Tin Pan Alley
英文 音乐类型简介
摇滚
摇滚乐，英文全称为Rock' N' Roll'，兴起于 20世纪50年代中期，主要受到节奏布鲁斯、 乡村音乐和叮砰巷音乐的影响发展而来。早 期摇滚乐很多都是黑人节奏布鲁斯的翻唱版， 因而节奏布鲁斯是其主要根基。摇滚乐分支 众多，形态复杂，主要风格有：民谣摇滚、 艺术摇滚、迷幻摇滚、乡村摇滚、重金属、 朋克等，代表人物有：埃尔维斯·普莱斯利 （猫王）、鲍勃·迪伦、披头士乐队、滚石乐 队等，是20世纪美国大众音乐走向成熟的重 要标志。 中国摇滚乐兴起于80年代初，1986年崔健 以一首《一无所有》喊出了中国摇滚第一声。 90年代中期为中国摇滚的高峰期。
爵士乐
爵士乐（Jazz），于19世纪Байду номын сангаас20世纪初 源于美国，诞生于南部港口城市新奥尔 良，音乐根基来自布鲁斯（Blues）和拉 格泰姆（Ragtime）。爵士乐讲究即兴， 以具有摇摆特点的Shuffle节奏为基础， 是非洲黑人文化和欧洲白人文化的结合。 20世纪前十几年爵士乐主要集中在新奥 尔良发展，1917年后转向芝加哥，30年 代又转移至纽约，直至今天，爵士乐风 靡全球。爵士乐的主要风格有：新奥尔 良爵士、摇摆乐、比博普、冷爵士、自 由爵士、拉丁爵士、融合爵士等。
乡村音乐
乡村音乐（Country Music），一种具有 美国民族特色的流行音乐，于20世纪20 年代兴起于美国南部，其根源来自英国民 谣，是美国白人民族音乐代表。乡村音乐 的特点是曲调简单，节奏平稳，带有叙事 性，具有较浓的乡土气息。多为歌谣体、 二部曲式或三部曲式。乡村音乐为美国劳 动人民最喜爱的音乐形式之一。在美国， "蓝领"指的是下层人，故这种音乐又称" 蓝领音乐"。
流行音乐
流行音乐的几种风格特点
流行音乐的几种风格流行乐(pop music)流行乐(pop music)是属于流行音乐(Popular music)其中的一个音乐流派，从中期作为替代软摇滚，后来借贷20世纪50年代开发的摇滚音乐发展。
它有一个向商业唱片的焦点，并利用诸如多技术革新多轨录音和数字采样制作其他形式的影响最新变化对现有的主题。
虽然流行音乐(pop music)固定音乐风格仍然相当稳定，但流行音乐(pop music)也吸纳了流行音乐(Popular music) 大部分音乐流派音乐风格，(流行音乐(pop musi c)与流行音乐(Popular music)其他音乐流派如摇滚、Hiphop、乡村乐、民谣、爵士乐等拥有相对稳定音乐风格相比，(pop music)是一种非固定音乐风格流派，即使不是流行音乐(pop music)固定音乐风格，如拥有摇滚乐、Hiphop、乡村乐、民谣、爵士乐多种音乐风格的歌手也可以归类为为流行音乐(pop music)歌手。
术语“流行曲”是第一个被记录在1926年用在一首乐曲，具有流行的上诉“感”。
在20世纪50年代开始“一词流行音乐”已被用来形容一个独特的风格，针对青年市场，往往被视为一种替代软摇滚的特点。
新格罗夫音乐词典和音乐家定义为“从50年代末已用于向中央和长期流行最广为流传的各种流行音乐...20世纪80年代涌现出像迈克尔杰克逊、王子、麦当娜优秀流行音乐家，不仅商业成就出众而且拥有极高音乐造诣，彻底改变了流行乐坛。
杰克逊著名公益音乐、呼吁世界和平、种族团结，麦当娜以女权、性解放，对当今流行音乐主题以及全球流行文化产生巨大影响。
迈克尔杰克逊开创现代MTV，打破白人垄断的流行音乐界，把当时还处于亚文化黑人音乐推向主流世界，为后代的黑人艺人铺下了光明大道。
在那个黑人和白人观众都只知道坚守着自己一贯的聆听习惯而不肯相互欣赏的年代，是杰克逊让这些坚守自己小圈子的人们走到了一起。
他的音乐和唱腔，不仅影响流行歌手、同时也影响无数摇滚、R&B、hip hop艺术家。
蓝色狂想曲》赏析 (1)
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一举成名
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乐 概曲 况赏 析
就号响主变的音劲主单了大放阶开乐 此又出题奏钢器有题簧一调任上始曲 掀奏现的加琴的力的管个）不升，以 起起在独入引小，变主节。羁到这独 了了乐奏，来号而形题奏接的最是奏 一一队。并。再且或情性着主高一单 个支齐主引钢次显延调很，要一个簧 异开奏要向琴奏然续十强法主个上管 常阔的主一在出带，分的国题音升低 活嘹音题个陈这有只接主号迸符音音 跃亮乐以辉述个舞是近题和发时阶区 的的中果煌主出曲较，。萨了，的里 新曲，敢的题题风前就它克出作基的 高调明有、后，格者像和斯来品础一 潮，亮力重，将。更是上管（的。个 。音的的述又优加加这述奏 一当滑 乐小音各以美弱强个的起 个音音 bB
JAZZ音阶和术语表
JAZZ音阶和术语表升高半音+或# H=HAIF STEP 半音降低半音-或b W=WHOLE STEPJAZZ是沒有所谓的特定爵士音阶.它主要是在于和弦上的配置.使其和声多元化.如简单的歌曲.用三两个"顺阶和弦"就可做完整首.但爵士卻以多调性等的和弦混用.像副属七.变化属七.二五一.降二代五.降六代二.连接减.经过减.....越复杂越见其风格.融入各音乐后便有了.爵士蓝调.爵士搖滾.流行爵士.前卫爵士等。
由于JAZZ的演奏家，作曲家，教育工作者在和弦与音阶符号的常用术语方面一直没有统一的规定，因此，初学者很有必要对描述同一音阶旋律的各种记谱法加以了解！下面列出的是最常见的符号，是按照从最常用到最不常用的顺序排列的！△=大调音阶/大和弦或大七度音，英文字母后面的7表示把某音阶的第7级音降半音，使其具有属七的性质！英文字母旁边的短横线（—）表示把音阶的第三级音和第七级音降低半音，这样使音阶具有小调调性（多利亚小调音阶英文是DORIAN），例如C—，F—，Eb—等…………！Ф表示半减（对不起，半减的符号很难找我只有用这个代替了，这个是直的，真正的半减符号是斜的！）C-△表示含有大七度的小调音阶/小和弦。
-3表示小三度！大调（伊奥尼亚）IONIAN（WWHWWWH）C，C△，Cmaj,Cma,Cma7,Cmaj7,CM,CM7属七（混合利低亚）（WHWWWHW）C7,C9,C11,C13小七（多利亚）（WHWWWHW）C-,C-7,Cmi,Cmi7,Cm7,Cmin,Cmin7利底亚（有#4级音的大调音阶）（WWWHWWH）C△+4，Cmaj+4,CM+4,C△+11,C△b5半减（罗克利安）（HWWHWWW）CФ，Cm7(b5)有#2级音的半减（#2罗克利安）（WHWHWWW）CФ#2，CФ+2减（WHWHWHWH）C。
（大家把这个小圆圈放在上面就可以了）C。
7，Cdim7!!!!!!属利底亚（有#4级音的属七）（WWWHWHW）C7+4，C7+11，C7b5+4全音音阶（增）（WWWWWW）C7+，C7aug,C7+5,C7+5+9+4属七使用减音音阶（HWHWHWHW）C7b9,C7b9+9+5减全音音阶（变化音阶）（altered scale)(HWHWWWW) C7+9,C7Alt,C7b9+4+5增利底亚（有#4和#5级音的大调音阶）（WWWWHWH）C△+4，C△+5旋律小调（仅上行）（WHWWWWH）C-△，Cmin(maj7),Cmi△,C-△(MELODIC)和声小调（WHWWWWH-3H）C-△，Cmi△,C-△(HAR),C-b6挂留四（WHWWH-3H）C7sus4,G-7/C,C7sus,C4布鲁斯音阶（由演奏者自己斟酌决定）（-3WHH-3W）（1 b3 4 #45 b7 1)这些是西方音乐中最常用的和弦/音阶当我们谈到“性质”时，即指大，小，增，减等特性。
爵士常用术语
Ad-Libitum（Ad-Lib）：自由演奏，即兴演奏。
XQmhAir-Check：无线电广播或电视演奏的录音。
O'?uuApple the：纽约市( New York) 的绰号。
pTArrangement：编曲。
(VAttack：指演唱或演奏准备开始时而发出的第一声。
>Baby：表示爱抚的术语，意思是换对方演唱或演奏的部分。
（可轮用于性别之间，异性、同性皆可。
）{GTWBack Ground（B.G.）：背景音乐。
ZBalance：指乐队演奏时，应保持音律均衡调和。
AABallad：浪漫流行歌谣，经常是慢板或中庸速度，多是32小节一个单位（Chorus）。
(AYGWBar：计算音律的小节。
5ab#[4Barrel House：指早期不协和而粗鲁的爵士乐。
d4Beat：爵士乐的拍子，基础律动。
2#GjBlow：吹奏，适用于任何吹奏的乐器。
,Blow One's Top：表情激增，热烈疯狂。
`RBlue-Note：俗称蓝调音符，由第三音与第七音降低半音，构成蓝调音阶，而奏出黑人Blues的韵味。
H4J~+JBoogie-Woogie：爵士钢琴的一种Blues型态，顽固的低音伴奏是它专有的特色。
FUy5TBop：摩登爵士的术语，有热爵士的意味，由Rock And Roll蜕变而来，最初名“勒咆勃”（Rebop），后改称“比咆勃”（Bebop），最后才叫“咆勃”（Bop），1947-1948年，纽约的百老汇（Broadway）成了Bop的圣地。
X&Bounce：一种轻松活泼的节拍，以前曾流行一时，例如“商人的跳跃”（Businessman's Bounce），描写单纯的二拍子，用愉快而让人兴奋的Tempo奏出。
HBread（面包）：钱。
{h/gBreak：当演奏进行时，突然中断静止一刹那，插入一段美妙乐句，指定某件乐器单独演奏。
tAz{dBridge：32小节乐曲单位里的第三个八小节（即A-A-B-A或是A-B交替乐曲形式内的B段音乐，亦称桥梁音乐或桥段）。
Loving and hating New York第3段讲解
inspire、motivate、stimulate 区别
• inspire 多用于勇气、希望、自信、热情等方面 eg. The actors inspired the kids with their enthusiasm. 演员以热情鼓舞着孩子们。
• motivate 特指激励工作努力 eg. She's very good at motivating her students. 她非常擅长 激励她的学生。 • stimulate刺激身体、心理或某人器官只能用stimulate eg. The exhibition has stimulated interest in her work. 展览增进了人们对她作品的兴趣。
曾是托斯卡尼尼全国广播公司交响乐团演出场所的巨人 般的曼哈顿电视演播厅，现在经常是空无一人，而好莱 坞大量生产出的情景喜剧和约翰尼•卡森节目的实况转 播却占满了加利福尼亚的广播电视发送频道。
Manhattan
an island and borough of New York City in New York Bay, between the Hudson River and the East River.
S3: The giant Manhattan television studios where Toscanini’s NBC Symphony once played now sit empty most of the time, while sitcoms cloned and canned in Hollywood, and the Johnny Carson show live, preempt the airways from California.
125个爵士乐常用术语
125个爵士乐常用术语旨在让那些并非意欲成为爵士乐手、只是想增加对音乐的认识以便在欣赏时有所帮助的人也能受用。
一些喜欢听音乐的人，根本不管懂或不懂音乐，甚至不知其所以然，还是能了在其中，但我深信，了解音乐越多一些，从它那里得到的欢愉也多一些Ad-Libitum（Ad-Lib）：自由演奏，即兴演奏。
Air-Check：无线电广播或电视演奏的录音。
Apple the：纽约市( New York) 的绰号。
Arrangement：编曲。
Attack：指演唱或演奏准备开始时而发出的第一声。
Baby：表示爱抚的术语，意思是换对方演唱或演奏的部分。
（可轮用于性别之间，异性、同性皆可。
）Back Ground（B.G.）：背景音乐。
Balance：指乐队演奏时，应保持音律均衡调和。
