目錄精美勵志文章 正能量的散文美文欣賞 優美的輕音樂 音樂優美 優秀散文美文
Comparison of Jazz and Classical Music
Uploaded by Wraith_Ac on Oct 31, 2004
--------------------------------------------------------------------------------
Jazz vs. Classical Music
Upon entering a modern record store, one is confronted with a wide variety of choices in recorded music. These choices not only include a multitude of artists, but also a wide diversity of music categories. These categories run the gamut from easy listening dance music to more complex art music. On the complex side of the scale are the categories known as Jazz and Classical music. Some of the most accomplished musicians of our time have devoted themselves to a lifelong study of Jazz or Classical music, and a few exceptional musicians have actually mastered both. A comparison of classical and Jazz music will yield some interesting results and could also lead to an appreciation of the abilities needed to perform or compose these kinds of music.
Let's begin with a look at the histories of the two. The music called classical, found in stores and performed regularly by symphonies around the world, spans a length of time from 1600 up to the present. This time frame includes the Renaissance, Baroque, Classical, Romantic and Contemporary periods. The classical period of music actually spans a time from of 1750 to 1800; thus, the term Classical is a misnomer and could more correctly be changed to Western Art Music or European Art Music. European because most of the major composers up till the 20th century were European. Vivaldi was Italian, Bach was German, Mozart and Beethoven were Austrian; they are some of the more prominent composers. Not until the twentieth century with Gershwin and a few others do we find American composers writing this kind of art music. For the sake of convention, we can refer to Western Art Music as Classical music.
Jazz is a distinctively American form of music, and it's history occupies a much smaller span of time. Its origins are found in the early 1900s as some dance band leaders in the southern U.S. began playing music that combined ragtime and blues. Early exponents of this dance music were Jelly Roll Martin (a blues player) and Scott Joplin (ragtime). The terms "Jazz" and "Jazz Band" first surfaced in the year 1900. Some say this occurred in New Orleans, although similar music was played at the same time in other places. The most prominent exponents of this early music, called Dixieland Jazz, included Louis Armstrong and Sidney Bechet. After World War I, Jazz music had evolved and was aided by the development of the recording industry. The small dance band ensemble grew into the larger orchestra known as the "Big Band". The music of the Big Bands became known as "Swing." Two of the more famous Swing band leaders were Tommy Dorsey and Harry James. In the late 40s and through the 50s, a different kind of Jazz became popular. This music, played by a very small ensemble, was much more sophisticated and complex . Its rich harmonic changes and melodic counterpoint were not conducive to dance. It became known as "Bop," with Charlie Parker and Dizzie Gillespie being the early proponents. In the last twenty years there has been a combination of Jazz with popular music of the US and Latin America. This modern Jazz music has been called "Fusion." Present day exponents include Pat Metheny and Chic Corea. There has also been a return to the sound of Bop in the last ten years by such musicians as trumpeter Winton Marsalis and his brother Branford, a saxophonist.
Let's focus on the instrumentation of the two kinds of music. In Classical music, both large orchestras and small ensembles are used. But generally, the greatest and most prominent compositions are for the larger symphony orchestra. The largest part of the orchestra is the string section consisting of violins, violas, cellos and string basses. These instruments were invented very early in medieval times but really matured into their present form during the late 18th century. The wind instruments, comprised of brass and woodwinds, took longer to mature. The brass section in particular did not posses the ability to play chromatically (in all keys) until the advent of valves which allowed the length of the instrument to be changed while playing. This occurred around the middle to late 19th century. Consequently, the brass instruments are less prominent in the music of Bach, Mozart and Beethoven along with their contemporaries. Late 19th and early 20th century composers make use of a very large orchestra with all the fully developed wind instruments. Some of the master orchestrator/composers of this time were: Wagner, Rimskey-Korsakov, Ravel and Stravinsky. Currently, composers also make use of the full orchestra but with the addition of increasingly larger percussion sections which add many unique and unheard of sounds than in earlier music.
Early Jazz music was played in small ensembles making use of clarinet, tuba, cornet, baritone, drums, and piano. Dixieland groups of New Orleans had similar instrumentation. During the Swing era, larger groups were employed to achieve more of an orchestral sound. The Big Bands of the this era were predominantly wind orchestras containing alto and tenor sax sections, trumpet and trombone sections, along with piano and drums. When Bop music arrived, the alto saxophone and trumpet were the preferred instruments of the major soloists who were backed up by piano, string bass and drums. With the advent of Fusion, electric instruments such as the electric guitar and keyboard synthesizer became prominent.
