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
25
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】______
【4】
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
singing
解析
转载请注明原文地址:https://jikaoti.com/ti/u97YFFFM
0
专业英语八级
相关试题推荐
WhenIaminaserioushumor,IveryoftenwalkbymyselfinWestminsterAbbey,wherethegloominessoftheplace,andtheuset
WhenIaminaserioushumor,IveryoftenwalkbymyselfinWestminsterAbbey,wherethegloominessoftheplace,andtheuset
Shynessisconsideredapersonalitytrait,notapsychologicalconditionordisorder,andithasvaryingdegrees.Butsevereshy
ItisgenerallyregardedthatKeats’smostimportantandmaturepoemsareintheformof______.
Theconcernthroughouttheworldin1988forthosethreewhalesthatwerelockedintheArcticicewasdramaticproofthatwhale
WhichofthefollowingEnglishsoundsisNOTbilabial?
生活并不是一个悲剧。它是一个“搏斗”。我们生活来做什么?或者说我们为什么要有这生命?罗曼•罗兰的回答是“为的是来征服它”。我认为他说得不错。我有了生命以来,在这个世界上虽然仅仅经历了二十几个寒暑,但是这短短的时期也并不是白白度过的。这期间我也曾看
SomestudentsatXUniversitygetprofessionalstocleantheirdorms,whichhasarousedwideconcerninoursociety.Isthisag
ThetermMetaphysicalPoetryiscommonlyusedtonametheworksoftheseventeenthcenturywriterswhowroteundertheinfluence
Pen-palLetters:TheCross-curricularExperienceIaskedmycousin,ateacherinTucson,Arizona,tohaveourclassesbecome
随机试题
简述苏霍姆林斯基的教育理论。
为什么对严重呼吸性酸中毒病人在通气改善之前不能用NaHCO3?
A.基本能完成BADLB.需要帮助才能完成BADLC.需要很大帮助才能完成BADLD.完全需要帮助才能完成BADLE.完全独立Barthel指数20分以下提示
A、间氨基酚B、水杨酸C、对氨基酚D、酮体E、对氨基苯甲酸肾上腺素需要检查的杂质为
(2011年真题)关于电子出版物使用书号、刊号的说法,正确的有()。
【2012江西真题】遵守教育法包含两个方面的含义,一是守法的主体,二是()。‘
对于消费者来讲,传统零售业最大的弊端在于信息的不对称。而互联网可以将一件商品的真正定价变得透明,让每个人都知道商品的真正价格区间。传统制造业属于封闭式生产,由生产商决定商品品种、型号,生产者与消费者之间是割裂的。而互联网会让消费者全程参与到生产环节,由用户
《唐律疏议·名例》:“诸断罪而无正条,其应出罪者,则举重以明轻:其应人罪者,则举轻以明重。”请运用中国法制史的知识和理论,分析上述文字并回答下列问题:(2010年一综一第69题)上述所引唐律条文体现了唐朝法律的何种适用原则?
下面是一个传感器采集数据文件sensor-data.txt的一部分:2018-02-2801:03:16.3339319.302438.462945.082.687422018-02-2801:06:16.01345319.165238
Inextendingloans,oneoftheprinciplesthatacommercialbankpersistsinis______.
最新回复
(
0
)