Ballad：浪漫流行歌谣，经常是慢板或中庸速度，多是32小节一个单位（Chorus）。
Bar：计算音律的小节。
Barrel House：指早期不协和而粗鲁的爵士乐。
Beat：爵士乐的拍子，基础律动。
Blow：吹奏，适用于任何吹奏的乐器。
Blow One's Top：表情激增，热烈疯狂。
Blue-Note：俗称蓝调音符，由第三音与第七音降低半音，构成蓝调音阶，而奏出黑人Blues的韵味。
Boogie-Woogie：爵士钢琴的一种Blues型态，顽固的低音伴奏是它专有的特色。
Bop：摩登爵士的术语，有热爵士的意味，由Rock And Roll蜕变而来，最初名“勒咆勃”（Rebop），后改称“比咆勃”（Bebop），最后才叫“咆勃”（Bop），1947-1948年，纽约的百老汇（Broadway）成了Bop的圣地。
Bounce：一种轻松活泼的节拍，以前曾流行一时，例如“商人的跳跃”（Businessman's Bounce），描写单纯的二拍子，用愉快而让人兴奋的Tempo奏出。
Bread（面包）：钱。
Break：当演奏进行时，突然中断静止一刹那，插入一段美妙乐句，指定某件乐器单独演奏。
艺术歌曲与通俗歌曲发展历史之比较
本文试从艺术歌曲与通俗歌曲的概念定义、发展历史来解析两者所存在的差异，并为它们形成各自不同的风格与特征提供历史背景和形成依据。
“艺术歌曲”这一概念有广义和狭义之分。
广义的讲，有较多艺术性的抒情歌曲、叙事歌曲和一些民族歌谣体歌曲都可以纳入艺术歌曲的范畴；狭义的讲艺术歌曲（Art song）只是指那些创作手法比较专业、考究，表现题材多偏重于人的情感领域，伴奏手法比较细腻严谨，多用独唱形式和科学唱法来演唱的浪漫主义风格的声乐抒情曲。
“通俗歌曲”（pop song）这一概念也有广义和狭义之分。
广义的通俗歌曲即群众歌曲，泛指那些旋律流畅优美、朴实简单，歌词简明直白、通俗易懂，便于传唱和普及的歌曲。
包括队列歌曲、劳动歌曲、歌舞曲等；狭义的讲通俗歌曲实际上是一种风格概念，专指那些手持话筒演唱，使用电声乐队（包括吉他、低音吉他、爵士鼓、电子音响合成器等）伴奏为主的歌曲作品，即所谓“流行歌曲”。
下面我们就狭义的艺术歌曲（主要指西欧德奥古典艺术歌曲）与狭义的通俗歌曲（既所谓“流行歌曲”）在历史形成方面存在的差异进行比较分析：西欧古典艺术歌曲是经过世界各国历代作曲家不断发展，直到１９世纪初伴随着浪漫主义文学，浪漫主义音乐的到来而形成的。
约形成于１９世纪的２０年代，是以素有“艺术歌曲之王”的舒伯特（Ｆ·Ｐ·schubert１７９７—１８２８）的歌曲创作为标志的。
舒伯特在其短短的一生中共创作了６００多首歌曲，其中有相当一部分都堪称艺术歌曲宝库中的不朽之作，诸如：《野玫瑰》、《鳟鱼》、《春思》、《听·云雀》、《死神与少女》、《致音乐》、《雪尔维亚，她是谁》和《魔王》等都是当今世界各国音乐舞台上的保留曲目，被奉为古典艺术歌曲的经典之作。
可以说“是舒伯特开创了德、奥等西欧浪漫主义声乐抒情曲的历史，对于其同时代和后来的舒曼、伯拉姆斯、沃尔夫及马勒、施特劳斯的歌曲创作都产生了很大的影响”。
其作品用质朴的德国传统歌曲曲调同浪漫主义诗歌相结合，用富于想象力的伴奏烘托歌词，用超凡的创作能力将诗歌的意境化为时间的艺术——音乐。
20个美国音乐名人
20世纪美国20位最伟大的音乐家1、路易斯·阿姆斯特朗（Louis Armstrong）1901年8月4日，路易斯·阿姆斯特朗出生在美国南部路易斯安那州新奥尔良市最贫穷落后的黑人居住区。
生活在贫民窟中的阿姆斯特朗从小就喜欢唱歌，但是贫穷使他没有学习正规的声乐。
他有时参加少年合唱队在街头演唱，挣些零花钱，有时会在教堂唱诗班中一展歌喉。
十岁时因用真枪跟伙伴开玩笑被以“非法持有枪支”的罪名，将他送进了感化院，知道十八岁。
离开感化院后，阿姆斯特朗加入了一支乐队，该乐队中拥有当时著名的小号演奏家Joe Oliver，并带阿姆斯特朗加入他在芝加哥的乐队。
1925年，阿姆斯特朗在芝加哥已被认为是世界上最伟大的小号演奏家之一。
25岁时已经被认为是爵士乐的标志。
1931年，他带领他的乐团远赴英国和欧洲，在那里他们的演出取得了巨大的成功。
阿姆斯特朗成为世界公认的爵士乐演奏家，他在1923年—1967年录制的曲目，年代涵盖相当广泛，被世人称为“爵士圣经”。
代表作：《what a wonderful world》2、约翰·罗马克斯（John Lomax）约翰·洛马克斯(John Lomax)生于1867年,在美国南方的德克萨斯州长大成人｡他从小就喜欢民歌,收集了不少牛仔歌曲｡他于1910年出版的《牛仔歌曲和其它边远地区民谣》是民歌研究史上第一本把歌曲的旋律和歌词同时发表的民歌研究专著,同时也是第一本向全世界介绍美国本土民歌的书｡在此之前,世界上有关民歌的书籍都只关心歌词,而美国的民歌研究(还包括美国的流行音乐)一直被来自欧洲的音乐所垄断,大多数美国人根本就不知道美国还有属于自己的民歌｡代表作：著作《Cowboy Songs and Other Frontier Ballads》3－7.惠特马克五兄弟（Witmark Brothers）这5人本是搞出版的，20世纪初期他们在纽约成立了一家音乐出版公司，并很快成了当时美国最大的音乐出版商。
loving and hating NY课文单词短语练习
inaccessible (adj.) : impossible to reach or enter诀不到的；进不去的plush (adj.) : [American slang]luxurious，as in furnishings [美俚]豪华的 grubby (adj.) : messy；untidy脏的；凌乱的precincts (n.) : environs neighborhood范围；界线fringe (n.) : an outer edge；border；margin外围，边缘；边界subculture (n.) : the distinct cultural patterns of a group(within a society)of persons of the same ag e，social or economic, status. ethnic background，etc．亚文化群boutique (n.) : a small shop，or a small department in a store，where fashionable，usually expensive，clothes and other articles are sold时装精品店(或百货公司中的时装精品部) estrange (n.) : turn(a person)from an affectionate or friendly attitude to an indifferent，unfriendly，or hostile one. alienate the affections of使疏远；使失和ratify (v.) : pprove or confirm，esp.，give official sanction to批准；认可deplore (v.) : be regretful or sorry about；lament懊悔；遗憾；痛惜catchy (adj.) : easily caught up and remembered醒目的；引人注意的jingle (n.) : a verse that jingles；jingling arrangement of words or syllables具有简单韵律的诗句；合于简单韵律的排列admen (n.) : [Americanism]a person whose work or business is advertising[美]广告员ancillary (adj.) : that serves as an aid；helping；auxiliary作为助手的；辅助的brittle (adj.) : having a sharp，hard quality(声音)尖利的，刺耳的condescending (adj.) : showing condescension，esp.，patronizing表示屈尊的；(尤指)以恩人自居的，屈尊俯就的malleable (adj.) : capable of being changed，molded，trained，etc．；adaptable柔顺的；易适应的；可训练的turnstile (n.) : a similar apparatus，often coin—operated used at entrances to admit persons one at a time and to count those passing through(使人逐个通过的)旋转(式)栅门hype (n.) : cheating，esp. the extravagant promotional advertising欺骗；骗局(尤指大肆宣传，大做广告)scruple (n.) : a feeling of hesitancy，doubt，or uneasiness arising from difficulty in deciding what is right，proper，ethical．etc．：qualm or misgiving about something one thinks is wrong踌躇；顾忌，犹豫adjoining (adj.) : touching at some point or along a line；contiguous隔壁的：毗连的；毗邻的 amenity (n.) : an attractive or desirable feature,as of a place, climate,ere.(地方,气候等的)舒适,宜人;温柔succumb (v.) : give way；yield；submit屈服，屈从tawdry (adj.) : cheap and showy；gaudy；sleezy俗气的；俗丽的；花哨而庸俗的astir (adj.) : in motion; in excited activity动起来的；轰赳采的；有活动力的strew (v.) : scatter，partly cover撒，撒布brusque (adj.) : rough and abrupt in manlier or speech．curt(态度、语言上)粗暴的，鲁莽的；唐突的cabana (n.) : a small shelter used as a bath house on the beach, etc,；a cabin(海滩等地的)简易浴室(或更衣处)；小屋；棚屋antiseptic (adj.) : untouched by life，its problems，emotions，etc．冷静的；超然的；客观的 enclave (n.) :a minority culture group living as an entity within a larger group在大文化团体中的一少数派集团hassle (n.) : [Americanism]a state of commotion or confusion；turmoil[美]混乱congenial (adj.) : suited to one's needs or disposition；agreeable适合的；惬意的；令人愉快的bracing (adj.) : invigorating；stimulating；refreshing令人鼓舞的；令人振奋的；激励的rigor (n.) : harshness or severity严厉taunt (n.) : a scornful or jeering remark; gibe嘲笑，嘲弄，嘲骂mongrel (n.) : [a derogatory term] mixed breed，race．origin or character[贬]杂种；混交种metropolis (n.) : any large city or center of population：culture，etc．