How has each of these kinds of music been transmitted to later generations of musicians? Early in the evolution of classical music, a system of notation was gradually developed which for the most part remained stable from the Renaissance on. This gave the composer control over how his compositions were to be played. Throughout the history of Jazz, however, notation was more like a rough sketch. This was because the syncopated rhythms of ragtime and the melodic riffs of the blues were not easily notated. Also, early Jazz musicians were not formally trained; they usually learned by ear. Some songs were transcribed and written down, but not in precise ways. Jazz music became more of a passed on tradition that a musician learned through interaction with other players. In a similar way, the modern Jazz musician must rely on previous recordings to get a feel for the style and technique which he desires to learn from. But in classical music, one composer can learn from an older composer by looking at and analyzing the music that the previous composer wrote down. Likewise, classical musicians can master the parts they must play by practicing the music that has been written or published beforehand. These two approaches to passing on tradition are both valid. However, without the recording medium Jazz music might have developed much differently than it has.
The cohesive element that keeps a musical group together is also an interesting contrast. In Classical music, the conductor uses a baton and plays the orchestra as if it were his instrument; he looks at a complete score of all the events happening in the composition and interprets these events based on his knowledge and intuition of what the composer intended. Jazz groups rarely utilize conductors. The swing era employed them for the sake of keeping the larger sized group together but other jazz styles did not and do not to this day. The drummer of the Jazz ensemble provides the beat that keeps the group together but even he is interacting with the other soloists as the song is performed.
Perhaps the most interesting point of comparison between the two types of music is in improvisation. Improvisation is the ability to play and compose spontaneously "on the spot" while the music is playing. This has been an important element of Jazz from it's inception. Although improvisation was less prominent during the swing era, it regained importance with Bop and onward. Early Jazz was improvised, using ragtime and blues as a loose structure. In the swing era, popular songs were arranged by an arranger and soloists played improvisations over the repeating sections in order to lengthen the song for dancing. With the advent of Bop, improvisation assumed great importance. The musicians memorized the chord changes to a song, along with the melody, but then played very loosely and in the end substituted new chords along with greatly embellishing the original melody to the point of being unrecognizable. These factors, along with the ability to interact with each other, became important and remains so in the Fusion music of today.
In Classical music, modern listeners are mostly unaware of the fact that many of the great composers of the past were not only excellent performers but also great improvisers. Starting with J.S. Bach (1685-1750), the greatest composer of the Baroque era, he in fact made his living through his great skill as an improvisor. It was common for the Lutheran Church organist of his day be able to improvise on choral melodies and Bach was considered one of the greatest at this. There are written accounts of other composers improvisational abilities including Mozart (1756-1791), Beethoven (1770-1829), and Franz Liszt (1811-1886). Yet, as time went on, improvising gave way to the composer's desire to exert complete control over his music. By the late 19th century, improvising was rare and not used at all in public performances of classical music.
In summation, we can say that Jazz and Classical music represent two approaches to Art Music. The Classical composer or performer has a long and rich body of music in written form that he uses to learn from while the Jazz musician uses a body of recorded music to learn. Because of it's small size, the modern Jazz ensemble allows loose interaction while the symphony orchestra's large size and diversity of instruments provides many different sounds and wide dynamic range. In classical music the composer strives for control; he uses printed music to guide and direct the musicians through the conductor. In Jazz music, the songs are loosely composed, thus forming a basis for individual expression within an ensemble. When you go to hear a symphony, you hear an orchestra conducted by the conductor playing a composition. When you go to a Jazz club you hear a small jazz ensemble interacting and improvising a song. Both of these kinds of music provide rich expression and detail to the serious listener. They take different paths to reach their final form but give a person equal opportunities to appreciate the creative output of each.
