大學(xué)英語自學(xué)教程下冊課文(帶字幕)05

[00:00.00]Unit 5 text A The New Music
[00:03.24]新音樂
[00:06.48]The new music was built out of materials already in existence:
[00:09.76] 新音樂是基于已有的三種音樂:
[00:13.04]blues, rock'n'roll, folk music.
[00:15.56]布魯斯,搖滾樂,民間音樂發(fā)展起來的.
[00:18.08]But although the forms remained,
[00:20.11]但是雖然這些形式依然保留著,
[00:22.15]something completely new and original was made out of these older elements
[00:25.78]一些全新的富有創(chuàng)造性的東西從這些舊音樂中產(chǎn)生了
[00:29.41]more original,perhaps,than even the new musicians themselves yet realize.
[00:33.49]---也許比新音樂家們所意識到更大具創(chuàng)造性.
[00:37.56]The transformation took place in 1966-1967.
[00:41.64]這種變化發(fā)生于1966年到1967年之間.
[00:45.71]Up to that time,the blues had been an essentially black medium.
[00:48.99]一直到那個(gè)時(shí)候,布魯斯一直是一種基本的黑人藝術(shù)表現(xiàn)形式.
[00:52.27]Rock 'n' roll,a blues derivative,was rhythmic dance music.
[00:55.39]搖滾樂,衍生于布魯斯,是有節(jié)奏的舞曲.
[00:58.51]Folk music,old and modern,was popular among college students
[01:02.09]民間音樂,無論舊的或者現(xiàn)代的,在大學(xué)生中都很流行.
[01:05.67]The three forms remained,musically and culturally distinct,
[01:08.86]這三種形式保留著音樂和文化方面的特色,
[01:12.05]and even as late as 1965,
[01:14.57]甚至到1965年,
[01:17.09]none of them were expressing any radically new states of consciousness
[01:19.87]這三種音樂沒有一種表達(dá)出任何激進(jìn)的新的意識形態(tài).
[01:22.65]Blues expressed black soul;rock was the beat of youthful energy;
[01:26.53]布魯斯表達(dá)黑人的情感;搖滾樂是青春活力的跳動;
[01:30.41]and folk music expressed anti-war sentiments as well as love and hope.
[01:33.99]民間音樂表達(dá)反戰(zhàn)情緒,愛和恨.
[01:37.57] In 1966--1967 there was spontaneous transformation.
[01:42.00] 1966-1967年之間發(fā)生了自然的轉(zhuǎn)化.
[01:46.42]In the United States,it originated with youthful rock groups
[01:52.77]playing in San Francisco.
[01:54.95]在美國,變化起源于在圣.弗蘭西斯科(舊金山)表演的青年搖滾組合.
[01:57.13]In England,it was led by the Beatles
[01:59.42]在英國,則是由甲殼蟲樂隊(duì)(披頭士搖滾樂隊(duì))帶頭,
[02:01.70]who were already established as an extremely fine
[02:07.56]and highly individual rock group.
[02:09.48]他們已確立了非常優(yōu)秀,極有特色的搖滾組合.
[02:11.40]What happened,as well as it can be put into words, was this.
[02:14.52]所發(fā)生的情況,如果用言語盡可能表達(dá)出來是這樣的.
[02:17.64]First,the separate musical traditions were brought together.
[02:20.88]首先獨(dú)立的音樂傳統(tǒng)被融合在一起.
[02:24.12]Bob Dylan and the Jefferson Airplane
[02:26.25]鮑伯.鍬倫和杰弗遜飛機(jī)樂隊(duì)演出民間搖滾樂,
[02:28.38]played folk rock folk ideas with a rock beat.
[02:31.55]民間音樂的思想伴以搖滾樂的節(jié)拍.
[02:34.72]White rock groups began experimenting with the blues.
[02:37.60]白人搖滾組合濃度使用布魯斯.
[02:40.47]Of course white musicians had always played the blues,
[02:43.25]當(dāng)然,白人音樂家早已演奏布魯斯,
[02:46.03]but essentially as imitators of the Negro style;
[02:48.67]但基本上對黑人風(fēng)格的模仿,
[02:51.31]now it began to be the white bands' own music.
[02:53.99]現(xiàn)在已經(jīng)開始成為白人樂隊(duì)自己的音樂.
