篇一:《How we listen to music中文翻译》
How we listen to music
Aaron Copland
1. We all listen to music according to our separate capacities. But, for the sake
of analysis, the whole listening process may become clearer if we break it up into its component parts, so to speak. In a certain sense we all listen to music on three separate planes. For lack of a better terminology, one might name these: (1) the sensuous plane, (2) the expressive plane, (3) the sheerly musical plane. The only advantage to be gained from mechanically splitting up the listening process into these hypothetical planes is the clearer view to be had of the way in which we listen.
我们都根据各自的能力来听音乐。但是，为了便于分析，如果我们将听的整个过程分成几个组成部分的话，那就会更加清楚了。在某种程度上，我们听音乐分成三个不同的层面，因找不到更好地术语，我姑且把他们命名为：（1）感官层面（2）表义层面（3）纯音乐层面。我把听音乐的过程机械地分成以上假设的三个层面，纯粹是为了更清楚地了解我们是怎样听音乐的。
2. The simplest way of listening to music is to listen for the sheer pleasure of
the musical sound itself. That is the sensuous plane. It is the plane on which we hear music without thinking, without considering it in any way. One turns on the radio while doing something else and absent-mindedly bathes in the sound. A kind of brainless but attractive state of mind is engendered by the mere sound appeal of the music.
最简单的听音乐的方式就是听乐声给我们带来的纯粹的愉悦，这是感官层面。在这个层面上，我们只听音乐而不用思考。打开收音机，一边忙别的事情，一边心不在焉地沐浴在音乐声中。这种心不在焉但美妙的身心状态是由乐声的魅力引起的。
3. You may be sitting in a room reading this book. Imagine one note struck on
the piano. Immediately that one note is enough to change the atmosphere of the room——proving that the sound element in music is a powerful and mysterious agent, which it would be foolish to deride or belittle.
你可能正在房间里读这本书。想象着一个音符敲击在钢琴上。瞬间整个房间的氛围都随之改变——这表明了声音在音乐中是强大而神秘的元素，谁嘲笑或轻视这一点，谁就显得愚蠢。
4. The surprising thing is that many people who consider themselves qualified
music lovers abuse that plane in listening. They go to concerts in order to lose themselves. They use music as a consolation or an escape. They enter an ideal world where one doesn't have to think of the realities of everyday life. Of course they aren't thinking about the music either. Music allows them to leave it, and they go off to a plane to dream, dreaming because of and apropos of the music yet never quite listening to it.
令人奇怪的是，很多自认为合格的音乐爱好者在听音乐时滥用了这一层面。他们去音乐厅是为了忘却自我。他们把音乐作为一种安慰或解脱。
他们进入了一个理想的境界，在这个境界里他们不必考虑现实生活。当然，他们同样也没有考虑音乐。音乐允许他们逃离现实，到另一个地方去做梦，因为音乐而做梦，做有关音乐的梦，却从没真正欣赏过音乐。
5. Yes, the sound appeal of music is a potent and primitive force, but you must
not allow it to usurp a disproportionate share of your interest. The sensuous plane is an important one in music, a very important one, but it does not constitute the whole story.
的确，音乐的声音魅力是一种强大而原始的力量，但是千万不要让它不合比例地侵占你的兴趣。感观层面是音乐中重要的一层——非常重要——但并不是音乐的全部。
6. There is no need to digress further on the sensuous plane. Its appeal to
every normal human being is self evident. There is, however, such a thing ① as used by various composers. For all composers do not use that sound stuff in the same way. Don't get the idea that the value of music is commensurate with its sensuous appeal or that the loveliest sounding music is made by the greatest composer. If that were so, Ravel would be a greater creator than Beethoven. The point is that the sound element varies with each composer, that his usage of sound forms an integral part of his style and must be taken into account when listening. The reader can see, therefore, that a more conscious approach is valuable even on this primary plane of music listening.
没必要在感官层次上再扯远了。声音的魅力对每一个正常人来说都是不言而喻的。然而，不同的发音材料①被不同的作曲家所使用时就变得更加有感染力，所有的作曲者不可能按同一种方式组织材料。不要以为音乐的价值就与他的感官感染力相称，不要以为最美丽动听的音乐是由伟大的作曲家创造的。如果你认为以上观点可能的话，那么拉维尔是比贝多芬还要伟大的创作者。重点是，声音要素因作曲者不同而不同，他对声音形式的使用方式组成他风格的不可分割的一部分。在听音乐时，所有这些都必须考虑在内。因此，读者可以看到，即使在听音乐的这个最基础的层面上，也值得采取更有意识地聆听方式。
7. The second plane on which music exists is what I have called the
expressive one. Here, immediately, we tread on controversial ground. Composers have a way of shying away from any discussion of music's expressive side. Did not Stravinsky himself proclaim that his music was an "object", a "thing", with a life of its own, and with no other meaning than its own purely musical existence? This intransigent attitude of Stravinsky's may be due to the fact that so many people have tried to read different meanings into so many pieces. Heaven knows it is difficult enough to say precisely what it is that a piece of music means, to say it definitely, to say it finally so that everyone is satisfied with your explanation. But that should not lead one to the other extreme of denying to music the right to be "expressive".
