9695新编英语教程(基础英语)第三版第四册课文翻译Book 4 Unit 7从作曲家到口译员再到听众_英中对照

2021年1月26日发(作者：witnessing)
Unit Seven
第七单元

Lead-in
Movie Clip
Quotes


导入

电影剪辑

引用


Movie Clip
电影剪辑

Watch the movie clip and answer the following questions.
观看电影剪辑并回答以下问题。

What comments does Sire make on Mozart's music performed tonight?
陛下对今晚演奏的莫扎特的音乐有何评论？

He says it shows something quite new, but occasionally it seems to have too many notes.
他说它展示了一些相当新的东西，但是偶尔它似乎有太多的音符。

According to Mozart's landlady Frau Weber, who is Constanze?
根据莫扎特的女房东韦伯夫人，谁是康斯坦茨？

She is the fiancé
e of Herr Mozart.
她是莫扎特先生的未婚妻。

Discussion:
讨论
:
How much do you know about Mozart and his music?Do you like classical music or pop
music?State your reasons.
你对莫扎特和他的音乐了解多少？你喜欢古典音乐还是流行音乐？陈述你的理由。

(This is an open question.)
(
这是一个开放的问题。
)
Script
脚本

(From Amadeus)
(
来自阿马德乌斯
)
- Brava, Madame!You are an ornament to our stage.
-
布拉瓦，夫人！你是我们舞台的装饰品。

- Your Majesty.
-
陛下。

- Well, Herr Mozart.A good well, decidedly excellent effort!You have shown us
something ...quite new tonight.
莫扎特先生。很好的努力。哦，好吧，肯定的是。出色的努力！你向我们展 示了一些东西
...
今晚很新。

- It is new.
-
这是新的。

- It is, isn't it, Sire?
-
是的，不是吗，陛下？

- Yes, indeed.
-
是的，的确。

- So then, you liked it?You ...you really liked it, Sire?
-
那么，你喜欢吗？你们
...
你真的喜欢它，陛下？

- Well, of course I did!It's very good!Of course, now and then, just now and then ...it seemed a
touch ...
-
嗯，我当然做了！非常好！当然，偶尔，只是偶尔
. ..
这似乎是一种接触
...
- What do you mean, Sire?
-
你什么意思，陛下？

- Well, I mean, occasionally, it seems to have ...How shall one say ...?How shall one say, director?
-
嗯，我的 意思是，偶尔，它似乎有
...
怎么说呢
...
？怎么说呢，主任？

- Too many notes, Your Majesty?
-
太多笔记了，陛下？

- well put.
-
没错。说得好。

- Too many notes.
-
笔记太多了。

- I don't are just as many notes, Majesty, as I required, neither more nor less.
-
我不明白。陛下，我要多少笔记就有多少，不多也不少。

- My dear fellow, there are in fact ...only so many notes the ear can hear in the course of an
evening.I think I'm right in saying that, aren't I, court composer?
-
我亲爱的朋友，事实上
. ..
一个晚上，耳朵只能听到这么多音符。我想我这样说是对的，不是
吗，宫廷作曲家？

- Yes, the whole, yes, Majesty.
-
是的，是的。总的来说，是的，陛下。

- This is absurd!
-
这太荒谬了！

- My dear young man, don't take it too work is 's quality there are
simply too many 's cut a few and it'll be perfect.
-
我亲爱的年轻人，不要太难过。你的工作很有独创性。这是高质量的工作 。笔记太多了。
仅此而已。只要切几个，就很完美了。

- Which few did you have in mind, Majesty?
-
陛下，您想到了哪几个？

- Wolfgang, Wolfgang, my dear!
-
沃尔夫冈，沃尔夫冈，亲爱的！

- Wolfgang!
沃尔夫冈！

- Majesty, this is Frau 's my landlady.
-
陛下，这是韦伯夫人。她是我的女房东。

- Enchanted, Madame.
-
施了魔法，夫人。

- Sire, such an honor!This is my dear daughter, 's the fiancé
e of Herr Mozart.
-
陛下，真荣幸！这是我亲爱的女儿，康斯坦茨。她是莫扎特先生的未婚妻。

- Really?How .
真的吗？多迷人啊。拜托。

Quotes
引用

Read the following quotes and tell your classmates which one is your your reasons.
读下面的引言，告诉你的同学哪一个是你最喜欢的。陈述你的理由。

A painter paints pictures on musicians paint their pictures on silence.
一个画家在画布上画画。但是音乐家们在沉默中绘画。

—
Leopold Stokowski
—
莱奥波德
·
斯托科夫斯基

Music washes away from the soul the dust of everyday life.
音乐从灵魂中洗掉日常生活的灰尘。

—
Berthold Auerbach
—
贝特霍尔德
·
奥尔巴赫

All deep things are seems somehow the very central essence of us, song;as if all the rest
were but wrap pages and hulls!
所有深刻的东西都是歌。 宋，这似乎是我们最核心的本质。好像其他的都只是包裹的书页和
外壳！

—
Thomas Carlyle
——
托马斯
·
卡莱尔

He who sings scares away his woes.
唱歌的人会吓跑自己的烦恼。

—
Cervantes
—
塞万提斯

Music is the mediator between the spiritual and the sensual life.
音乐是精神生活和感官生活之间的媒介。

—
Ludwig van Beethoven
——
路德维希
·
范
·
贝多芬

I have my own particular sorrows, loves, delights;and you have sorrow, gladness,
yearning, hope, love, belong to all of us, in all times and in all is the only means
whereby we feel these emotions in their universality.
我有自己独特的悲伤、爱和快乐；你也有你的。但是悲伤、快乐、渴望、 希望、爱，在任何
时候任何地方都属于我们所有人。音乐是我们感受这些情感普遍性的唯一方式。

H.A. Overstreet
H.A .
奥弗斯特里特

Music is your own experience, your thoughts, your you don't live it, it won't come out of
your horn.
音乐是你自己的经历，你的思想，你的智慧。如果你不活下去，它就不会从你的喇叭里出来。

—
Charlie Parker
—
查理
·
帕克

Music expresses that which cannot be put into words and that which cannot remain silent.
音乐表达了无法用语言表达的东西和无法保持沉默的东西。

—
Victor Hugo
——
维克多
·
雨果

Music's the medicine of the mind.
音乐是心灵的良药。

—
John A. Logan
约翰
·
洛根

Text
Text I
Pre- Reading Questions
The Main Idea
Background Notes
Text
Comments on the Text
Exercises
Text II
Text
Comprehension


文本

正文一

预读问题

主要观点

背景说明

文本

对文本的评论

练习

文本二

文本

理解


Text I
正文一

Pre- Reading Questions
预读问题

What do you think the terms composer, interpreter, and listener refer to?
你认为作曲家、翻译和听众指的是什么？

