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Comparison of Jazz and Classical Music
Uploaded by Wraith_Ac on Oct 31, 2004
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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.
千年的美丽之梁祝
手起。琴响。
一段远古的爱情，漫过岁月，穿过时空，像风华绝代的女子，由远而近，姗姗飘来。
默默的徘徊在窗前，让激动静止于寂寥。不敢有太多的奢望，惟恐惊动了低诉情语的蝶儿。
蝶儿，仿佛从西双版纳赶来，嬉戏在两弦上下，层层叠叠，密密匝匝。
书声，蝶语，从弦上缓缓流出。天上宫阙，一时不知今昔是何年。
一卷薄薄的爱情，翻来覆去的咀嚼，满口的苦涩，在唇齿之间游弋。一声沉雷，将恩怨、聚散击得遍体鳞伤。曾经的誓言，被阵阵狂风吹落，落于生与死长眠的时或中简空。
一座孤坟，茕茕而立，拉开一道长长的思念。
风吼。雨泣。
蝶儿忽然没命的逃，大约是被一串串轰鸣的泪声所惊吓，瞪着恐惧的眼睛望着我，望着历史。
心碎。弦断。只有余音绕梁。
人醉了，梦亦醉了，醉了多少人的魂。一醉就是千年的美丽。
多情的蝶儿哪肯离去，依然守侯在记忆里，编制着培洞亘古的缠绵和凄美。
是谁，在爱情的史册里，留下了最经典的衫裤一页？
编译 / 武满彻、何宇轩
追忆凯奇
约翰·凯奇去世了（1992年8月12日）。毫无预兆，令人震惊。
对我来说，1992年是非常糟糕的一年。因为不久前，我刚刚听闻梅西安去世的消息。在如此短暂的时间里，同时“失去”两位我所挚爱的作曲家，着实是个不小的打击。对于凯奇的诸多“追慕者”（admirer）来说，这镇如本是庆祝其80大寿的一年。庆祝音乐会已经在很多国家和城市开始了。谁知，命运弄人——如今，我们只得将庆祝化转为怀念谨旅或了。
死亡是无法避免的。从这巨大的悲伤中，我并没有感到空虚，反而“看见”了更清澈的蓝天。因为，从凯奇和他的作品之上，我体会到了不朽的气质——死亡带给他的，是永恒。
从凯奇那里，我学会了生活。或者说，我更懂得了生活和艺术的关系。我以前总以为，音乐是精粹化的生活。但在他那里，音乐和生活，根本就是一回事。而这样简单而明朗的事实早已被人们遗忘。在高度职业化的现代社会，生活与艺术被明确地分开了。人们被迫学习骨架般的创作技巧，手段一个比一个高明。音乐已脱离生活，成为仅停留在乐谱上的冰冷符号。
约翰·凯奇的“横空出世”曾一度震惊整个西方音乐界，他的观念打破了古典音乐根基深厚的传统架构。其实，他只是提醒人们一个基本的常识：寂静（silence）是一切声音的母亲。通过凯奇，声音得到了解放，他开启了一次摒弃艺术“等级”（hierarchy）的革命。他的艺术观念经常被拿来祥伍与“达达主义”进行比对：的确，他的作品确实与达达艺术有相似之处，但它们之间还是有着些许的不同。例如，人们常说他对于传统结构的分解（dismantling）来自于“达达”，但达达艺术的根本是一种否定论——否定从前，否定传统。而凯奇的“解构”则在于肯定从前，是立足于传统的一种发展。所以我认为，凯奇作品对于未来艺术可能性的影响是比达达艺术家要大的。
世界大战之后，通过两位知识分子滝口修造（Shuzo Takiguchi）和秋山邦晴（Kuniharu Akiyama）的推荐，我第一次听说了约翰·凯奇的名字。不过，就此之后，直到1961年，我才首次听到凯奇的作品，那是在大阪的一场约翰·凯奇的作品音乐会上。这场音乐会的指挥是作曲大师一柳慧（Toshi Ichiyanagi）先生，当时，他刚刚结束了长期的美国生活，衣锦还乡。乐评人吉田秀和（Hidekazu Yoshida）在音乐会后这样写道：“从此，我们将长久地被约翰·凯奇这个名字震惊！”是的，我至今能回忆起第一次听凯奇音乐的那种全身的震颤。
在那个年代，十二音列和序列主义是先锋音乐的主流，人们将维也纳第二乐派尊为“祖师”。客观地说，这些音乐的创作技术与才能充满了智慧，但它们也同时磨灭了情绪和感性在音乐艺术中的力量。
