Text 4_新浪教育

Text 4

http://www.sina.com.cn 2006/09/25 20:04 东方飞龙

　　Text 4

　　In 1935, the clarinetist and bandleader Benny Goodman, aged just twentysix, left New York with his fourteenpiece “swing” band and, traveling in a ragtag group of cars, headed for the huge Palomar Ballroom in Los Angeles. It was not an easy trip. There were half a dozen dismal, sparsely attended onenig

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hters and three weeks at a dance hall in Denver, where the band was forced to play waltzes, tangos, and novelty numbers. On the opening night at the Palomar, the band played ballad numbers in the first set, and there was little response from the dancers. Then one of the musicians said, if they were going to bomb again they might well do it in style. So Goodman called for his hot, often uptempo arrangements, many of them by the ingenious black bandleader and arranger Fletcher Henderson, and the kids stopped dancing, clustered around the bandstand, and began roaring. Before the weeks at the Palomar were over, it was clear that Goodman had suddenly made jazz—still a suspect and largely subliminal American folk music, despite the brilliant inventions during the previous decade of Jelly Roll Morton and others—into a popular music.

　　Goodmans surprising ways continued. In 1936, he shook up the white entertainment establishment by hiring two black musicians—the elegant pianist Teddy Wilson and the plunging vibraphonist Lione Hampton. (To be sure, Wilson and Hampton did not play in the band; instead, they appeared with Goodman and the drummer Gene Krupa during intermissions.) A year later, when the band went into the Paramount Theater in New York for three weeks, legions of kids appeared, and a screaming, dancing riot nearly took place. It was the first great American show frenzy, and it prepared the way for the Sinatra frenzy of 1947, and for all the Beatles frenzies, and for all the mindless rockborne frenzies of the Seventies and Eighties.

　　Then, on the night of January 16, 1938, Goodman, challenging the longhairs, took his band into a soldout Carnegie Hall. The big band played a dozen numbers, the trio two numbers, and the quartet five numbers. Despite the immediate rumblings from Olin Downes, the Timess classical music critic (“The playing last night, if noise, speed and beat, all old devices, are heat, was “hot” as it could be, but nothing came of it all, and in the long run it was decidedly monotonous”), Goodmans concert moved jazz even further up the American popular register. ［412 words］

　　1. This passage is mainly

　　［A］ a general review of Jazz music.

　　［B］ a biography of Benny Goodman.

　　［C］ about the origin of American folk music.

　　［D］ about how jazz became popular in America.

　　2. Which of the following statements is true according to the passage?

　　［A］ The bands first music show in Los Angles was an immediate success.

　　［B］ Goodman is considered the father of Jazz music.

　　［C］ Benny Goodman was unknown to public when he left New York.

　　［D］ The band scheduled to play waltzes, tangos and novelty numbers at a dance hall in Denver.

　　3. It could be inferred from the passage that

　　［A］ Jazz is a style of music native to America.

　　［B］ Classic music had become outdated at Goodmans time.

　　［C］ Morton and Goodman were contemporaries.

　　［D］ Goodman was the first bandleader who hired Black musicians in 1930s.

　　4. The phrase “shake up” (Line 1,Paragraph 2) in the context probably means

　　［A］to give a very unpleasant shock.

　　［B］ to make changes to an organization.

　　［B］to get rid of a problem.

　　［D］ to point out, designate.

　　5. Towards Goodmans music show frenzy, Olin Downes, the classical music critic has

　　［A］ approving attitude. ［B］ satirizing attitude.

　　［C］ regretting mind. ［D］ exaggerated tone.

　　-核心及超纲词汇

　　1.clarinetistn.单簧管演奏者

　　2.bandleadern.伴舞乐队的指挥

　　3.ragtagn.平民，穷人［例］ ragtag and bobtail 下层社会

　　4.numbern.乐曲［例］ My sister sang several numbers from the musical. 我姐姐唱了歌舞片里的几部选曲。

　　5.subliminala.下意识的，潜在意识的

　　6.legionn.大批，一大群人［例］ a legion of admirers 一群仰慕者

　　7.frenzyn.狂暴，狂乱［例］ In a frenzy of hate he killed the boss and revenged his friend.在一阵痛恨的狂乱中，他杀死了老板，为朋友报了仇。

　　8.trio三人一组，三件一套；三重奏，三重唱

　　-难句注释

　　(1)There were half a dozen dismal, … and novelty numbers.

　　【解析】复合句。关系副词where 引导定语从句。

　　【译文】有六、七场沉闷的夜间演出，观众寥寥无几。乐队又在丹佛的一家舞厅演出了三个星期，不得已演奏了华尔兹、探戈及一些新奇的舞曲。

　　(2)Before the weeks at the Palomar were over, … and others—into a popular music.

　　【解析】注意此处make sth. into sth. 的结构表示“将……变成了……”。

　　【译文】很清楚，在帕罗玛几个星期的演出结束之前，Goodman 突然间将爵士乐——一种尚不明确的很大程度上是潜意识的美国民间音乐，尽管有早先十年中Jelly Roll Morton 和其他人的卓越创造——变成了一种通俗音乐。

　　(3)It was the first great American show frenzy, … frenzies of the Seventies and Eighties.

　　【解析】句中三个介词for后接三个并列成分。

　　【译文】那是美国第一次由于演出引发的狂热现象，后来又出现了1947年的Sinatra狂热，披头士合唱队狂热及七十年代和八十年代忘我的摇滚演出狂热。

　　(4)Despite the immediate rumblings … even further up the American popular register.