大城市，大都会tumultuous (adj.) : full of or characterized by tumult：wild and noisy；uproarious；riotous喧闹的，喧嚣的；吵闹的hybrid (adj.) : (of animal，plant，etc．)from parents of different species or varieties混合的；杂种的(动植物等)turf (n.) : [slang]a neighbour hood area regarded by a street gang as its own territory to be defende d against other gangs[俚](街头流氓集团的)地盘；势力范围admixture (n.) : a mixture混合(状态)jar (n.) : clash，disagree，or quarrel sharply抵触；冲突；不调和，不和谐；争吵juxtaposition (n.) : putting side by side or close together并列，并置fortitude (n.) : the strength to bear misfortune，pain，etc．，calmly and patiently firm courage坚韧不拔，刚毅forbearance (n.) : ．the quality of being forbearing；self control；patient restraint容忍，忍耐exhilarate (v.) : fill with high spirits鼓舞；使兴奋短语 (Expressions)out of phase : out of harmony相异的，不协调的例： The driver found that the windshield wipers were out of phase．司机发现挡风玻璃上的刮水器动作不协调。
高级英语2第三版张汉熙修辞汇总
1.Unit 61. Antonomasia(换称)Those ad campaigns celebrating the Big Apple...2. Alliteration(头韵)while sitcoms cloned and canned in Hollywood, and the Johnny Carson show live, preempt the airways from California.3. Metonymy(转喻)1)Tin Pan Alley has moved to Nashville and Hollywood.2)New York was never Mecca to me.3) Wall Street will advance the millions to make a Hollywood movie only if convinced that bestselling title or a star name will ensure its success.4. Parallelism(排比)1)New York is about energy, contention, and striving.it is also about mockery, the put-down the losers shrug.. It is about constant battles for subway seats, for a cabdrivers or a clerk's or a waiters attention, for a foothold, a chance,a better address, a larger billing.2).. art itself isles sharply defined, and those whose paintings don't sell do illustrations those who cant- acting jobs do commercials; those who are writing ambitious novels sustain themselves on the magazines.5. Antithesis(对照)To win in New York is to be uneasy to lose iy to live in jostling proximity to the frustrat majority.6.Personification(拟人)1)Nature constantly yields to/man in New York: witness those fragile sidewalk trees gamely struggling against encroaching cement and petrol fumes.2)Characteristically, the city wallows up the United Nations and refuses to take it seriously regarding it as an unworkable.mixture of the idealistic, the impractical, and the hypocritical.7. A market for knowingness exists in New York that doesn’t exist for knowledge. —paregmenon8.The condescending view from the fiftieth floor of the city’s crowds below cuts these people off from humanity.—transferred epithet9.So much of well-to-do America now lives antiseptically in enclaves, tranquil and luxurious, that shut out the world. —synecdoche, metaphor10.The defeated are not hidden away somewhere else on the wrong side of town.(Euphemism)2.Unit 31.Metaphor（暗喻）1)Let the word go forth from this time and place, to friend and foe alike, that the torch has been passed to a new generation of Americans.2) .. those who foolishly sought power by riding the back of the tiger ended up inside.3) But this peaceful revolution of hope cannot become the prey of hostile powers.4)And let every other power know that this hemisphere intends to remain the master of its own house.5)..we renew our pledge of support: to prevent it from becoming merely a forum for invective to strengthen its shield f the new and the weak.6)And if A beachhead of cooperation may push back the jungle of suspicion.7)The energy, the faith, the devotion which we bring to this endeavor will light our country and all who serve it, and the glow from that fire can truly light the world2.Antithesis（对照）A)United there is little we cannot do in a host of cooperative venture Divided, there is little we can do.2)If a free society cannot help the many who are poor, it cannot save the few who are rich.Let both sides explore what problems unite us instead of belaboring those problems which divide us.And So, my fellow Americans; ask not what your country can do for you;ask you can dofor your country.3.Parallelism（排比）1)..that the torch has been passed to a new generation of Americans, born in this century, tempered by war, disciplined by hard and biter peace, proud of our ancient heritage, andunwilling to witness or permit the slow undoing of these human rights to which this nation has always been committed.2)Together let us explore the stars, conquer the-deserts, eradicate disease, tap the ocean depths and encourage the arts and commerce.3) .. a struggle against the common enemies of man: tyranny, poverty, disease and war itself.4.Repetition（重复）1).. symbolizing an end As well as a beginning, signifying renewal as well as change.2)For only when our arms are sufficient beyond doubt can we be certain beyond doubt that they will never be employed.3)Let us never negotiate gut of fear, but let us never fear to negotiate:4).. and bring the absolute)power to destroy other nations under the absolute control of all nations.5.Alliteration（头韵）1)Let the word go forth from this time and place, to friend and foe alike...2)... whether it wishes us well or ill. that we shall pay any price bear any burden...,3)... both rightly alarmed by the steady spread of the deadly atom...4)...ask of us here the same high standards of strength and sacrifice which we ask of you.6.Rhyme（尾韵）...whether it wishes us well or ill, that we shall pay any price, bear any