音乐存在的第二层面就是我所谓的表义层面。谈到这里，我们立即会碰到引起争议的问题。作曲家们总是设法避开任何有关音乐表义层面的讨论。Stravinsky他自己不也声称他的音乐是一个“物体”，意见本身具有生命的“东西”，除了作为音乐本身存在再没有其他意义了吗？Stravinsky的这种不妥协的态度大约源于这样一种现实吧：有如此多的人试图对如此多的作品加以不同的解读。天知道要想用自己的解释精确地、明确地、最终地说清一个作品的意义并让所有人满意是多么困难的事！但是我们并不能因此走向另一个极端，不能去剥夺音乐“表义”的权利。
8. My own belief is that all music has an expressive power, some more and
some less, but that all music has a certain meaning behind the notes and that that meaning behind the notes constitutes, after all, what the piece is saying, what the piece is about. This whole problem can be stated quite simply by asking, "Is there a meaning to music?" My answer to that would be, "Yes." And "Can you state in so many words what the meaning is?" My answer to that would be, "No." Therein lies the difficulty.
我认为所有的音乐都有表义能力，有些强，有些弱。但是所有的音乐在每个音符和音符组成背后都有一定的意义，毕竟，这一支曲子说了些什么？这一支曲子关于什么？整个问题可以通过问答来陈述。“音乐里有意义吗？”我的回答是“有”。“你能够用足够多的额词语把它陈述出来吗？”我的回答是“不能”。这就是问题所在。
9. Simple-minded souls will never be satisfied with the answer to the second
of these questions. They always want music to have a meaning, and the more concrete it is, the better they like it. The more the music reminds them of a train, a storm, a funeral, or any other familiar conception the more expressive it appears to be to them. This popular idea of music's meaning——stimulated and abetted by the usual run of musical commentator—— should be discouraged wherever and whenever it is met. One timid lady once confessed to me that she suspected something seriously lacking in her appreciation of music because of her inability to connect it with anything definite. That is getting the whole thing backward, of course.
头脑简单的人们对于第二个回答很不满意，他们总想着音乐有一定意义，而且越具体越好。这些音乐越是能令他们想象出火车、暴风雨、葬礼等或其他相类似概念，对他们来说越富有表现力。这种对音乐意义的比较流行的看法——通常是由普通的音乐评论家们的激发和唆使的——应该随时随地被制止。一位羞怯的女士曾经向我坦白，怀疑她自己缺乏音乐欣赏能力，因为她不能把音乐和某种明确的东西联系起来。这然是。。。并不会翻译╮(╯▽╰)╭
10. Still, the question remains. How close should the intelligent music lover
wish to come to pinning a definite meaning to any particular work? No closer than a general concept, I should say. Music expresses, at different moments, serenity or exuberance, regret or triumph, fury or delight. It
expresses each of these moods, and many others, in a numberless variety of subtle shadings and differences. It may even express a state of meaning for which there exists no adequate word in any language. In that case, musicians often like to say that it has only a purely musical meaning. They sometimes go father and say that all music has only a purely musical meaning. What they really mean is that no appropriate word can be found to express the music's meaning and that, even if it could, they do not feel the need of finding it.
但是，问题依然存在：那些明智的音乐爱好者在要求任何一首作品都具有明确的含义方面要走多远呢？应该说，充其量不过是一个笼统的概念。音乐在不同时刻表达不同的内容，或平静或激昂，或悔恨或成功，或愤怒或高兴。它都能表达出每一种不同的情绪。音乐中包含有数不清的细微差别，它所表达的思想状态，任何语言中都没有足够的词能够描述。在这种情况下，音乐家喜欢说音乐只有纯音乐的含义。他们有时候还更进一步，说一切音乐只有一个纯粹的音乐意义。他们的意思是：没有一个合适的词语能够表达音乐的意义，即使有，也没有必要去寻找它。
11. But whatever the professional musician may hold, most musical novices
still search for specific words with which to pin down their musical reactions. That is why they always find Tchaikovsky easier to "understand" than Beethoven. In the first place, it is easier to pin a meaning-word on a Tchaikovsky piece than on a Beethoven one. Much easier. Moreover, with the Russian composer, every time you come back to a piece of his, it almost always says the same thing to you, whereas with Beethoven it is often quite difficult to put your finger right on what he is saying. And any musician will tell you that this is why Beethoven is the greater composer. Because music which always says the same thing to you will necessarily soon become dull music, but music whose meaning is slightly different with each hearing has a greater chance of remaining alive.