　　【解析】 “if noise, speed and beat, all old devices, are heat”是插入语。despite: 介词，意为：不管，不顾；the Times: 美国《时代》杂志；in the long run: 最后，终究；register 此处意为：记录。

　　【译文】尽管美国《时代》杂志古典乐评论家Olin Downes 立即发出批评怨言，(“如果噪音、快速的音乐节奏和节拍以及所有的旧乐器就意味着热烈，昨天晚上的演出很‘热’，却毫无意义，终究无疑是单调乏味”)，Goodman 的音乐会推进了爵士乐在美国通俗乐中的地位。

　　-全文精译

　　爵士乐的流行

　　1935年，只有26岁的单簧管演奏者兼乐队指挥 Benny Goodman率领由14件乐器组成的“摇摆”乐队，乘坐不甚显耀的车队离开纽约，前往(head for)洛杉矶巨大的巴罗默演奏厅。这是一次艰难的跋涉(be not an easy trip)。有六、七场(half a dozen)沉闷的(dismal)夜间演出，观众寥寥无几(sparsely attend)。乐队又在丹弗的一家舞厅演出了三个星期，不得已(be forced to)演奏了华尔兹、探戈及一些新奇的乐曲。在巴罗默首场演出晚会上，乐队首先演奏了芭蕾曲，却没有得到舞友的回应。一位乐师说：要想制造爆炸性效果就制造点新花样吧！Goodman便要求(call for)乐队演奏狂热、快速的改编乐曲，其中许多曲子是这位天才的黑人乐队指挥和乐曲改编者Fletcher Henderson演奏的。年轻人们都不跳舞了，他们全欢呼着围到了演奏台周围。很清楚，在帕罗马几个星期的演出结束前，Goodman突然将爵士乐——尽管在此前10年中Jelly Roll Morton和其他人都有卓越的创作，爵士乐当时仍然没有为人们所接受、在很大程度上仍然是潜意识的美国民间音乐——变成了一种通俗音乐。

　　Goodman令人惊奇的方式继续着。1936年，他邀请两位黑人乐师——优雅的钢琴演奏家(the elegant pianist)和专注的(the plunging)电颤琴演奏家Lione Hampton——加盟，这极大地影响了(shake up)白人娱乐圈。(而事实上(to be sure)，两位黑人乐师都没有在乐队中演奏，只是在演奏间歇时同Goodman和鼓手Gene Krupa一起露露面。)一年后，当乐队入驻纽约市派拉蒙剧院演奏三周，大群年轻人到场，他们尖叫着、狂舞着，几乎发生了混乱。那是美国第一次由于演出引发的狂热现象(show frenzy)，它为后来出现的1947年的西纳特拉狂热、披头士合唱队狂热和70、80年代忘我的摇滚乐产生的狂热铺平了道路。

　　接着，1938年1月16日晚，Goodman率领乐队进入已卖出的卡耐基大厅，对古典音乐发起挑战。庞大的乐队演奏了十多首乐曲、两曲三重奏、五曲四重奏。尽管美国《时代》杂志古典音乐评论家Olin Downes立即提出批评(“昨天晚上的演奏，如果噪音、快速的音乐节奏和节拍以及所有的旧乐器就意味着热烈，昨天晚上的演出很“热”，却毫无意义(nothing come of it all)，终究无疑是单调乏味(monotonous)”)， Goodman的音乐会进一步提高了爵士乐在美国通俗乐中的影响。

　　-答案详解

　　1. 【正确答案】［D］ about how jazz became popular in America.

　　【本题考点】主旨大意题。

　　【试题精解】本文主要讲述音乐家Benny Goodman如何使爵士乐成为一种美国通俗音乐。选项［A］“爵士乐概观”和［B］ “Benny Goodman传记”都涉及面太宽，所以不选。选项［C］“美国民族音乐的起源”与本文大意无关。

　　【考点出处】

　　2. 【正确答案】［C］ Benny Goodman was unknown to public when he left New York.

　　【本题考点】细节判断题。

　　【试题精解】此题可利用排除法来做。文章第一段提到在洛杉矶巴罗默演奏厅的演出是一次艰难的跋涉，因此可排除选项［A］。文中还提到在此前10年中其他人在爵士乐方面也有卓越的创作，故排除［B］项。文章还提到乐队不得已演奏了华尔兹、探戈及新奇的乐曲。由此排除［D］。而选项［C］中说Benny Goodman悄悄离开纽约恰合题意，故选［C］。

　　【考点出处】文中第一段。

　　3. 【正确答案】［A］ Jazz is a style of music native to America.

　　【本题考点】推理暗示题。

　　【试题精解】根据文章第一段末句“...still a suspect and largely subliminal American folk music...”可以推断：爵士乐是源于美国一种音乐风格。

　　【考点出处】第一段末句。

　　4. 【正确答案】［B］ to make changes to an organization.

　　【本题考点】主旨大意题。

　　【试题精解】 shake up在语境中意为：大力整顿，重组，使受到变动很大的安排或组织。分析四个选项可知只有［B］项合乎题意，故选［B］。

　　【考点出处】根据语境及上下文联系推断词组意思。

　　5. 【正确答案】［B］ satirizing attitude.

　　【本题考点】语义归纳题。

　　【试题精解】文章所引用的Olin Downes 的话，显然是一段针对Goodmans 乐队演出的讽刺性的评论。因此本题的正确答案是［B］。

　　【考点出处】通过对全文的归纳总结来分析人物的态度，关键信息在最后一段。