How do you think the three are related to each other?
你认为这三者之间有什么关系？

For your reference
供您参考

composer: a person who writes music
作曲家
:
写音乐的人

interpreter: a person who performs musical compositions, e.g., pianist, violinist, cellist, or a
conductor of a symphony orchestra
翻译
:
演奏音乐作品的人，如钢琴家、小提琴手、大提琴手或交响乐团的指挥

listener: a person who listens to music
听众
:
听音乐的人

(2) This is an open s it with your classmates.
(2)
这是一个开放的问题。和你的同学讨论一下。

The Main Idea
主要观点

Read the text rapidly once and pick out the words or sentence(s) in each paragraph which best sum
up the main idea of the paragraph.
快速读一遍课文，挑出每段中最能概括段落主旨的单词或句子。

For your reference
供您参考

Para.1

He (the composer) gives us himself.
下肢轻瘫
1
他
(
作曲家
)
给了我们自己。

Para.2

Sentence 1
下肢轻瘫
2
百分之一

Para.3
It is the interreaction of personality and period that results in the formation of a composer's
style.
下肢轻瘫
3
是个性和时代的相互作用导致了作曲家风格的形成。

Para.4

The interpreter is a kind of middleman in music.
下肢轻瘫翻译是音乐的中间人。

Para.5

...he (the interpreter) exists to serve the composer.
下肢轻瘫
5...
他
(< br>翻译
)
是为作曲家服务的。

Para.6

The first real interpretative problem is presented by the notes themselves.
下肢轻瘫第一个真正的解释问题是由注释本身提出的。

Para.7 ...it (a composition) is capable of being seen in a different light and from different angles by
various interpreters or even by the same interpreter at different times.
下肢轻瘫
7...它
(
一个作品
)
能够被不同的解释者，甚至是同一解释者在不同的时间从 不同的
角度，从不同的角度来看。

Para.8 ...only a listener who really involves himself is of importance to music or the makers of
music.
下肢轻瘫
8...
只有真正参与其中的听众对音乐或音乐制作者才是重要的。

Para.9

Sentence 1
下肢轻瘫
9
句子
1
Para.10

Sentence 1
下肢轻瘫
10
世纪
1
Para.11

Sentence 1
下肢轻瘫
11
世纪
1
Background Notes
背景说明

Lully
Lully

Jean- Baptiste Lully (born Nov. 29, 1632, Florence, died March 22, 1687, Paris, France) was an
Italian- born French was made a ward of the court after his mother died and was sent
to a noble French household at age 13 as he learned guitar, organ, violin, and dancing
and came to know the composer Michel Lambert, who introduced him to society and later became
his became a dancer and musician for the king and at age 30 was put in charge
of all royal the 1660s he composed the incidental music for Molire's plays as well as those
of France's great the early 1670s he obtained the sole patent to present opera and
produced the series of lyric tragedies most with librettos by Philippe Quinault for which he is
known, including Alceste (1674), Atys (1676), and Armide (1686).The orchestra he developed was
an important forerunner of the modern orchestra.A self-inflicted injury to his toe with his heavy
conducting stick led to his style of composition was imitated throughout Europe.
乔万尼
·
巴蒂斯塔
·
吕利
(
生于
1632
年
11
月
29
日，佛罗伦萨，死于
168 7
年
3
月
22
日，法国
巴黎
)
是一位出生 于意大利的法国作曲家。他的母亲去世后，他成了法院的受监护人，并在
13
岁时被送到一个高 贵的法国家庭当贴身男仆。在那里，他学习了吉他、管风琴、小提琴
和舞蹈，并结识了作曲家米歇尔·
兰伯特，后者将他介绍给社会，后来成为他的岳父。卢利
成为国王的舞蹈演员和音乐家，
30
岁时负责所有皇家音乐。在
16
世纪
60
年代，他为莫 里哀
的戏剧以及法国伟大的悲剧家的戏剧创作了配乐。在
16
世纪
70
年代早期，他获得了唯一的
歌剧专利，并创作了一系列抒情悲剧，其中以菲利普
·
奎 诺特的剧本最为著名，包括阿尔切
斯特
(1674
年
)
、阿提斯(1676
年
)
和阿米德
(1686
年
)
。他 发展的管弦乐队是现代管弦乐队的重
要先驱。他的脚趾被沉重的导电棒自伤，导致死亡。他的写作风格被 整个欧洲模仿。

Wagner
姓氏


Wilhelm Richard Wagner (born May 22, 1813, Leipzig, Germany, died Feb. 13, 1883, Venice, Italy)
was a German is best known for his composing his own works, he was
a theatrical and operatic was also a conductor and wrote articles and essays on drama
and music, something he continued to do throughout his was largely self- trained as
a musician, but had tremendous is the case with many geniuses, Wagner could be a
difficult ran up enormous debts, which he expected others to pay he did have
money, he spent it had a huge ego and once asked a man whom he barely knew for
this was denied, he was incensed and replied,
man like me will apply to you.
and continues to have, a tremendous effect on all audiences and musicians.
威廉
·
理查德
·
瓦格纳
(
生于
1813
年
5月
22
日，德国莱比锡，死于
1883
年
2
月
13
日，意大利
威尼斯
)
是一位德国作曲家。他以歌剧闻名。在创作自己的作 品之前，他是一名戏剧和歌剧
制作人。他也是一名指挥家，写关于戏剧和音乐的文章和散文，这是他一生 都在做的事情。
瓦格纳在很大程度上是自学成才的音乐家，但他有巨大的天赋。就像许多天才一样，瓦格 纳
可能是个难相处的人。他欠下了巨额债务，他希望别人来偿还。当他真的有钱时，他挥霍无
度 。他非常自负，有一次向一个他几乎不认识的人要钱。当这一点被否认时，他很生气地回
答道
: “
像我这样的人向你提出申请的情况可能不会再发生了。
”
瓦格纳的音乐为一些人所喜
爱，而为另一些人所憎恨，但它已经并将继续对所有的观众和音乐家产生巨大的影响。

Text
文本

From Composer to Interpreter to Listener
从作曲家到口译员再到听众

What do we listen for when we listen to a composer?He need not tell us a story like the novelist;he
need not
architect's is it that he gives us, then?Only one answer seems possible to me: He
gives us artist's work is, of course, an expression of himself, but none so direct as that
of the creative gives us, without relation to exterior
of himself
—
(1)that part which (2)embodies the fullest and deepest expression of himself as a man
and of his experience as a fellow being.
当 我们听作曲家的时候，我们在听什么？他不必像小说家那样给我们讲故事；他不需要像雕
刻家一样
“
复制
”
自然；他的作品不需要像建筑师的画那样具有直接的实用功能。那他给了我
们什么？在我看来，只有一个答案是可能的
:
他给了我们自己。当然，每个艺术家的作 品都
是他自己的表达，但没有一个像创造性音乐家的作品那样直接。他给我们的，与外部
“事件
”
无关的，是
(1)
他自己的精华部分
——
(1)
那部分
(2)
体现了他作为一个人和作为一个人的经历
的最充分和最深刻的表 达。