burden ..7.Synecdoche（提喻）...both rightly alarmed by the steady spread of the deadly atom...8.Climax（渐升）All this will not be finished in the first one hundred days. Nor will it be finished in the first one thousand days, nor in the life of this Administration, nor even perhaps in our lifetime on this planet. But let us begin.3.Unit 41.Metaphor（暗喻）1)Charles Lamb, as merry and enterprising a fellow as you will meet in a month of Sundays unfettered the informal essay with his memorable "Old China"and "Dream's Children".2)There follows an informal essay that ventures even beyond Lamb's frontier.3)Read, then, the following essay which undertakes to demonstrate that logic, far from being a dry, pedantic discipline, is a living, breathing thing, full of beauty, passion, and trauma.4)In other words, if you were out of the picture, the field would be open.5) First he looked at the coat with the expression of a waif t a bakery window.6)Maybe somewhere in the extinct crater pf her mind, a few embers still smoldered. Maybe somehow I could fan them into flame.7)The first man has poisoned the well before anybody could drink from it.8)He has hamstrung his opponent before he could even start.9)The rat!2.Simile（明喻）I)My brain was as powerful a dynamo. as precise as a chemist's scales, as penetrating as a scalper.2)Petey lay snoring in his bed, the raccoon coat huddled like a great hairy beast at his feet.3)It was like digging a tunnel.4)I leaped to my feet, bellowing like a bull.3.Hyperbole（夸张）1)My brain was as powerful as a dynamo, as precise as a chemist's scales, as penetrating as a scalpel.2)It is not often that one so young has such a giant intellect3)You are the whole world to me and the moon and the stars and the constellations of outer space.4)I will wander the face of the earth, a shambling, hollow-eyed hulk.4.Metonymy（转喻）1).. but I was not one to let my heart rule my head.2)Otherwise you have committed a Dicto Simpliciter.3)You are guilty of Post Hoc if you blame Eula Becker.5.Antithesis（对照）1)It is, after all, easier to make a beautiful dumb smart than to make an ugly smart girl beautiful.2)Back and forth his head swiveled, desire waxing, resolution waning.3)If there is an irresistible force, there can be no immovable object. If there is an immovable object, there can be no irresistible force4) Look at me -a brilliant student. a tremendous intellectual, a man with an assured future. Look at Petey -a knot head, a jitterbug, a guy who’ll never know where his next meal is coming from.6.Transferred Epithet（移就）I said with a mysterious wink and closed my bag and left.7.Understatement（低调陈述）This loomed as a project of no small dimensions.8.Synecdoche（提喻）There is a limit to what flesh and blood can bear.9.Allusion（引喻）1) Just as Pygmalion loved the perfect woman he had fashioned, so I loved mine.2)I was not Pygmalion: I was Frankenstein.4.Unit 21.Simile（明喻）1).. and sore-eyed children cluster everywhere in unbelievable numbers, like clouds of flies.2)Huge areas which were once covered with forest have turned into a treeless waste where the soil is exactly like broken-up brick.3) Long lines of women, bent double like inverted capital Ls...2．Hyperbole（夸张）1)A carpenter sits cross-legged at a prehistoric lathe, turning chair-legs at lightning speed.2) ..so black that sometimes it is difficult to see whereabouts on their necks the hair begins.3.Transferred Epithet（移就）Instantly, from the dark holes all round, there was 4 frenzied rush of Jews, many of them old grandfathers with flowing grey beards, all clamouring for a cigarette.4.Synecdoche（提喻）1)Still, A- white skin is always fairly conspicuous.2)This wretched boy, who is a French citizen and has therefore been dragged from the forest to scrub floors and catch syphilis in garrison towns, actually has feelings of reverence before a white skin.5.Understatement（低调陈述）I am not commenting, merely pointing a fact.6.Onomatopoeia（拟声）winding up the road with a clumping of boots ad a clatter of iron wheels.7.Rhetorical Question（修辞疑问句）1)Are they really the same flesh as your self ?Do they even have names? Or are they merely a kind of undifferentiated brown stuff about as individual as bees or coral insects?2)How much longer can we go on kidding these people How long before they turn their guns in the other direction?5.Unit 3。
蓝色狂想曲》赏析 (1)
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乐 段
着在的的乐斯温段心曲这 以继小是章基柔落，（是 变续鼓，基《感之也大一 奏。，中本第伤一是调首 陈弦表段主一，。美）弦 述乐明还题钢有这国，乐 。奏不出的琴一段音这器 完安现风协种音乐是奏 后宁了格奏类乐中全出 ，的若。曲似宽最曲的 钢情隐但》柴广著的美 琴绪若特第科流名中妙 接仍现别一夫畅的 歌 、 E
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个人经历
去什的风的肖家林家 年 乔 世温风格贡维庭的。日 治 月 茨 ， 格与献 ，一出） 格 去 结爵是（原个生是 什 日 世年合士把 名俄于一 温 ＊ 时夏了乐古 雅国纽位 （ 三因起和典格各犹约美 英 十患来布音什布太布国 ，语 年 九癌。鲁乐温格移鲁作 ： 岁症格斯的 民克曲月 。 1937 Jacob · • George Gershwin 1898 9 26 1937 7 11
• 美国文化狂想 • 那是个汽笛轰鸣的环境， 《蓝色狂想曲》的构想 就在这摇曳不定的氛围 中酝酿着：黑人音调的 主题不断闪现，爵士乐 节奏架起整首作品的脊 梁……这就是五光十色的 美国，沸腾的熔炉、多 民族的大家庭。火车从 波士顿出发，开到纽约 时，乐曲已初具端倪。 一星期后，美国音乐的 成功代表作《蓝色狂想 曲》问世了。格什温因 找到了“水晶鞋”也让 灰姑娘变成了王妃。
乐 概曲 况赏 析
就号响主变的音劲主单了大放阶开乐 此又出题奏钢器有题簧一调任上始曲 掀奏现的加琴的力的管个）不升，以 起起在独入引小，变主节。羁到这独 了了乐奏，来号而形题奏接的最是奏 一一队。并。再且或情性着主高一单 个支齐主引钢次显延调很，要一个簧 异开奏要向琴奏然续十强法主个上管 常阔的主一在出带，分的国题音升低 活嘹音题个陈这有只接主号迸符音音 跃亮乐以辉述个舞是近题和发时阶区 的的中果煌主出曲较，。萨了，的里 新曲，敢的题题风前就它克出作基的 高调明有、后，格者像和斯来品础一 潮，亮力重，将。更是上管（的。个 。音的的述又优加加这述奏 一当滑 乐小音各以美弱强个的起 个音音 bB