首演于1952年的《4分33秒》，毋庸置疑，早已成为一个传奇。然而，通过这部杰作，固执的人们并没有完全看懂凯奇在音乐上的才华，相反，更愿意把他当作是一位行为艺术上的哲学家。但很快，从他后来不断“推出”的创作，人们逐渐意识到，他的作品不仅仅是个性，而是独一无二。
约翰·凯奇与日本艺术爱好者之间形成了一种长期而密切的关系。尽管我们不能再见到他了，却依然能够清晰地记得他那绅士般的、无法描述的神秘微笑。
我再也想不出哪一位“艺术革命家”能像凯奇那般优雅。
灵感花园
长野县终于露出了夏天的面目。
通常，即使像这样高海拔的地区，每日的正午也是十分炎热的。但今年是个例外，已然七月，气温却几乎没有高于13或14度的时候。甚至，有时会像冬天一样，下起雨夹雪。据说，气象局已经仔细地研究了气候异常问题。但尽管那些预报已经比较准确了，我们还是不能完全相信它们。
近两个世纪，科学家们做了许许多多关于能量与物质的研究。以至于今日，人们逐渐坚信自己生活在一个科学知识完备的时代。然而事实是，我们的信息中还存在着大量的未知和不解。为之，我尽可屏息长叹，因为可喜的是知识远远超出人类的控制，即使人类自以为能掌控一切。过多的人为研究总能破坏一些本来的美好：刻意塑造的“实在”打破人们的遐想与创作欲。不过，世界总能给我们一些惊喜的虚幻。
微风晕起，薄雾满天。蓝黑色的山峦随光显现。我居然开始质疑那是不是幻觉。每当这个时刻，当意识徘徊在真实与幻觉的边缘之时，我总能感觉到一种音乐的冲动。灵感并不来自于强烈的、戏剧性的思维碰撞，而是对于未知和神秘的探索。自然世界存在着一种微妙的涌动和变化，它不像人为的变化那么强烈，却是一切神秘性的渊源。我的创作起始于观察和聆听：观察那些看不见的，聆听那些听不见的。
人们对于事物的觉察力不是统一化的，是因人而异且有不同层次和不同等级的。因此，我的感受也许别人根本就体会不到。但我并不孤独，因为我活着——同时，我也因活着的目的而被创造出来。
问题是：被什么？被谁？
我的音乐是传递给未知的一种信号。而且我相信，这世界上的其他人也在同时发出他们的独特信号。我们的信号相遇，一旦相互吸引，便会随之交织出一种新的和谐。这种新的和谐立刻造成彼此间的一种生理上的感受。比如，当你聆听一位未知作曲家的未知作品，会突然感同身受进而激动不已。这就是信号和谐交织的表现。上面说过，自然是涌动的，是微妙地不断改变的。因此，我的音乐并不因为乐谱的形式而完成，我的作品是永远不可能“完成”（complete）的。它们拒绝“完成”，它们因听者的不同而转换它们的意义——它们是涌动的。
也许，我所说的这些特性与西方艺术的创造意图相距甚远。西方音乐家坚信作曲是鲜活的、确切的，是将挣扎、欢乐、阴暗、美好积极展现出来的一种冲动。而我，作为一位东方人，站在了西方艺术的对立面：我喜欢那些不能解决的和不真实的——这些“模糊”是我灵感的终极来源。
我不确定是否所有远东、亚洲和日本的作曲家会有和我相同的感受。我不是一个能够代表日本的作曲家，甚至都不能称作是一个“日本的”作曲家。我在日本出生、成长，自然“不可抗”地受到日本传统的影响。有一段时间，我曾努力地排斥这种单一文化过多的影响，但马上就发现，那是不可能的。
不过，我的一些努力的确生效了。现在，在西方国家，越来越少的人把我叫做“日本的”作曲家了，尽管每次出国我仍然感到不适。人们对于事物的理解确实会发生转变，但并不会因此而扩大。人们总是误以为自己的眼界扩大了，但其实那只是转变而已。世界进入了全球化，人们并没有因此而成为世界主义者，而是世界本身越来越趋同了。所有文化开始转变为一种文化。
但这样的变化也有益处。当一位日本青年学习西方现代音乐（一个来完全不同于自己文化的艺术）时，他就具备了用旁人的眼光观看自己传统的维度。任何一种艺术都需要从自己那些固化的传统中解放出来。
从山峦的景色中引发了以上种种思绪。时间飞快。当我再次抬起头，发现蓝黑色的山峰已重归云雾，不见踪迹了。
也许，这是我的另一个幻象？