[02:56.67]And all of the groups moved towards a broader eclecticism and synthesis
[03:00.60]所有的組合都走向更大廣泛的折衷和合成.
[03:04.53]They freely took over elements from jazz,from American country music,
[03:07.91]他們自由吸取爵士樂和美國鄉(xiāng)村音樂的成分,
[03:11.29]and as time went on from even more diverse sources.
[03:14.42]隨著時(shí)間的推移甚至從更多的來源中吸取營養(yǎng).
[03:17.54]What developed was a music readily taking on various forms and capable
[03:21.12]音樂很快地發(fā)展成為具有多種形式,
[03:24.70] of an almost limitless range of expression.
[03:27.52]并且?guī)缀蹙哂袩o限的表達(dá)力.
[03:30.34] The second thing that happened
[03:32.31]發(fā)生的第二種情況是
[03:34.28]was that all the musical groups began using the full range of electric instruments
[03:38.06]所有音樂組合開始使用整套電聲樂器
[03:41.83]and the technology of electronic amplifiers.
[03:44.50]和電子放大器技術(shù).
[03:47.16]The electric guitar was an old instrument,
[03:49.69]電吉他是一種舊樂器,
[03:52.23]but the new electronic effects were altogether different
[03:55.15]但新吉他的電子效果完全不同了
[03:58.08]so different that a new listener in 1967 might well feel
[04:01.20]---1967年的一位新聽眾可能真的感覺到
[04:04.32]that there had never been any sounds like that in the world before.
[04:07.50]世界上前所未有的聲音.
[04:10.67]Electronics did,in fact,
[04:12.71]事實(shí)上,電子學(xué)的確可以
[04:14.75]make possible soundsthat no instrument up to that time could produce.
[04:18.17]制作出直到那時(shí)為止樂器所發(fā)不出的聲音.
[04:21.59]And in studio recordings,new techniques made possible effects that not even an electronic band could produce live.
[04:26.78]在錄音室錄制時(shí),新技術(shù)有可能制作出甚至電子樂隊(duì)在表演現(xiàn)場都演奏不出的效果.
[04:31.96]Electronic amplifiers also made possible a fantastic increase in volume
[04:35.68]電子放大器也使得在音量方面能夠有意想不到的增高.
[04:39.41]the music becoming as loud and penetrating as the human ear could stand,
[04:43.04]音樂在人類耳朵所能隨范圍內(nèi)變得響亮,具穿透力,
[04:46.67]and thereby achieving a "total"effect
[04:49.19]由此達(dá)到了一種完美的效果.
[04:51.71]so that instead of an audience of passive listeners
[04:54.60]所以聽眾已不是被動的聽眾,
[04:57.48]there were now audiences of total participants
[05:00.56]現(xiàn)在的聽眾是完全投入的聽眾,
[05:03.65]feeling the music in all of their senses and all of their bones.
[05:07.67]他們?nèi)硇母杏X著音樂.
[05:11.69]Third,the music becomes a multi--media experience a part of a total environment.
[05:16.63] 第三點(diǎn),音樂成為一種多媒體的感受,成為整修環(huán)境中的一部分.
[05:21.57]The walls of the ballrooms were covered with changing patterns of light
[05:24.95]舞廳的墻上閃著形式變幻的燈光,
[05:28.33]the beginning of the new art of the light show.
[05:31.36]成為燈泡表演這門新技術(shù)的開始.
[05:34.39]And the audience did not sit, it danced.
[05:37.21]觀眾不是坐著聽,他們在跳舞.
[05:40.04]With records at home,listeners imitated these lighting effects as best they could,
[05:43.67]家里有了唱盤,聽眾盡力模仿舞廳燈光效果,
[05:47.30]and heightened the whole experience by using drugs.
[05:50.24]并通過使用藥物以加強(qiáng)整體感受.
[05:53.18]Often music was played out of doors,where nature provided the environment.
[05:56.90]音樂還常在以大自然為環(huán)境的戶外演奏.
[06:00.62]Text B Different Types of Composers
[06:03.21]不同類型的作曲家
[06:05.79]I can see three different types of composers in musical history,
[06:08.43] 在音樂史上我們可以看到三類型的作曲家,
[06:11.07]each of whom creates music in a some what different fashion.
[06:13.55]每種作曲家都以不同的風(fēng)格創(chuàng)作音樂.
