關於 we can be the champion we can own the night ，我們在網路上蒐集到這些相關的討論、資訊與評價

30 Jan 2021

A day to remember.

I am sooooooo proud of my child.
She slept from 7pm-730am, all on her own!! (Ok, she woke up once at 1030pm from a nightmare, but went bk to sleep mins later after patting her.) Apart from that, she slept through the night for the very first time without sleep training! Ahhhhhhhh.. what a dream you are, Layla Woo!

Just a few days ago, i was talking to a friend about how Layla is ready to be sleep trained. But i know i am too weak hearted to practise Cry It Out method with her. In my heart, i knew i would be okay even if she continues to wake up once at 4am for a prolonged period of time. So my plan was to just let it be and not sleep train her.

But what i did tho, was to start weaning her off the swaddle. So last night, we let her sleep with 1 hand out. I was prepared for her to not sleep well since she'll need time to adjust. I was ready to be awake a few times at night.

At 430am, i woke up to check on the baby monitor, she was sound asleep. So i went back to sleep, expecting to be awake in the next half an hour. The next thing i know, i jumped up at 7am with rock hard and leaking breasts, and my baby was still sleeping. Aww, I wanted to cry! Soooo proud of her, this little champion!

For the rest of the day, she also decided that she's ready to master her flip! 2 weeks ago, she flipped for the first time. But i felt it done unintentionally. And since then she didn't do it again. But yesterday, she flipped over again again. Eager and excited to practise this newfound skill! I am such a proud mama, cheering her on with every flip!

It's now 520am. I just pumped. Layla has upgraded to a sleep sack from a swaddle. And from the looks of it, will be sleeping through the night too! I can't be more proud of her. She's saved me from the traumatic experience of sleep training her!

I wrote this post not to boast. But to remind myself of such beautiful days. Bcos with a baby, everything is a surprise, everything is unpredictable. She can be STTN tonight and going into sleep regression the next. So on nights like these, i celebrate!

Thank you Layla Woo. You are truly such a dream!

#SSmotherhoodjourney #babyWooLaLa

We back.
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That's MY SHHH Family，
當大家都在新年假期前忙著趕工時，我們TMS這邊也有一些該解決解決的事....那就是發表 3.13 | THAT'S MY SHHH presents: 「THAT'S MY SHHHOT!!」
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在我們第一個THAT’S MY SHHHOT的表演，和一些超棒的心血合作後(Black MIC, Hogan, MBK and Luk) 我們的評審被逼著做出困難的選擇--決定出第一場的冠軍 wannasleep. ！所以現在他回來守護自己的頭銜，我們會選擇4為精英的參賽者，並且看有沒有人能夠篡位並把THAT’S MY SHHHOT的冠軍皮帶殊榮帶回家。
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如何參與：
* 1/24至2/15即開放饒舌歌手、歌手、beatboxers在線上投稿參加
* 貼連結2/15之前在That’s My SHHHOTt的活動頁面貼上你最強的歌曲連結（soundcloud/youtube/streetvoice/etc.）: https://www.facebook.com/events/4447607828589419/
* 個人與團體表演者都可以報名參加
* 如果你上次報名過，但沒有被選擇參賽，歡迎再試一次喔！
* 最終入選名單將在2/19公佈
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THAT’S MY SHHHOT每三個月會舉辦一次，我們會邀請5位以上正在崛起中的表演者上台演出，展現他們的才華和能耐。活動當晚，三位公正有聲望的評審將會根據當晚表現選出當日活動的冠軍，而當次冠軍除了將會獲得小額獎金外，也將有機會在下次活動衛冕他的冠軍頭銜，而連勝四次的衛冕者將獲得在TMS主舞台演出的大獎。每次活動都將會有1位特邀嘉賓的獨特演出，同時會有一些台灣最棒的製作人/beatmakers帶著他們的音樂並開放麥克風和大家來一場特別的open mic/cypher。
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TMS Family,
As everyone rushes to tie up loose ends before New Year’s break, we here at TMS also have some unfinished business...presenting THAT’S MY SHHHOT II!
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After an incredible first showcase featuring some really impressive new talent (Black Mic, Hogan, MBK and Luk), our judges were ultimately forced to make the difficult decision of crowning our first ever THAT’S MY SHHHOT champion: wannasleep. Now, back to defend his title, we’ll be selecting 4 elite competitors to try and see if anyone can dethrone him and take home the THAT’S MY SHHHOT championship belt.
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HOW TO JOIN:
* Open auditions for rappers, singers and beatboxers will be held online from: 1/24-2/15
* Post a link (soundcloud/youtube/streetvoice/etc.) of your best song to the ‘That’s My Shhhot’ event page by 2/15: https://www.facebook.com/events/4447607828589419/
* Both solo artists and groups are allowed.
* If you had previously submitted but were not selected, please feel free to try again!
* Final selections will be announced 2/19.
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‘THAT’S MY SHHHOT’ is a quarterly event where we will be giving 5 up and comers the opportunity to hit the stage, display their talents and show us what they’re made of. At the end of each night, a winner will be crowned by 3 esteemed judges and receive a small cash prize as well as the opportunity to defend their title at the following event. (Winners of 4 events in a row will receive the grand prize of their own set on the TMS main stage.) Each event will feature a special performance from one guest artist, as well as some of Taiwan's finest producers/beatmakers who will provide the music for a special open mic/cypher following the performances.
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https://www.facebook.com/events/4447607828589419/

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

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

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

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

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

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

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

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

▪️With Liszt

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

▪️Liszt’s Pedagogical Methods

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

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

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

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

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

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

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

▪️A Unique Attitude.

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

▪️The Future of Pianoforte Music.

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

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

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

▪️American Musical Taste.

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

▪️Concert Conditions in America.

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