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哈佛大学本科申请文书范文—2023录取文书范文（五）

英文范文原文

Una's Essay

The first word I ever spoke was my name. I was intrigued that my entire identity could be attached to and compressed into such a simple sound. I would tell everyone I met that my name meant “one,” that it made me special because it sounded like “unique.” When I learned to write, I covered sheets of paper with the letters U, N, and A. Eventually, I realized that paper was not enough—I needed to cover the world with my name, my graffiti tag.

This came to a screeching halt in kindergarten. One day in music class, I scratched UNA into the piano’s wood. Everyone was surprised that I tagged my name and not someone else’s. I didn’t want someone else to suffer for my misdeeds. I wanted to take something, to make it mine.

Kindergarten was also the year my parents signed me up for piano lessons, and every aspect of them was torture. I had to learn to read an entirely new language, stretch my fingers to fit challenging intervals, use my arms with enough force to sound chords but not topple over, grope around blindly while keeping my eyes on the music, and the brain-splitting feat of doing this with each hand separately. Hardest was the very act of sitting down to practice. The physical challenges were more or less surmountable, but tackling them felt lonely and pointless.

I only fell in love with music when I found myself in a sweaty church on the Upper West Side—my first chamber music concert, the final event of a two-week camp the summer before sixth grade. I was nervous. My group, playing a Shostakovich prelude, was the youngest, so we went first. My legs shook uncontrollably before, during, and after I played. I nearly became sick afterward from shame and relief. I was so disappointed that I thought I could never face my new music friends again. From the front row, I plotted my escape route for when the concert finished. But I didn’t run. I watched the whole concert. I watched the big kids breathe in unison, occupying the same disconnected body. I fell in love with music through the way they belonged to each other, the way they saw each other without even looking.

I stuck with that chamber camp. In the twenty chamber groups that have made up my last six years, I’ve performed in six-inch heels and nearly fallen off-stage during my bow. I’ve performed in sneakers and a sweatshirt, on pianos with half the keys broken and the other half wildly out of tune, in subway stations, nursing homes, international orchestras, Carnegie Hall, and on Zoom.

Chamber music doesn’t work when everyone aims to be a star; it works when everyone lets everyone else shine through. It’s more fun that way. A musical notation I rarely saw before playing chamber music is “una corda,” which says to put the soft pedal down and play on only “one string,” usually to highlight another player’s solo. I don’t need to be the loudest to breathe in unison with my friends, to create something beautiful. In that moment, I’m not just Una, I’m the pianist in the Dohnanyi sextet.

I started to love music only when I realized it doesn’t belong to me. I had to stop trying to make piano my own and take pleasure in sharing it. I learned that the rests in my part were as meaningful as the notes; that although my name means “one,” I’d rather not be the “only.” My favorite compliment I’ve received was that I made an audience member feel like they were sitting onstage next to me. This, to me, is the essence of chamber music. To pull your audience onto the stage, trusting your group isn’t enough—you have to fuse together, to forget you exist. For a few minutes, you have to surrender your name.

点评：

Una作为音乐家的个人成长历程使得这篇文书非常成功。她迅速通过有力而内省的陈述关于自己的名字吸引了读者的注意。年幼时将自己的名字和涂鸦覆盖在世界上作为自我表达的愿望增添了好奇心和个性的元素。Una意识到潜在的后果以及她最终想要承担责任的愿望，展示了她的正直和自我意识。

一篇强大的文书包含了脆弱性。Una展示了她的脆弱性，当她探索自己的旅程，描述了弹钢琴时涉及的身体和心理困难，以及孤独和无意义的感觉。她还在面对困难时表现出毅力和决心。

这篇文书在Una描述她在室内音乐会上的转变经历时真正闪耀。她的开放心态和对音乐将人们联系在一起的深刻认识是真正令人感动的。

Una的文书进一步展示了她对音乐的执着，通过在不同场合进行多样化的演出。她理解室内音乐的合作性质，并愿意让其他人闪耀，这展示了Una作为音乐家的成长，以及对通过团队合作创造美的欣赏。

文书的结尾，Una认识到在音乐中创造美不需要变得最响亮或成为明星。她接受了与朋友们一起呼吸的理念，并乐于在让他人闪耀中找到快乐。这个洞察力反映了她作为音乐家的成长，以及她对合作和共享经验重要性的理解。

总的来说，这篇文书成功地传达了Una的个人成长历程、她对音乐的热爱，以及她对合作与无私的转变力量的理解。叙事结构、生动的描述、脆弱性、反思的语气以及吸收读者感官的元素使得Una的文书引人入胜、有影响力，并且令人难忘。