千年的美麗之梁祝
手起。琴響。
一段遠古的愛情，漫過歲月，穿過時空，像風華絕代的女子，由遠而近，姍姍飄來。
默默的徘徊在窗前，讓激動靜止于寂寥。不敢有太多的奢望，惟恐驚動了低訴情語的蝶兒。
蝶兒，仿佛從西雙版納趕來，嬉戲在兩弦上下，層層疊疊，密密匝匝。
書聲，蝶語，從弦上緩緩流出。天上宮闕，一時不知今昔是何年。
一卷薄薄的愛情，翻來覆去的咀嚼，滿口的苦澀，在唇齒之間游弋。一聲沉雷，將恩怨、聚散擊得遍體鱗傷。曾經的誓言，被陣陣狂風吹落，落于生與死長眠的時或中簡空。
一座孤墳，煢煢而立，拉開一道長長的思念。
風吼。雨泣。
蝶兒忽然沒命的逃，大約是被一串串轟鳴的淚聲所驚嚇，瞪著恐懼的眼睛望著我，望著歷史。
心碎。弦斷。只有余音繞梁。
人醉了，夢亦醉了，醉了多少人的魂。一醉就是千年的美麗。
多情的蝶兒哪肯離去，依然守侯在記憶里，編制著培洞亙古的纏綿和凄美。
是誰，在愛情的史冊里，留下了最經典的衫褲一頁？
編譯 / 武滿徹、何宇軒
追憶凱奇
約翰·凱奇去世了（1992年8月12日）。毫無預兆，令人震驚。
對我來說，1992年是非常糟糕的一年。因為不久前，我剛剛聽聞梅西安去世的消息。在如此短暫的時間里，同時“失去”兩位我所摯愛的作曲家，著實是個不小的打擊。對于凱奇的諸多“追慕者”（admirer）來說，這鎮如本是慶祝其80大壽的一年。慶祝音樂會已經在很多國家和城市開始了。誰知，命運弄人——如今，我們只得將慶?；D為懷念謹旅或了。
死亡是無法避免的。從這巨大的悲傷中，我并沒有感到空虛，反而“看見”了更清澈的藍天。因為，從凱奇和他的作品之上，我體會到了不朽的氣質——死亡帶給他的，是永恒。
從凱奇那里，我學會了生活?；蛘哒f，我更懂得了生活和藝術的關系。我以前總以為，音樂是精粹化的生活。但在他那里，音樂和生活，根本就是一回事。而這樣簡單而明朗的事實早已被人們遺忘。在高度職業化的現代社會，生活與藝術被明確地分開了。人們被迫學習骨架般的創作技巧，手段一個比一個高明。音樂已脫離生活，成為僅停留在樂譜上的冰冷符號。
約翰·凱奇的“橫空出世”曾一度震驚整個西方音樂界，他的觀念打破了古典音樂根基深厚的傳統架構。其實，他只是提醒人們一個基本的常識：寂靜（silence）是一切聲音的母親。通過凱奇，聲音得到了解放，他開啟了一次摒棄藝術“等級”（hierarchy）的革命。他的藝術觀念經常被拿來祥伍與“達達主義”進行比對：的確，他的作品確實與達達藝術有相似之處，但它們之間還是有著些許的不同。例如，人們常說他對于傳統結構的分解（dismantling）來自于“達達”，但達達藝術的根本是一種否定論——否定從前，否定傳統。而凱奇的“解構”則在于肯定從前，是立足于傳統的一種發展。所以我認為，凱奇作品對于未來藝術可能性的影響是比達達藝術家要大的。
世界大戰之后，通過兩位知識分子滝口修造（Shuzo Takiguchi）和秋山邦晴（Kuniharu Akiyama）的推薦，我第一次聽說了約翰·凱奇的名字。不過，就此之后，直到1961年，我才首次聽到凱奇的作品，那是在大阪的一場約翰·凱奇的作品音樂會上。這場音樂會的指揮是作曲大師一柳慧（Toshi Ichiyanagi）先生，當時，他剛剛結束了長期的美國生活，衣錦還鄉。樂評人吉田秀和（Hidekazu Yoshida）在音樂會后這樣寫道：“從此，我們將長久地被約翰·凱奇這個名字震驚！”是的，我至今能回憶起第一次聽凱奇音樂的那種全身的震顫。
在那個年代，十二音列和序列主義是先鋒音樂的主流，人們將維也納第二樂派尊為“祖師”?？陀^地說，這些音樂的創作技術與才能充滿了智慧，但它們也同時磨滅了情緒和感性在音樂藝術中的力量。
首演于1952年的《4分33秒》，毋庸置疑，早已成為一個傳奇。然而，通過這部杰作，固執的人們并沒有完全看懂凱奇在音樂上的才華，相反，更愿意把他當作是一位行為藝術上的哲學家。但很快，從他后來不斷“推出”的創作，人們逐漸意識到，他的作品不僅僅是個性，而是獨一無二。
約翰·凱奇與日本藝術愛好者之間形成了一種長期而密切的關系。盡管我們不能再見到他了，卻依然能夠清晰地記得他那紳士般的、無法描述的神秘微笑。
我再也想不出哪一位“藝術革命家”能像凱奇那般優雅。
靈感花園
長野縣終于露出了夏天的面目。
通常，即使像這樣高海拔的地區，每日的正午也是十分炎熱的。但今年是個例外，已然七月，氣溫卻幾乎沒有高于13或14度的時候。甚至，有時會像冬天一樣，下起雨夾雪。據說，氣象局已經仔細地研究了氣候異常問題。但盡管那些預報已經比較準確了，我們還是不能完全相信它們。