Always remember that when you listen to a composer's creation you are listening to a man, to a
particular individual, with his own special a composer, to be of any value, must have
his own may be of greater or lesser importance, but, in the case of significant music, it
will always mirror that composer can write into his music a value that he does not
possess as a character may be (2)(3)streaked with human (4)frailties
—
like Lully's or
Wagner's, for example
—
but whatever is fine in his music will come from whatever is fine in him
as a man.
永远记住，当你听一个作曲家的创作时，你是 在听一个人，一个有着自己特殊个性的人。对
一个作曲家来说，要有任何价值，就必须有自己的个性。它 可能更重要或更不重要，但是，
在重要音乐的情况下，它总是反映那个个性。没有一个作曲家能在他的音 乐中写出他作为一
个人所不具备的价值。他的角色可能带有人性的弱点
——
例如，像卢 利或瓦格纳的弱点
——
但他音乐中的美好之处将来自他作为一个人的美好之处。

If we examine this question of the composer's individual character more closely, we shall discover
that it is really made up of two distinct elements: the personality with which he was born and the
influences of the time in which he , obviously, every composer lives in a certain period,
and each period has its character, er personality a composer may have is expressed
(3)within the framework of his own is the inter-reaction of personality and period that
results in the formation of a composer's composers with exactly similar personalities
living in two different (5)epochs would inevitably produce music of two different we
speak of a composer's style, therefore, (4)we refer to the combined result of an individual character
and a particular period....There are as many styles as there are composers, and each important
composer has (5)several different styles corresponding to the influences of his own time and the
(6)maturing of his own personality.
如果我们更仔细地研究作曲家的个性这个问题，我们会发现它实际上是由两 个截然不同的因
素组成的
:
他与生俱来的个性和他所处时代的影响。因为，显然，每个 作曲家都生活在一个
特定的时期，每个时期都有自己的特点。无论一个作曲家有什么样的个性，都是在他 自己的
时代框架内表现出来的。正是个性和时代的相互作用导致了作曲家风格的形成。生活在两个
不同时代、性格完全相似的两位作曲家不可避免地会创作出两种不同风格的音乐。因此，当
我们谈到一 个作曲家的风格时，
(4)
我们指的是一个人的性格和一个特定时期的综合结果。
.. .
有多少作曲家就有多少风格，每个重要的作曲家都有
(5)
几种不同的风格，这与他 所处时代
的影响和他自身性格的成熟相适应。

If it is essential for the listener to understand the question of musical style as applied to a
composer's work, it is even more so for the the interpreter is a kind of middleman in
music.(6)It is not so much the composer that the listener hears, as the interpreter's conception of the
writer's contact with his reader is direct;the painter's picture need only be hung well
to be music, like the theater, is an art that must be reinterpreted in order to poor
composer, having finished his composition, (7)must turn it over to the tender mercies of an
interpretive artist
—
who, it must always be remembered, is a being with his own musical nature
and his own (7)lay listener, therefore, can judge an interpretation fairly (8)only if he
is able to distinguish between the composer's thought, ideally speaking, and the degree to which the
interpreter is faithfully reproducing that thought.
如果听众理解应用于 作曲家作品的音乐风格的问题是必要的，那么对解释者来说更是如此。
因为翻译是音乐的中间人。
(6)
与其说听者听到的是作曲家，不如说是译员对作曲家的理解。
作者与读者的接触是直接 的；画家的画只需挂好就能看到。但是音乐和戏剧一样，是一门艺
术，为了生存必须重新诠释。这位可怜 的作曲家完成了他的作品，他必须把它交给一位有阐
释力的艺术家
——
人们必须永远记 住，他是一个有着自己的音乐天性和个性的人。因此，外
行听众只有在能够区分作曲家的思想
(
理想地说
)
和解释者忠实地再现该思想的程度时，才能
公正地判断一个解释。

(9)The role of the interpreter leaves no room for are agreed that he exists to serve the
composer
—
to (8)assimilate and recreate the composer's
—
it
is its practical application that needs (9)elucidation. < br>(9)
口译员的角色没有留下争论的余地。所有人都同意，他的存在是为了为作曲家服务
——
吸收并再现作曲家的
“
信息
”
。这个理论很简单
——< br>需要阐明的是它的实际应用。

Most first-rate interpretive artists today possess a technical equipment that is more than sufficient
for any demands made upon that in most cases we can take technical proficiency for
first real interpretive problem is presented by the notes l
(10)notation, as it exists today, is not an exact transcription of a composer's cannot be, for
it is too vague;(10)it allows for too great a (11)leeway in individual matters of taste and
e of that, the interpreter is forever confronted with the problem of how literally (11)he
is expected to keep to the printed ers are only human
—
they have been known to put
notes down inexactly, to overlook important have also been known to change their
opinions in regard to their own indications of (12)tempo or reters, therefore, must
use their musical intelligence before the printed is, of course, the possibility of
exaggeration in both directions
—
keeping too strictly to the notes or straying too far away from
problem would probably be solved, up to a certain point, if a more exact way of noting
down a composition were , even so, (12)music would still be open to a number of
different interpretations.
如今，大多数一流的诠释艺术家都拥有足以满足任何需求的技术设 备。所以在大多数情况下，
我们可以认为技术熟练是理所当然的。第一个真正的解释问题是由注释本身提 出的。今天存
在的音乐符号并不是作曲家思想的精确转录。不可能，因为它太模糊了；它在个人的品味和
选择上留有太大的余地。正因为如此，翻译永远面临着一个问题，那就是他应该如何忠实于
印刷 的页面。作曲家都是人
——
他们都知道不准确地记笔记，忽略重要的遗漏。众所周知，
他们也会改变自己对节奏或力度的看法。因此，译员必须在印刷之前运用他们的音乐智慧。
当然，两个方 向都有夸张的可能
——
过于严格地遵循音符或者偏离音符太远。在一定程度上，
如果有 更准确的方式记下一篇作文，这个问题可能会得到解决。但是，即使如此，音乐仍然
可以有许多不同的解 释。

For a composition is, after all, an is a living, not a (13)static, is why it is
capable of being seen in a different light and from different angles by various interpreters or even
by the same interpreter at different retation is, to a large extent, a matter of
piece has an essential quality which the interpretation must not (14) takes
its quality from the nature of the music itself, (13)which is derived from the personality of the
composer himself and the period in which it was other words, every composition has its
own style which the interpreter must be faithful every interpreter has his own personality, too,
so that we hear the style of a piece as (15)refracted by the personality of the interpreter.
因为组合毕竟是 一种有机体。这是一个活生生的东西，而不是静止的东西。这就是为什么不
同的口译员甚至同一名口译员 在不同的时间能从不同的角度从不同的角度看问题。解释在很
大程度上是一个重点问题。每一件作品都有 一个重要的品质，诠释者不能背叛。它的品质来
自音乐本身的性质，而音乐的性质来自作曲家本人的个性 和创作时期。换句话说，每篇作文
都有自己的风格，译员必须忠实于它。但是每个口译员也有他自己的个 性，所以我们听到口
译员的个性折射出的作品风格。

