- Lulu (徐露露)歌迷最喜歡的歌曲
專輯文案：(聲明:文案均由授權方提供,并不表示一聽贊同其立場或觀點)
《大地·母親》作品簡介與美學賞析
Brief Introduction and Aesthetic Appreciation of
“Mother Earth”
一.歷史背景、作品簡介與美學賞析
I. Historical Background, Brief Introduction and Aesthetic Appreciation
亙古及今，將大地比作母親者，以母親代之以大地者，可謂比比皆是，就這方面的藝術作品與思想作品而言，也屢見不鮮。近現代以來，影響最大的，莫過于19世紀與20世紀之交，歐洲音樂家古斯塔夫·馬勒（Gustav Mahler）的音樂作品，即聲樂套曲——《大地之歌》，及20世紀的偉大哲學家、歷史學家阿諾德·湯因比（Arnold Joseph Toynbee）完成于1976年的巨著——《人類與大地母親》了。這兩部作品至今在全球范圍仍然在產生著持續而深入的影響，而在流行樂壇，堪與上述兩部巨作媲美的，則是至今仍風靡不息的邁克爾·杰克遜創作于1995年的《地球之歌》。
Since ancient times, it’s been ubiquitous that the earth is assimilated to mother and mother is used to refer to earth. Artistic and ideological works in this regard are common occurrences. Since modern and contemporary times, nothing has been more influential than the Song of the Earth, a song cycle, created by European musician Gustav Mahler in the late 19th century and early 20th century, and Mankind and Mother Earth, a piece of monumental work completed by the great philosopher and historian of the 20th century Arnold Joseph Toynbee in 1976. The two works are still producing lasting and profound influences worldwide nowadays. In the pop music circles, what can rival the two masterpieces is the Earth Song created by Michael Jackson in 1995 which is still in vogue today.
雖然此前在世界音樂界有馬勒的悲天憫人的《大地之歌》與杰克遜蕩氣回腸的《地球之歌》這兩大難以逾越的音樂極品，進入21世紀，中國音樂家還是創作了一部《地球家園》這個作品。受此作品之啟悟與震撼，美國音樂家又將此作品改編、演繹成了一首全新的作品——《大地·母親》。
Although the two insurmountable musical works of Mahler’s sorrowful Song of the Earth and Jackson’s soul-stirring Earth Song exist in the music world, entering the 21st century, Chinese musicians have brought about the work of Mother Earth and the Planet Suite. Enlightened and touched by it, American musicians adapted and interpreted it into a brand-new creation, Mother · Earth.
本作品之原詞、曲作者，為中國音樂家沉睡，音樂改編并重新填詞，為來自美國洛杉磯的兩位音樂家——Ned Douglas和Michael Bradford，美國版的這個作品繼續由美籍華裔女歌手、剛滿18歲的徐露露擔任演唱。
The lyricist and composer of the song is the Chinese musician Deep Sleep. Ned Douglas and Michael Bradford, two musicians from Los Angeles, America, recomposed and came up with new lyrics for the musical work. The American edition continues to be performed by Anastasia XU (Lulu), a Chinese-American female singer who’s just come to the age of 18.
與正在進一步完成中的帶有鮮明宏大敘事色彩的中國版的這個作品不同，美國版的這個作品（即《大地·母親》），則是一首十分標準的流行音樂作品。作品貌似樸素、簡單，然而卻詩意雋永，詩韻盎然，蘊含著對大地母親之深摯情懷，尤其是在流暢的旋律與明晰的結構中，又體現著一種深沉的憂患意識，進而還頗具某種普世價值，這成了《大地·母親》這個作品賦予世人之基本印象與鮮明表征。
Different from the Chinese edition (which is of distinct grand narrative taste and is being completed) the American edition (or Mother · Earth) is a contemporary pop musical piece. The works are seemingly simplistic and plain, it’s poetic, rhythmic and meaningful, and contains profound love for the mother earth. In particular, its smooth melody and explicit structure demonstrate a deep awareness of preparation for unexpected development. Besides, it’s of universal value. It’s the basic impression and distinct characteristics of Mother · Earth in the view of people.