近兩個世紀，科學家們做了許許多多關于能量與物質的研究。以至于今日，人們逐漸堅信自己生活在一個科學知識完備的時代。然而事實是，我們的信息中還存在著大量的未知和不解。為之，我盡可屏息長嘆，因為可喜的是知識遠遠超出人類的控制，即使人類自以為能掌控一切。過多的人為研究總能破壞一些本來的美好：刻意塑造的“實在”打破人們的遐想與創作欲。不過，世界總能給我們一些驚喜的虛幻。
微風暈起，薄霧滿天。藍黑色的山巒隨光顯現。我居然開始質疑那是不是幻覺。每當這個時刻，當意識徘徊在真實與幻覺的邊緣之時，我總能感覺到一種音樂的沖動。靈感并不來自于強烈的、戲劇性的思維碰撞，而是對于未知和神秘的探索。自然世界存在著一種微妙的涌動和變化，它不像人為的變化那么強烈，卻是一切神秘性的淵源。我的創作起始于觀察和聆聽：觀察那些看不見的，聆聽那些聽不見的。
人們對于事物的覺察力不是統一化的，是因人而異且有不同層次和不同等級的。因此，我的感受也許別人根本就體會不到。但我并不孤獨，因為我活著——同時，我也因活著的目的而被創造出來。
問題是：被什么？被誰？
我的音樂是傳遞給未知的一種信號。而且我相信，這世界上的其他人也在同時發出他們的獨特信號。我們的信號相遇，一旦相互吸引，便會隨之交織出一種新的和諧。這種新的和諧立刻造成彼此間的一種生理上的感受。比如，當你聆聽一位未知作曲家的未知作品，會突然感同身受進而激動不已。這就是信號和諧交織的表現。上面說過，自然是涌動的，是微妙地不斷改變的。因此，我的音樂并不因為樂譜的形式而完成，我的作品是永遠不可能“完成”（complete）的。它們拒絕“完成”，它們因聽者的不同而轉換它們的意義——它們是涌動的。
也許，我所說的這些特性與西方藝術的創造意圖相距甚遠。西方音樂家堅信作曲是鮮活的、確切的，是將掙扎、歡樂、陰暗、美好積極展現出來的一種沖動。而我，作為一位東方人，站在了西方藝術的對立面：我喜歡那些不能解決的和不真實的——這些“模糊”是我靈感的終極來源。
我不確定是否所有遠東、亞洲和日本的作曲家會有和我相同的感受。我不是一個能夠代表日本的作曲家，甚至都不能稱作是一個“日本的”作曲家。我在日本出生、成長，自然“不可抗”地受到日本傳統的影響。有一段時間，我曾努力地排斥這種單一文化過多的影響，但馬上就發現，那是不可能的。
不過，我的一些努力的確生效了?，F在，在西方國家，越來越少的人把我叫做“日本的”作曲家了，盡管每次出國我仍然感到不適。人們對于事物的理解確實會發生轉變，但并不會因此而擴大。人們總是誤以為自己的眼界擴大了，但其實那只是轉變而已。世界進入了全球化，人們并沒有因此而成為世界主義者，而是世界本身越來越趨同了。所有文化開始轉變為一種文化。
但這樣的變化也有益處。當一位日本青年學習西方現代音樂（一個來完全不同于自己文化的藝術）時，他就具備了用旁人的眼光觀看自己傳統的維度。任何一種藝術都需要從自己那些固化的傳統中解放出來。
從山巒的景色中引發了以上種種思緒。時間飛快。當我再次抬起頭，發現藍黑色的山峰已重歸云霧，不見蹤跡了。
也許，這是我的另一個幻象？
在秦嶺山里多少年了，從來沒有注意到雨是這樣來的。最早聽到雨的聲音，并不是文人們常描寫的那樣，什么開始是沙沙沙的，然后嘩嘩地大響了。什么暴雨如注，傾盆大橋皮扮雨，雨象是潑下來似的。一直以來，對于這樣的描寫，我都是疑惑的，山中的雨是這樣的嗎？那是城市中的雨，是擁擠的街筒子里的雨。那雨也是不成其為雨的。那是城市的下水道管子里骯臟的下水的涌動聲，其后必定帶著更加骯臟的感受和濁流。城市里的一場雨過之后，所見必定是一片狼籍，不知道雨對城市到底帶來多少生氣。多少年在山中匆匆地趕路，總是有無數個下一個站口象有著驚天的大事一定在等著，必須限時限分地趕到，這次卻毫無理由地在山中停留下來，便更加地奇妙地遇上這場真正的森林中的雨了。這戶在秦嶺的老林子深處，幾十里不靠村不靠店，靠著種藥材發家的人家，在我們到來之后，以山野間的大酒大肉，將我們一群人灌得橫七豎八，躺在散發著強烈的煙火味的板床上，時間陷入沉寂，屋子外面除了偶爾的雞叫狗咬聲外，一無聲息。我以為自己一定是要在這老林子深處昏睡個三天三夜，然后回到城里，胡吹出個醉拔垂楊柳或單手搏虎的傳奇的，而我卻意外地清醒著，隔壁伙伴們的鼾聲已然如雷，夢中還在和主人劃拳，吆五喝六地吵吵著。四周靜得連我自己因了酒而加快的心跳都是聽得清楚的：雨，正是在這樣的時候來了！我分明是靈魂出了竅了，一個身影，醉醉地晃蕩著，也或一絲不掛地，扒開農家的柴門，向林子深處走去。雨是以一群林妖的樣子來的，在密集而又稀疏的林棵子間，她們象一群從未見過外人的山里妹子、娃兒，扒開樹枝、高大劍葉草，或碩大無朋的芋葉，開始是彼此交流著新奇的眼神，然后是竊竊私語，再后來就放開了，聲音漸漸大起來敏灶，似乎在一一評點她們剛剛看到的陌生人，其間夾雜著嘲笑聲，無疑問的，我們中間的某一位，其尊容一定是驚著她們了。