?自考英語二（下）課文翻譯之unit5

自考英語二（下）課文翻譯之unit5

Unit Five What Is a Decision ?

何為決策?

The new music was built out of materials already in existence: bules, rock'n'roll, folk music. But although the forms remained, something completely new and original was made out of these older element s — 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.

新音樂是從已有的音樂：布魯斯，搖滾樂，民間音樂中產(chǎn)生的。雖然新音樂保留了原有的形式， 但某些全新的、 獨創(chuàng)性的東西從舊的成分中脫穎而出的——它們也許比新音樂家意識到的還要更富有獨創(chuàng)性。這個變革發(fā)生在1966-1967年間。那個時候以前， 布魯斯基本上一直是黑人的音樂表達方式。由它衍生出的搖滾樂是節(jié)奏性很強的舞蹈音樂。 而民間音樂， 既有古老又有現(xiàn)代的， 在大學(xué)生中頗為流行。 這三種音樂形式在音樂和文化方而都各不相同，甚至直到 1965年，它們中任何一個都沒有表達任何全新的意識境界。布魯斯表現(xiàn)黑人的心靈， 搖滾是年輕活力的節(jié)拍，民樂除表現(xiàn)愛情與希望外，還表現(xiàn)反戰(zhàn)情緒。

In 1966-1967 there was spontaneous transformation . In the United States, it originatedwith 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 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 band s' own music. And all of the groups moved towards a broader eclecticism and synthesis. They freely took over elements from jazz, from America 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.

自發(fā)的變革出現(xiàn)在 1966 年到 1967 年間。在美國，舊金山的年輕搖滾樂隊發(fā)起了這場變革; 在英國，被公認是極其完美和非常獨特的披頭士搖滾樂隊領(lǐng)導(dǎo)了這股新潮流。所發(fā)生的情況，如用言詞盡可能地表達出來是這樣的：首先，分離的音樂傳統(tǒng)被結(jié)合起來了。 鮑伯.狄倫和杰弗遜飛機隊演奏民歌搖滾樂，將民歌思想與搖滾節(jié)奏結(jié)合在一起。 白人搖滾樂隊開始嘗試演奏布魯斯。 當然，白人音樂家雖然已經(jīng)一直在演奏布魯斯，但基本上只是模仿黑人音樂的風格。而現(xiàn)在，它開始變成白人樂隊自己的音樂了。 所有的樂隊都朝著更廣泛的折衷主義和結(jié)合主義的方向前進。 他們自由地吸收爵士音樂、 美國鄉(xiāng)土音樂的成分， 而隨著時間的推移，他們甚至對各種各樣的音樂兼收并蓄， 最后發(fā)展成一種能輕松采取多種形式的、幾乎有無窮表現(xiàn)力的新音樂。

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 an; 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樂隊都開始使用全套的電子樂器和電子揚聲器技術(shù)。電吉他是一種老式樂器，但新的電子效果迥然不同——如此不同，以致1967 年一位新聽眾可能感覺以前在世界上從沒有聽過像這樣的聲音。事實上，電子技術(shù)的確能合成那時任何樂器也無法奏出的聲音。在錄音室錄制時， 新技術(shù)有可能制作出甚至電子樂隊現(xiàn)場表演時也演奏不出的效果。電子揚聲器也能使音量有驚人的增大，音樂變得那么宏亮，那么富有穿透力，極盡人的耳朵承受之能，從而達到了一種“整體”效果。因此，觀眾不再是被動地聽，而是完全參與，他們?nèi)硇牡馗惺芤魳罚绨V如醉。

Third,the music becomes a multi-media experience; a part of a total environment. The walls of the ballrooms were covered with changing pattern s 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，音樂變成一種多媒體的感受， 成了整體環(huán)境的一部分。 舞廳的墻壁上布滿變幻無常的燈光圖案，這也是燈光表演這門新藝術(shù)的開始。觀眾并不坐著，而是隨著音樂起舞。 在家里欣賞唱片時候聽眾盡力模仿照明效果，甚至服用毒品來增強整個音樂享受的快感。 音樂常在戶外演奏， 在那兒大自然則提供了周圍的環(huán)境。

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