本作品由4個小節抒情而樸素的吉他引子開始，在經由兩個相同樂段的情緒鋪墊和必要準備之后，作品油然推向了控制適度的情緒高潮。在8個小節的情緒高潮的帶動之下，并經由一個短暫的停頓和留白之后，作品又被自動帶入到副歌部分。倘若說，高潮部分的旋律走向與情緒色調，表達的是一種較為亮麗、暖融而指向明確的作曲理念的話，那么，副歌部分則表達的是一種較為抑郁、憂患而富于冷色調的作曲理念，同時，還罩著一絲婉約、迷惘而詩意悠悠的情緒氛圍，此情此景對整個作品之轉折、對比與階梯型遞進，起到了很好的烘托和豐富作用，最后，在高潮樂段進一步呈示和再現之后，即在歷經了大開大闔、大起大落的情緒波瀾之后，旋律又回溯到了起始樂句，作品在十分平穩而單純的旋律線條和情緒氛圍中終結全曲。
It starts with four small moving and simple guitar tunes. After the emotional foundation of two same periods and necessary preparation, the song is naturally pushed to an emotional climax with proper control. Driven by eight small tunes of emotional climax, and after a short pause and blank note, the song automatically enters the chorus part. If the melody and emotional tone of the climax expresses a bright and warm composition concept with an explicit direction, the chorus part conveys a melancholy and worrying composition concept full of cold tones. At the same time, it’s enveloped by a graceful, confusing and poetic emotional atmosphere. This part well sets off and enriches the entire piece of works through turning, comparison and progressive advance. In the end, after the climax period is further demonstrated and re-presented and after going through rise and fall, and ups and downs in emotion, the melody returns to the starting part. It wraps up amid extremely steady and pure melodies and emotional atmosphere.
從作曲理念和作曲技巧上來講，整個作品十分規整、嚴謹，體現著一種由弱漸強、層層推進的邏輯關系與情緒氛圍，作品盡量回避、弱化技巧，從而將流暢、樸素、大氣與朗朗上口的特點和訴求，強化到了最大值，最后的結果便是清新、詩意、流暢、易學、易唱，此乃全曲之特質與神髓。
In terms of composition concepts and skills, the entire works are neat and rigorous. It reveals a logical relationship and emotional atmosphere that goes from weak to strong. Besides, it tries to avoid and weaken skills so as to maximize its smoothness, plainness, magnificence and readability. The outcome is freshness, poetry, fluency, easiness to learn and easiness to sing, which is the characteristic and essence of the entire song.
而從人文理念與思想內涵上來講，如上所述，《大地·母親》這個作品，是一個十分富于責任感和時代使命的作品，它涉及到環境、生態、人類命運、道德、行為規范、取舍與時代抉擇及人生抉擇等問題，雖然旋律優美、抒情，然而表達的主題卻十分嚴峻而凝重，甚至帶著某種悲天憫人之感。在此基礎上之上，甚至還帶著某種久已被世人所忘卻的崇高感！不言而喻，在日益嚴峻而危機的世界命運之關頭，作品旨在喚醒和儆醒世人走出麻木不仁，告別隨波逐流，而應攜起手來，共同應對挑戰，應對日益嚴酷的命運考驗。
In terms of humanistic concept and ideological connotation, as stated above, Mother · Earth is full of sense of responsibility and mission of the era. It involves a number of issues such as environment, ecology, human destiny, morality, code of conduct, choice-making in the era and for life. Although the rhythm is beautiful and sentimental, the theme which is manifested is extremely severe and dignified, and even carries a sense of compassionate feeling for all mankind (bemoan the state of the universe and pity the fate of mankind). On this basis, it even delivers a sense of loftiness which has been forgotten by people for a long time! It’s self-evident that in face of the increasingly austere world destiny amid crisis, the piece of works is aimed to arouse people and motivate them to bid farewell to indifference and numbness, join hands to cope with challenges and harsh tests facing human fate.
