有关音乐的英语句子，人（英文）

与“音乐”有关的英语句子有哪些？~

1.音乐，人类的灵魂，只有懂得音乐的人才懂得生活。
The music, the soul of man, and only know music talent understand life.
2.音乐是我疗伤最好的药，没有谁能陪我走过悲伤的海。
Music is the best medicine to heal me, no one can accompany me to pass through the sea of sorrow.
3.习惯一个人的音乐，一个人的音乐是心灵最深处地呻吟。也许只有自己才听得懂，可是却依然希望自己听的音乐能把周围和未来打动。
Habits of a person's music, a person's music is the mind most deep place groan. Perhaps only then own only then to understand, but I still hope that their music can move around and future.
4.尘缘中琴声，月皎波澄。人们神怡心旷之际，耳边一阵微风忽起伏。远远传来缕缕琴声，悠悠扬扬，一种情韵却令人回肠荡气。虽琴声如诉，所有最静好的时光，最灿烂的风霜，而或最初的模样，都缓缓流淌起来。而琴声如诉，是在过尽千帆之后，看岁月把心迹澄清，是在身隔沧海之时，沉淀所有的波澜壮阔。在懂得之后，每一个音符下，都埋藏一颗平静而柔韧的心灵。
In the month of May, the white wave yellow. People feel fresh as a breeze and the ups and downs, ear. Far from the long strands, swirl, a charm is soulstirring. Although Moderato Cantabile, all the static good time, the most splendid of the wind, or the original appearance, all flowing slowly up. And Moderato Cantabile, after thousand years, see the imprint to clarify, in every sea, precipitation all surge high and sweep forward. In it, each note, all buried in a calm and flexible mind.
5.Music is the eye of ear。 音乐是耳朵的眼睛
6.The beautiful melody is linger in my mind. 美妙的音乐在我的心中回荡
7.Music is an epression of the people.音乐是人类情感的表达

1、Nothing is worth living for without music. -Nietzsche
没有音乐，生命是没有价值的。—— 尼采
2、Without the music education in my childhood, I would succeed in nothing. - Albert Einstein
没有早期音乐教育，干什么事我都会一事无成。—— 爱因斯坦
3、Music has charms to soothe a savage breast, to soften rocks or bend a knotted oak. (William Congreve. British dramatist)
音乐有着抚慰粗野的胸怀、软化顽石或使千年老树弯腰的魅力。(英国剧作家 康格里夫 W)

4、Music is the medicine of a troubled mind．—Walter Haddon
音乐是治疗心灵苦恼的药。——沃尔特·哈登
5、Musical innocation is full of danger to the state，for when modes of music change，the laws of the state always change with them．——Plato
音乐上的革新对国家充满了危险，因为当音乐的调式发生变化时，国家的法律也要随之变化了。—柏拉图

不知道你要的 是 音乐歌词还是关于介绍音乐的
下面的是有关歌词的网站：http://musicsongtext.com/2009/10/ (里面很多歌曲值得一听哦）
顺便给篇关于音乐的文章给你了 另外给个好网站给你
http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/
The science of music
Why does music affect us like no other art? An American scientist thinks he can explain these ‘glorious illusions’
In his last, largely barren years on the island of Faro, the great film director Ingmar Bergman listened to music. He saw it, his daughter-in-law said, as “a sort of gateway to other realities, different from those we can immediately perceive with our senses”. Bergman had no religious faith, but in music he heard the only possible evidence that there was something beyond this world. The philosopher Ludwig Wittgenstein described Mozart and Beethoven as “the true sons of God”. The poet John Ashbery said that music was the perfect art, because it conducted an argument whose terms were never defined; it did not, in other words, depend on the banalities of the ordinary world. “All art,” wrote Walter Pater, “constantly aspires towards the condition of music.”

Music makes believers of us all. I have heard a hard scientistic atheist struggling, in quasi-religious terms, to explain the effect of a late Beethoven quartet, and I have seen a Schubert sonata render strong, dull men speechless and tearful. And, like almost every other baby-boomer, I can remember rock concerts when the sound, the movement and the intense involvement of the crowd transported me to...where, exactly?

Music seems to make no sense. It comes from nowhere and goes nowhere. Literature says something, and the visual arts show something. Music seems only to show or say itself. Yet it feels like the most intimate, the most direct and true art. To be lost in music is to be lost in oneself. Music, we must all have felt at one time or another, is where we truly belong. It is a better place.

To some, this is all that needs to be said. Any attempt to explain music is as futile as putting love on a Petri dish. To others, an explanation is essential. Why do these organised sounds have such radical, such fundamental effects on the human psyche?