也或是我的不雅？赤身裸體地出現在林子中，是個癡憨的野人罷？可這野人又如此膚色細嫩，兩頭尖中間圓，形體古怪得這林子里可從未見過。我似乎因此而羞急萬分，靈魂回收，急急躲進自己的皮囊，喘息半定之后，才意識到自己依然是在柴床上的：而雨已然在農家的窗外劇烈的敲打著了！我得理一理，這雨到底是怎么來的。似乎從小林妖們扒開樹枝向林子深處窺探之時，那雨就是象小披風一樣在她們身后飄揚著了，也或就是她們長而黑的頭發，在林間隨了小風飄起，刷刷地打著樹枝樹葉，那便是雨呵！是了，一定是的，林妖們的長發，紛紛揚起，隨了它們主人的跑動而上下翻飛，一路上抽打著林中的植物、山石，越跑越快，抽打的幅度也越來越大，甚至可以聽到植物的驚叫聲，老樹的感慨聲，山石被雨水浸握搜入飽脹之后，紋理的錯動聲。林子間被地蕨類植物覆滿的大大小小的通道，水份已然浸透了，那些林妖們的腳步，奔跑在這些積水中，發出巨大的噼叭聲，水花四濺，在我傾聽的有些片段，那些水花是緩慢地濺起，緩慢地升高，長久而緩慢地在半空中移動，非常好看，這樣的時候，可以十分清楚地看到那些水花在空中聚合、破碎，再次聚合到一起，形成更大有水花，然后想象回到現實，巨大的水花散落到地上，并很快地又一次濺起。這是八月秦嶺山中的一場經常可見的大雨，浩大，澎湃，聲張，勢足，當大團大團的霧氣從可以想見的林子深處，那些老樹的叢中，以及喜歡招風的山岬口，就是兩坐山的結合部，水浪一般涌過來，并從農家的半開的窗戶涌進屋內，我聞到水霧中強烈的甜腥味兒，它們是一年生草本植物枝節脫落處流出來的濃烈的甜腥味兒，有點象林中人家自釀的米酒，原生的老林子間的味道：由此，我的想象可以輕松地越過這間半明半暗的農家屋子，升上巨大的雨幕之上，全部的森林都在我的身下，我是以俯視的姿態看到雨中的森林的，大片大片的樹木，它們密集的在夏天正在擴大、厚實、沉郁的葉子，在大雨中翻白，那樣的氣勢，沒到過森林的人，是絕對想象不出的，它們以集體的激動的姿態，在雨中翻滾，一浪過去，現出陽面，那是純正的翠綠，一浪過來，現出陰面，那是如雪的潔白，有些時候，我把這些葉片的動作，想象成一架巨大鋼琴的黑白相間的琴鍵或上下滑落的簧片，雨敲打著森林，森林敲打著傾聽它的人，而就在大雨、森林、傾聽者三位一體地融合著這八月里一場浩大的戲劇里的抒情場面時，第四者出現了！它似乎一直在等待這場浩雨的到來的，它是躲在山林后面，山石后面，或者那些老樹的濃蔭下面，冷眼地看著雨的上場，看著雨中活動、變幻的一切，同時，它也是在積攢著一股強悍的最后上場的力量的，終于，就在雨霧、雨聲、雨的箭簇、雨中植物大口喘息、雨中人心跳澎湃等等紐結得密不透風、欲生欲死著，等待一雙巨大的手撕開天地間一道裂口之時，它上場了！那就是山溪、河流、林下臨時沖出的水溝，它們幾乎是在同一個時間，從等待的戰陣后面沖決而出，呼嘯著發出攝人的吶喊聲，那聲音是以聲浪的形式，回蕩在森林上空的，準確地說，是從大大小小的山澗里，溝道里，河岸里，甚至在森林密集的葉片的深處，蜂擁面出，吹響尖銳的口哨.
森數美文的朗讀不僅能讓學生培養良好的語言表達技能,還能在更深入地理解文本的過程中受到思想此坦首品德以及審美的教育。我精心收集了100字英語美文，供大家欣賞學習! 100字英語美文篇1 Me: The clock is ticking and tomorrow is my special day. 時鐘滴滴答答的走著，明天對我來說意義非凡。 I wonder what people will say. 我想知道人們會怎么說。 Will they greet me or just say hi. 他們會歡迎我嗎?還是僅僅說聲“你好”。 Ha-ha as if they all remember my natal day. 哈哈，說得好像他們都記得我出生那天一樣。 Mther: Oh! One thing I realize as I get little older is that we should value our lives and spend it meaningfully. 當大一點的時候，我開始意識到，我們應該珍惜當下生活，讓它變得有意義。 Dream big and set plans. 放膽做夢，并為此指定計劃。 I thank God for helping me to achieve my goal each year. 感謝上帝，讓我每年的目標都得以實現。 