2019_2020学年高中英语Unit2Theuniversallanguage2.1练习(含解析)牛津译林版选修8
SectionⅠWelcometotheunit&Reading一、写作词汇检测根据每组的提示词,完成或翻译句子。
1.universal(1)It is acknowledged that dogs have an acute sense of smell.(2)人们公认为健康胜于财富。
(2)It is universally acknowledged that health is above wealth.2.condemn(1)Everyone condemned her being cruel to her child.(2)这个罪犯被判死刑。
(2)The criminal was condemned to death.3.demand(1)Teaching is a profession.(2)他的父母要求他十点以前回家。
(2) His parents demanded that he (should) be back by ten.4.evident(1)A scientist must produce in support of a theory.(2)显然,她不快乐。
(2)It was evident that she was unhappy.运用所学短语造句。
5.fall in love6.at first sight二、阅读词汇检测阅读下列句子,说出黑体词的含义。
1.The silence in the hall was awesome.含义2.The rise in violent crime is a disturbing new trend.含义3.Don’t scold the child without reason.含义;责骂4.The deadline is drawing near;we can’t delay any more.含义5.The merciful king saved him from death.含义6.How grand the mountains look in the evening!含义三、单句填空1.He is a living witness my innocence.2.Mr.Black is very happy because the clothes made in his factory have never been (popular).3.Shall I be (disturb)you if I do my typing here?4.This is how Shaoxing impresses me first sight.5.I think I’m falling in love Jim.6.He demanded me to shut the gate.7.They demanded that the company (give)them an explanation.8.The witness gave her (evident) in a clear firm voice.四、选择恰当的短语填空1.The murderer was arrested a week later and afterwards.2. ,I thought the exercise was familiar,but after a careful look,I found it was different.3.The two young people with each other and got married two years later.4.Located on top of the mountain,the temple tourists only on foot.5.You may it that he will join our club.6.The company has just a new scene.五、完成句子1.谁是他签署这些文件的证人?Who his signing the documents?2.他度过了最忧虑的一天。
【免费下载】20个美国音乐名人
20世纪美国20位最伟大的音乐家1、路易斯·阿姆斯特朗（Louis Armstrong）1901年8月4日，路易斯·阿姆斯特朗出生在美国南部路易斯安那州新奥尔良市最贫穷落后的黑人居住区。
生活在贫民窟中的阿姆斯特朗从小就喜欢唱歌，但是贫穷使他没有学习正规的声乐。
他有时参加少年合唱队在街头演唱，挣些零花钱，有时会在教堂唱诗班中一展歌喉。
十岁时因用真枪跟伙伴开玩笑被以“非法持有枪支”的罪名，将他送进了感化院，知道十八岁。
离开感化院后，阿姆斯特朗加入了一支乐队，该乐队中拥有当时著名的小号演奏家Joe Oliver，并带阿姆斯特朗加入他在芝加哥的乐队。
1925年，阿姆斯特朗在芝加哥已被认为是世界上最伟大的小号演奏家之一。
25岁时已经被认为是爵士乐的标志。
1931年，他带领他的乐团远赴英国和欧洲，在那里他们的演出取得了巨大的成功。
阿姆斯特朗成为世界公认的爵士乐演奏家，他在1923年—1967年录制的曲目，年代涵盖相当广泛，被世人称为“爵士圣经”。
代表作：《what a wonderful world》2、约翰·罗马克斯（John Lomax）约翰·洛马克斯(John Lomax)生于1867年,在美国南方的德克萨斯州长大成人｡他从小就喜欢民歌,收集了不少牛仔歌曲｡他于1910年出版的《牛仔歌曲和其它边远地区民谣》是民歌研究史上第一本把歌曲的旋律和歌词同时发表的民歌研究专著,同时也是第一本向全世界介绍美国本土民歌的书｡在此之前,世界上有关民歌的书籍都只关心歌词,而美国的民歌研究(还包括美国的流行音乐)一直被来自欧洲的音乐所垄断,大多数美国人根本就不知道美国还有属于自己的民歌｡代表作：著作《Cowboy Songs and Other Frontier Ballads》3－7.惠特马克五兄弟（Witmark Brothers）这5人本是搞出版的，20世纪初期他们在纽约成立了一家音乐出版公司，并很快成了当时美国最大的音乐出版商。
玩转流行音乐——多种音乐风格轻松学_河南大学中国大学mooc课后章节答案期末考试题库2023年
玩转流行音乐——多种音乐风格轻松学_河南大学中国大学mooc课后章节答案期末考试题库2023年1.布鲁斯的人声和乐器之间的相互补充、对话的技术叫作？答案:应答轮唱2.电影《海上钢琴师》中挑战1900的钢琴家的原型是？（用英文填写）答案:Jelly Roll Morton3.发明rock and roll这个词的是谁？答案:Alan Freed4.早期摇滚乐有什么特点？答案:低音更为积极有力_有时由乡村乐队演奏_带有blues的遗传因子_歌手有意塑造有杂质的嗓音5.在90年代初高等教育大变革语境下产生的一种音乐风格是什么？答案:校园民谣6.swing的风格特点有？答案:采用摇摆八分音符_2、4拍重7.Misty这首歌曲的作者是？答案:Erroll Garner8.ragtime的前身是一种什么样的舞曲？答案:步态舞曲9.爵士乐的即兴演奏和演唱有一套专业的法则，需要经过大量的训练才可以实现。
答案:正确10.montuno最早来源于哪种乐器？答案:吉他11.John Lennon在哪首歌曲中，为我们敞开了一个共产主义乌托邦世界？（答案用英文填写）答案:Imagine12.90年代初的一个重要的翻唱现象是什么？答案:“红太阳”歌曲13.ragtime是爵士乐的重要组成部分。
答案:正确14.Crazy Blues的作者是谁？答案:Perry Bradford15.摇摆乐的特点是？答案:中等速度和节奏密度_大乐队编制_正谱编曲16.第一首在国际比赛中获奖的中国流行歌曲是？答案:绿叶对根的情意17.流行歌曲的歌词有哪些常见结构？答案:aaba_主歌-桥段-副歌_主歌-副歌18.对于流行音乐创作而言，哪种音乐元素往往更能决定音乐风格？答案:节奏19.哪首歌曲被誉为嬉皮士的国歌？答案:San Francisco20.重金属中的失真音色产生力量和紧张感。
答案:正确21.cáscara主要在哪种乐器上演奏？答案:打击乐器22.下面哪首歌曲属于bossa nova风格？答案:The Girl From Ipanema_How Insensitive23.《梅》这首歌曲的作者是？答案:雪村24.艺术化流行歌曲有什么特点？答案:音域较宽_创作手法讲究，调性和声语言复杂_演唱具有一定难度25.《睡在我上铺的兄弟》，蕴含着对昔日校园中纯真友谊的深情追忆。
loving and hating new york 课文和翻译
Loving and Hating New YorkThomas Griffith1 Those ad campaigns celebrating the Big Apple, those T-shirts with a heart design proclaiming “I love New York,” are signs, pathetic in their desperation, of how the mighty has fallen. New York City used to leave the bragging to others, for bragging was “bush” Being unique, the biggest and the best, New York didn’t have to assert how special it was.2 It isn’t the top anymore, at least if the top is measured by who begets the styles and sets the trends. Nowadays New York is out of phase with American taste as often as it is out of step with American politics. Once it was the nation’s undisputed fashion authority, but it too long resisted the incoming casual style and lost its monopoly. No longer so looked up to or copied, New York even prides itself on being a holdout from prevailing American trends, a place to escape Common Denominator Land.3 Its deficiencies as a pacesetter are more and more evident. A dozen other cities have buildings more inspired architecturally than any built in New York City in the past twenty years. The giant Manhattan television studios where Toscanini’s NBC Symphony once played now sit empty most of the time, while sitcoms cloned and canned in Hollywood, and the Johnny Carson show live, preempt the airways from California. Tin Pan Alley has moved to Nashville and Hollywood. Vegas casinos routinely pay heavy sums to singers and entertainers whom no nightspot in Manhattan can afford to hire. In sports, the bigger superdomes, the more exciting teams, the most enthusiastic fans, are often found elsewhere.4 