新标准大学英语综合教程3课文原文(共7页).docx

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1、精选优质文档-倾情为你奉上We all listen to music according to our separate capacities.But, for the sake of analysis, the whole listening process may become clearer if we break it up into its component parts, so to speak.In certain sense we all listen to music on three separate planes.For lack of a better termino

2、logy, one might name these: 1) the sensuous plane, 2) the expressive plane, 3) the sheerly musical plane.The only advantage to be gained from mechanically splitting up the listening process into these hypothetical planes is the clearer view to be had of the way in which we listen.The simplest way of

3、 listening to music is to listen for the sheer pleasure of the musical sound itself.That is the sensuous plane.It is the plane on which we hear music without thinking, without considering it in any way.One turns on the radio while doing something else andabsent-mindedly bathes in the sound.A kind of

4、 brainless but attractive state of mind is engendered by the mere sound appeal of the music.The surprising thing is that many people who consider themselves qualified music lovers abuse that plane in listening.They go to concerts in order to lose themselves.They use music as a consolation or an esca

5、pe.They enter an ideal world where one doesnt have to think of the realities of everyday life.Of course they arent thinking about the music either.Music allows them to leave it, and they go off to a place to dream, dreaming because of and apropos of the music yet never quite listening to it.Yes, the

6、 sound appeal of music is a potent and primitive force, but you must not allow it to usurp a disproportionate share of your interest.The sensuous plane is an important one in music, a very important one, but it does not constitute the whole story.The second plane on which music exists is what I have

7、 called the expressive one.Here, immediately, we tread on controversial ground.Composers have a way of shying away from any discussion of musics expressive side.Did not Stravinsky himself proclaim that his music was an “object”, a “thing”, with a life of its own, and with no other meaning than its o

8、wn purely musical existence?This intransigent attitude of Stravinskys may be due to the fact that so many people have tried to read different meanings into so many pieces.Heaven knows it is difficult enough to say precisely what it is that a piece of music means, to say it definitely to say it final

9、ly so that everyone is satisfied with your explanation.But that should not lead one to the other extreme of denying to music the right to be “expressive”.Listen, if you can,to the 48 fugue themes of Bachs Well-tempered Clavichore.Listen to each theme, one after another.You will soon realize that eac

10、h theme mirrors a different world of feeling.You will also soon realize that the more beautiful a theme seems to you the harder it is to find any word that will describe it to your complete satisfaction.Yes, you will certainly know whether it is a gay theme or a sad one.You will be able, on other wo

11、rds, in your own mind, to draw a frame of emotional feeling around your theme.Now study the sad one a little closer.Try to pin down the exact quality of its sadness.Is it pessimistically sad or resignedly sad; is it fatefully sad or smilingly sad?Let us suppose that you are fortunate and can describ

12、e to your own satisfaction in so many words the exact meaning of your chosen theme.There is still no guarantee that anyone else will be satisfied.Nor need they be.The important thing is that each one feels for himself the specific expressive quality of a theme or, similarly, an entire piece of music

13、.And if it is a great work of art, dont expect it to mean exactly the same thing to you each time you return to it.The third plane on which music exists is the sheerly musical plane.Besides the pleasurable sound of music and the expressive feeling that it gives off, music does exist in terms of the

14、notes themselves and of their manipulation.Most listeners are not sufficiently conscious of this third plane.It is very important for all of us to become more alive to music on its sheerly musical plane.After all, an actual musical material is being used.The intelligent listener must be prepared to

15、increase his awareness of the musical material and what happens to it.He must hear the melodies, the rhythms, the harmonies, the tone colors in a more conscious fashion.But above all he must, in order to follow the line of the composers thought, know something of the principles of musical form.Liste

16、ning to all of these elements is listening to the sheerly musical plane.Let me repeat that I have split up mechanically the three separate planes on which we listen merely for the sake of greater clarity. Actually, we never listen on one or the other of these planes.What we do is to correlate themli

17、stening in all three ways at the same time.It takes no mental effort, for we do it instinctivelyPerhaps an analogy with what happens to us when we visit the theater will make this instinctive correlation clearer.In the theater, you are aware of the actors and actresses, costumes and sets, sounds and

18、 movements.All these give one the sense that the theater is a pleasant place to be in.They constitute the sensuous plane in our theatrical reactions.The expressive plane in the theater would be derived from the feeling that you get from what is happening on the stage.You are moved to pity, excitemen

19、t, or gaiety.It is this general feeling, generated aside from the particular words being spoken, a certain emotional something which exists on the stage,that isanalogous to the expressive quality in music.The plot and plot development is equivalent to our sheerly musical plane.The playwright creates

20、 and develops a character in just the same way that a composer creates and develops a theme.According to the degree of your awareness of the way in which the artist in either field handles his material will you become a more intelligent listener.It is easy enough to see that the theatergoer never is