By now, the importance of the listener's role in this whole process must be
combined efforts of composer and interpreter have meaning only in so far as they go out to an
intelligent body of (16)bespeaks a responsibility on the part of the before
one can understand music, one must really love all things, composers and interpreters want
(14)listeners who lend themselves fully to the music that they are hearing.(15)Virgil Thomson once
described the ideal listener as
imply, no doubt, that only a listener who really involves himself is of importance to music or the
makers of music. 现在，听众在整个过程中的作用的重要性已经不言而喻了。作曲家和译员的共同努力只有在
对一群聪 明的听众产生影响时才有意义。这表明听者有责任。但是在理解音乐之前，一个人
必须真正热爱它。最重 要的是，作曲家和口译员希望听众能够完全投入到他们所听到的音乐
中。
(15)
维吉 尔
·
汤姆森曾经把理想的听众描述为
“
一个热烈鼓掌的人
”
。毫无疑问，他的本意
是暗示，只有真正投入其中的听众对音乐或音乐创作者才是重要的。

To lend oneself completely inevitably means, for one thing, the broadening of one's is
insufficient to love music only in its more conventional , like sensitivity, can be
considerably developed by intelligent means listening to music of all schools and all
periods, old and new, conservative and modern.(17)It means unprejudiced listening in the best sense
of the term.
完全不可避免地借给自己意味着，一方面 ，拓宽自己的品味。仅仅从更传统的方面去热爱音
乐是不够的。味觉就像敏感性一样，可以通过智能练习 得到极大的发展。这意味着听所有学
校和所有时期的音乐，无论新旧，保守还是现代。
(17)
在这个术语的最佳意义上，它意味着
不带偏见的倾听。

Take seriously your responsibility as of us, professionals and laymen alike, are forever
striving to make our understanding of the art more (17) need be no exception, no
matter how modest your pretensions as listener may it is our combined reaction as listeners
that most profoundly influences both the art of composition and interpretation, it may truthfully be
said that the future of music is in our hands.
认真对待 你作为倾听者的责任。我们所有人，不管是专业人士还是普通人，都一直在努力让
我们对艺术的理解更加 深刻。无论你作为倾听者有多谦虚，你都不需要例外。因为是我们作
为听众的共同反应最深刻地影响了作 曲和诠释的艺术，所以可以说音乐的未来掌握在我们手
中。

Music can only be really alive when there are listeners who are really listen intently, to
listen consciously, to listen with one's whole intelligence is the least we can do in the furtherance of
an art that is one of the glories of mankind.
只有当有真正活跃的听众时，音乐才能真正活跃。专心倾听 ，有意识地倾听，用自己的全部
智慧去倾听，这是我们在推进一门艺术方面所能做的最起码的事情，而这 门艺术是人类的荣
耀之一。

By Aaron Copland (abridged)
阿隆
·
科普兰
(
节略
)
Words and phrases: (
点击文中红色单词或词组
,
出现 该红色部分及
e.g.
字样
,
再单击
e.g. ,
出现例
句
)
单词和短语
: (
点击文中红色单词或词组
,
出现该红色部分及例如字样
,
再单击例如，出现例句
)
quintessential: a. being a perfect example of a particular type of person or thing
典型
:a .
成为某一特定类型的人或事物的完美范例

e.g. Indeed, dance is the quintessential gesture language.
的确，舞蹈是典型的手势语言。

World famous animated films like Mulan and KungFu Panda popularized some quintessential
elements of Chinese culture, but they were produced outside of China.
像《花木兰 》和《功夫熊猫》这样的世界著名动画电影普及了一些中国文化的精髓，但它们
是在中国之外制作的。< br>
embody: v. be a very good example of an idea or quality
成为一个想法或品质的很好的例子

e.g. Those players embody the qualities their teams represent, their personalities becoming
synonymous with the uniform.
那些球员体现了他们球队所代表的品质，他们的个性成为了队服的同义词。

The 44 delegations present decided to create an organization that would embody a genuine culture
of peace.
出席会议的
44
个代表团决定创建一个体现真正和平文化的组织。

streak: v. cover something with lines of colour, liquid etc.
用颜色、液体等线条覆盖某物。

e.g. His left hand was streaked with blood.
他的左手有血迹。

On a clear night scores of meteors streak the sky.
在晴朗的夜晚，几十颗流星划过天空。

frailty: n. something bad or weak in one's character
脆弱
:
某人性格中不好的或脆弱的东西

e.g. I suspect that he was just showing a common human frailty.
我怀疑他只是表现出一种普通的人类弱点。

A better approach is to recognize human frailty and to be generous in our judgments.
一个更好的方法是认识到人类的弱点，并在判断时慷慨大方。

epoch: n. a period of history
新纪元
:
历史时期

e.g. The epoch of revolution creates great figures.
革命时代创造了伟大的人物。

The saying goes that a week is a long time in politics;today has shown that an hour can seem like an
epoch.
俗话说，一周在政治上是很长的时间；今天已经表明，一个小时看起来像一个时代。

mature: v. become fully grown or developed
成熟的；成熟的

e.g. As fish grow and mature, their colour patterns may change.
随着鱼的生长和成熟，它们的颜色模式可能会改变。

Our plans have not yet matured.
我们的计划尚未成熟。

lay: a. not trained or not knowing much about a particular profession or subject
外行
:a .
没有受过训练或对某一特定职业或学科了解不多

e.g. It is often difficult to put technical matters into lay language.
通常很难把技术问题用通俗的语言表达出来。

In every field, from the simplest to the most abstruse, there are several books for the average,
untrained lay readers, right through to those for experts in the field.
在每一个领域，从最简单的到最深奥的，都有 几本书是为普通的、未受过训练的外行读者准
备的，一直到该领域的专家。

assimilate: v. completely understand and begin to use new ideas, information, etc.
完全理解并开始使用新的想法、信息等。

e.g. China needs to assimilate a good deal of advanced culture from abroad, but she must not
swallow anything and everything uncritically.
中国需要吸收大量来自国外的先进文化，但她不能不加批判地接受任何东西。

A lack of sleep can interfere with your ability to assimilate new information.
睡眠不足会干扰你吸收新信息的能力。

elucidation: n. an act of explaining that serves to clear up and cast light on
解释
:
用于澄清和阐明的解释行为

e.g. It is a straight-forward, scientific, clear elucidation of facts that cannot be disputed.
这是对不容置疑的事实的直截了当的、科学的、清晰的阐释。

Perhaps the single most important advancement in biology during the 20th century was the
elucidation of the structure of DNA.
也许
20
世纪生物学中最重要的进步 是对
DNA
结构的阐释。

notation: n. a system of written marks or signs used to represent something such as music,
mathematics, or scientific ideas
符号
:n .
用来代表音乐、数学或科学思想的书写符号或符号系统

e.g. It is useful to introduce a shorthand notation to facilitate the identification of various elements.
引入简写符号有助于识别各种元素。

Until a common system of musical notation was developed in the ninth century, there was little
uniformity or record of the music.
直到
9
世纪出现了一种通用的乐谱系统，音乐的统一性和记录都很少。

leeway: n. freedom to do things in the way you want to
回旋余地
:n .
以你想的方式做事的自由

e.g. This gives me some starting and stopping leeway.
这给了我一些开始和停止的余地。

To give themselves more leeway, bigger developers have turned away from fickle onshore financing
to international bond markets.
为了给自己更多的回旋余地，大型开发商已经从变幻莫测的在岸融资转向国际债券市场。

tempo: n. the speed at which music is played or should be played
速度
:
音乐播放或应该播放的速度

e.g. The tempo gradually slows down and speeds back up, and the end of the first track almost
brings the disc to a halt.
节奏逐渐变慢，然后又加速，第一首曲目的结尾几乎使光盘停止。

