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Proponents of different jazz styles have always argued that their predecessors’ musical style did not include essential characteristics that define jazz as jazz. Thus, 1940’s swing was belittled(belittle v. 轻视;贬低) by beboppers of the 1950’s, who were themselves attacked by free jazzers of the 1960’s. The neoboppers of the 1980’s and 1990’s attacked almost everybody else. The titanic figure of Black saxophonist John Coltrane has complicated the arguments made by proponents of styles from bebop through neobop because in his own musical journey he drew from all those styles. His influence on all types of jazz was immeasurable. At the height of his popularity, Coltrane largely abandoned playing bebop, the style that had brought him fame, to explore the outer reaches of jazz.
Coltrane himself probably believed that the only essential characteristic of jazz was improvisation, the one constant in his journey from bebop to open-ended improvisations on modal, Indian, and African melodies. On the other hand, this dogged(dogged adj. 顽强的;顽固的) student and prodigious(prodigious adj. 巨大的;惊人的;使人印象深刻的) technician—who insisted on spending hours each day practicing scales from theory books—was never able to jettison completely the influence of bebop, with its fast and elaborate chains of notes and ornaments on melody.
Two stylistic characteristics shaped the way Coltrane played the tenor saxophone, he favored playing fast runs of notes built on a melody and depended on heavy, regularly accented beats. The first led Coltrane to “sheets of sound,” where he raced faster and faster, pile-driving notes into each other to suggest stacked harmonies. The second meant that his sense of rhythm was almost as close to rock as to bebop.
Three recordings illustrate Coltrane’s energizing explorations. Recording Kind of Blue with Miles Davis, Coltrane found himself outside bop, exploring modal melodies. Here he played surging, lengthy solos built largely around repeated motifs—an organizing principle unlike that of free jazz saxophone player Ornette Coleman, who modulated or altered melodies in his solos. On Giant Steps, Coltrane debuted(debut v. 初次登台) as leader, introducing his own compositions. Here the sheets of sound, downbeat accents, repetitions, and great speed are part of each solo, and the variety of the shapes of his phrases is unique. Coltrane’s searching explorations produced solid achievement. My Favorite Things was another kind of watershed. Here Coltrane played the soprano saxophone, an instrument seldom used by jazz musicians. Musically, the results were astounding. With the soprano’s piping sound, ideas that had sounded dark and brooding(brood v. 沉思;孵卵) acquired a feeling of giddy(giddy adj. 头晕眼花的) fantasy.
When Coltrane began recording for the Impulse! label, he was still searching. His music became raucous, physical. His influence on rockers was enormous, including Jimi Hendrix, the rock guitarist, who, following Coltrane, raised the extended guitar solo using repeated motifs to a kind of rock art form.
22.
The author implies that which of the following would have been an effect of Coltrane’s having chosen to play the tenor rather than the soprano saxophone on My Favorite Things?
(A) The tone of the recording would have been more somber(somber adj. 忧郁的;昏暗的).
(B) The influence of bebop on the recording would have been more obvious.
(C) The music on the recording would have sounded less raucous and physical.
(D) His influence on rock music might have been less pervasive.(A)
(E) The style of the recording would have been indistinguishable from that on Kind of Blue.
我后来查了字典发现 tenor 是男高音 soprano是女高音 用男高音代替女高音貌似是会使tone变得somber.但是如果考试的时候,我不认识这两个词怎么办呢.
而且我觉得E很好呀,换成男高音就和以前一样了,没有特点了.为什么要选A呢???
by the way, 上网一查,这篇被改成考研题了,原文都没动,只是把题改了改...完全剽窃人家的脑力劳动成果,可鄙可耻! |
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