Although not everything is perfect, but somewhat closer to that. I surpassed my 2016 with a #goalmet and proudly to say that building my own family is a gift. 雖不是所有的目標都實現得非常完美，但是多少都在朝著目標邁進。2016年的目標我都已經達成，而且還為家庭建信陪設孕育了一個禮物為此我很傲嬌。 Thank you God for the most special gift I got last year. Soon I will get to see it. I do promise to take good care of it. 感謝上蒼在2016年就給我了這個特別的禮物，不久我就會見到TA了而且我發誓我會好好照顧TA Me and my husband waiting for our fruit. A fruit made with love. A fruit that we dream of. A special gift that forever we will treasure. A baby I will name as baby Z. 丈夫和我都在等待我們的結晶，我們都夢寐以求的愛的結晶.這份特別的禮物我們都會永遠珍惜。我們會給這個寶貝取名叫Z。 100字英語美文篇2 I'm just sitting here in my room today, listening to music while it rains outside my window, and I can't stop thinking about how happy I am and how great my life is. There's nothing particularly special about it - I'm not rich or famous, I'm not exceptionally talented, and I don't do anything particularly fabulous for a living. But I feel somewhat organized, I have a clean room and a car and a job, and most of all what makes it great is the mere fact that I feel happy. 今天我坐在自己的房間里，聽著音樂，窗外下著雨，我不由得感到自己是多么愉快、生活是多么美妙。盡管我不是什么大富大貴，社會名流，也沒有智力超群，或是做什么偉大的事情來營生。但是我感覺一切井井有條，我有一個干凈的房間、一輛車以及一份工作。但是最重要的是，我單純覺得快樂。 I know this may not seem like the most interesting story in the world, but when I was twelve, I was deeply suicidal. 我知道這看起來不像是什么世間的奇聞異事，但是在我12歲的時候，我非常想自殺。 I'm sharing my good mood today because I know there are tons of people out there who struggle with life. 今天我和大家分享這種歲月靜好的心情，是因為我知道還有很多人都遭受生活的苦楚和折磨。 Not even necessarily the outward details of their lives, but the inner demons that exist within their minds. 不僅僅有生活中的外在瑣事給他們添堵，還有內心的怪獸在作祟。 I want you to know - if that's you - that the mere possibility of reaching a place of inner peace is worth it. It is worth hanging on for. 我想讓你們知道的是，很少有人能真正達到內心平和，但是這種為達到這種狀態值得堅持磨煉。 