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翻译研讨: 2009/05/03 PEOPLE IN AMERICA:查理·帕克——他的音乐在他有生之年和今日仍在影响着爵士乐

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PEOPLE IN AMERICA - Charlie Parker,1920-1955: His Music Influenced Jazz During his Lifetime and Even Today

人在美国:查理 - 帕克1920-1955他的音乐在他的有生之年乃至今日还在影响着爵士乐

Written by VivianBournazian

由维维安 - 伯那杰恩撰稿

I'm Shirley Griffith.

And I'm Steve Ember with the VOA Special English program, People in America. Today, we tell about one of America's greatest jazz musicians, Charlie Parker. He influenced the direction of jazz music during his short lifetime. His influence continues today.

我是沙莉 - 格林菲斯,还有我是美国之音慢速英语人在美国节目的史蒂夫 - 安博。今天,我们来说一说美国一位最伟大的爵士乐家,查理 - 帕克。用他短暂的一生引领着爵士乐的发展方向,他对爵士乐的影响深远直至今日。

Charlie Parker forever changed the performance and writing of jazz music. He developed a new style of jazz called "bebop." It was different from the dance or "swing" style that was popular for years.

Performers of bebop left the traditional musical melody and played a song freely, with the music and rhythm that was felt at the time. So, the same song could be played in a different way each time it was performed. Charlie Parker said: "Music is your own experience, your thoughts, your wisdom. If you don't live it, it won't come out of your horn. "

查理 - 帕克的表演及创作的变化是永不停息的,他发展了一种新的爵士乐风格称为“ BEBOP ”,它不同于当下流行的舞蹈以及摇摆的风格。 BEBOP 的表演者远离传统婉转的曲调,伴随着当时的音乐及节拍,表演形式自由。因此,同样一首歌,每次都会以不同方式演奏出来。查理 - 帕克说:“音乐代表你自己的感受、思想以及智慧。如果你没有亲身经历它,你就演奏不出自己的音乐。

Charlie Parker was born August twenty-ninth, nineteen twenty, in the middle western state of Kansas. He had his first music lessons in the local public schools. His mother bought him a saxophone in nineteen thirty-three.

查理 - 帕克 1920 年 8 月 29 日出生在堪萨斯州的中西部。他是在当地的一所公立学校开始学习音乐的, 1933 年,他母亲给他买了个萨克斯风。

Two years later, he decided to leave school and become a professional musician. For the next four years, he worked mainly in Kansas City, Missouri, where jazz music had become popular. Charlie developed as a musician by playing with different groups in public eating and drinking places called nightclubs.

两年后,他决定离开学校去做一名职业音乐家。在随后的四年里,他主要在密苏里州的堪萨斯城里工作,在那儿爵士乐很流行。查理因参与不同的乐团并在被称为夜总会的餐饮场所演出成了一名音乐家。

He also learned by listening to older local jazz musicians. During this time, Charlie developed serious problems that were to affect him the rest of his life. He became dependent on alcohol and the illegal drug, heroin.

他还通过聆听许多当地老爵士乐家的演出学习技艺。在此期间,查理产生了很严重的问题,乃至影响到他后半生的生活,他酗酒,成了吸食非法毒品海洛因的瘾君子。

One night in nineteen thirty-six, the young musician decided to take part in a "jam session." Musicians from all over Kansas City would play for fun during these unplanned performances. These jam sessions often became musical battles. The better, the faster, the stronger, the more creative musician would win.

1936 年一天夜里,年轻的音乐家决定参加摇滚爵士乐的即席演奏会,全堪萨斯城的音乐家们相聚在此,在不拘一格的演出中予演于乐。这些演奏会常常演变成音乐比拼,越好、越快、越强烈、越有创意的音乐家就会胜出。

Charlie began to play the saxophone that night. He played well for a while. But he then became lost in the music. The drummer threw down his instrument and brought Charlie to a halt. Charlie later said: "I went home and cried and didn't play again for three months." The incident, however, made Charlie work even harder to improve his playing.

