〖Aaron Shearer -- Learning The Classic Guitar Part III（学习演奏古典吉他）〗

　　　　Students who are learning to interpret and perform music should no longer be concerned with technique, reading music, or memorization. Instead, they must learn to concentrate on the music itself.
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　　〖Aaron Shearer -- Learning The Classic Guitar Part III（学习演奏古典吉他）〗
Introduction
　　Among all the areas of guitar study, interpretation stands apart. Perhaps no other subject in music is so clouded in mystique. Interpretation is often seen as an entirely intuitive process-indeed, more than a few musicians would question whether anything of real value can be written about interpretation.
　　In view of this situation, it's essential to state the premise behind the interpretive approach in this book: The most effective musical expression grows from rational organization.
　　The accuracy of this premise is demonstrated on the recording which accompanies this book. Listen to the first musical example, in which Fernando Sor's "Andante" Op. 60, No. 14 is performed three times. (You'll find the score for this piece on p. 53):
　　1) In the first performance, the guitarist has tried to play the music exactly as written- his intent was to add nothing beyond what the composer notated in the score.
　　But although this performance adheres to the letter of the score, it sounds stiff and lifeless. Such a performance would be unacceptable to a sensitive listener.
　　2) In the second performance, the guitarist has added life and spirit to the music through rhythmic and dynamic nuances. But notice how disorganized and ineffective this performance sounds. Indeed, any guitarist who played music in this manner would be dismissed as an erratic and insensitive interpreter.
　　3) In the third performance, the guitarist has again used rhythmic and dynamic nuances to add life and spirit to the music. But notice how much more effective it is compared to the second performance. It displays more balance and proportion - in a word, it's better organized.
　　Admittedly, the second performance is a deliberate distortion of the music. But this only reinforces our premise. Since we can distinguish between good and bad performances, we obviously expect expression to be organized in certain basic ways.
　　
　　The importance of organization in expressive playing doesn't diminish the importance of intuition. Intuition will always be an essential part of expression. Within the organization of expression there are many possibilities - ultimately, the decision about how to use them is yours and yours alone. Further, many of the more refined aspects of expression can never be fully organized.
　　But as an interpreter, it's insufficient for you to rely on intuition alone. An effective interpretation generally conveys an overall sense of balance and proportion, and these qualities are most fully achieved through organization. Thus, you must learn how to organize your intuitive ideas effectively. The more accurately and confidently you can do this, the more expressively you'll be able to interpret music.
　　Of course, no book can fully explain interpretation. Careful listening - hearing how other musicians apply expression-is an essential part of your study. Further, much of your development will come through the act of interpreting music-learning to move and shape music according to your sense of balance, proportion, and refinement. But listening and practicing are useful only to the extent that you have clear concepts to guide you. To learn through listening, you need concepts which enable you to competently evaluate a performance. To practice most efficiently, you need concepts which provide you with clear aims.　　　　
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　　〖Aaron Shearer -- Learning The Classic Guitar Part III（学习演奏古典吉他）〗