在秦岭山里多少年了，从来没有注意到雨是这样来的。最早听到雨的声音，并不是文人们常描写的那样，什么开始是沙沙沙的，然后哗哗地大响了。什么暴雨如注，倾盆大桥皮扮雨，雨象是泼下来似的。一直以来，对于这样的描写，我都是疑惑的，山中的雨是这样的吗？那是城市中的雨，是拥挤的街筒子里的雨。那雨也是不成其为雨的。那是城市的下水道管子里肮脏的下水的涌动声，其后必定带着更加肮脏的感受和浊流。城市里的一场雨过之后，所见必定是一片狼籍，不知道雨对城市到底带来多少生气。多少年在山中匆匆地赶路，总是有无数个下一个站口象有着惊天的大事一定在等着，必须限时限分地赶到，这次却毫无理由地在山中停留下来，便更加地奇妙地遇上这场真正的森林中的雨了。这户在秦岭的老林子深处，几十里不靠村不靠店，靠着种药材发家的人家，在我们到来之后，以山野间的大酒大肉，将我们一群人灌得横七竖八，躺在散发着强烈的烟火味的板床上，时间陷入沉寂，屋子外面除了偶尔的鸡叫狗咬声外，一无声息。我以为自己一定是要在这老林子深处昏睡个三天三夜，然后回到城里，胡吹出个醉拔垂杨柳或单手搏虎的传奇的，而我却意外地清醒着，隔壁伙伴们的鼾声已然如雷，梦中还在和主人划拳，吆五喝六地吵吵着。四周静得连我自己因了酒而加快的心跳都是听得清楚的：雨，正是在这样的时候来了！我分明是灵魂出了窍了，一个身影，醉醉地晃荡着，也或一丝不挂地，扒开农家的柴门，向林子深处走去。雨是以一群林妖的样子来的，在密集而又稀疏的林棵子间，她们象一群从未见过外人的山里妹子、娃儿，扒开树枝、高大剑叶草，或硕大无朋的芋叶，开始是彼此交流着新奇的眼神，然后是窃窃私语，再后来就放开了，声音渐渐大起来敏灶，似乎在一一评点她们刚刚看到的陌生人，其间夹杂着嘲笑声，无疑问的，我们中间的某一位，其尊容一定是惊着她们了。也或是我的不雅？赤身裸体地出现在林子中，是个痴憨的野人罢？可这野人又如此肤色细嫩，两头尖中间圆，形体古怪得这林子里可从未见过。我似乎因此而羞急万分，灵魂回收，急急躲进自己的皮囊，喘息半定之后，才意识到自己依然是在柴床上的：而雨已然在农家的窗外剧烈的敲打着了！我得理一理，这雨到底是怎么来的。似乎从小林妖们扒开树枝向林子深处窥探之时，那雨就是象小披风一样在她们身后飘扬着了，也或就是她们长而黑的头发，在林间随了小风飘起，刷刷地打着树枝树叶，那便是雨呵！是了，一定是的，林妖们的长发，纷纷扬起，随了它们主人的跑动而上下翻飞，一路上抽打着林中的植物、山石，越跑越快，抽打的幅度也越来越大，甚至可以听到植物的惊叫声，老树的感慨声，山石被雨水浸握搜入饱胀之后，纹理的错动声。林子间被地蕨类植物覆满的大大小小的通道，水份已然浸透了，那些林妖们的脚步，奔跑在这些积水中，发出巨大的噼叭声，水花四溅，在我倾听的有些片段，那些水花是缓慢地溅起，缓慢地升高，长久而缓慢地在半空中移动，非常好看，这样的时候，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，然后想象回到现实，巨大的水花散落到地上，并很快地又一次溅起。这是八月秦岭山中的一场经常可见的大雨，浩大，澎湃，声张，势足，当大团大团的雾气从可以想见的林子深处，那些老树的丛中，以及喜欢招风的山岬口，就是两坐山的结合部，水浪一般涌过来，并从农家的半开的窗户涌进屋内，我闻到水雾中强烈的甜腥味儿，它们是一年生草本植物枝节脱落处流出来的浓烈的甜腥味儿，有点象林中人家自酿的米酒，原生的老林子间的味道：由此，我的想象可以轻松地越过这间半明半暗的农家屋子，升上巨大的雨幕之上，全部的森林都在我的身下，我是以俯视的姿态看到雨中的森林的，大片大片的树木，它们密集的在夏天正在扩大、厚实、沉郁的叶子，在大雨中翻白，那样的气势，没到过森林的人，是绝对想象不出的，它们以集体的激动的姿态，在雨中翻滚，一浪过去，现出阳面，那是纯正的翠绿，一浪过来，现出阴面，那是如雪的洁白，有些时候，我把这些叶片的动作，想象成一架巨大钢琴的黑白相间的琴键或上下滑落的簧片，雨敲打着森林，森林敲打着倾听它的人，而就在大雨、森林、倾听者三位一体地融合着这八月里一场浩大的戏剧里的抒情场面时，第四者出现了！它似乎一直在等待这场浩雨的到来的，它是躲在山林后面，山石后面，或者那些老树的浓荫下面，冷眼地看着雨的上场，看着雨中活动、变幻的一切，同时，它也是在积攒着一股强悍的最后上场的力量的，终于，就在雨雾、雨声、雨的箭簇、雨中植物大口喘息、雨中人心跳澎湃等等纽结得密不透风、欲生欲死着，等待一双巨大的手撕开天地间一道裂口之时，它上场了！那就是山溪、河流、林下临时冲出的水沟，它们几乎是在同一个时间，从等待的战阵后面冲决而出，呼啸着发出摄人的呐喊声，那声音是以声浪的形式，回荡在森林上空的，准确地说，是从大大小小的山涧里，沟道里，河岸里，甚至在森林密集的叶片的深处，蜂拥面出，吹响尖锐的口哨.