在當今，嚴酷的命運考驗不是別的，而首先是日益惡化的地球環境，日益不堪重負的大地母親所拋給我們的一個全球性的命題：即在邏各斯中心主義（logocentrism）與人類中心主義（Anthropocentrism）的支配與壓榨之下，有且僅有一個的地球家園，而今已是滿目瘡痍，彈痕累累，遍體鱗傷，且與此同時，又伴隨著全球性的禮崩樂壞、道德滑坡、信仰危機、價值迷失與精神闕如。在此危機關頭，詩人、藝術家、人文學者與覺者們勇敢地置身于時代之前沿，在以各種形式與方式，表達著各自的呼聲與預警。
Nowadays, the first current astringent test is the increasingly deteriorating environment on earth. The mother earth which is overwhelmed throws us a global question: with the manipulation and oppression of logocentrism and anthropocentrism, there’s only one earth and one home which is in a state of devastation. It’s permeated with bullet holes and covered by cuts and bruises. In the meantime, the entire world is confronted with problems such as ritual collapse, moral decline, belief crisis, lost values and spiritual deficiency. At such a critical juncture, poets, artists, humanistic scholars and enlightening people are brave enough to stand in the frontline of the era and communicate their calls and send out warning in varied forms and means.
此前，西方世界的一系列災難片與紀錄片，諸如《后天》、《2012》，及紀錄片《家園》等等，是這種努力之一部分，而此前國際流行樂壇諸如邁克爾·杰克遜與平克·弗洛伊德等所賦予時代的音樂作品，是這種努力非常重要的另外組成部分。當下，來自中、美兩國音樂家所創作的《地球家園》與《大地·母親》，及目前在北京致力于舞蹈耕耘的澳大利亞藝術家彼得·法雷爾（Peter Farrell）所推出的音樂劇《家園》，則是時下中、美、澳三國音樂家與舞蹈家在不謀而合地投身于拯救地球母親與人類家園這一偉大人生行動之一個鮮明的縮影。的確，如此的拯救行動，單靠一個國家、一個個體是難以實現的。它需要的是，在一些先知、先覺者之帶動下的全球一致性的行動與呼應?！捌ぶ淮?，毛將焉附？”當我們賴以棲身的地球家園、賴以依托的大地母親都變得殘缺不全、支離破碎之時，那么，人類的一切希冀與夢想，也便不復存在。顯而易見，而今，擺在人類面前的嚴峻主題不外是：要為慘遭蹂躪的地球家園而斗爭，要為慘遭毀容的大地母親而斗爭！也正是在上述意義上，現在你所聆聽到的《大地·母親》這個作品，絕非通常意義上的流行歌曲，其存在意義與時代價值是不言而喻的。
A series of past catastrophe films and documentaries of the western world such as The Day After Tomorrow, 2012 and the documentary Home are part of such efforts. The musical works in the international pop music circles such as works of Michael Jackson Pink Floyd are another extremely significant part of such efforts. At present, the Mother Earth and the Planet Suite. and Mother · Earth created by Chinese and American musicians as well as the musical Home introduced in Beijing by Australian artist Peter Farrell who’s been dedicated to dance represent a distinct miniature of Chinese, American and Australian musicians and dancers’ unanimous great dedication to saving the mother earth and human home. Indeed, it’s hard to implement such initiative by one country or an individual alone. It entails the global consistent response and action under the leadership of some pioneers. “Where will the hair grow if the skin is gone?” When our mother earth where we live on and we rely on become incomplete and fragmented, all human hopes and dreams will never be fulfilled. Apparently, what lies ahead of human beings is to fight for the earth which has been trampled on and fight for the mother earth which has been disfigured! Because of this, Earth · Mother which you are listening to is by no means a pop song in common sense. Its significance and value for the era is self-explanatory.