When, with a sudden injection of saxophones, the tempo quickened, he spun her out carefully,
keeping the beat with his shoulders.
当突然注入萨克斯管时，节奏加快了，他小心翼翼地把她推出去，用肩膀保持节奏。

static: a. not moving, changing, or developing
静态的
:
不移动、不改变或不发展

e.g. Economists predict that house prices will remain static for a long period.
经济学家预测房价将在很长一段时间内保持不变。

In life we should be striving for dynamic balance, not a static one.
在生活中，我们应该努力寻求动态平衡，而不是静态平衡。

betray: v. be disloyal to someone who trusts you so that they are harmed or upset
背叛
:v .
对信任你的人不忠，这样他们会受到伤害或不安

e.g. She betrayed her friends by breaking her promise.
她违背诺言，背叛了她的朋友。

He tells Robert that he's going to betray his oath, and reveal Robert's true identity.
他告诉罗伯特，他将背叛他的誓言，并透露罗伯特的真实身份。

refract: v. if glass or water refracts light, the light changes direction when it passes through the glass
or water
折射
:
如果玻璃或水折射光线，光线穿过玻璃或水时会改变方向

e.g. When light hits a surface, the light can be reflected, refracted, transmitted or absorbed.
当光照射到表面时，光可以被反射、折射、透射或吸收。

After it rains there's usually a dew left on the because of the way my eyes refract the light,
I see rainbows in the grass.
下雨后，草地上通常会留下露水。因为我的眼睛折射光线的方式，我看到了草丛中的彩虹。

bespeak: v. be a sign of something
表示某事的迹象

e.g. Her house, her style of living, all bespeak an exceedingly good income.
她的房子，她的生活方式，都表明她的收入非常高。

Today's event bespeaks future tragedy.
今天的事件预示着未来的悲剧。

profound: a. having a strong influence or effect
深刻的
:a .
有强大的影响力或影响

e.g. This kind of faith is a profound belief related to what you want to achieve.
这种信念是与你想要实现的目标相关的深刻信念。

My experience with those kids had a profound impact on me.
我和那些孩子的经历对我产生了深远的影响。

Notes (
点击文中蓝色 字体
,
出现该内容
,
再点击
,
出现下面的注释内容
)
注释
(
点击文中蓝色字体
,
出现该内容
,
再点 击
,
出现下面的注释内容
)
that part which embodies the fullest and deepest expression of himself as a man and of his
experience as a fellow being
这一部分体现了他作为一个人和作为一个人的经历的最充分和最深刻的表达

the essence of his which gives concrete form to his whole personality and to his experience in our
community
他的本质使他的整个人格和他在我们社区的经历具体化

embody
—
give concrete form to (ideas, etc.)
体现
,
使具体化

具体化
——
使(
思想等
)
具体化。
)
体现
,
使具体化

For example:
例如
:
His speech embodies his selflessness.
他的演讲体现了他的无私。

Wang's act of bravery embodies his spirit of self-sacrifice.
王的英勇行为体现了他的自我牺牲精神。

ed with human frailties
—
like Lully's or Wagner's
2.
夹杂着人类的弱点
——
像卢利或瓦格纳的

marked with human weaknesses
—
like Lully's and Wagner's
以人类的弱点为标志
——
像卢利和瓦格纳的弱点

the framework of his own period
3.
在他那个时代的框架内

within the make-up of his own other words, the composer is subject to the influence of the
political thoughts, social and moral values, etc., of his time.
在他 自己的时期。换句话说，作曲家受政治思想、社会和道德价值观等的影响。在他那个时
代。

refer to the combined result
4.
我们指的是综合结果

we are speaking of the combined result
我们说的是综合结果

refer to
—
direct one's statement at;speak of / about
指
——
直接陈述；谈论
/
谈论

For example:
例如
:
When I said that some pianists keep too strictly to the notes and use no imagination, I was not
referring to you.
当我说一些钢琴家过于严格地遵守音符并且不使用想象力时，我指的不是你。

They have already made up, so don't refer to their quarrel again.
他们已经和好了，所以不要再提他们的争吵了。

several different styles corresponding to the influences of his own time and the maturity of his own
personality
几个不同的风格对应于他自己的时代和他自己性格的成熟的影响

several different styles consistent with the influences of his own time and the full development of
his own personality
几个不同的风格符合他自己的时代的影响和他自己个性的充分发展

correspond to
—
be in agreement with, match
与
…
一致，匹配

For example:
例如
:
Does this explanation correspond to the meaning of the original words in the text?
这个解释和原文的意思一致吗？

Congress in the U.S.A. corresponds to Parliament in Britain.
美国的国会相当于英国的议会。

maturity
—
the state of being fully developed
成熟
——
完全发展的状态

For example:
例如
:
These trees will reach maturity in about five years.
这些树大约五年后会成熟。

It is not so much the composer that the listener hears, as the interpreter's conception of the composer.
与其说听众听到的是作曲家，不如说是译员对作曲家的理解。

What the listener hears is not the composer himself, but rather the interpreter's understanding of the
composer.
听众听到的不是作曲家本人，而是译员对作曲家的理解。

not so much ...as ...
—
not ...but rather ...
没有那么多
...
如同
...
—
不 是
...
而宁可说是
...
For example:
例如
:
Mr. Brown is not so much a scholar as a pedant.
布朗先生与其说是学者，不如说是学究。

It is not so much the plan that I object to as the way to carry it out.
与其说我反对这个计划，不如说我反对实施它的方法。

must turn it over to the tender mercies of an interpretive artist
必须把它交给一个诠释艺术家的仁慈

must leave it to the rough treatment by a musician who will play it
必须让一个会演奏它的音乐家对它进行粗暴的处理

to the tender mercies of
—
to the probably unkind or rough treatment by
对
…
的仁慈
——
对
…
可能不友好或粗暴的对待

For example:
例如
:
The rice seedlings, having been transplanted in the fields, are left to the tender mercies of
's why the local Meteorological Bureau's work is so important.
秧苗被移植到地里后，就任凭大自然的摆布了。这就是为什么当地气象局的工作如此重要。

You'll find yourself on the move all day long if you're left to the tender mercies of Jack, whom we
call a
如果你任由我们称之为
“
奴隶司机
”
的杰克摆布，你会发现自己整天都在奔波。

only if he is able to distinguish between the composer's thought ...and the degree to which the
interpreter is faithfully reproducing that thought
只有当他能够区分作曲家的思想
...
以及解释者忠实再现这种思想的程度

only if he can see the difference between what the composer has in mind and how well the
interpreter plays his works
只有当他能看到作曲家的想法和解释者演奏他作品的水平之间的区别时

distinguish between
—
recognize differences between
区分
——
识别以下各项之间的差异

For example:
例如
:
It is difficult for Shanghai people to distinguish between the ending consonants /n/ and /?/.

上海人很难区分辅音结尾的
/n/
和
/?/.