That, in a nutshell, is the question Daniel Levitin asked himself. “I wondered how it is that people do this, and what is going on in the brain . .. I’d be sitting in the studio, and Carlos Santana would play a guitar solo, and I’d get goose bumps. And I thought, ‘What is it that’s going on in my brain that’s causing me to have this weird reaction to some pieces of metal strung across a magnet attached to a piece of wood; and what is going on in Carlos’s brain that’s allowing him to communicate this?’”

Levitin is a musician, producer and recording engineer – he has worked with the Grateful Dead, Stevie Wonder, the Carpenters, Eric Clapton, Blue Oyster Cult and others – turned cognitive neuroscientist. He runs the Laboratory for Music Perception, Cognition and Expertise at McGill University, in Montreal. He has now written a book – This Is Your Brain on Music: Understanding a Human Obsession – that both describes what music is and explains the current state of the science of music. All his research is directed at understanding his goose bumps. “There is this view that if you understand something, it will no longer be interesting or pleasurable. I just haven’t found that to be true in my life. It’s why I became a producer: to understand how things are put together to produce these glorious illusions.”

The science of music must begin from the fact that it is a universal and ancient human obsession. It appears to be hard-wired into us – not just the appreciation, but also the making of music. One researcher into African music, Levitin reports, apologised to some tribesmen for not joining in, because he couldn’t sing. The Africans did not understand: as far as they were concerned, anybody who can talk can sing and dance. Experiments have shown that music played to babies in the womb is familiar to them a year later – they react more strongly to this prenatal music than to any other. And, astonishingly, Levitin’s own work has shown that absolute or perfect pitch is not necessarily the attribute of a very few. He has established that, by listening repeatedly to tuning forks, even people who considered themselves entirely unmusical could train themselves to have something like perfect pitch.

Equally astonishing is the way the science of music seems to be exposing special talent as a myth. One experiment involved asking teachers at a conservatory to rate the talent of their new students, then do so again at the end of four years. There was no correlation between the first and second ratings. But there was a correlation between perceived talent at the end of the course and how hard the student had worked. “The most important factor,” Levitin says, “was how much time they practised. Many lesser students overtook greater students simply by working at it harder.”

In fact, we can quantify how much work is required. To become a master musician requires 10,000 hours of work, irrespective of any preexisting gift. But what about Mozart, the child prodigy? Well, says Levitin, if he’d started working at his music for 32 hours a week from the age of two – not inconceivable, with a father such as his – then he’d have done 10,000 hours by the age of eight. The idle, effortless genius appears to be a myth.

“I’ve had the chance to ask great musicians where their music came from, and each of them told me these harrowing stories about how hard they worked, and how they gave up everything else, and how it never seemed easy. Stevie Wonder, Paul Simon, Eric Clapton, Sting: all talked about practising and working very hard. Even Stevie Wonder, who everybody regards as a natural, doesn’t regard himself as a natural. When somebody like that is telling you it’s hard work, you have to listen.”

That said, Levitin warns pushy parents that just putting in the hours doesn’t mean your child will make it. Furthermore, you might be pushing him the wrong way. Arthur Rubinstein’s father wanted him to play the violin. A few fiddles had to be smashed before he let him play the piano.

Such findings tend to suggest that there is nothing special about music, it’s in all of us if we want it. Yet, observes Levitin, over the past 40 years, people seem to have forgotten this. “I do find it kind of funny and strange that we live in a world in which people are reluctant to sing in public. It’s widespread now, this feeling that singing is reserved for the select few. I walk around the city and see people of all ages playing basketball: they don’t say they won’t do it because they’re not Michael Jordan. And they don’t say, ‘I’m not Martin Luther King, so I’m not going to talk.’ But we do that with music. It’s contrary to our evolutionary nature. As far as we know, for tens of thousands of years music has always been participatory.”

Levitin thinks that this creation of a special realm of musical expertise began 500 years ago. As concert halls and orchestras were created, a class of performers and a separate class of listeners were born. In addition, the listeners were expected to sit quietly and not move. Again, he regards this as a separation of music from its origins. We used to join in. “What people love about rock’n’roll – and why, 50 years later, it’s still here – is that you’re allowed to move to it.” Levitin also points to the way rock and pop have clear generational roots. Unlike classical music, they constantly change, providing successive age groups with what they can regard as their own music.

The further effect of rock – and of recorded music in general – is the elevation of timbre as one of the most important qualities of sound. Though there are, of course, distinct Beethoven and Mozart timbres, audiences at the time would hear a series of performances, each with a slightly different timbre or “flavour”. With recorded music, we can hear the same version again and again. Favourite songs – or just insinuatingly irritating ones – become embedded in our brains. In his own experiments, Levitin found listeners could identify songs such as the Beatles’ Eleanor Rigby, Elton John’s Benny and the Jets or Norah Jones’s Don’t Know Why after hearing just half a second of each, too little time to hear rhythm or melody. What they recognised was timbre. “When you hear that same song by a favourite artist replicated thousands of times, it lays down memory traces that are very vivid and very detailed.”