查理那晚演奏了萨克斯风,起初他演奏得不错,但之后他乱了方寸,找不着调儿了。鼓手把鼓棰扔向查理让他停下来。查理后来讲道:“我回了家、痛哭了场,三个月没再参加演出。“ 这件事促使查理更加努力工作来提高演奏水平。

In nineteen thirty-nine, Charlie went to New York City. He stayed for almost one year. He was able to get a few paying jobs playing the saxophone. Most of his time, though, was spent playing in unpaid jam sessions. It was during this time that he began to develop his own style of jazz.

1939 年,查理到了纽约城,在那儿,他待了一年,他已经能够靠演奏萨克斯风赚钱工作了,然而大部分时间,他还是花在参加那些没有付费的即席演奏演出。

He said later that this was when he made a big discovery. He was unhappy playing songs the same way all the time. He thought there had to be another way to play. He said: "I could hear it sometimes, but I couldn't play it." He began working on the song "Cherokee." He used the higher notes of a chord as a melody line and made other changes. He now could play the things he had been hearing.

他后来说,就是在那段时间,他有了重大发现,总是以同样的方式演奏歌曲,他觉得很不开心,他觉得应该有另一种演奏方式,他说:“有时候,我可以这么听,但不能这么演奏。” 他开始创作“切罗基”,他使用弦乐中较高音符作为乐曲主弦律并做了些别的变化,现在他可以演奏听到过的曲子。

It was in December, nineteen thirty-nine, that Charlie Parker made this discovery. He later said that with it, he "came alive." Here he is playing "Cherokee":

就在 1939 年 12 月,查理有了这个重大发现,他后来说,就是这个重大发现,使他“获得了新生“,来听听他演奏的“切罗基”。

Charlie Parker's name first appeared in the press reports about music in nineteen forty. During the next five years, he joined different bands. He played with the Earl Hines orchestra and the Billy Eckstine orchestra. He also played with other young jazz musicians who helped make the new sound known. Trumpet players Dizzy Gillespie and Miles Davis, and pianists Thelonius Monk and Bud Powell were some of them. Parker was considered the greatest of the bebop jazz musicians. This song, "Now's the Time," is one of his hits during this time:

1940 年,查理 - 帕克的名字第一次出现在关于音乐的报道中。在随后的五年里,他加入过不同的乐队,他参加过厄尔 - 海因斯乐队和比利 - 爱克斯汀乐队,他还同那些可以帮助新手成名的年轻爵士乐家们一起演奏,其中包括:小号演奏家第杰 - 吉莱斯比和麦尔斯 - 代维斯;钢琴演奏家第龙尼斯 - 蒙克和巴德 - 鲍威尔。帕克被认为是最伟大的 BEBOP 爵士乐家。下面这首“现在正是时候”就是他当时最著名的乐曲之一。

Parker's continuing drug habit was affecting him. He often was late for performances. Or he missed them. He had decided he did not like the music of the big bands. He apparently did not feel at ease playing with a big band, even one that followed his own musical ideas.

帕克持续吸毒习惯影响了他,他演出总是迟到,甚至有时会错过演出。他决定不再喜欢大乐队演奏的音乐,显然,与大乐队一起演奏,他觉得不自在,即使那个乐队可以遵循他的音乐想法,他也不愿意。

In nineteen forty-five, he returned to New York City. He had the idea of starting a small jazz group. In New York, he joined Dizzy Gillespie. Their work together was among the greatest in American music history. They enjoyed the support of younger musicians. Yet, they had to fight the criticism of those opposed to any new development in jazz.

1945 年,他返回纽约城,他有了自己组织小爵士乐队的想法。在纽约,他加入了第杰 - 吉莱斯比,他们的组合是美国音乐史上最棒的组合之一,他们得到了年轻音乐家们的响应。他们还要与那些反对任何爵士新乐的批评家们抗争。

That year, Charlie Parker and Dizzy Gillespie took the new jazz sound to California. Charlie continued to record and perform in Los Angeles, even after Dizzy returned to New York. It was during this time that Parker recorded "Ornithology:"

那一年,查理 - 帕克与第杰 - 吉莱斯比一起把新爵士乐带到了加州。就在第杰 - 吉莱斯比返回纽约之后,查理仍继续留在洛杉矶录制并演出,就在那期间,帕克录制完成了“鸟类学”这首曲子。

In nineteen forty-six, Charlie Parker suffered a nervous breakdown. His dependence on heroin and alcohol led to this severe mental condition. He was sent to a hospital and stayed there for six months.