New York was never a good convention city – being regarded as unfriendly, unsafe, overcrowded, and expensive – but it is making something of a comeback as a tourist attraction. Even so, most Americans would probably rate New Orleans, San Francisco, Washington, or Disneyland higher. A dozen other cities, including my hometown of Seattle, are widely considered better cities to live in.5 Why, then, do many Europeans call New York their favorite city? They take more readily than do most Americans to its cosmopolitan complexities, its surviving, aloof, European standards, its alien mixtures. Perhaps some of these Europeans are reassured by the sight, on the twin fashion avenues of Madison and Fifth, of all those familiar international names – the jewelers, shoe stores, and designer shops that exist to flatter and bilk the frivolous rich. But no; what most excites Europeans is the city’s charged , nervous atmosphere, its vulgar dynamism .6 New York is about energy, contention, and striving. And since it contains its share of articulate losers, it is also about mockery, the put-down , the loser’s shrug (“whaddya gonna do?”). It is about constant battles for subway seats, for a cabdriver’s or a clerk’s or a waiter’s attention, for a foothold , a chance, a better address, a larger billing. To win in New York is to be uneasy; to lose is to live in jostling proximity to the frustrated majority.7 New York was never Mecca to me. And though I have lived there more than half my life, you won’t find me wearing an “I Love New York” T-shirt. But all in all, I can’, t think of many places in the world I’d rather li, ve. It’, s not easy to define why.8 Nature’s pleasures are much qualified in N, ew York, . You nev er see a star-filled sky; the city’s bright glow arrogantly obscures the heavens. Sunsets can be spectacular: oranges and reds tinting the sky over the Jersey meadows and gaudily reflected in a thousand windows on Manhattan’s jagged skyline. Nature constantly yields to man in New York: witness those fragile sidewalk trees gamely struggling against encroaching cement and petrol fumes. Central Park, which Frederick Law Olmsted designed as lungs for the city’s poor, is in places grassless and filled with trash, no longer pristine yet lively with the noise and vivacity of people, largely youths, blacks, and Puerto Ricans, enjoying themselves. On park benches sit older people, mostly white, looking displaced. It has become less a tranquil park than an untidy carnival.9 Not the glamour of the city, which never beckoned to me from a distance, but its opportunity –to practice the kind of journalism I wanted –drew me to New York. I wasn’t even sure how I’d measure up against others who had been more soundly educated at Ivy League schools, or whether I could compete against that tough local breed, those intellectual sons of immigrants, so highly motivated and single-minded, such as Alfred Kazin, who for diversion (for heaven’t sake!) played Bach’s Unaccompanied Parti tas on the violin.10 A testing of oneself, a fear of giving in to the most banal and marketable of one’s talents, still draws many of the young to New York. That and, as always, the company of others fleeing something constricting where they came from. Together these young share a freedom, a community of inexpensive amusements, a casual living, and some rough times. It can’t be the living conditions that appeal, for only fond memory will forgive the inconvenience, risk, and squalor. Commercial Broadway may be inaccessible to them, but there is off- Broadway, and then off-off-Broadway. If painters disdain Madison Avenue’s plush art galleries, Madison Avenue dealers set up shop in the grubby precincts of Soho. But the purity of a bohemian dedication can be exaggerated. The artistic young inhabit the same Greenwich Village and its fringes in which the experimentalists in the arts lived during the Depression, united by a world against them. But the present generation is enough of a subculture to be a source of profitable boutiques and coffeehouses. And it is not all that estranged.11 Manhattan is an island cut off in most respects from mainland America, but in two areas it remains dominant. It is the banking and the communications headquarters for America. In both these roles it ratifies more than it creates. Wall Street will advance the millions to make a Hollywood movie only if convinced that a bestselling title or a star name will ensure its success. The networks’ news centers are here, and the largest book pu blishers, and the biggest magazines –and therefore the largest body of critics to appraise the films, the plays, the music, the books that others have created. New York is a judging town, and often invokes standards that the rest of the country deplores o r ignores. A market for knowingness exists in New York that doesn’t exist for knowledge.12 The ad agencies are all here too, testing the markets and devising the catchy jingles that will move millions from McDonald’s to Burger king, so that the ad agency’s “creative director” can lunch instead in Manhattan’s expense-account French restaurants. The bankers and the admen. The marketing specialists and a thousand well-paid ancillary service people, really set the city’s brittle tone— catering to a