[06:16.03]The type that has fired public imagination most
[06:20.40]is that of the spontaneously inspired composer--
[06:22.73] 最能激發(fā)公眾想象力的是那種即興靈感型作曲家
[06:25.07]the Franz Schubert type,in other words.
[06:27.25]---換句話說,即弗朗誦茲.舒伯特型.
[06:29.43]All composers are inspired,of course,
[06:31.46]所有作曲家都具有靈感,
[06:33.48]but this type is more spontaneously inspired.
[06:35.66]但這種子選手類型的更具有即興靈感.
[06:37.84]Music simply wells out of him.
[06:39.73]音樂科就是從他心中噴涌而出.
[06:41.61]He can't get it down on paper fast enough.
[06:43.49]他不能以盡快的速度記錄在紙上.
[06:45.37]You can almost tell this type of composer by his fruitful output.
[06:48.31]你幾乎通過他多產(chǎn)的作品就可以認(rèn)出這種作曲家.
[06:51.25]In certain months,Schubert wrote a song a day Hugo Wolf did the same
[06:54.77]在幾個(gè)月進(jìn)而,舒伯特一天寫一首歌曲,胡弋.活爾夫也是這樣.
[06:58.30]In a sense,men of this kind begin not so much with a musical theme composition.
[07:02.02]在某種意義上說,這些作曲家與其說是從某一音樂主題開始構(gòu)思,不如說他們一開始就有一完整作品成竹在胸.
[07:05.74]They invariably work best in the shorter forms.
[07:08.07]他們在較短形式的音樂方面一直做得最好.
[07:10.39]It is much easier lo improvise a song'than it is to improvise a symphony
[07:13.52]即興創(chuàng)作一首歌曲比即興創(chuàng)作一部交響樂要簡單得多.
[07:16.64]It isn't easy to be inspired in that spontaneous way for long periods at a stretch
[07:20.11]邊疆不斷地以這種子選手即興方式獲得靈感是不容易的.
[07:23.59]Even Schubert was more successful in handling the shorter form of music
[07:26.47]舒伯特在創(chuàng)作這些較短形式的單薄方面是更大為成功的.
[07:29.36]The spontaneously inspired man
[07:33.20]is only one type of composer with his own limitations.
[07:35.84]即興靈感型作家只是一種類型的作曲家,有他自身的局限性.
[07:38.48]Beethoven belongs to the second type-the constructive type one might call it.
[07:41.65] 貝多芬屬于第二種類型---人們可以稱之為富有建設(shè)性的類型.
[07:44.82]This type serves as an example of my theory
[07:46.94]這種類型的作曲家比任何其他類型
[07:49.05]of the creative process in music better than any other,
[07:51.54]更適合作為我的音樂創(chuàng)造過程理論的例證,
[07:54.02]because in this case the composer really does begin with a musical theme
[07:57.05]因?yàn)檫@類例子中的作曲家確實(shí)從音樂主題開始創(chuàng)作.
[08:00.08]in Beethoven's case there is no doubt about it
[08:02.26]以貝多芬為例,關(guān)于這點(diǎn)勿庸置疑,
[08:04.44]for we have the notebooks in which he put the themes down.
[08:06.82]因?yàn)槲覀冇兴浵轮黝}的筆記本.
[08:09.20]We can see from his notebooks how he worked over his themes
[08:11.62]從他的筆記中我們可以看到,他是如何在他的音樂主題上下功夫的
[08:14.05]how he would not let them be until they were as perfect as he could make them.
[08:16.93]--他不做到使之完美無缺絕不罷休.
[08:19.80]Beethoven was not a spontaneously inspired composer in the Schubert sense at all
[08:23.08]貝多芬完全不是舒伯特那種意義上的即興靈感型作曲家.
[08:26.36]He was the type that begins with a theme makes it a preliminary idea;
[08:29.39]他是那種從一個(gè)主題開始作曲的類型,把主題作為初步的想法.
[08:32.42]and upon that composes a musical work,day after day,in painstaking fashion.
[08:36.00]在此基礎(chǔ)上,日日苦干,譜寫出音樂作品來.
[08:39.58]Most composers since Beethoven's day belong to this second type.
[08:42.45]貝多芬時(shí)代以來的多數(shù)作曲家屬于第二種類型.