最后，需要著重提及的是，作品之演唱者徐露露。目前，徐露露正在美國攻讀攸關心靈健康、形神合一的音樂治療這一新型專業，對《大地·母親》這個作品之精到把握與成功演繹，僅就其所學專業而言，無疑是其社會實踐的重要組成部分，甚至是其人生之一大壯舉。從頭至尾，露露對作品都演唱與演繹得情感細膩、情愫真摯，尤其是在音質與音色方面，其空靈、詩意而飄渺的嗓音，極為傳神、極為獨到、極富表現力，在抒情性甚濃之同時，敘事色彩又渾然天成，聽來不禁令人如癡如醉、心靈飛升而欲罷不能！從而對作品內涵與神韻之表達，起到了至關重要的作用。
Last but not least, what should be mentioned is its singer Anastasia XU (Lulu). Lulu is currently studying music therapy in America which is closely related with psychological health and harmony between soma and spirit. The remarkable grasp and successful presentation of Mother · Earth are no doubt an integral part of social practice for her major, and even a heroic undertaking in her life. From the beginning to the end, Lulu exudes fine emotions and sincere feelings during the performance. In particular, in terms of tone quality and timbre, her ethereal and poetic voice is extremely vivid, unique and considerably expressive. While expressing the strong sentiment, her performance incorporates a totally natural narrative flavor. It makes listeners indulge in it, purify their soul and find it impossible to stop listening! In this way, it plays a vital role in conveying the works’ connotation and lingering appeal.
【作品定位與職員表】
[Works Orientation and Crew]
作品名稱：《大地·母親》
類型：英文流行歌曲
功能：娛樂/公益
演唱：徐露露
音樂改編: Ned Douglas、Michael Bradford
英文作詞: Michael Bradford
出品人：謝安立
歌詞英譯漢：謝安立、沉睡
詞、曲原作與作品闡釋：沉睡
Name of Works: Mother · Earth ·
Type: English pop song
Function: Entertainment/public interest
Singer: Anastasia XU (Lulu)
Musical re-compose and adaptation: Ned Douglas and Michael Bradford
English lyrics: Michael Bradford
Producer: Lily XIE
Chinese translation of lyrics: Lily XIE, Deep Sleep
Original lyrics and composition and works interpretation: Deep Sleep
Brief Introduction and Aesthetic Appreciation of
“Mother Earth”
一.歷史背景、作品簡介與美學賞析
I. Historical Background, Brief Introduction and Aesthetic Appreciation
亙古及今，將大地比作母親者，以母親代之以大地者，可謂比比皆是，就這方面的藝術作品與思想作品而言，也屢見不鮮。近現代以來，影響最大的，莫過于19世紀與20世紀之交，歐洲音樂家古斯塔夫·馬勒（Gustav Mahler）的音樂作品，即聲樂套曲——《大地之歌》，及20世紀的偉大哲學家、歷史學家阿諾德·湯因比（Arnold Joseph Toynbee）完成于1976年的巨著——《人類與大地母親》了。這兩部作品至今在全球范圍仍然在產生著持續而深入的影響，而在流行樂壇，堪與上述兩部巨作媲美的，則是至今仍風靡不息的邁克爾·杰克遜創作于1995年的《地球之歌》。
Since ancient times, it’s been ubiquitous that the earth is assimilated to mother and mother is used to refer to earth. Artistic and ideological works in this regard are common occurrences. Since modern and contemporary times, nothing has been more influential than the Song of the Earth, a song cycle, created by European musician Gustav Mahler in the late 19th century and early 20th century, and Mankind and Mother Earth, a piece of monumental work completed by the great philosopher and historian of the 20th century Arnold Joseph Toynbee in 1976. The two works are still producing lasting and profound influences worldwide nowadays. In the pop music circles, what can rival the two masterpieces is the Earth Song created by Michael Jackson in 1995 which is still in vogue today.
雖然此前在世界音樂界有馬勒的悲天憫人的《大地之歌》與杰克遜蕩氣回腸的《地球之歌》這兩大難以逾越的音樂極品，進入21世紀，中國音樂家還是創作了一部《地球家園》這個作品。受此作品之啟悟與震撼，美國音樂家又將此作品改編、演繹成了一首全新的作品——《大地·母親》。
Although the two insurmountable musical works of Mahler’s sorrowful Song of the Earth and Jackson’s soul-stirring Earth Song exist in the music world, entering the 21st century, Chinese musicians have brought about the work of Mother Earth and the Planet Suite. Enlightened and touched by it, American musicians adapted and interpreted it into a brand-new creation, Mother · Earth.
