首页
外语
计算机
考研
公务员
职业资格
财经
工程
司法
医学
专升本
自考
实用职业技能
登录
外语
American Jazz Musician Louis Armstrong Armstrong was born in New Orleans. He was so poor during his childhood that sometimes
American Jazz Musician Louis Armstrong Armstrong was born in New Orleans. He was so poor during his childhood that sometimes
admin
2014-01-09
36
问题
American Jazz Musician Louis Armstrong
Armstrong was born in New Orleans. He was so poor during his childhood that
sometimes【1】garbage cans for supper. 【1】______
Ⅰ. The spirit of Armstrong’s world not【2】by: 【2】______
1) the【3】of poverty and 【3】______
2) the dangers of wild living.
Ⅱ. Armstrong’s life before 1920s:
1) Armstrong’s dancing for pennies and【4】for his supper【4】______
with a strolling quartet of other kids.
2) Having his dreams like other American boys, regardless of his point of social【5】. 【5】______
3) The places he played and the people he knew were sweet
and【6】at one end of the spectrum and rough at the other. 【6】______
4) Experiences, pomp, humor, erotic charisma, grief, majesty, the profoundly gruesome and monumentally spiritual came into his【7】. 【7】______
Ⅲ. Armstrong’s life from 1920 on:
1) Armstrong would be angry if somebody intended to challenge him.
2) Musicians were used to have "cutting sessions": battles of【8】and stamina. 【8】______
3) The melodic and rhythmic vistas Armstrong【9】solved the mind-body problem. 【9】______
Louise Armstrong was so great that the big bands sounded like him, their featured improvisers took direction from him, and every school of jazz since has had to address how
he【10】the basics of the idiom-swing, blues, ballads and Afro-Hispanic rhythms. 【10】______
【9】
American Jazz Musician Louis Armstrong
Today, I am going to talk about the American Jazz Father Louis Armstrong. He had perfect pitch and perfect rhythm. His improvised melodies and singing could be as lofty as a moon flight or as lowdown as the blood drops of a street thug dying in the gutter. Like most of the great innovators in jazz, he was a small man. But the extent of his influence across jazz, across American music and around the world has such continuing stature that he is one of the few who can easily be mentioned with Stravinsky, Picasso and Joyce. His life was the embodiment of one who moves from rags to riches, from anonymity to internationally imitated innovator. Louis Daniel Armstrong supplied revolutionary language that took on such pervasiveness that it became commonplace, like the light bulb, the airplane, the telephone.
That is why Armstrong remains a deep force in our American expression. Not only do we hear him in those trumpet players who represent the present renaissance in jazz-Wynton Marsalis, Wallace Roney, Terence Blanchard, Roy Hargroye, Nicholas Payton-we can also detect his influence in certain rhythms that sweep from country-and-western music all the way over to the chanted doggerel of rap.
For many years it was thought that Armstrong was born in New Orleans on July 4,1900, a perfect day for the man who wrote the musical Declaration of Independence for Americans of this century. But the estimable writer Gary Giddins discovered the birth certificate that proves Armstrong was born Aug. 4, 1901. He grew up at the bottom, hustling and hustling, trying to bring something home to eat, sometimes searching garbage cans for food that might still be suitable for supper. The spirit of Armstrong’s world, however, was not dominated by the deprivation of poverty and the dangers of wild living.
What struck him most, as his memoir, Satchrno: My Life in New Orleans, attests, was the ceremonial vigor of the people. Ranging from almost European pale to jet black, the Negroes of New Orleans had many social clubs, parades and picnics. With rags, blues, snippets from opera, church music and whatever else, a wide breadth of rhythm and tune was created to accompany or stimulate every kind of human involvement. Before becoming an instrumentalist, Armstrong the child was either dancing for pennies or singing for his supper with a strolling quartet of other kids who wandered New Orleans freshening up the sub-tropical evening with some sweetly harmonized notes.
He had some knucklehead in his soul too. While a genial fountain of joy, Armstrong was a street boy, and he had a dirty mouth. It was his shooting off a pistol on New Year’s Eve that got him thrown into the Colored Waifs’ Home, an institution bent on refining ruffians. It was there that young Louis first put his lips to the mouthpiece of a comet. Like any American boy, no matter his point of social origin, he had his dreams. At night he used to lie in bed, hearing the masterly Freddie Keppard out in the streets blowing that golden horn, and hope that he too would someday have command of a clarion sound.
The sound developed very quickly, and he was soon known around New Orleans as formidable. The places he played and the people he knew were sweet and innocent at one end of the spectrum and rough at the other. He played picnics for young Negro girls, Mississippi riverboats on which the white people had never seen Negroes in tuxedos before, and dives where the customers cut and shot one another. One time he witnessed two women fighting to the death with knives. Out of those experiences, everything from pomp to humor to erotic charisma to grief to majesty to the profoundly gruesome and monumentally spiritual worked its way into his tone. He became a beacon of American feeling.
From 1920 on, he was hell on two feet if somebody was in the mood to challenge him. Musicians then were wont to have "cutting sessions" -battles of imagination and stamina. Fairly soon, young Armstrong was left alone. He also did a little pimping but got out of the game when one of his girls stabbed him. With a trout sandwich among his effects, Armstrong took a train to Chicago in 1922, where he joined his mentor Joe Oliver, and the revolution took place in fall form. King Oliver and his Creole Jazz Band, featuring the dark young powerhouse with the large mouth, brought out the people and all the musicians, black and white, who wanted to know how it was truly done. The most impressive white musician of his time, Bix Beiderbecke, jumped up and went glassy-eyed the first time he heard Armstrong.