wide American public whose numbers must be respected but whose tastes do not have to shared. The condescending view from the fiftieth floor of the city’s crowds below cuts these people off from humanity. So does an attitude which sees the public only in terms of large, malleable numbers— as impersonally as does the clattering subway turnstile beneath the office towers.13 I am surprised by the lack of cynicism, particularly among the younger ones, of those who work in such fields. The television generation grew up in the insistent presence of hype, delightsin much of it, and has no scruples about practicing it. Men and woman do their jobs professionally, and, like the pilots who from great heights bombed Hanoi, seem unmarked by it. They lead their real lives elsewhere, in the Village bars they are indistinguishable in dress or behavior from would-be artists, actors, and writers. The boundaries of “art for art’s sake” aren’t so rigid anymore; art itself is less sharply defined, and those whose paintings don’t sell do il lustrations; those who can’ get acting jobs do commercials; those who are writing ambitious novels sustain themselves on the magazines. Besides, serious art often feeds in the popular these days, changing it with fond irony.14 In time the newcomers find or from their won worlds; Manhatten is many such words, huddled together but rarely interaction. I think this is what gives the city its sense of freedom. There are enough like you, whatever you are. And it isn’t as necessary to know anything about an apart ment neighbor- or to worry about his judgment of you- as it is about someone with an adjoining yard. In New York, like seeks like, and by economy of effort excludes the rest as stranger. This distancing, this uncaring in ordinary encounters, has another side: in no other American city can the lonely be as lonely.15 So much more needs to be said. New Your is a wounded city, declining in its amenities . Overloaded by its tax burdens. But it is not dying city; the streets are safer than they were five years age; Broadway, which seemed to be succumbing to the tawdriness of its environment, is astir again.16 The trash-strewn streets, the unruly schools, the uneasy feeling or menace, the noise, the brusqueness- all confirm outsiders in their conviction that they wouldn’t live here if you gave them the place. Yet show a New Yorker a splendid home in Dallas, or a swimming pool and cabana in Beverly Hills, and he will be admiring but not envious. So much of well-to-do America now lives antiseptically in enclaves, tranquil and luxurious, that shut out the world. Too static, the New Yorker would say. Tell him about the vigor of your outdoor pleasures; he prefers the unhealthy hassle and the vitality of urban life. He is hopelessly provincial. To him New York- despite i ts faults, which her will impatiently concede (“so what else is new?”) — is the spoiler of all other American cities.17 It is possible in twenty other American cities to visit first-rate art museums, to hear good music and see lively experimental theater, to meet intelligent and sophisticated people who know how to live, dine, and talk well; and to enjoy all this in congenial and spacious surroundings. The New Yorkers still wouldn’t want to live there.18 What he would find missing is what many outsiders find oppressive and distasteful about New York – its rawness, tension, urgency; its bracing competitiveness; the rigor of its judgments; and the congested, democratic presence of so many other New Yorkers, encased in their own worlds, the defeated are not hidden away somewhere else on the wrong side of town. In the subways, in the buses, in the streets, it is impossible to avoid people whose lives are harder than yours. With the desperate, the ill, the fatigued, the overwhelmed, one learns not to strike up conversation (which isn’t wanted ) but to make brief, sympathetic eye contact, to include them in the human race. It isn’t much, but it is the fleeting hospitality of New Yorkers, each jealous of his privacy in the crowd. Ever helpfulness is often delivered as a taunt: a man, rushing the traffic light, shouts the man behind him. “ You want to be wearing a Buick with Jersey plates?” — great scorn in the word Jersey, home of drivers who don’t belong here.19 By Adolf Hitler’s definition, New York is mongrel ci ty. It is in fact the first truly international metropolis. No other great city- not London, Paris, Rome or Tokyo- plays host (or hostage) to so many nationalities. The mix is much wider- Asians, Africans, Latins - that when that tumultuous variety of European crowded ashore at Ellis Island. The newcomers are never fully absorbed, but are added precariously to the undigested many.20 New York is too big to be dominated by any group, by Wasps or Jews or blacks, or by Catholics of many origins — Irish, Italian, Hispanic. All have their little sovereignties, all are sizable enough to be reckoned with and tough in asserting their claims, but none is powerful enough to subdue the others. Characteristically, the city swallows up the United Nations and refuses to take it seriously, regarding it as an unworkable mixture of the idealistic, the impractical, and the hypocritical. But New Yorkers themselves are in training in how to live