本作品之原詞、曲作者，為中國音樂家沉睡，音樂改編并重新填詞，為來自美國洛杉磯的兩位音樂家——Ned Douglas和Michael Bradford，美國版的這個作品繼續由美籍華裔女歌手、剛滿18歲的徐露露擔任演唱。
The lyricist and composer of the song is the Chinese musician Deep Sleep. Ned Douglas and Michael Bradford, two musicians from Los Angeles, America, recomposed and came up with new lyrics for the musical work. The American edition continues to be performed by Anastasia XU (Lulu), a Chinese-American female singer who’s just come to the age of 18.
與正在進一步完成中的帶有鮮明宏大敘事色彩的中國版的這個作品不同，美國版的這個作品（即《大地·母親》），則是一首十分標準的流行音樂作品。作品貌似樸素、簡單，然而卻詩意雋永，詩韻盎然，蘊含著對大地母親之深摯情懷，尤其是在流暢的旋律與明晰的結構中，又體現著一種深沉的憂患意識，進而還頗具某種普世價值，這成了《大地·母親》這個作品賦予世人之基本印象與鮮明表征。
Different from the Chinese edition (which is of distinct grand narrative taste and is being completed) the American edition (or Mother · Earth) is a contemporary pop musical piece. The works are seemingly simplistic and plain, it’s poetic, rhythmic and meaningful, and contains profound love for the mother earth. In particular, its smooth melody and explicit structure demonstrate a deep awareness of preparation for unexpected development. Besides, it’s of universal value. It’s the basic impression and distinct characteristics of Mother · Earth in the view of people.
本作品由4個小節抒情而樸素的吉他引子開始，在經由兩個相同樂段的情緒鋪墊和必要準備之后，作品油然推向了控制適度的情緒高潮。在8個小節的情緒高潮的帶動之下，并經由一個短暫的停頓和留白之后，作品又被自動帶入到副歌部分。倘若說，高潮部分的旋律走向與情緒色調，表達的是一種較為亮麗、暖融而指向明確的作曲理念的話，那么，副歌部分則表達的是一種較為抑郁、憂患而富于冷色調的作曲理念，同時，還罩著一絲婉約、迷惘而詩意悠悠的情緒氛圍，此情此景對整個作品之轉折、對比與階梯型遞進，起到了很好的烘托和豐富作用，最后，在高潮樂段進一步呈示和再現之后，即在歷經了大開大闔、大起大落的情緒波瀾之后，旋律又回溯到了起始樂句，作品在十分平穩而單純的旋律線條和情緒氛圍中終結全曲。
It starts with four small moving and simple guitar tunes. After the emotional foundation of two same periods and necessary preparation, the song is naturally pushed to an emotional climax with proper control. Driven by eight small tunes of emotional climax, and after a short pause and blank note, the song automatically enters the chorus part. If the melody and emotional tone of the climax expresses a bright and warm composition concept with an explicit direction, the chorus part conveys a melancholy and worrying composition concept full of cold tones. At the same time, it’s enveloped by a graceful, confusing and poetic emotional atmosphere. This part well sets off and enriches the entire piece of works through turning, comparison and progressive advance. In the end, after the climax period is further demonstrated and re-presented and after going through rise and fall, and ups and downs in emotion, the melody returns to the starting part. It wraps up amid extremely steady and pure melodies and emotional atmosphere.
從作曲理念和作曲技巧上來講，整個作品十分規整、嚴謹，體現著一種由弱漸強、層層推進的邏輯關系與情緒氛圍，作品盡量回避、弱化技巧，從而將流暢、樸素、大氣與朗朗上口的特點和訴求，強化到了最大值，最后的結果便是清新、詩意、流暢、易學、易唱，此乃全曲之特質與神髓。
In terms of composition concepts and skills, the entire works are neat and rigorous. It reveals a logical relationship and emotional atmosphere that goes from weak to strong. Besides, it tries to avoid and weaken skills so as to maximize its smoothness, plainness, magnificence and readability. The outcome is freshness, poetry, fluency, easiness to learn and easiness to sing, which is the characteristic and essence of the entire song.
