先程の続きです。 日本語訳お願いします。

質問

Einsten often said that his most famous theory was also inspired by music, its forms and relationships. It seems that certain physical actions stimulate the brain,, create connections, and speed up thought. We have all had the experience of being literally unable to sit still when we are trying to resolve something in our minds. We pace up and down or shake a leg, almost as if such nvoluntary motions were needed to move our thoughts forward. Sometimes the mind-body relationship works a bit differently: while taking a long walk or rowing a boat across the lake, just letting our thoughts. drift, we suddenly receive from the subconscious, without effort, the solution to a problem that had been troubling us for weks. I personally know that playing the piano has this effect; maybe it has something to do with both sides of the brain being stimulated by the independent movements of both hands. In any case, I have to keep a notebook handy while practicing, because I tend to get the answers to all kinds of questions ranging from the insignificant (where I left the car keys) to the significant (my life goal for the next decade). This mind-body unity is only one of the rewards to be found in making music, at any level, as an adult. Ironically, far too many adults who study music under the general category of "amateurs," are so modest in their expectations of mastering an instrument that these rewards turn .out to be much less than what they might have been. The paradox is that adult music learners, while they often have the lowest expectations, are in a uniquely excellent position to succeed. Many take up an instrument with warmhearted desire, love of music, leisure time and extra money to support the lessons. Even more importantly, they approach music with more maturity and intelligence. But how much can adults learn if they are constantly comparing themselves negatively to others (children, no less) and feeling guilty about every unmusical wrong note? Add to this the mistaken notion of practice as boring discipline, acceptance of the traditional "no-mistakes" approach to learning, and uncertainty that they have any real talent for music, and they soon find themselves in a state of semi-paralysis of body and mind. Even the word amateur has conflicts of meaning. While it literally means "lover" in French, it can also carry the connotation of dabbler, a person who is somehow fated never to be very good. To describe someone's work as amateurish usually is not a compliment. But amateur status can be joyous-embracing free choice, pure love of what one is doing, and endless possibilities for discovery. (Adapted from a work by William Westney)

回答No.1

Nakay702 · ベストアンサー

以下のとおりお答えします。これも、面白い内容でした。
（誤植らしき語は→の後に訂正候補を添えておきます。）

Einsten→Einstein often said that his most famous theory was also inspired by music, its forms and relationships. It seems that certain physical actions stimulate the brain,, create connections, and speed up thought. We have all had the experience of being literally unable to sit still when we are trying to resolve something in our minds. We pace up and down or shake a leg, almost as if such nvoluntary→involuntary motions were needed to move our thoughts forward.
アインシュタインはしばしば、自分の最も有名な理論は音楽の形式や関係性から霊感を得たと語った。ある種の身体的な行動が脳を刺激し、繋がりを作り、思考速度を増進させるものと思われる。我々は皆、頭の中で何かを解決しようとする時は文字通り静止することができないという経験を持っている。まるでそのような不本意な動きが我々の考えを前進させるのに必要であるかのように、我々は歩く速度を上げたり下げたり、足を振ったりする。

Sometimes the mind-body relationship works a bit differently: while taking a long walk or rowing a boat across the lake, just letting our thoughts. drift, we suddenly receive from the subconscious, without effort, the solution to a problem that had been troubling us for weks→weeks. I personally know that playing the piano has this effect; maybe it has something to do with both sides of the brain being stimulated by the independent movements of both hands.
時々、心と体の関係が少し違った働きをすることがある。すなわち、長い散歩をしたり、湖を横切ってボートを漕いだり、ただ考えごとをしたりしながら漂っていると、何週間も悩ませられてきた問題の解決策が突然何もせずに潜在意識から浮かび上がったりする。私は、個人的にはピアノを弾くことがこの効果をもたらすことを知った。多分それは、両方の手の独立した動きによって刺激される脳の両側（左右脳）と関係があるのだろう。

In any case, I have to keep a notebook handy while practicing, because I tend to get the answers to all kinds of questions ranging from the insignificant (where I left the car keys) to the significant (my life goal for the next decade). This mind-body unity is only one of the rewards to be found in making music, at any level, as an adult. Ironically, far too many adults who study music under the general category of "amateurs," are so modest in their expectations of mastering an instrument that these rewards turn .out to be much less than what they might have been.
いずれにせよ、（ピアノ）練習中はメモ用紙を手元に置いておく必要がある。なぜなら、あまり重要でないもの（車のキーを置いた場所）から重要なもの（今後10年間の人生目標）まで、あらゆる種類の問題に対する回答を得ることがあるからだ。この心身の一体性は、成人期のいろいろな段階で音楽を作る際に見られる報酬の一つに過ぎない。皮肉なことに、一般的な「アマチュア」の範疇の下で音楽を学ぶ多くの大人が、楽器を習得することを期待して余りに控え目なので、この見返りは彼らが得られたかもしれないものよりはるかに少ない。

The paradox is that adult music learners, while they often have the lowest expectations, are in a uniquely excellent position to succeed. Many take up an instrument with warmhearted desire, love of music, leisure time and extra money to support the lessons. Even more importantly, they approach music with more maturity and intelligence.
逆説になるが、大人の音楽学習者は、期待は全然されないのに、成功するには非常に優位な立場にある。多くの人が心からの願望、音楽への愛、余暇、そして授業を支えるための余分なお金をもって楽器を手に入れる。さらに重要なことは、彼らがより高い成熟度と知性をもって音楽に接することである。

But how much can adults learn if they are constantly comparing themselves negatively to others (children, no less) and feeling guilty about every unmusical wrong note? Add to this the mistaken notion of practice as boring discipline, acceptance of the traditional "no-mistakes" approach to learning, and uncertainty that they have any real talent for music, and they soon find themselves in a state of semi-paralysis of body and mind.
しかし、大人が自分自身を他人（子供、まさか！）と比較して弱気になり、間違った音痴の調べ（音色）について逐一罪悪を感じるとしたら、大人はどれだけ学ぶことができるだろうか。加えて、退屈な規律としての誤った実践の考え方、古臭く「間違いのない」学習アプローチの受け入れ、そして音楽に対して本当の才能を持っていることへの不確実性、こうして間もなく彼らは、自分の体と心が半分麻痺状態に陥っていることを知るのである。

Even the word amateur has conflicts of meaning. While it literally means "lover" in French, it can also carry the connotation of dabbler, a person who is somehow fated never to be very good. To describe someone's work as amateurish usually is not a compliment. But amateur status can be joyous-embracing free choice, pure love of what one is doing, and endless possibilities for discovery. (Adapted from a work by William Westney→Whitney）
アマチュアという言葉さえも意味の衝突がある。それはフランス語で文字通り「愛する者」を意味するが、同時にまた、あまり良いことがないように運命づけられている人、ただの物好きの意味を暗示することもあり得る。誰かの作品をアマチュアっぽいと表現することは、通常褒め言葉ではない。しかし、アマチュアとしての地位は、喜んで受け入れる自由選択、やっていることへの純粋な愛、そして尽きることのない発見の可能性なのである。（ウィリアム・ホイットニー作品より改作）