When he was called to New York City in 1924 by the big-time bandleader Fletcher Henderson, Armstrong looked exactly like what he was, a young man who was not to be fooled around With and might slap the taste out of your mouth if you went too far. His improvisations set the city on its head. The stiff rhythms of the time were slashed away by his combination of the percussive and the soaring. He soon returned to Chicago, perfected what he was doing and made one record after another that reordered American music, such as Potato Head Blues and I’m a Ding Dong Daddy. Needing more space for his improvised line, Armstrong rejected the contrapuntal New Orleans front line of clarinet, Trumpet and trombone in favor of the single, featured horn, which soon Became the convention. His combination of virtuosity, strength and passion was unprecedented. No one in Western music-not even Bach-has ever set the innovative pace on an instrument, then stood up to sing and converted the vocalists. Pops. Sweet Papa Dip. Satchmo. The melodic and rhythmic vistas Armstrong opened up solved the mind-body problem as the world witnessed how the brain and the muscles could work in perfect coordination on the aesthetic spot. Apollo and Dionysus met in the sweating container of a genius from New Orleans whose sensitivity and passion were epic in completely new terms. In his radical reinterpretations Armstrong bent and twisted popular songs with his horn and his voice until they were shorn of sentimentality and elevated to serious art. He brought the change agent of swing to the world, the most revolutionary rhythm of his century. He learned how to dress and became a fashion plate, His slang was the lingua franca. Oh. he was something.
Louise Armstrong was so much, in fact, that the big bands sounded like him, their featured improvisers took direction from him, and every school of jazz since has had to address how he interpreted the basics of the idiom swing, blues, ballads and Afro-Hispanic rhythms. While every jazz instrumentalist owes him an enormous debt, singers as different as Bing Crosby, Billie Holiday Ella Fitzgerald Sarah Vaughan, Frank Sinatra, Eh, is Presley and Marvin Gaye have Armstrong in common as well. His freedom, his wit, his discipline, his bawdiness, his majesty and his irrepressible willingness to do battle with deep sorrow and the wages of death give his music a perpetual position in the wave of the future that is the station of all great art.
选项
答案
opened up
解析
转载请注明原文地址:https://kaotiyun.com/show/cvZO777K
0
专业英语八级
相关试题推荐
Thecash-for-clunkersprogramturnedouttobeaboonforAsianautomakersandthesmallcarstheyspecializein.WhileAmerican
Itiscommonforstudentsinhighschooltowonderifcollegeeducationisreallyimportant.Manyhighschoolstudentsdon’ten
Itseemstomethatallwriters,includingthosewhodeservetobeclassifiedasgeniuses,needencouragement,particularlyint
美国华裔子女几乎都走过这样一段路。上初中高中时,特别反感父母给予的中国教育,彼此瞧不起具有中国背景的同代人。这段时间,华裔父母最紧张、最迷失,纷纷检讨自我教育的失败。然而,到了大学,事情却发生变化。做得越过分的孩子,越与有华裔背景的同学交往,不是因为他们与
WhatarethenamesofthetwoHousesofAustralianParliament?
在西方国家,特别是在美国,人们往往认为时间是和大自然混成一体的,是一件人们逃脱不了的东西.通常,美国人把时间看作是一条大道,或者像一条丝带,向前伸展,通向未来,人们沿着这条时间的大道向前迈进.这条大道又分成很多支道,各管各的事,叫做“在一个时间做一个事情”
Note-takinginLecturesbForlisteners,note-takingisanessentialwaytoachievebetterunderstandingofalecture.Itinv
AscientistIntoday’ssocietywearenowseeingmorechildrenundertheageoftwelvedevelopingeatingdisorders.Itisestima
Pen-palLetters:TheCross-curricularExperienceIaskedmycousin,ateacherinTucson,Arizona,tohaveourclassesbecome
A、Manyprofessionalwomenlaunchtheircareersfirst,thenhavechildrenlater.B、Peopleinthiscountryspendlesstimewithfr
随机试题
股三角
新形势下人民军队的职能使命不断拓展,因此,其根本职能也随之发生了变化。
A.胃小弯B.胃大弯C.胃后壁D.胃窦部E.幽门附近溃疡病大出血的好发部位为
目前我国对流行病学的定义是
(2017年真题)秦简《法律答问》记载:“甲小未盈六尺,有马一匹自牧之,今马为人败,食人稼一石,问当论不当?不当论及偿稼。”依照该解答,秦律判断责任能力的标准是()。
当水平悬吊的主、干风管长度超过()m时,应设置防止摆动的固定点,每个系统不应少于1个。
下列选项中,不属于现代项目管理方法的是()。
企业在发行可转换债券时,可通过赎回条款来避免市场利率大幅下降后仍需支付较高利息的损失。()
物流组织结构进入第五阶段,就是对整个供应链渠道中的各独立法律实体之间的物流活动进行管理。()
天文学家一直假设,宇宙中的一些物质是看不见的。研究显示:许多星云如果都是由能看见的星球构成的话,它们的移动速度要比任何条件下能观测到的快得多。专家们由此推测:这样的星云中包含着看不见的巨大物质,其重力影响着星云的运动。以下哪项是题干的议论所假设的
最新回复
(
0
)