而從人文理念與思想內涵上來講，如上所述，《大地·母親》這個作品，是一個十分富于責任感和時代使命的作品，它涉及到環境、生態、人類命運、道德、行為規范、取舍與時代抉擇及人生抉擇等問題，雖然旋律優美、抒情，然而表達的主題卻十分嚴峻而凝重，甚至帶著某種悲天憫人之感。在此基礎上之上，甚至還帶著某種久已被世人所忘卻的崇高感！不言而喻，在日益嚴峻而危機的世界命運之關頭，作品旨在喚醒和儆醒世人走出麻木不仁，告別隨波逐流，而應攜起手來，共同應對挑戰，應對日益嚴酷的命運考驗。
In terms of humanistic concept and ideological connotation, as stated above, Mother · Earth is full of sense of responsibility and mission of the era. It involves a number of issues such as environment, ecology, human destiny, morality, code of conduct, choice-making in the era and for life. Although the rhythm is beautiful and sentimental, the theme which is manifested is extremely severe and dignified, and even carries a sense of compassionate feeling for all mankind (bemoan the state of the universe and pity the fate of mankind). On this basis, it even delivers a sense of loftiness which has been forgotten by people for a long time! It’s self-evident that in face of the increasingly austere world destiny amid crisis, the piece of works is aimed to arouse people and motivate them to bid farewell to indifference and numbness, join hands to cope with challenges and harsh tests facing human fate.
在當今，嚴酷的命運考驗不是別的，而首先是日益惡化的地球環境，日益不堪重負的大地母親所拋給我們的一個全球性的命題：即在邏各斯中心主義（logocentrism）與人類中心主義（Anthropocentrism）的支配與壓榨之下，有且僅有一個的地球家園，而今已是滿目瘡痍，彈痕累累，遍體鱗傷，且與此同時，又伴隨著全球性的禮崩樂壞、道德滑坡、信仰危機、價值迷失與精神闕如。在此危機關頭，詩人、藝術家、人文學者與覺者們勇敢地置身于時代之前沿，在以各種形式與方式，表達著各自的呼聲與預警。
Nowadays, the first current astringent test is the increasingly deteriorating environment on earth. The mother earth which is overwhelmed throws us a global question: with the manipulation and oppression of logocentrism and anthropocentrism, there’s only one earth and one home which is in a state of devastation. It’s permeated with bullet holes and covered by cuts and bruises. In the meantime, the entire world is confronted with problems such as ritual collapse, moral decline, belief crisis, lost values and spiritual deficiency. At such a critical juncture, poets, artists, humanistic scholars and enlightening people are brave enough to stand in the frontline of the era and communicate their calls and send out warning in varied forms and means.
