英文歌曲与文化

英文歌曲与文化

一、

50

年代

Bill Haley- Rock Around The Clock

理由：

(1)

歌曲内容

One, two, three o'clock, four o'clock, rock

Five, six, seven o'clock, eight o'clock, rock

Nine, ten, eleven o'clock, twelve o'clock, rock

We're gonna rock around the clock tonight

Put your glad rags on and join me, hon

We'll have some fun when the clock strikes one

We're gonna rock around the clock tonight

We're gonna rock, rock, rock, 'til broad daylight

We're gonna rock, gonna rock, around the clock tonight

When the clock strikes two, three and four

If the band slows down we'll yell for more

We're gonna rock around the clock tonight

We're gonna rock, rock, rock, 'til broad daylight

We're gonna rock, gonna rock, around the clock tonight

When the chimes ring five, six and seven

We'll be right in seventh heaven

We're gonna rock around the clock tonight

We're gonna rock, rock, rock, 'til broad daylight

We're gonna rock, gonna rock, around the clock tonight

When it's eight, nine, ten, eleven too

I'll be goin' strong and so will you

We're gonna rock around the clock tonight

We're gonna rock, rock, rock, 'til broad daylight

We're gonna rock, gonna rock, around the clock tonight

When the clock strikes twelve, we'll cool off then

Start a rockin' round the clock again

We're gonna rock around the clock tonight

We're gonna rock, rock, rock, 'til broad daylight

We're gonna rock, gonna rock, around the clock tonight

（

2

）时代文化特征

20

世纪以来的两次世界大战给世界人民带来了深重的灾难。这种灾难 不仅体现在人类在肉

体上，

更在精神上。

它破坏了千百年来人类的理性秩序，

践踏了人类的精神家园。

这种现实

的扭曲，使得传统艺术高雅、完美的光环显得黯淡无力，

不能帮助人们恢复信念，

而后现代

主义音乐嘈杂和狂乱的节奏 似乎暂时适应了现代人这种扭曲而茫然无定位的情绪，

人们不再

相信传统文化的理想式的崇高境界的拯救力量，

要求更多地表现纯客观的世界以及个人的 参

与，通俗歌曲以及爵士乐的自由节奏、即兴演奏技巧正是这一愿望的体现。

后现代主义是一种复杂的文化现象。

纵观世界文 化艺术的发展，

我们会发现一直处于

“欧洲

中心”的理论中，仿佛欧洲即为世界的归宿。到了后现代时期，打破了欧洲中心论。随着西

< br>方内部的不断发展，

自身已达饱和状态，

无法在原有基础 上继续发展。

于是为了求发展，西

方必然将注意的焦点转向东方 。

西方学者、

音乐家从异国情调的好奇心到严肃的研究和渴望、

理解，

鉴赏东方音乐的传统，

从自身单 一文化的音乐体验向东方文化音乐的体验扩展，

这不

能不说是对 原来的西方音乐“高级”，非西方音乐“低级”的态度与观念的重大转变。

60

年代：

Simon & Garfunkel-The sound of silence

理由：

（

1

）歌曲内容：

Hello darkness, my old friend

I've come to talk with you again

Because a vision softly creeping

its seeds while I was sleeping

And the vision that was planted in my brain

Still remains Within the sound of silence

In restless dreams

I walked alone Narrow streets of cobblestone

'Neath the halo of a street lamp

I turned my collar to the cold and damp

When my eyes were stabbed by the flash of a neon light

That split the night

And touched the sound of silence

And in the naked light I saw

Ten thousand people, maybe more

People talking without speaking

People hearing without listening

People writing songs that voices never share

And no one dare disturb the sound of silence

Silence like a cancer grows”

Hear my words that I might teach you

Take my arms that I might reach to you

But my words like silent as raindrops fell

And echoed in the wells of silence

And the people bowed and prayed to the neon god they made.

And the sign flashed out its warning

And the words that it was forming

And the sign said:

and tenement halls

And whispered in the sound of silence.< /p>

（

2

）时代文化背景

60

年代，摇滚音乐复杂化：借反文化概念玩技巧，玩艺 术，玩出位。反金钱文化成为赚钱

文化，赚到钱的歌手感到迷惑。底层身份和感受不复存 在，关心家人和自己胜过同情他人，

道德和价值观悄然蜕变。

六

O

年代对美国而言是个多事之秋，历 经了一

连

串的动荡与不安。对内，反种族歧视民权

意识高涨；对外背负著

“

越战

”

沉重的包袱。内忧外患之际，美国人的精神领袖约翰肯尼迪

(John y)

总统于

1963

年< /p>

11

月

22

日在 德州的达拉斯遇刺身亡，

举世震惊，

全国悲

恸。由黑人人权领袖马丁路德金博士

(Martin Luther King J r.)

所领导的反暴力反种族歧视正

如火如荼的展开，国内反越 战的声音也日益壮大。美国人民的梦在肯尼迪总统倒下的一刻，

也跟着粉碎了