铃木镇一

这个方法最初由小提琴家铃木镇一（ShinichiSuzuki）在20世纪30年代提出。它主张，所有小孩都能学会演奏乐器，就像他们学会讲自己的母语一样。

Originally conceived in the 1930s by the violinist Shinichi Suzuki , the Suzuki Method proposes that all children can learn to play an instrument as naturally as they learn to speak their native language .

个小提琴教师名叫铃木镇一，为百万人所用的铃木教学法的创始人，曾经宣称他早年在德国学习了八年时间，爱因斯坦还做过他的监护人。

Shinichi Suzuki , founder of the Suzuki method which has been used by millions , claimed he spent eight years studying in Germany and cited Einstein as his ' guardian ' .

铃木镇一1941年9月发表《强大的教育》（PowerfulEducation）一文，呼吁改革日本的教育体系；

In " Powerful Education , " published in September 1941 , Mr. Suzuki called for reforming Japan 's educational system ;

铃木镇一创办了才能教育研究会（TalentEducationResearchInstitute）。该教育机构的资料显示，目前在46个国家有40万儿童正在铃木教学法的帮助下学习演奏乐器，其中仅有2万儿童是日本人。

According to the Talent Education Research Institute , an educational organization founded by Mr. Suzuki , about 400,000 children in 46 countries are now learning to play musical instruments the Suzuki way .

铃木镇一1941年9月发表《强大的教育》（PowerfulEducation）一文，呼吁改革日本的教育体系；他表示，老师们太急于放弃功课落后的孩子。

In Powerful Education , published in September 1941 , Mr. Suzuki called for reforming Japan 's educational system ; he argued that teachers were too quick to give up on children who lagged behind .

1979年6月，时任美国总统吉米·卡特（JimmyCarter）携家人访问日本。他的女儿埃米（Amy）和铃木镇一的侄女铃木裕子（HirokoSuzuki，才能教育研究会的现任会长）一起参加了一堂集体课。

In June 1979 , when President Jimmy Carter visited Japan with his family , his daughter Amy had a group lesson with Mr. Suzuki 's niece , Hiroko Suzuki ( the current president of the Talent Education Research Institute ) .

对于这种跨文化传播活动，日本政府几乎没有参与，大部分工作都是铃木镇一及其支持者开展的。其中包括索尼公司联合创始人井深大（MasaruIbuka），他本人就是著名的儿童早期教育倡导者。

The Japanese government had little to do with this cross-cultural dissemination : Much of it was the work of Mr. Suzuki and his supporters , including Masaru Ibuka , Sony 's co-founder and himself a great early-childhood education advocate .

铃木镇一才能教育的思想与实践

The Thoughts and Practices of Suzuki 's Talent Teaching

由于在国家处于非常时刻之际演奏音乐，铃木镇一的一些年轻学生被说成不爱国。

Some of Mr. Suzuki 's young students were called unpatriotic for playing music during a national emergency .

该方法也主张，音乐可以改变孩子们的生活，无论他们的背景如何。它与铃木镇一的理念相类似。

That method also celebrates the idea that music can change the lives of children from diverse backgrounds .

通过这次团体演奏，铃木镇一首次吸引了全日本的关注，并让消息传到了美国。

News of this group concert , the first Suzuki performance to attract national attention , reached the United States .

然而，铃木镇一却未能说服日本历届首相，把自己的方法纳入公共教育。

Yet Mr. Suzuki was unsuccessful in his attempts to convince successive Japanese prime ministers to incorporate his approach in public education .

从1963年开始，铃木镇一多次带着日本学生到美国交流，还去过联合国总部和卡内基音乐厅。

Starting in 1963 , Mr. Suzuki regularly toured the United States with his Japanese students , stopping at the United Nations headquarters and Carnegie Hall .

铃木镇一20到30岁之间的大部分时间都在柏林度过，返回东京之后，有很多人想聘请他为师。

Upon returning to Tokyo from Berlin , where he had spent most of his twenties , Mr. Suzuki found himself in high demand as a teacher .

长久以来，日本都未能宣扬本国具有全球吸引力的理念，铃木镇一的教学法就是一个例子。这暴露了日本在看清自己究竟哪些地方酷方面的长期无能。

Japan 's long failure to claim as its own a globally attractive philosophy like Mr. Suzuki 's reveals its chronic inability to see what is cool about itself .

长久以来，日本都未能宣扬本国具有全球吸引力的理念，铃木镇一的教学法就是一个例子。这暴露了日本在看清自己究竟哪些地方“酷”方面的长期无能。

Japan 's long failure to claim as its own a globally attractive philosophy like Mr. Suzuki 's reveals its chronic inability to see what is " cool " about itself .

日本也对美国及其盟友开了战，当它在这场战争中露出败象时，铃木镇一写了另一本书，呼吁对小学进行改革。

As Japan was beginning to lose yet another war it had started , this one against the United States and its allies , he wrote another book urging elementary school reform .

战争终于结束了。在1955年3月，距离日本战败不到10年的时间，铃木镇一把1200名儿童聚集在东京的一座体育馆内。

The war eventually ended and then , in March 1955 , less than 10 years after Japan 's utter defeat , Mr. Suzuki gathered some 1,200 children in a gymnasium in Tokyo .

就连在印度和印度尼西亚的一些偏远地区，虽然缺乏训练有素的音乐教师，人们也可以使用铃木镇一编排的难度递增的曲谱，自学乐器演奏。

Even in remote areas of India and Indonesia , places with no properly trained music teachers , people were learning to play instruments on their own , thanks to Suzuki-compiled repertoires of incremental difficulty .

从20世纪30年代诞生开始，铃木教学法就遭到误解。铃木镇一20到30岁之间的大部分时间都在柏林度过，返回东京之后，有很多人想聘请他为师。

The Suzuki pedagogy was misunderstood from its very beginnings in the 1930s . Upon returning to Tokyo from Berlin , where he had spent most of his twenties , Mr. Suzuki found himself in high demand as a teacher .