此前，西方世界的一系列災難片與紀錄片，諸如《后天》、《2012》，及紀錄片《家園》等等，是這種努力之一部分，而此前國際流行樂壇諸如邁克爾·杰克遜與平克·弗洛伊德等所賦予時代的音樂作品，是這種努力非常重要的另外組成部分。當下，來自中、美兩國音樂家所創作的《地球家園》與《大地·母親》，及目前在北京致力于舞蹈耕耘的澳大利亞藝術家彼得·法雷爾（Peter Farrell）所推出的音樂劇《家園》，則是時下中、美、澳三國音樂家與舞蹈家在不謀而合地投身于拯救地球母親與人類家園這一偉大人生行動之一個鮮明的縮影。的確，如此的拯救行動，單靠一個國家、一個個體是難以實現的。它需要的是，在一些先知、先覺者之帶動下的全球一致性的行動與呼應?！捌ぶ淮?，毛將焉附？”當我們賴以棲身的地球家園、賴以依托的大地母親都變得殘缺不全、支離破碎之時，那么，人類的一切希冀與夢想，也便不復存在。顯而易見，而今，擺在人類面前的嚴峻主題不外是：要為慘遭蹂躪的地球家園而斗爭，要為慘遭毀容的大地母親而斗爭！也正是在上述意義上，現在你所聆聽到的《大地·母親》這個作品，絕非通常意義上的流行歌曲，其存在意義與時代價值是不言而喻的。
A series of past catastrophe films and documentaries of the western world such as The Day After Tomorrow, 2012 and the documentary Home are part of such efforts. The musical works in the international pop music circles such as works of Michael Jackson Pink Floyd are another extremely significant part of such efforts. At present, the Mother Earth and the Planet Suite. and Mother · Earth created by Chinese and American musicians as well as the musical Home introduced in Beijing by Australian artist Peter Farrell who’s been dedicated to dance represent a distinct miniature of Chinese, American and Australian musicians and dancers’ unanimous great dedication to saving the mother earth and human home. Indeed, it’s hard to implement such initiative by one country or an individual alone. It entails the global consistent response and action under the leadership of some pioneers. “Where will the hair grow if the skin is gone?” When our mother earth where we live on and we rely on become incomplete and fragmented, all human hopes and dreams will never be fulfilled. Apparently, what lies ahead of human beings is to fight for the earth which has been trampled on and fight for the mother earth which has been disfigured! Because of this, Earth · Mother which you are listening to is by no means a pop song in common sense. Its significance and value for the era is self-explanatory.
最后，需要著重提及的是，作品之演唱者徐露露。目前，徐露露正在美國攻讀攸關心靈健康、形神合一的音樂治療這一新型專業，對《大地·母親》這個作品之精到把握與成功演繹，僅就其所學專業而言，無疑是其社會實踐的重要組成部分，甚至是其人生之一大壯舉。從頭至尾，露露對作品都演唱與演繹得情感細膩、情愫真摯，尤其是在音質與音色方面，其空靈、詩意而飄渺的嗓音，極為傳神、極為獨到、極富表現力，在抒情性甚濃之同時，敘事色彩又渾然天成，聽來不禁令人如癡如醉、心靈飛升而欲罷不能！從而對作品內涵與神韻之表達，起到了至關重要的作用。
Last but not least, what should be mentioned is its singer Anastasia XU (Lulu). Lulu is currently studying music therapy in America which is closely related with psychological health and harmony between soma and spirit. The remarkable grasp and successful presentation of Mother · Earth are no doubt an integral part of social practice for her major, and even a heroic undertaking in her life. From the beginning to the end, Lulu exudes fine emotions and sincere feelings during the performance. In particular, in terms of tone quality and timbre, her ethereal and poetic voice is extremely vivid, unique and considerably expressive. While expressing the strong sentiment, her performance incorporates a totally natural narrative flavor. It makes listeners indulge in it, purify their soul and find it impossible to stop listening! In this way, it plays a vital role in conveying the works’ connotation and lingering appeal.
【作品定位與職員表】
[Works Orientation and Crew]
作品名稱：《大地·母親》
類型：英文流行歌曲
功能：娛樂/公益
演唱：徐露露
音樂改編: Ned Douglas、Michael Bradford
英文作詞: Michael Bradford
出品人：謝安立
歌詞英譯漢：謝安立、沉睡
詞、曲原作與作品闡釋：沉睡
Name of Works: Mother · Earth ·
Type: English pop song
Function: Entertainment/public interest
Singer: Anastasia XU (Lulu)
Musical re-compose and adaptation: Ned Douglas and Michael Bradford
English lyrics: Michael Bradford
Producer: Lily XIE
Chinese translation of lyrics: Lily XIE, Deep Sleep
Original lyrics and composition and works interpretation: Deep Sleep
本專輯因版權原因或者內容問題不提供試聽與下載.
專輯《大地母親 Mother Earth (單曲)》的歌曲列表
| 序號 | 歌曲 | 播放 收藏 歌詞 下載 |
| 01 | 大地母親 Mother Earth |
