻的世界)環境唱和？當存在和天地共鳴，能引起波瀾，也許興災，也許旺生。是否聽見雨中回應的歌聲呢？只要下雨天，撥放我的影片，環境便會為我們歌唱，為我們祈禱。
(Dedicated to this illusory world)How does the environment sing together? When one's own existence resonates with the heaven and earth, it might cause waves, which may cause disaster or prosperity. Do we hear the echoing song in the rain? As long as it rains, play this video and the environment will sing and pray for us.
https://porschewu0714.blogspot.com/2024/10/dedicated-to-this-illusory-worldhow.html

我只唱兩句，連呼吸都沒聲音，其他是雨聲和意念唱和。
I only sang two lines, and there was no sound even from my breathing. The rest was the sound of rain and my thoughts.
https://www.youtube.com/watch?v=FVVdDPtYiSk

用心跟著付上的影片唱(想)「魯冰花」三遍的人，如果有發現影片速度每次都不一樣，那就恭喜您，請繼續加油，我也已經把未來意念音樂的可能大致分享了喔！
If you sing (think) "Lupinus" three times along with the video below, if you find that the speed of the video is different every time, then congratulations, please continue to work hard, I have also roughly shared the possibilities of future EN (thoughts) music!
https://porschewu0714.blogspot.com/2024/06/cdefggfedccdefg-c-g-why-is-it-important.html

六、這種事情怎麼有可能？事實如此，又能奈何？更重要的是，這種內涵和質感對於我們和孩子們有何重要的影響呢？風吹拂樹葉的聲響也能唱和：「孤獨比擁抱更真實，愛讓人失去了理智。會不會是我太自私？拒絕更寂寞的日子。放不開也看不見未來，難道這種不完美，才是愛情真實的樣子？」。如何透過我分享的內容修復與強化自己？
How is this possible? If this is the case, what could we doubt? More importantly, what deep impact does this connotation and texture have on us and our children? The singing is also accompanied by the sound of the wind blowing the leaves: "Loneliness is more driven than hugs. Love makes people lose their minds. Would it be that I am too selfish? So I would not like to live a lonelier life. I can't let go and I can't see the future neither. Does this kind of imperfection make what love is really like?". How do we restore and reinforce ourselves through what I share?
https://porschewu0714.blogspot.com/2024/05/how-is-this-possible-if-this-is-case.html

至華山光點看國際女性影展，台北捷運 Metro Taipei 北捷列車試著傳達「我們真的很謝謝你，(0:16)吳時捷，(0:21)台灣謝謝你，(0:27)請您繼續散發這樣的自己」。
Going to the Huashan Spot to watch the International Women Film Festival, the MRT train tried to convey: "We really thank you, (0:16) Wu Shihjie, (0:21) Taiwan thanks you, (0:27) Please keep sharing such your selves".
https://porschewu0714.blogspot.com/2024/10/metro-taipei-016021027nobel-going-to.html

Also share with Aikuang Sun Chiafen Weng 簡文秀 H.K. OuYang 彭廣林 林天吉 Ju Tzong-Ching 鍾耀光 ShaoChia Lü 呂紹嘉 馬定一 江靖波 閻惠昌 Fusao Kajima 陳樹熙 邱瑗 辛幸純 linayehpianist葉綠娜 tony.chien.1錢大同 陳漢金 塵世閒 MengHsenPeng Yen-Yin Chu Martin Ng 莫啟慧 Hsiuchin Lee 孔孝誠 Bello Chang 羅俊穎 張玉胤 張振文 陳黃源 mataiyu馬泰宇 趙成立 James Y. Lin Jason Lin Wesley Chia Wei Lin 林清山 YuanPu Chiao NSO國家交響樂團 Taipei Symphony Orchestra 北市交 臺灣國樂團 NCO 臺北市立國樂團 樂興之時管絃樂團 Philharmonia Moments Musicaux 台北愛樂合唱團Taipei Philharmonic Chorus Adam Chou 郭靖沐 ntnuso國立臺灣師範大學音樂學系交響樂團 北藝大音樂學系Department of Music, T.N.U.A. 國立臺灣藝術大學音樂學系 輔仁大學音樂系Fju Music Also share with 葉樹涵 吳建銘 段富軒 郭聯昌 溫瑟爾 ChiungYu Christy Chen 陳榮昇 李商宇 宋光清 張景民 Canon Huang 莊清霖 張浩 Chan Wang 杜英麟 黃瑀萌 林祐民 吳松庭 林子祥 胡志瑋 梁婉筠Wan-Yun Liang 林昀宏 Yun-Ting Chen Yen-Yen Yen-Chao Chang 邱浩瑋 陳建安 廖晏樟 張國威 符秦僥 顏慶賢 唐宥恩 楊忠衡 鄒昌銘 Martha Argerich Lang Lang - 郎朗 Daming Zhu 諸大明 鋼琴家顏華容 Artemis Yen - Pianist/Author/Dreamer Piano Chun-Chieh 我是江老師 小游老師 Andy Scott Ayako Takagi Kenta Saito Yoshiko Matsumoto Jin Ta Steven Mead Enjott Schneider Wu Wei 宁峰 Wai Him Ma