My roommate cannot distinguish between red and green since he is colour-blind.
我的室友不能区分红色和绿色，因为他是色盲。

role of the interpreter leaves no room for argument.
9.
翻译的角色没有留下争论的余地。

Room in the verb phrase leave no room for refers to
happen or be done
动词短语
“
不留空间
”
中的
“
空间
”
是指
“
某事发生或完成的需要或可能性
”
。

For example:
例如
:
His study and work leave him no room for entertainment.
他的学习和工作使他没有娱乐的空间。

The facts leave little room for doubt as to his innocence.
这些事实使人对他的清白没有什么怀疑的余地。

Your composition is good as it is, though there's still much room for improvement.
你的作文虽然还有很大的改进空间，但还是不错的。

allows for too great a leeway in individual matters of taste and choice
10.
它允许在个人品味和选择上有太大的回旋余地

taste
—
the ability to make good judgment in matters such as music, art, style, etc.
鉴赏力

品味
——
在音乐、艺术、风格等方面做出良好判断的能力。鉴赏力

For example:
例如
:
The furniture in Mary's room shows that she has a good taste.
玛丽房间的家具表明她很有品位。

The design on his T-shirt is in very bad taste.
他
t
恤上的设计很不雅观。

is expected to keep to the printed page
11.
人们期望他坚持印刷的那一页

people expect him to follow the score(
乐谱
) closely
人们希望他能跟上比分
(
乐谱
)
紧密地

keep to
—
limit oneself to;follow closely
保持
——
限制自己；紧跟

For example:
例如
:
The speaker digressed too he had kept to the subject, he could have finished the lecture
much sooner.
演讲者离题太多。如果他坚持主题，他本可以更快地完成讲座。

Being a student of English, you should read extensively and practise in many remain
satisfied with keeping to the materials and exercises the teacher assigns you.
作为一名英语学生，你应该广泛阅读，多方面练习。永远不要满足于老师给 你布置的材料和
练习。

would still be open to a number of different interpretations
12.
音乐仍然可以有许多不同的解释

there would still be a number of different interpretations of music
对音乐仍有许多不同的解释

be open to
—
be subject to;be willing to accept
对
…
开放；愿意接受

For example:
例如
:
The latest film produced by our studio is open to suggestions and different opinions.
我们工作室制作的最新电影欢迎各种建议和不同意见。

His resignation from the post of general manager is open to misunderstanding, suspicion and gossip
on the part of the staff members, but actually it is his sincere wish to let the young people shoulder
the responsibility and develop themselves professionally without him.
他辞去总经理一 职容易引起员工的误解、怀疑和流言蜚语，但实际上他真诚地希望让年轻人
承担起责任，在没有他的情况 下发展自己的职业生涯。

is derived from the personality of the composer himself and the period in which it was
written
13.
这源于作曲家本人的个性和创作时期

which is obtained from the personality of the composer and the period
这是从作曲家的个性和时期获得的

derive from
—
obtain from
从
——
获得

For example:
例如
:
The children in the kindergarten derive great pleasure from acting on the stage.
幼儿园的孩子们从舞台表演中获得了极大的乐趣。

Many English words are derived from Latin.
许多英语单词源自拉丁语。

ers who lend themselves fully to the music that they are hearing
14.
完全适应他们听到的音乐的听众

listeners who involve themselves completely in the music that they are hearing
完全沉浸在他们听到的音乐中的听众

lend oneself to
—
let oneself be a part of;give help or approval to
借给自己
——
让自己成为其中的一部分；给予帮助或赞同

For example:
例如
:
Everyone in the exploration team lent themselves to the task of setting up a permanent base in
Antarctica.
探险队的每个人都投身于在南极洲建立永久基地的任务。

Mary wouldn't lend herself to playing tricks of any kind.
玛丽不喜欢玩任何把戏。

Thomson
15.
维吉尔
·
汤姆森

(1896
–
1989) American composer and critic, a great friend of Aaron Copland
(1896- 1989)
美国作曲家和评论家，阿隆
·
科普兰的好朋友

mot
16.
妙语

(French) a clever saying or remark
(
法语
)
聪明的说法或评论

It means unprejudiced listening in the best sense of the term.
从这个术语的最佳意义上来说，它意味着不带偏见的倾听。

The term unprejudiced listening may have a number of different meanings, but here the term is to
be understood in its truest meaning.
“< br>无偏见的倾听
”
这个术语可能有许多不同的含义，但在这里这个术语应该被理解为它最真 实
的含义。

sense (of a word or expression)
—
one of (the word's or expression's) possible meanings
(
一个单词或表达的
)
意义
——
一个
(
单词或表达的
)
可能的意义

For example:
例如
:
Dick is a workaholic in the true sense of the word.
迪克是真正意义上的工作狂。

He may not be a liar in the strict sense of the word, but he never says anything seriously.
从严格意义上来说，他可能不是一个骗子，但他从来没有认真地说过什么。

Comments on the Text
对文本的评论

This is an expository piece of writing, dealing with the relationship between the composer,
interpreter and listener, and the different role each plays in a musical l of an
expository piece of writing is that its purpose is to explain.
这是一篇说明性的文章，论述了作曲家、译员和听众 之间的关系，以及他们在音乐体验中扮
演的不同角色。一篇说明文的典型之处在于它的目的是解释。
Exposition is usually formal and academic;this essay is no style is typical of formal
is directed at a fairly well-educated audience but one that is not as well-informed as the
writer on the vocabulary the writer employs is wide-ranging and fairly
text as a whole is carefully organized with much attention given to clear and thorough development
of ideas, which, in this essay, results in very complex sentence structures.
阐述通常是正式的和学术性的；这篇文 章也不例外。它的风格是典型的正式英语。它针对的
是受过良好教育的观众，但他们并不像作者那样了解 这个主题。作者使用的词汇范围广泛，
要求相当高。这篇文章作为一个整体被精心组织，非常注意清晰和 彻底的思想发展，在这篇
文章中，导致非常复杂的句子结构。

The writer avoids monotony by several techniques:
作者通过几种技巧来避免单调
:
poses a challenging question at the beginning of the essay:
listen to a composer?
the text.
1.
他在文章的开头提出了一个 挑战性的问题
:“
当我们听一个作曲家的时候，我们在听什么？
”
读者可以假 设这个问题的答案将是文本其余部分的内容。

then uses (still in the first paragraph) a short but vivid contrast to emphasize his point.
2.
然后他用一个简短但生动的对比
(
仍然在第一段
)
来强调他的观点。

employs variety in the length and complexity of his sentences to help sustain the reader's
tension created by relatively long and complex sentences is relieved by shorter and
simpler sentences.
3.
他在句子的长度和复杂程度上运用多样性来帮助保持读者的兴趣。 相对长而复杂的句子所
产生的紧张感会被较短而简单的句子所缓解。

uses semicolons in preference to and between independent clauses.
4.
他在独立从句之间优先使用分号。

