2013年自考英语(二)课文译文:新音乐

更新时间：2013-09-17 09:12:27 来源：|0

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　　新音乐

　　The new music was built out of materials already in existence: blues, rock'n'roll, folk music. But although the forms remained, something completely new and original was made out of these older elements -- more original, perhaps, than even the new musicians themselves yet realize. The transformation took place in 1966--1967. Up to that time, the blues had been an essentially black medium. Rock'n'roll, a blues derivative, was rhythmic dance music. Folk music, old and modern, was popular among college students. The three forms remained musically and culturally distinct, and even as late as 1965, none of them were expressing any radically new states of consciousness. Blues expressed black soul; rock was the beat of youthful energy; and folk music expressed anti-war sentiments as well as love and hope.

　　新音乐是在已有的音乐素材上发展起来的：它们是布鲁斯音乐、摇滚乐、美国民间音乐。新音乐虽然保留了原有的形式，但却在上述几种较老的形式上推出了全新的，具有独创性的内容，其创新的力度连新音乐家们自己也始料不及。这种革新是发生1966～1967年。在那之前，布鲁斯音乐一直是黑人表达忧伤情感的主要形式。由布鲁斯音乐派生出的摇滚乐是富有节奏感的舞曲音乐，民间音乐无论是老歌还是新曲颇受大学生的欢迎。这三种音乐从音乐和文化的角度来看都特色鲜明。直到1965年，三种音乐都没有反映出全新的意识形态。布鲁斯音乐表达的是黑人的思想情感;摇滚乐表现的是青年人的勃勃活力;民间音乐则表达的是反战情感和爱与希望。

　　In 1966 -- 1967 there was spontaneous transformation. In the United States, it originated with youthful rock groups playing in San Francisco. In England, it was led by the Beatles, who were already established as an extremely fine and highly individual rock group. What happened, as well as it can be put into words, was this. First, the separate musical traditions were brought together. Bob Dylan and the Jefferson Airplane played 26 folk rock, folk ideas with a rock beat. White rock groups began experimenting with the blues. Of course, white musicians had always played the blues, but essentially as imitators of the Negro style; now it began to be the white bands’ own music. And all of the groups moved towards a broader eclecticism and synthesis. They freely took over elements from jazz, from American country music, and as time went on from even more diverse sources. What developed was a music readily taking on various forms and capable of an almost limitless range of expression.

　　1966～1967年音乐发生了自发性转变。在美国，这种转变起源于在旧金山演出的充满青春气息的摇滚乐队;在英国，皮头士(甲壳虫)乐队则是这场变革的领头羊，此时它已发展成非常优秀的极具个性的摇滚乐队。当时发生的情景，如用语言可能表达出来是这样的：首先是将分类的音乐流派融合在一起，鲍勃?狄伦和杰弗逊飞机乐队演奏了民间摇滚乐，一种伴有摇滚节奏的民间音乐。白人摇滚乐队开始尝试演奏布鲁斯音乐。当然，在这之前白人乐手经常演奏布鲁斯，但基本上是模仿黑人的风格。但这时这种融合演奏开始成为白人乐队自己的音乐。所有这些乐队都向更宽的折中和相互融合的方向发展，他们随意继承了爵士乐与美国乡村音乐的成分，随着时间的推移，他们借鉴了甚至更多种类的素材，发展成为一种形式丰富多彩、表现内容几乎无所不能的音乐。

　　The second thing that happened was that all the musical groups began using the full range of electric instruments and the technology of electronic amplifiers. The electric guitar was an old instrument, but the new electronic effects were altogether different -- so different that a new listener in 1967 might well feel that there had never been any sounds like that in the world before. Electronics did, in fact, make possible sounds that no instrument up to that time could produce. And in studio recordings, new techniques made possible effects that not even an electronic band could produce live. Electronic amplifiers also made possible a fantastic increase in volume, the music becoming as loud and penetrating as the human ear could stand, and thereby achieving a "total" effect, so that instead of an audience of passive listeners, there were now audiences of total participants, feeling the music in all of their senses and all of their bones.

　　发生的第二件事是所有的乐队都开始使用全套的电子乐器和电子扩音技术。电子吉他是件老式的乐器，但同新的电子音响合在一起效果截然不同，使一位1967年新听到这种音响的听众觉得，世界上以前可能从未有过这样的声音。的确，电子技术使这种声响成为可能，直到那时，没有任何乐器能够奏出这样的声音。在录音室制作录音时，新技术能制作出甚至电子乐队现场表演都演奏不出的效果。电子放大器能让音量有惊人的增大，使音乐变得尽量响和有穿透力，而人耳又能够承受，以此来实现“整体”效果。所以，听众不再是被动的听众，而是全身心参与的听众，感受到音乐正撼动着他们每一处神经和每一根筋骨。

　　Third, the music becomes a multi-media experience; a part of a total environment. The walls of the ballrooms were covered with changing patterns of light, the beginning of the new art of the light show. And the audience did not sit, it danced. With records at home, listeners imitated these lighting effects as best they could, and heightened the whole experience by using drugs. Often music was played out of doors, where nature provided the environment.

　　第三，音乐成了多媒体的体验，音乐成为整个场景的一部分，舞厅墙壁上的灯光变幻不定，灯光表演这种新艺术就是这样开始的。听众们不是翘首而坐，而是边听边舞。随着家庭有了唱盘，听众就尽力去模仿这种照明效果，甚至用药物来强化这种整体感受。通常音乐在户外演奏，在户外，大自然提供了这种环境。

?2013年7月各省市自考成绩查询入口汇总