ŶŮŢŨŢŻŪůŦġŪŴŴŶŦġljĸ ĵĹ ⧁ి ⾰是澳大教㠽學 ݠ ौ中心主任、㤧文系副教授。研究及丩 ‸㠽ᙝ࡛ 、丩‸㠽文學ㅿ澳門研究乎ต。ᴴ䚄ਚޮ 丩‸䁉㐪 的䤲琴ᇬ及ྩ 儎丩ↂ୧ᇬ，⦨١ᮜ㚌пж學院么發FTCLδ䤲琴⦞ ྅ε文ះ及LTCLδ㚨‸ε文ះ。⨴⛰澳門೬匪ਾ୧ൎ的ࣟ⨼ᨤ。 Katrine Wong is the director of the Centre for Teaching and Learning Enhancement and an associate professor of the Department of English. She has published on music and gender, music and theatre, and Macao studies. She is also a classically trained pianist and operatic soprano, holding professional titles of FTCL (Solo Piano) and LTCL (Voice) from Trinity College London. She is an assistant conductor of Coro Perosi of Macao. Ղ اލ ְ ԕᗝরጄ۶ћᐯᓉऎϘᢜ的ങ؛ Ց，ְྻྐۖ 甚麼ȉরጄነȉКᕚաȉຆᘀȉᆇ ነȉૠነȉኘࡣরጄȉ༏ م রጄȉӹᠩ႐ȉᘘ࣏ ێ ҁങ؛Ցȉ ێ ᅁ，බᇖٟ գᆇໟ的ᆇաൌକሲ ࣇ 。ڰ ᆝѹ၍֯ աਛ׀ֹ ȑࠝ ᆬ ޗ ȞFelix Mendelssohnȟ的Ȯ๑ ڏ ᆇȯබ࣏Ϙৎທ ڸ 的 ڼ Є。ࠝ ᆬ ޗ 的уϠែཫȞMarc André Souchayȟ ฅ෩ҍऎȮ๑ ڏ ᆇȯཱ ໟ，ജࠝ ᆬ 。ݡ ்ޗ ҁ ࠑ ӯȈȶ ا ᘨྑ 的রጄ ݙ ཇႿ的 ֘ތ ѽӡሬ ڏ ҝ ，ഺ ࠧڭ ԯऎഺ ֘ތڱ щჅໍ ๑ᗆ፧、ጀ⒨ ی Ҟ。ࢫࢫहх，࣏ԯऎഺ ֘ތڱ щჅፁзϞ。ȷॗ гЮ ࡈ ĸıı Ր，ҟؓ ᕚነ՝ЏໟҮ۶রጄह ຕԪ， ڭ ԴညКҐϢህᘏ的Ю。ഺᇌԺጀᅗᕚነ ጄԴ ՝ ҃ࠕ ง的ఀۖ ڝ ിయዃ。 ڤ ࣏ұպԺ Ր ，ࡈ ॻ ڳ գȶლኀНਫȷ的ग़᠖。 ڤ ৎง的 ॻነ֯ ਛ，ൌጤା ݺ ԴነӎКҐϢরጄඞ，э ێ ࣏ညҁেऎᐾգᆇЙᓾ的ᆊ৶Нነᄥ፠ነӎ 的。ညऎዴЙԺ的ᆇਛКѧႵգ҃ ݑࠑ 的 Ғࣁᜲֱ પȑ༮ ށ ȞRobert Arminȟ۶ࢃᆬȑ ߺ ȞWill Kempeȟ。ညऎነК ֒ڎ ෩ ڻ Ђ༓ᆇᑟྻ 的Ժಯነ֯ ਛҒࣁЂћሹЀѧ ڲ ຈ。 ᐾգ൵Ժᡝ߰ 的Ѐѧ ێ，ڲ Ĵĸൊነ֯ К，൵ь գ Ĵij ൊ෩фরጄ。 ێ ነӎК ĴĶı ህҭࢽӯሃর ጄहᝯ。ነႆ գЙь ݺ Ķıৎᆇඞ， ێ Кĵı ৎ࣏ᆇඞ。ԴᆇඞК，हᝯ ֒ڎ ӡᆇ ҃ڽ ฆᅆӨ。ҁেऎ֣ փȉϫ ڱ 甚麼ȉ Let’s pause for a moment: if I asked you to think about music and literature together, what sort of art form would come to your mind? musical? xiqu? nursery rhyme? opera? oratorio? rap? country? symphonic poems? I’m sure you can think of other forms of artistic expression that bring together music and literature. And, let’s not forget, even songs without words can tell stories; For example, Romantic composer Felix Mendelssohn’s Liede Ohne Worte ( Songs Without Words) is a series of lyrical piano pieces. Mendelssohn once stopped his friend Marc-André Souchay from trying to put words to the musical lines in Songs Without Words: ‘What the music I love expresses to me, is not thought too inde"nite to put into words, but on the contrary, too de"nite’ (note Mendelssohn’s own italics). Starting from about 700 BC, ancient Greek drama had already combined both spoken words and musical lines, into which the element of dance was incorporated as well. Such form of multi-modal theatrical entertainment was much popularised in early modern London more than four centuries ago when England was known and celebrated as ‘the ringing island’. English playwrights at the time were keen to include musical episodes in their plays, especially when they wrote for theatre companies that had actors with decent singing voices. Out of the 37 canonical plays of Shakespeare, the most-read Renaissance playwright, no fewer than 32 mention music in the text itself. #ey include more than 350 stage directions that are musical in nature. Shakespearean characters enjoy at least 50 song episodes, about 40 of which are full songs; a full song can be understood as a musical episode wherein the character concerned is meant to stop speaking and become a musical being. Why do they sing? What do they sing? ᮃ˭ˁ ߦ 的ᚸՌ
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