The ultimate question is, of course, what does all this mean? Why music? One answer comes from the cognitive scientist Steven Pinker. He says that, in essence, it’s an accident. It’s something that arises from our language abilities and just happens to be pleasurable. It provides no particular adaptive advantages; in evolutionary terms, it is useless. Levitin does not accept this. He believes the mechanisms through which we appreciate music are just too deeply embedded not to be adaptive. Most important, the nucleus accumbens, the part of the brain that releases dopamine to regulate our moods and coordinate our movements, is fundamentally implicated in our experience of music. This particular art, he thinks, lies close to the heart of what we are.

In evolutionary terms, he believes, it is a product of sexual selection, like the peacock’s tail. Essentially, some device emerges to demonstrate reproductive fitness to a potential mate. An arms race develops with other randy hopefuls, and the peacock ends up with a gigantic tail and the human with Bach’s St Matthew Passion. Both are far beyond strict practical requirements, yet both can be explained by the workings of evolution through natural selection.

Levitin thinks he has gone a long way to explaining his Santana goose bumps, and, in one sense, he clearly has. But, as with all scientific attempts to pin down the human and the ineffable, the experience seems to have been delineated rather than defined. Music – the most intimate resting place of our souls – continues to hint at something more, something, as Bergman and Wittgenstein saw, not quite of this world; something better. The truth, whatever the explanation, is that we all aspire to the condition of music.

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兴海县13482788718： 用英语写一篇关于音乐的短文词数80左右1.人人都喜欢音乐,或喜欢听,或喜欢弹奏.2.每个人喜欢音乐的种类不同,有的喜欢轻柔音乐,有的喜欢...3.音乐... - ？
卓韩尤靖：[答案] We all love music.It's great to listen or to play some music. There is wide varity of music in the world.People have their own typically favourite type of music.Some prefer light music while some li...

兴海县13482788718： 关于音乐的英语名言 - ？
卓韩尤靖：[答案] Kind words are the music of the world. 善言是世间的音乐.

兴海县13482788718： 关于音乐的英文对话 2个人每人10句就可以 - ？
卓韩尤靖： Music could be created in any place when you have inspiration.At most times,we enjoy music like symphonic music.Even pop music,there is needn't to understand what are they wanting to tell us.We just need to hear it carefully.Therefore,music ...

兴海县13482788718： 翻译英语句子1.每个人都喜欢音乐,人们可以通过唱歌或弹奏乐器来创造音乐.2.男女老少都欣赏音乐3.电视或收音机里播放音乐,给我们带来愉悦.4.听好的音... - ？
卓韩尤靖：[答案] 1. Everyone likes music, people can sing or play musical instruments to create music. 2. All men, women and children to enjoy music 3. TV or radio broadcast music, gives us pleasure. 4. Listen to good music can inspire people to advance the spirit.

兴海县13482788718： 关于音乐的经典英语句子有没有啊.tell me - ？
卓韩尤靖： is there any sutra about music?tell me please>3

兴海县13482788718： 用英语来谈论音乐的重要句型 - ？
卓韩尤靖： i totally like listen pop muisc .well the reason i like it of which is ....... 喜欢它的原因the music flood with my whole time . when i feel the tempo of music i get a fantasy as if i was the wave of the music ,up and down. 我整个时间被音乐包围.. 当我感受到音乐的节奏时 仿佛我是一个音乐的波浪 上上下下 用了一个虚拟语气,,

兴海县13482788718： 音乐的英语谚语 - ？
卓韩尤靖： 音乐教育并不是音乐家的教育,而首先是人的教育.——苏霍姆林斯基 音乐常使死亡迟延.—— 伊索 人都需要娱乐和变换兴趣,以防止变得迟钝, 对美的感知和理解是审美教育的核心,是审美的要点.—— 苏霍姆林斯基 音乐教育并不是音乐...

兴海县13482788718： 英语音乐短语 英语关于音乐的短语或者句子....会的大侠请告诉我谢谢.. - ？
卓韩尤靖： put on some music,播放音乐;a beautiful piece of music, 一支动听的音乐.

兴海县13482788718： 大学生英语口语关于音乐的情景对话 - ？
卓韩尤靖： ——hey,buddy! (拍肩膀) hey!what r u doing ?——oh, sorry, i'm listening to justin bieber on my ipod.——justin bieber? who is this guy?——i can't believe you don't know him. he is the hotest singer around the world now, i think, and....oh, he is ...

兴海县13482788718： 求关于音乐的英语短文 - ？
卓韩尤靖： Music is everywhere nowadays.It plays an important role in our life. There are all kinds of music in the world.Such as Blues, Black music,Rock&Roll,Dance music of Punks,Disco,Jazz,Classical music,Rap ,Pop-music and so on. Music is of great use ...