但是，无论专业的音乐家持有什么观点，多数音乐新手仍然寻找具体的词语来表达他们的音乐反应。这就是为什么他们觉得柴可夫斯基比贝多芬更好“理解”。首先，对柴可夫斯基的作品比对贝多芬的作品更容易找到一个表达意义的词。其次，对于这位俄国作曲家，每次你回过头来再听他的作品，其意义都几乎是不变的，然而对于贝多芬，想要确切地说出其作品的意义却很困难。任何一个音乐家都会告诉你这就是为什么贝多芬更伟大。因为意义一成不变的音乐很快就会变成枯燥无味的音乐，而每次听都会有些微差别的音乐却能保持长久的生命力。
12. Listen, if you can, to the forty-eight fugue themes of Bach's Well Tempered
Clavichord (a piece of music composed by Bach with 48 preludes and ②throughout all keys). Listen to each theme, one after another. You ③will also soon realize that the more beautiful a theme seems to you, the
harder it is to find any word that will describe it to your complete satisfaction. Yes, you will certainly know whether it is a gay theme or a sad one. You will be able, in other words, in your own mind, to draw a frame of emotional feeling around your theme. Now study the sad one a little closer. Try to pin down the exact quality of its sadness. Is it pessimistically sad? Is it fatefully sad or smilingly sad?
可能的话，不妨听一听巴赫《协律钢琴曲》中的48个赋格主题。一个
③接一个地听每一个主题（主旋律），你会意识到每一个主题（主旋律）
反映了一个完全不同的情感世界。你也会很快意识到，你越觉得某个主题（主旋律）美妙，你越难以找地满意地词语去描述它。是的，你当然知道它的主题是悲伤的还是欢快的。换句话说，你能够在你的脑海里勾勒出一个围绕主题（主旋律）的情感框架。现在让我们更仔细研究一下悲伤的主题（主旋律），努力弄清楚悲伤的精确性质：它是悲观主义地悲伤？还是时运不济地悲伤？亦或是强颜欢笑地悲伤？
13. Let us suppose that you are fortunate and can describe to your own
satisfaction in so many words the exact meaning of your chosen theme. There is still no guarantee that anyone else will be satisfied. Nor need they be. The important thing is that each one feels for himself the specific expressive quality of a theme or, similarly, an entire piece of music. And if it is a great work of art, don't expect it to mean exactly the same thing to you each time you return to it.
假设你足够幸运，能够找到让自己满意的词语来描述你选定的主题（主旋律），你仍然不能保证其他人会满意。而且他们也没必要满意。重要的是，每个人都能感受到一个主题（主旋律）或一整部音乐的独特表现力。而且，如果这是一部伟大的艺术的话，就不要指望着你每次回味它，它都只能传达同一种意义。
14. Themes or pieces need not express only one emotion, of course. Take such
a theme as the first main one of the Ninth Symphony, for example. It is clearly made up of different elements. It does not say only one thing. Yet anyone hearing it immediately gets a feeling of strength, a feeling of power. It isn't a power that comes simply because the theme is played loudly. It is a power inherent in the theme itself. The extraordinary strength and vigor of the theme results in the listener's receiving an impression that a forceful statement has been made. But one should never try to boil it down to "the fateful hammer of life", etc. That is where the trouble begins. The musician, in his exasperation, says it means nothing but the notes themselves, whereas the nonprofessional is only too anxious to hang on to any explanation that gives him the illusion of getting closer to the music's meaning.