Thomson's bon mot is quoted to support his own views.
5.
引用维吉尔
·
汤姆森的名言来支持他自己的观点。

writer does not remain entirely d of writing in a quasi-objective, third person
voice, he uses we and addresses the reader as you to help him or her feel involved in the text.
6.
作者没有保持完全客 观。他不是用一种准客观的第三人称的声音来写作，而是用
“
我们
”
来
称呼读者，就像你帮助他或她感觉自己融入了文本一样。

y parallelism is used for emphasis.
7.
最后，并行性被用于强调。

Exercises
练习

the following questions.
A.
回答下列问题。

does the title
1.
标题
“
从作曲家到口译员再到听众
”
是什 么意思？

The title indicates that there is a connection between the three musical situation implies
three distinct roles: the composer, the interpreter, and the form a trio
—
an inseparable
group of part is complete without the begins with the composer, passes
through the medium of the interpreter and ends with the role in its own way plays an
important part
—
contributing to the sum total of the musical experience.
标题表明这三个角色之间有联系。每一种音乐情境都包含三 个不同的角色
:
作曲家、翻译和
听众。他们组成了一个三人组
——
一 个不可分割的三人组。没有其他的部分是不完整的。音
乐从作曲家开始，经过翻译的媒介，以听众结束。 每个角色都以自己的方式扮演着重要的角
色
——
为音乐体验的总和做出贡献。

are the responsibilities of a composer, an ideal interpreter and an intelligent listener?
2.
作曲家、理想的翻译和聪明的听众的职责是什么？

1) The composer is the maker of his creative labour, music comes into being.
1)
作曲家是音乐的创造者。通过他的创造性劳动，音乐诞生了。

2) The interpreter is a kind of middleman in exists to serve the composer
—
to assimilate
and recreate the composer's
between the composer and the listener.
2)
译员是音乐的中间人。他的存 在是为了为作曲家服务
——
吸收并再现作曲家的
“
信息
”
。 没
有他，作曲家和听众之间就没有交流和理解。

3) The listener is the receiver of t the intelligent listener, the combined efforts of the
composer and the interpreter would be listener is the one who determines whether
a piece of music can really be alive or not.
3)
听者是音乐的接受者。没有聪明的听众，作曲家和译 员的共同努力将毫无意义。听众是决
定一首音乐是否真的能够存在的人。

are the qualifications that a good composer, an ideal interpreter and an intelligent listener
must possess?
3.
一个好的作曲家、一个理想的翻译和一个聪明的听众必须具备哪些条件？

A composer of any value must give us the quintessential part of himself
—
that part which
embodies the fullest and deepest expression of himself as a man and of his experience as a fellow
gives us his particular personality, his own value and his superior quality as a
ideal interpreter is an artist who understands fully the musical style of a composer's work and
reproduces the composer's thoughts no circumstances should he forget his
obligation
—
he is a bridge, so to speak, between the composer and the must have not
only technical proficiency but also the ability to use his musical intelligence to interpret the
no account should he betray the essentials of a piece of intelligent
listener must really love music in order to understand have an ear for music, he must involve
himself in unprejudiced listening to music of all schools and all periods, old and new,
conservative and modern, he tries to broaden his must develop his taste by intelligent
practice and listen to all sorts of music intently, consciously and with his whole intelligence.
一个有价值的作曲家必须给我们他自己的精华部分
——
这一部分体现了他作为一个人和作为
一个人的经历的最充分和最深刻的表达。他给 了我们他独特的个性，他自己的价值和他作为
一个人的卓越品质。一个理想的诠释者是一个完全理解作曲 家作品的音乐风格并忠实再现作
曲家思想的艺术家。在任何情况下，他都不应忘记自己的义务
— —
可以说，他是作曲家和听
众之间的桥梁。他不仅要有熟练的技术，还要有运用他的音乐智慧来 诠释作品的能力。他绝
不能泄露一首音乐的精髓。一个聪明的听众必须真正热爱音乐才能理解它。要对音 乐有鉴赏
力，他必须投身其中。通过无偏见地聆听所有学校和所有时期的音乐，无论新旧、保守还是现代，他试图拓宽自己的品味。他必须通过有智慧的练习来培养自己的品味，并且专心、有
意识地用 他全部的智慧来听各种音乐。

does the writer say that
to live
4.
为什么作者说
“
音乐和戏剧一样，是一门艺术， 必须重新诠释才能生存
”
？

The written words of a play are not directly consumed by a reader as are the words in a short
story.A play is written to be other words, the writing must first be interpreted by a
director, then reinterpreted, that is, performed by participant will add something to the
work according to their own tely what the audience will see is strongly
influenced by the talents and skills of a great many people other than the playwright
same is true of music.A composer's work must be interpreted by the conductor, and reinterpreted by
the particular artist who plays the instrument and the singers
—
soprano, contralto, tenor, baritone
or t the interpretation of the artists, neither theatre nor music can live.
剧本中的文字并不像短篇小说中的文字那样被读者直接消耗掉。剧本 是为表演而写的。换句
话说，写作必须首先由导演来解释，然后由演员来重新解释。每个参与者将根据自 己的解释
为作品添加一些东西。最终，观众将看到的是除了剧作家本人之外的许多人的才能和技能的强烈影响。音乐也是如此。作曲家的作品必须由指挥解释，并由演奏乐器的特定艺术家和歌
手
——
女高音、女低音、男高音、男中音或男低音
——
重新解释。没有艺术家的诠释， 戏剧
和音乐都无法生存。

are there differences in interpretations of musical compositions?
5.
为什么对音乐作品的解释会有差异？

An interpretive artist is a being with his own musical nature, his own personality, and with a back
ground different from that of any other interpreters, while interpreting music, just
play the notes specified, that is, they keep very strictly to the notes without adding anything, but
others may stray far away from the notes and put in or take away a significant
accomplished interpreter, in fact, can possibly play a piece of music without adding something of
his or her own personality because interpreters are not they perform, they
perform in their own individual way.
一个诠释艺术家是一个有他自己的音乐天性，他自己的个性，并且有一个不同于任何其他诠< br>释者的背景的存在。有些口译员在翻译音乐时，只是演奏指定的音符，也就是说，他们非常
严格地 遵守音符，不加任何东西，但其他人可能会偏离音符很远，放入或带走大量的音符。
事实上，没有一个有 成就的口译员能够在不增加他或她自己的个性的情况下演奏一段音乐，
因为口译员不是自动机。当他们表 演时，他们以自己的方式表演。

do interpreters' different personalities affect the interpretations?
6.
口译员的不同性格如何影响口译？

Suppose there are two famous interpreters with totally different probably think
differently and their philosophy of life may be conductor is a classicist, the other is a
is natural that in handling the same notes, their interpretations will vary
first conductor will stress the classical side of the music and in the second
conductor's hands, every ounce of romanticism that the symphony contains will be extracted to the
ent interpreters thus have different emphases.
假设有两个性格完全不同的著名口译员。他们可能有不同的想法，他们的人生哲学 也可能不
同。一个指挥是古典主义者，另一个是浪漫主义者。在处理相同的音符时，它们的解释会有很大的不同，这是很自然的。第一位指挥将强调音乐的古典方面，在第二位指挥的手中，交
响乐所包 含的每一盎司浪漫主义都将被充分提取出来。因此，不同的译员有不同的侧重点。

n the following sentences in your own words.
B.
用你自己的话解释下列句子。

gives us, without relation to exterior
—
that part
which embodies the fullest and deepest expression of himself as a man and of his experience as a
fellow being.
1.
他给我们的是与外部
“
事件”
无关的他自己的精髓部分
——
这一部分体现了他作为一个人和
作为一个 人的经历的最充分和最深刻的表达。