1946 年,查理 - 帕克得了精神分裂症,对海洛因和酒精的依赖,给他造成严重的精神障碍。他被送进医院住了六个月的院。

He returned to New York City in nineteen forty-seven. The following four years are considered his most successful. He formed his own small bands and played with other groups. He visited Europe three times, where he recorded about half of the albums he ever made.

1947 年,他返回纽约城,之后的四年被认为是他最辉煌的时期。他成立了自己的小乐队并且还同其它的乐队一起演奏。他三次出访欧洲,他录制过的作品中,大约有一半在那里完成。

In July, nineteen fifty-one, New York City officials took away his right to play in nightclubs because he used illegal drugs. His debts greatly increased. His physical and mental health began to fail.

1951 年 7 月,因使用非法毒品,纽约城官方吊销了他在夜总会演奏的资格。他债台高筑,他的身心健康状况开始下滑。

Charlie Parker was given a permit to play in New York again two years later. Jobs, though, were difficult to find. He finally got a chance to play for two nights in March, nineteen fifty-five. It was at Birdland, the most famous jazz nightclub in New York City. Birdland had opened in nineteen forty-nine. It was named after "Bird," as Charlie Parker's followers called him.

两年后,查理 - 帕克被允许再次在纽约城演奏,然而很难找工作, 1955 年他终于找到了在三月份可以表演两晚的工作,那是在“鸟岛”,纽约城最著名的爵士夜总会。“鸟岛” 1949 年开业,它之所以以“鸟”命名,是因查理 - 帕克的追随者们这样称呼他。

Parker knew those performances might be his last chance to re-claim the success he had gained only a few years earlier. His last public appearance was on March fifth, nineteen fifty-five, at Birdland. It was not a success. He died seven days later of a heart attack. He was thirty-four.

帕克知道,那些演出可能是他重整旗鼓的最后的机会了。他的最后一场公开表演是 1955 年 3 月 5 日在“鸟岛”夜总会,演出并不成功,七天后,他死于心脏病,终年 34 岁。

Charlie Parker's influence on modern jazz music continues to live. He led many artists to "play what they hear." Jazz musicians continue to perform his music, often copying his sound and style. But, experts say, no one has ever played the same as "Bird".

查理 - 帕克对于现代爵士乐的影响深远至今。他指引很多艺术家们“演其所听”。爵士乐家们继续演奏着他的音乐、经常模仿他的声音和风格,但专家们说,没有一个人能够演奏象“鸟”(查理 - 帕克)。

This Special English program was written by Vivian Bournazian. I'm Steve Ember. And I'm Shirley Griffith. Join us again next week for another People in America program on the Voice of America.

这个节目由维维安 - 博那杰恩撰稿,我是史蒂夫 - 安博和沙莉 - 格林菲斯,下周同一时间欢迎收听美国之音下一个“人在美国”节目。

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最佳回复 该帖于2009年5月4日被版主推荐为精华帖。

分享到:
1楼 作者:lemal 创建: <编辑>  <引用>

商榷:

1、Charlie Parker forever changed the performance and writing of jazz music.

从context看这句应该翻译为“查理帕克永远改变了爵士乐的表演和创作”会更好些吧。

2、Performers of bebop left the traditional musical melody and played a song freely, with the music and rhythm that was felt at the time.

BEBOP 的表演者脱离传统婉转的旋律,以当时所感的音乐和节奏更自由地表演。

2楼 作者:Crossbar 创建: <编辑>  <引用>
标题可以意译成“美国人物传”,直译为“人在美国”感觉不太符合中文习惯,反而有一种“人在他乡”的感觉
3楼 作者:dunan 创建: <编辑>  <引用>
2 -  作者:Crossbar -  创建于:2009-5-5 20:27
标题可以意译成“美国人物传”,直译为“人在美国”感觉不太符合中文习惯,反而有一种“人在他乡”的感觉

 应译成“美国人物志”

  第4楼 作者:hardluck 创建: <编辑>  <引用>
very nice~~
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