I was probably 25 when happiness and contentment became my default emotions. It took a long time, and it took a lot of change, pain and growth. But now that I'm here, it feels permanent. And the emotions of the past feel like they happened to someone else. They are so foreign and distant to me. For some, it may take even longer, and it may take even more. But I cannot imagine even for a second that the struggle wouldn't be worth it if this is the end result. 我可能直到25歲才讓知足常樂變成一種情緒上的常態。這中間需要很長的時間，很多的改變，痛苦讓你成長。現如今我的情緒變得穩定而長久，回憶起之前的種種好像是發生在別人的身上，對于現在我來說是那么的陌生和遙遠。對于有些人來說，獲得這種安定的心境要花更長的時間，做更多的改變。但是如果經歷了所有折磨還是無法改變什么，結果一點都不值得，關于這個我想都不敢想。 That's it. I just wanted to share my positive vibes with everybody. The world can be an amazing place if you let it, and you can be an amazing person. You probably already are. Good luck, and please never give up. I hope that today, you all feel a little bit of love. Thanks for reading. 我想用這種積極的情緒感染大家。只要你想世界就會變得美好，同樣的你也可以成為更好的人。也許你已經足夠好了。那么好運，要保持不要放棄。我希望我的分享能夠讓你感覺到一點小溫柔。感謝閱讀。 100字英語美文篇3 I've been job hunting for about eight months. 在八個月的時間里，我一直在找工作。 A few weeks ago I went to an interview and handed off my car to the valet guy. 幾周以前，我開車參加一個面試，把車子交給停車的侍者。 As I was waiting for the elevator I heard him tell his coworker that he would kill for a coffee, so after my interview I stopped at the cafe in the lobby and grabbed one for him. 在我等電梯的時候，我聽見他對他的同事說自己超想來一杯咖啡，于是面試結束，我在門廊順便買了一杯給他。 He was super grateful and asked for my business card. 他顯得非常感動，還要了張我的名片。 I gave it to him, thinking maybe he wanted to send me a thank you email or something. 我給了他一張，想著他無非會寫封感謝郵件或者做之類(表達謝意)的事情。 The next day I got a call from the manager at this big staffing agency in our city. She was the valet guy's cousin and he asked her to call me. I ended up meeting with her in person, and after only a week she found me my dream job. Today was my first day, and it went perfectly. 隔天我就接到了那個停車侍者表姐的電話，原來她就是我們當地最大職介結構經理，而且就是那個侍者叫她打給我的。職介經理親自和我會面約談，短短一周她就幫我找到了夢寐以求的工作。今天是我上班的第一天，進展非常順利。 Be nice to everyone, all the time. (我的心得是)要把體恤他人，常掛心間。