He gives us not what is happening outside himself but the deepest, most essential expression of
himself as a person and member of the human race.
他给我们的不是发生在他自身之外的 事情，而是他作为一个人和人类的一员的最深刻、最本
质的表达。

a composer, to be of any value, must have his own may be of greater or lesser
importance, but in the case of significant music, it will always mirror that personality.
2.
对一个作曲家来说，要有任何价值 ，就必须有自己的个性。它可能更重要或更不重要，但
在重要音乐的情况下，它将总是反映那个个性。< br>
If a composer wants to be in any way a great artist, he must have his own may be
very important or not important at all;but as far as significant music is concerned, it will reflect that
individuality.
如果一个作曲家想成为伟大的艺 术家，他必须有自己的个性。这可能非常重要或者根本不重
要；但是就重要的音乐而言，它会反映出个性 。

character may be streaked with human frailties
—
like Lully's or Wagner's, for example,
—

but whatever is fine in his music will come from whatever is fine in him as a man.
3.
他的角色可能带有人性的弱点
——
例如，像卢利或瓦格纳的弱 点
——
但他音乐中的美好之
处将来自他作为一个人的美好之处。

His personality may include many human weaknesses, as did Lully's and Wagner's, but excellence
in his music will still stem from those aspects of his personality which are excellent.
他的个性可能包括许多人类的弱点，就像卢利和瓦格纳的一样，但是他的音乐的 优秀仍然来
自于他个性中那些优秀的方面。

is the interreaction of personality and period that results in the formation of a composer's style.
4.
正是个性和时代的相互作用导致了作曲家风格的形成。

A composer's style is formed from the interrelationship between his personality and his own period.
作曲家的风格是由他的个性和他自己的时代之间的相互关系形成的。

role of the interpreter leaves no room for argument.
5.
翻译的角色没有留下争论的余地。

There is no need to argue about the part that an interpreter plays.
没有必要争论译员扮演的角色。

first-rate interpretive artists today possess a technical equipment that is more than sufficient
for any demands made upon them.
6.
如今，大多数一流的诠释艺术家都拥有足以满足任何需求的技术设备。

Most contemporary first-class musicians have instruments which are very satisfactory for them to
meet any challenge in a composition.
大多数当代一流音乐家都有非常令人满意的乐器来应对作品中的任何挑战。

cannot be, for it is too vague;it allows for too great a leeway in individual matter of taste and
choice.
7.
不可能，因为它太模糊了；它在个人的品味和选择上留有太大的余地。

The musical notation cannot be the exact transcription of a composer's thought both because it is
ambiguous and because it provides freedom for personal taste and choice.
乐谱不可能是作 曲家思想的精确转录，因为它含糊不清，也因为它提供了个人品味和选择的
自由。

combined efforts of composer and interpreter have meaning only in so far as they go out to an
intelligent body of hearers.
8.
作曲家和译员的共同努力只有在对一群聪明的听众产生影响时才有意义。

The joint efforts of composer and interpreter have significance only when they are appreciated by
listeners who understand music.(or, Whether the joint efforts of composer and interpreter have
meaning or not depends on whether they are understood by a number of sensible listeners.)
作曲家和译员的共同努力只有在被理解音乐的听众欣赏时才有意义。
(
或者，作曲家和译员< br>的共同努力是否有意义，取决于他们是否被一些理智的听众理解。
)
bespeaks a responsibility on the part of the hearer.
9.
这表明听者有责任。

That shows that the listener is duty-bound to fully appreciate or understand music.
这表明听者有责任充分欣赏或理解音乐。

that bon mot, he meant to imply, no doubt, that only a listener who really involves himself is
of importance to music or the makers of music.
10.
毫无疑问，他这句妙 语的意思是，只有真正参与其中的听众对音乐或音乐创作者才是重
要的。

By that piece of wit, he undoubtedly wanted to suggest that only when a listener becomes truly
concerned about music will he be of interest and value both to music and to its composers.
通过这段机智，他无疑想暗示，只有当一个听众真正关心音乐时，他才会对音乐和它的作曲
家感兴趣和有 价值。

Text II
文本二

Text
文本

Rock Music
摇滚乐

Rock music has been a (1)volatile, unpredictable creature that has constantly redefined and
reinvented itself since its emergence in the late surprisingly, then, (2)it can be extremely
difficult to apply a straightforward definition to such a restless musical format.
自从
20
世纪
40
年代末出现以来，摇滚音乐一直是一种不稳定、不可预测的 生物，不断地被
重新定义和改造。因此，毫不奇怪，
(2)
将一个简单的定义应用于这 样一种不安分的音乐形
式是极其困难的。

But while people may (3)quibble over specifics, rock music can generally be described as (4)hard-
edged music performed with electric guitars, bass, and drums and usually accompanied by lyrics
sung by a vocalist.
尽管人们可能会对细节吹毛求疵，但摇滚音乐通常可以被描述为用电吉他、贝司和 鼓演奏的
硬梆梆的音乐，通常由歌手演唱的歌词伴奏。

That sounds simple enough, but a closer look at the evolution of rock music suggests how different
styles and influences have shaped its development over the first, let's take a look back at
its formations.
这听起来很简单，但是仔细观察摇滚音乐的演变就能发现不同的风格和影响是 如何影响它的
发展的。但是首先，让我们看看它的构造。

Rock Music's Origins (1940s
–
'60s)
摇滚音乐的起源
(20
世纪
40
年代至
60
年代
)
Rock music's origins can be traced back to the late 1940s, when the popular styles of the day,
country and blues, morphed into a new sound aided by electric guitars and a steady drum
ring rock artists of the '50s, such as (5)Chuck Berry, leaned heavily on classic blues
structures while demonstrating a (6)flair as natural-born opposed to the safe pop
music of the era, rock's aggressive attack suggested a sexual freedom that proved shocking during
that conservative age.
摇滚音乐的起源可以追溯到
20
世纪
40
年代末，当时流行的乡村音 乐和布鲁斯音乐在电吉他
和稳定的鼓点的帮助下演变成一种新的声音。
50
年代的先锋 摇滚艺术家，如查克
·
贝里，在
展示天生艺人的天赋的同时，非常注重古典蓝调结构。 与那个时代安全的流行音乐相反，摇
滚的攻击性暗示了一种性自由，这在那个保守的时代被证明是令人震 惊的。

By the early '60s, Berry's followers, most notably the Rolling Stones, expanded rock's scope by
transitioning from singles artists into musicians capable of producing cohesive albums of
ing sex and youthful rebellion in their music, the Stones courted controversy but also
elevated rock to new cultural heights. 到了
60
年代初，贝瑞的追随者，最著名的是滚石乐队，通过从单身艺术家转变为能够制作
有凝聚力的歌曲专辑的音乐家，扩大了摇滚的范围。在他们的音乐中拥抱性和年轻的叛逆，
石头 乐队赢得了争议，但也将摇滚提升到了新的文化高度。