森数美文的朗读不仅能让学生培养良好的语言表达技能,还能在更深入地理解文本的过程中受到思想此坦首品德以及审美的教育。我精心收集了100字英语美文，供大家欣赏学习! 100字英语美文篇1 Me: The clock is ticking and tomorrow is my special day. 时钟滴滴答答的走着，明天对我来说意义非凡。 I wonder what people will say. 我想知道人们会怎么说。 Will they greet me or just say hi. 他们会欢迎我吗?还是仅仅说声“你好”。 Ha-ha as if they all remember my natal day. 哈哈，说得好像他们都记得我出生那天一样。 Mther: Oh! One thing I realize as I get little older is that we should value our lives and spend it meaningfully. 当大一点的时候，我开始意识到，我们应该珍惜当下生活，让它变得有意义。 Dream big and set plans. 放胆做梦，并为此指定计划。 I thank God for helping me to achieve my goal each year. 感谢上帝，让我每年的目标都得以实现。 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. 虽不是所有的目标都实现得非常完美，但是多少都在朝着目标迈进。2016年的目标我都已经达成，而且还为家庭建信陪设孕育了一个礼物为此我很傲娇。 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. 感谢上苍在2016年就给我了这个特别的礼物，不久我就会见到TA了而且我发誓我会好好照顾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们的结晶，我们都梦寐以求的爱的结晶.这份特别的礼物我们都会永远珍惜。我们会给这个宝贝取名叫Z。 100字英语美文篇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间里，听着音乐，窗外下着雨，我不由得感到自己是多么愉快、生活是多么美妙。尽管我不是什么大富大贵，社会名流，也没有智力超群，或是做什么伟大的事情来营生。但是我感觉一切井井有条，我有一个干净的房间、一辆车以及一份工作。但是最重要的是，我单纯觉得快乐。 I know this may not seem like the most interesting story in the world, but when I was twelve, I was deeply suicidal. 我知道这看起来不像是什么世间的奇闻异事，但是在我12岁的时候，我非常想自杀。 I'm sharing my good mood today because I know there are tons of people out there who struggle with life. 今天我和大家分享这种岁月静好的心情，是因为我知道还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. 不仅仅有生活中的外在琐事给他们添堵，还有内心的怪兽在作祟。 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. 我想让你们知道的是，很少有人能真正达到内心平和，但是这种为达到这种状态值得坚持磨炼。 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岁才让知足常乐变成一种情绪上的常态。这中间需要很长的时间，很多的改变，痛苦让你成长。现如今我的情绪变得稳定而长久，回忆起之前的种种好像是发生在别人的身上，对于现在我来说是那么的陌生和遥远。对于有些人来说，获得这种安定的心境要花更长的时间，做更多的改变。但是如果经历了所有折磨还是无法改变什么，结果一点都不值得，关于这个我想都不敢想。 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. 我想用这种积极的情绪感染大家。只要你想世界就会变得美好，同样的你也可以成为更好的人。也许你已经足够好了。那么好运，要保持不要放弃。我希望我的分享能够让你感觉到一点小温柔。感谢阅读。 100字英语美文篇3 I've been job hunting for about eight months. 在八个月的时间里，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. 几周以前，我开车参加一个面试，把车子交给停车的侍者。 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. 在我等电梯的时候，我听见他对他的同事说自己超想来一杯咖啡，于是面试结束，我在门廊顺便买了一杯给他。 He was super grateful and asked for my business card. 他显得非常感动，还要了张我的名片。 I gave it to him, thinking maybe he wanted to send me a thank you email or something. 我给了他一张，想着他无非会写封感谢邮件或者做之类(表达谢意)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. 隔天我就接到了那个停车侍者表姐的电话，原来她就是我们当地最大职介结构经理，而且就是那个侍者叫她打给我的。职介经理亲自和我会面约谈，短短一周她就帮我找到了梦寐以求的工作。今天是我上班的第一天，进展非常顺利。 Be nice to everyone, all the time. (我的心得是)要把体恤他人，常挂心间。
