2013年自考英語(yǔ)(二)課文譯文:新音樂(lè)

　　新音樂(lè)

　　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.

　　新音樂(lè)是在已有的音樂(lè)素材上發(fā)展起來(lái)的：它們是布魯斯音樂(lè)、搖滾樂(lè)、美國(guó)民間音樂(lè)。新音樂(lè)雖然保留了原有的形式，但卻在上述幾種較老的形式上推出了全新的，具有獨(dú)創(chuàng)性的內(nèi)容，其創(chuàng)新的力度連新音樂(lè)家們自己也始料不及。這種革新是發(fā)生1966～1967年。在那之前，布魯斯音樂(lè)一直是黑人表達(dá)憂傷情感的主要形式。由布魯斯音樂(lè)派生出的搖滾樂(lè)是富有節(jié)奏感的舞曲音樂(lè)，民間音樂(lè)無(wú)論是老歌還是新曲頗受大學(xué)生的歡迎。這三種音樂(lè)從音樂(lè)和文化的角度來(lái)看都特色鮮明。直到1965年，三種音樂(lè)都沒(méi)有反映出全新的意識(shí)形態(tài)。布魯斯音樂(lè)表達(dá)的是黑人的思想情感;搖滾樂(lè)表現(xiàn)的是青年人的勃勃活力;民間音樂(lè)則表達(dá)的是反戰(zhàn)情感和愛(ài)與希望。

　　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年音樂(lè)發(fā)生了自發(fā)性轉(zhuǎn)變。在美國(guó)，這種轉(zhuǎn)變起源于在舊金山演出的充滿青春氣息的搖滾樂(lè)隊(duì);在英國(guó)，皮頭士(甲殼蟲(chóng))樂(lè)隊(duì)則是這場(chǎng)變革的領(lǐng)頭羊，此時(shí)它已發(fā)展成非常優(yōu)秀的極具個(gè)性的搖滾樂(lè)隊(duì)。當(dāng)時(shí)發(fā)生的情景，如用語(yǔ)言可能表達(dá)出來(lái)是這樣的：首先是將分類的音樂(lè)流派融合在一起，鮑勃?狄倫和杰弗遜飛機(jī)樂(lè)隊(duì)演奏了民間搖滾樂(lè)，一種伴有搖滾節(jié)奏的民間音樂(lè)。白人搖滾樂(lè)隊(duì)開(kāi)始嘗試演奏布魯斯音樂(lè)。當(dāng)然，在這之前白人樂(lè)手經(jīng)常演奏布魯斯，但基本上是模仿黑人的風(fēng)格。但這時(shí)這種融合演奏開(kāi)始成為白人樂(lè)隊(duì)自己的音樂(lè)。所有這些樂(lè)隊(duì)都向更寬的折中和相互融合的方向發(fā)展，他們隨意繼承了爵士樂(lè)與美國(guó)鄉(xiāng)村音樂(lè)的成分，隨著時(shí)間的推移，他們借鑒了甚至更多種類的素材，發(fā)展成為一種形式豐富多彩、表現(xiàn)內(nèi)容幾乎無(wú)所不能的音樂(lè)。

　　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.

　　發(fā)生的第二件事是所有的樂(lè)隊(duì)都開(kāi)始使用全套的電子樂(lè)器和電子擴(kuò)音技術(shù)。電子吉他是件老式的樂(lè)器，但同新的電子音響合在一起效果截然不同，使一位1967年新聽(tīng)到這種音響的聽(tīng)眾覺(jué)得，世界上以前可能從未有過(guò)這樣的聲音。的確，電子技術(shù)使這種聲響成為可能，直到那時(shí)，沒(méi)有任何樂(lè)器能夠奏出這樣的聲音。在錄音室制作錄音時(shí)，新技術(shù)能制作出甚至電子樂(lè)隊(duì)現(xiàn)場(chǎng)表演都演奏不出的效果。電子放大器能讓音量有驚人的增大，使音樂(lè)變得盡量響和有穿透力，而人耳又能夠承受，以此來(lái)實(shí)現(xiàn)“整體”效果。所以，聽(tīng)眾不再是被動(dòng)的聽(tīng)眾，而是全身心參與的聽(tīng)眾，感受到音樂(lè)正撼動(dòng)著他們每一處神經(jīng)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，音樂(lè)成了多媒體的體驗(yàn)，音樂(lè)成為整個(gè)場(chǎng)景的一部分，舞廳墻壁上的燈光變幻不定，燈光表演這種新藝術(shù)就是這樣開(kāi)始的。聽(tīng)眾們不是翹首而坐，而是邊聽(tīng)邊舞。隨著家庭有了唱盤(pán)，聽(tīng)眾就盡力去模仿這種照明效果，甚至用藥物來(lái)強(qiáng)化這種整體感受。通常音樂(lè)在戶外演奏，在戶外，大自然提供了這種環(huán)境。

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