together in a diversity of races- the necessary initiation into the future.21 The diversity gives endless color to the city, so that walking in it is constant education in sights and smells. There is wonderful variety of places to eat or shop, and though the most successful of such places are likely to touristy hybrid compromises, they too have genuine roots. Other American cities have ethnic turfs jealously defended, but not, I think, such an admixture of groups, thrown together in such jarring juxtapositions . In the same way, avenues of high-rise luxury in New York are never far from poverty and mean streets. The sadness and fortitude of New York must be celebrated, along with its treasures of art and music. The combination is unstable; it produces friction, or an uneasy forbearance that sometimes becomes a real toleration.22 Loving and hating New York becomes a matter of alternating moods, often in the same day. The place constantly exasperates , at times exhilarates . To me it is the city of unavoidable experience. Living there, one has the reassurance of steadily confronting life.第十四课亦爱亦恨话纽约托马斯格里非斯那些赞美"大苹果"的广告活动，还有那些印着带有"我爱纽约"字样的心形图案的T恤衫，只不过是它们在绝望中发出悲哀的迹象，只不过是纽约这个非凡的城市日趋衰落的象征。
陕西省西安市2014高考英语阅读理解训练(9)
西安市2014高考英语阅读理解训练〔9〕与答案【2014高考英语模拟试题】BEurope is home to a variety of cultural treasures. Lonely Planet, the world’s largest travel guide publisher, has offered pairs of cities for culturehungry but timepoor travelers.London and ParisIt takes you about two hours to travel from London to Paris by Eurostar, a high-speed railway service. The two capital cities have been competing in fashion, art and nightlife for decades－but each secretly looks up to the other.No one can doubt the grand and impressive beauty of Paris' LouvreMuseum, but if you want to save money, you cannot skip the BritishMuseum free to visit. Compared with London, Paris has more outdoor attractions such as the beautiful green walkway La Promenade Plantee.In Paris, you'll see diners linger over red wine. While in London, you can try some afternoon tea, eat fish and chips or salted cake.Vienna and BratislavaAustrian capital Vienna and Slovakia city Bratislava are an hour apart by train. But since they are linked by the DanubeRiver, the best way to travel is by ship. A tour of the two cities is the perfect way to experience everything from 17th century's Habsburg dynasty splendor to scifi restaurants.Vienna is famous for Mozart and imperial palaces. You can appreciate the perfect blending of architecture and nature in the grand SchonbrunnPalace, and reward yourself with a cup of Vienna coffee, which has made its way to the world's cultural heritage list.Bratislava is best known for its fine dining－the remarkable UFO restaurant. You can enjoy a meatladen dinner here in an amazing setting.60．What's the relationship between London and Paris according to the text?A. They help each other.B. They attack each other.C. They admire each other.D. They don't like each other.61．What are the advantages of Paris mentioned in the article?a. The Louvre Museumb. Free access to museumsc. More outdoor attractionsd. Better wines and perfumesA. acB. cdC. acdD. bcd62．Which of the cities should you choose if you are interested in scifi restaurants?A. London.B. Paris.C. Glasgow.D. Bratislava.63．Lonely Planet recommends these two pairs of cities because________.A. they are not expensive to visitB．they are best known to the worldC．they are always enemies between each otherD．they are close but different in many aspectsB【解题导语】本文主要介绍了两组对于旅游者来说不容错过的欧洲城市：伦敦和巴黎，维也纳和布拉迪斯拉发。
乔治·格什温——美国作曲家
乔治·格什温——美国作曲家乔治·格什温介绍中文名：乔治·格什温外文名：George Gershwin国籍：美国出生地：纽约市布鲁克林出生日期：1898逝世日期：1937职业：作曲家代表作品：《波吉与贝丝》《歌曲集》《一个美国人在巴黎》早年经历格什温生于纽约布鲁克林。
曾在美国流行音乐大本营廷潘胡同(Tin Pan Alley)为一家出版商推销歌曲，从此开始自己的音乐生涯。
1919年凭借一首《斯万尼》(Swanee)蜚声全国。
是美国第一位民族作曲家。
在他短暂的一生中，只留下为数不多的管弦乐作品，但他却创立了美国所独具的音乐风格，成为美国民族音乐的奠基人。
他父母为俄国犹太移民，约1893年时移居美国。
格什温1899年9月26日生于纽约布鲁克林。
在通俗的流行音乐领域中，曾经有几位作曲家的严肃性作品已被证明了具有永久的重大价值。
最为著名的有科尔·波特、杰罗姆·克恩、欧文·伯林以及理查德·罗杰斯，而其领军人物就是格什温，他们的作品标志着美国流行歌曲的高峰位置。
格什温的音乐背景较为低下，他未经过正统的音乐教育，但却有较高的天赋，1913年从查尔斯·汉比策尔学钢琴，后又师从爱德华-基伦尼(Kilenyi)和鲁宾·戈德马克(RubinGoidmark)学习和声和理论。
16岁时，他在受雇于勒米克音乐公司，成了专门“写电影插曲的人”，并写了大量的流行歌曲。
逐渐成为百老汇和好莱坞唯一的超越了传统音乐风格中的幻想性质而创造出天才作品的作曲家。
他善于把精深复杂和原始质朴的风格熔于一炉，使音乐中独特的个性至今未减其半点魅力。
一举成名14岁时曾师从汉比策(C.Hambitzer)弹奏钢琴，表现出极高的天份。
1914年高中辍学，进入纽约出版商雷米克(Remick)的公司，担任钢琴手。
两年后辞职，开始创作。
1916-1920年间主要从事歌曲创作，这些早期的歌曲以通俗易唱和富于旋律性而流传甚广，1919年他凭借一首《斯万尼》(Swanee)蜚声全国。
乔治·格什温：美国著名作曲家,百老汇舞台和好莱坞的名作曲家
乔治·格什温：美国著名作曲家，百老汇舞台和好莱坞的名作曲家本文导读：格什温生于纽约布鲁克林。
曾在美国流行音乐大本营廷潘胡同(Tin Pan Alley)为一家出版商推销歌曲，从此开始自己的音乐生涯。
1919年凭借一首《斯万尼》(Swanee)蜚声全国。
是美国第一位民族作曲家。
在他短暂的一生中，只留下为数不多的管弦乐作品，但他却创立了美国所独具的音乐风格，成为美国民族音乐的奠基人。
他父母为俄国犹太移民，约1893年时移居美国。
格什温1899年9月26日生于纽约布鲁克林。
在通俗的流行音乐领域中，曾经有几位作曲家的严肃性作品已被证明了具有永久的重大价值。
最为著名的有科尔·波特、杰罗姆·克恩、欧文·伯林以及理查德·罗杰斯，而其领军人物就是格什温，他们的作品标志着美国流行歌曲的高峰位置。
格什温的音乐背景较为低下，他未经过正统的音乐教育，但却有较高的天赋，1913年从查尔斯·汉比策尔学钢琴，后又师从爱德华-基伦尼(Kilenyi)和鲁宾·戈德马克(RubinGoidmark)学习和声和理论。
16岁时，他在受雇于勒米克音乐公司，成了专门“写电影插曲的人”，并写了大量的流行歌曲。
逐渐成为百老汇和好莱坞唯一的超越了传统音乐风格中的幻想性质而创造出天才作品的作曲家。
他善于把精深复杂和原始质朴的风格熔于一炉，使音乐中独特的个性至今未减其半点魅力。
一举成名14岁时曾师从汉比策(C.Hambitzer)弹奏钢琴，表现出极高的天份。
1914年高中辍学，进入纽约出版商雷米克(Remick)的公司，担任钢琴手。
两年后辞职，开始创作。
1916-1920年间主要从事歌曲创作，这些早期的歌曲以通俗易唱和富于旋律性而流传甚广，1919年他凭借一首《斯万尼》(Swanee)蜚声全国。
此后又创作了不少舞台音乐剧。
鼎盛时期1924年3月发表交响曲《蓝色狂想曲》，获得巨大成功，使他成为世界级作曲家，克莱斯勒、艾尔曼、拉赫玛尼诺夫、斯特拉文斯基等当代音乐家参加了首演。