[08:45.32]The third type of composer I can only call,
[08:47.39]因?yàn)闆]有更好的名字,第三類作曲家
[08:49.45]for lack of a better name the traditionalist type.
[08:52.09]我只能稱之為傳統(tǒng)主義類型.
[08:54.73]Men like Palestrina and Bach belong in this category.
[08:57.51]像帕萊斯特里納和巴赫這些人屬于這種類型.
[09:00.29]They both are characteristic of the kind of composer
[09:04.65]who is bom in a particular period of musical history,
[09:07.19]他們都具有生于音樂史上的特殊時(shí)期,
[09:09.72]when a certain musical style is about to reach its fullest development
[09:12.45]即某種音樂風(fēng)格即將達(dá)到其鼎盛時(shí)期的那種作曲家的特點(diǎn).
[09:15.18]It is a question at such a time
[09:18.94]of creating music in a well-known and accepted style
[09:21.28]在那樣一個(gè)以一種眾所周知并廣為接受的風(fēng)格創(chuàng)作音樂的年代,
[09:23.62]and doing it in a way that is better than anyone has done it before you.
[09:26.35]要以一種比前人更好的形式創(chuàng)作音樂是很難的.
[09:29.08]The traditionalist type of composer
[09:32.73]begins with a pattern rather than with a theme.
[09:35.06] 傳統(tǒng)類型的作曲家從一種模式而不是一個(gè)主題開始創(chuàng)作.
[09:37.38]The creative act with Palestrina is not the thematic conception
[09:40.27]帕萊斯特里納的創(chuàng)作行為并非針對主題的概念,
[09:43.16]so much as the personal treatment of a well-established pattern.
[09:45.80]只不過是對固定下來的模式進(jìn)行個(gè)人處理.
[09:48.43]And even Bach,who composed forty-eight of the most various and inspired
[09:55.38]themes in his Well Tempered Clavichord,
[09:57.37]甚至巴赫,他在他的<平均律鋼琴曲集>中譜寫了48首各具特色鼓舞人心的主題曲,
[09:59.35]knew in advance the general formal mold that they were to fill
[10:02.02]也事先知道這些主題曲要填入的一般正式的模式.
[10:04.68]It goes without saying
[10:06.20]不用說,
[10:07.71]that we are not living in a tradition alist period nowadays.
[10:10.19]我們現(xiàn)在已不是生活在傳統(tǒng)時(shí)期.
[10:12.68]One might add, for the sake of completeness,
[10:14.95] 為了全面起見,
[10:17.22]a fourth type of composerthe pioneer type:
[10:19.81]還應(yīng)加上第四作曲家
[10:22.39]men like Gesualdo in the seventeenth century
[10:24.67]---先鋒型:像片17世紀(jì)的杰蘇爾多,
[10:26.94]Moussorgsky and Berlioz in the nineteenth,
[10:29.32]19世紀(jì)的穆索爾斯基和柏遼茲,
[10:31.69]Debussy and Edgar Varese in the twentieth.
[10:34.33]20世紀(jì)的德彪西和埃德加.瓦雷茲這些人.
[10:36.97]It is difficult to summarize the composing methods of so diversified a group
[10:39.75]概括如此多樣化的一群作曲家的作曲方法很困難.
[10:42.53]One can safely say that their approach to composition
[10:44.87]他們的寫作方法確實(shí)
[10:47.21]is the opposite of the traditional list type.
[10:49.18]不同于傳統(tǒng)的模式寫作法。
[10:51.15]They clearly oppose conventional solutions of musical problems
[10:53.79]他們明確反對對音樂問題的傳統(tǒng)的解決辦法.
[10:56.43]In many ways,their attitude is experimental
[10:58.86]從許多工作方面說.他們的態(tài)度是試驗(yàn)性的
[11:01.29]they seek to add new harmonies,new sonorities,new formal principles.
[11:04.76]他們尋求增加新的和聲,新的音色,新形式的原則.
[11:08.24]The pioneer type was the characteristic one at the turn of the seventeenth century
[11:14.01]and also at the beginning of the twentieth century,
[11:16.28]先鋒弄是17世紀(jì)前后和20世紀(jì)初特有的類型,
[11:18.56]but it is much less evident today.
[11:20.39]但現(xiàn)在不太明顯了.