当然，主题（主旋律）或作品没必要只表达一种情感。拿第九交响乐为例，除了正主题（主旋律）之外，很明显，它由不同的主题部分构成。它也不仅阐明一个事情，虽然任何一个人乍一听到它都会有一种强劲有力的感受。这不仅仅是因为主题（主旋律）演奏的时候声音大而有力量，这是主题（主旋律）本身内在的力量。这主题非凡的力量和活力，给听
篇二:《暴风英语新课标英语高中必修2-Unit 5 Music 课文翻译》
新课标英语高中必修2
Unit 5 Music 课文翻译
并非乐队的乐队
你曾经想过要成为一个乐队里有名的歌手或音乐家吗？你是否曾梦想在音乐会上面对成千上万的观众演唱，观众欣赏你的演唱为你鼓掌吗？你唱卡拉OK时是否假装自己就是像宋祖英或刘欢一样著名的歌星呢？说实在的，很多人把名和利看得很重。那么，人们又是怎么样一起组成乐队的呢？
许多音乐家聚在一起组成乐队，是因为他们喜欢自己作曲，演奏自己的音乐。他们开始可能是一种中学生，在某个人家里排练音乐是成名的第一步。又是他们可能在街上或地铁里为过路者演奏，这样他们可以为自己或自己要买的乐器多挣一些钱。后来，他们可能在酒吧或者俱乐部里演出，这样他们可以得到现金。当然，他们希望在录音棚里录音，然后卖掉上百万张碟，从而成为百万富翁。
然而，也有一个用不同方式组建起来的乐队。这支乐队叫“门基乐队”，它开始时是以电视节目表演的形式出现的。组成乐队的音乐人演奏音乐，还彼此打趣逗笑。这些玩笑和音乐大多都在模仿“甲壳虫”乐队。电视制作人原计划想寻找四位会唱又会表演的乐手。他们在报纸上登了一则广告，想招摇滚手，但他们只招到一个满意的。乐队的其他三个人只能用演员来代替。
因为这些演员中有些人唱得不是很好，他们不得不依靠队里的其他人帮助。所以在演出的时候他们只是假唱。不管怎么样，他们的表演非常幽默以致于其他的乐队也开始模仿。他们非常走红使得歌迷们为了更加熟悉他们而成立了俱乐部。门基乐队每个星期都要在电视上演唱由别的音乐家创作的歌曲。然而，经过大约一年以后，门基乐队逐渐对自己的工作认真起来，他们开始像一只真正的乐队那样演唱自己创作的歌曲。然后他们录制自己的唱片，并且开始巡回表演他们自己的音乐。在美国，他们甚至比“甲壳虫”乐队还要受欢迎，出售的录音专辑比他们还要多。“门基乐队”大约在1970年左右解散，但是令人高兴的是，到80年代中期他们再次聚首。在1996年，他们推出了一张新的专辑，像真正的乐队一样以此来庆祝他们以往的时光。
弗雷迪和他的乐队（二）
弗雷迪和他的乐队成名后不久，就到英国作短暂的巡回演出去了。歌迷们表现出了极大的衷心，他们等几个小时来购买音乐会的门票。弗雷迪现在步入演出厅会感到非常自信。他很喜欢演唱，喜欢演出后的祝贺声！最令他感到激动的是受邀请参加叫做“顶级流行歌手”的电视节目中的那场表演。他得去伦敦，穿着昂贵的服装，对着电视摄像机演唱。哪种感觉真是不一般。而节目一完，这个房间里的电话铃声就开始响起来了。大家都问他们什么时候可以再次看到弗雷迪和他的乐队。他们真的成了歌星了！
后来情况可就不妙了。弗雷迪和他的乐队无论走到哪儿都有人跟踪。甚至他们带着太阳镜留着胡子时，人们也会认出他们来。即使他们上厕所，也会被歌迷发现。他们试图在图书馆的阅览室里躲藏起来，但这些都不管用。总有人在那儿等着！一些不认识他们的人也在不断地讨论他们的私生活，而且就像他们的密友一样在谈论他们。终于由于深感苦恼，神经高度紧张，弗雷迪和他的乐队意识到他们必须在自己感到太痛苦之前离开这个国家。因此，他们离开了英国，从此再也没有回去，又重新回到湖里去了。
篇三:《必修七课文翻译 Module 4 Music》
Module 4 Music Born in America
All You need to Know About Hip Hop
Part 1 .
What is hip hop and how did it start ?
Hip hop is an American cultural movement which started in the 1970s
at block parties in New York ,especially in a district called the Bronx.
There are four main aspects of hip hop :breakdance and graffiti art plus
two types of hip hop music---DJ—ing and rapping .
Rapping is also known as MC---ing（coming from the term master of ceremonies ）.
The DJs at block parties in the 1970s played a lot of soul music
and noticed that people preferred the percussion breaks in the songs
because they werethe best parts to dance to .
So they started repeating the percussion breaks .
This is a technique used by DJs in Jamaica .
There were a lot of Jamaicans in New York who brought the idea with them .
At first ，they played a lot of reggae.
Part 2 .
What was the big breakthrough ?
DJ Herc ,one of the most popular Jamaican DJs at the time ,
noticed that New York audiences didn’t really like reggae music,
so he started playing other kinds of music, including rock and disco music .
The percussion breaks were usually short , but Herc and other DJs
made them longer by using two records on two turntables , side by side .
Some of the DJs began speaking and shouting while the music played.
Shouting DJs became known as MCs . And so the style of music known
as rap was born .
At the beginning , MCs often performed for hours, repeating words
and phrases and then improvising.
Later, they experimented with different vocal and rhythmic approaches ,
using rhyming words , often words from African-American culture .
At the same time, people started breakdancing at block parties .
MC Dark Star remembers the first time he heard a rap singer .
“The moment I heard it, ” he said , “I knew it was a completely new
kind of music ”.
Part3 .
Why was hip hop so successful ?
There are two main reasons .
Firstly , it’s cheap and easy—you just ne