21、 conscious of any of these elements separately.He is aware of them all at the same time.The same is true of music listening.We simultaneously and without thinking listen on all three planes.专心-专注-专业Itisnotsurprisingthatmodernchildrentendtolookblankanddispiritedwheninformedthattheywillsomedayhaveto“g

22、otoworkandmakealiving”.TheproblemisthattheycannotvisualizewhatworkisincorporateAmerica.Notsolongago,whenaparentsaidhewasofftowork,thechildknewverywellwhatwasabouttohappen.Hisparentwasgoingtomakesomethingorfixsomething.Theparentcouldtakehisoffspringtohisplaceofbusinessandlethimwatchwhileherepairedabu

23、ggyorbuiltatable.Whenachildasked,“Whatkindofworkdoyoudo,Daddy?”hisfathercouldanswerintermsthatachildcouldcometogripswith,suchas“Ifixsteamengines”or“Imakehorsecollars.Well,afewfathersstillfixsteamenginesandbuildtables,butmostdonot.Nowadays,mostfatherssitinglassbuildingsdoingthingsthatareabsolutelyinc

24、omprehensibletochildren.Theanswerstheygivewhenasked,“Whatkindofworkdoyoudo,Daddy?”arelikelytobeutterlymystifyingtoachild.”Isellspace”Idomarketresearch.”,”Iamadataprocessor.”Iaminpublicrelations.”Iamasystemsanalyst”Suchexplanationsmustseemnonsensetoachild.Howcanhepossiblyenvisionanyoneanalyzingasyste

25、morresearchingamarket?Evengrownmenwhodomarketresearchhavetroublevisualizingwhatapublicrelationsmandoeswithhisday,anditisasafebetthattheaveragesystemsanalystisasbaffledaboutwhataspacesalesmandoesattheshopastheaveragespacesalesmanisaboutthetoolsneededtoanalyzeasystem.Inthecommoneverydayjob,nothingisma

26、deanymore.Thingsarenowmadebymachines.Verylittleisrepaired.Themachinesthatmakethingsmaketheminsuchafashionthattheywillquicklyfallapartinsuchawaythatrepairswillbeprohibitivelyexpensive.Thusthebuyerisencouragedtothrowthethingawayandbuyanewone.Ineffect,themachinesaremakingjunk.Thehandfulofpeopleremotely

27、associatedwiththesemachinescan,ofcourse,telltheirinquisitivechildren“Daddymakesjunk”.Mostoftheworkforce,however,istooremotefromjunkproductiontosenseanycontributiontotheindustry.Whatdothesepeopledo?Considerthetypical12-storyglassbuildinginthetypicalAmericancity.Nothingisbeingmadeinthisbuildingandnoth

28、ingisbeingrepaired,includingthebuildingitself.Constructedasapieceofjunk,thebuildingwillbediscardedwhenitwearsout,andanotherpieceofjunkwillbesetinitsplace.Still,thebuildingisfilledwithpeoplewhothinkofthemselvesasworking.Atanygivenmomentduringthedayperhapsone-thirdofthemwillbetalkingintotelephones.Mos

29、toftheseconversationswillbeaboutpaper,forpaperiswhatoccupiesnearlyeveryoneinthisbuilding.Somejobsinthebuildingrequirementofillpaperwithwords.Therearepersonswhotypeneatlyonpaperandpersonswhoreadpaperandjotnotesinthemargins.Somepersonsmakecopiesofpaperandotherpersonsdeliverpaper.Therearepersonswhofile

30、paperandpersonswhounfilepaper.Somepersonsmailpaper.Somepersonstelephoneotherpersonsandaskthatpaperbesenttothem.Otherstelephonetoascertainthewhereaboutsofpaper.Somepersonsconferaboutpaper.Inthegrandestoffices,menapproveofsomepaperanddisapproveofotherpaper.Theelevatorsarefilledthroughoutthedaywithyoun

31、gmencarryingpaperfromfloortofloorandwithvitalmencarryingpapertobediscussedwithothervitalmen.Whatisachildtomakeofallthis?Hisfathermaybesoeminentthatheluncheswithothermenaboutpaper.Supposehebringshissontoworktogivetheboysomeideaofwhatworkisall about.Whatdoestheboyseehappening?Hisfathercallsforpaper.He

32、readspaper.Perhapshescowlsatpaper.Perhapshemakesanangryredmarkonpaper.Hetelephonesanothermanandsaystheyhadbetterlunchoverpaper.Atlunchtheytalkaboutpaper.Backattheoffice,thefatherordersthepaperretypedandreproducedinquintuplicate,andthensenttoanothermanforcomparisonwithpaperthatwasreproducedintriplica

33、telastyear. Imaginehispoorsonafterwardsmullingoverthemysteriesofworkwithafriend,whoaskshim,”Whatsyourfatherdo?”Whatcantheboyreply?“Itbeatsme,”perhaps,ifheisnotveryobservant.Orifheis,“Somethingthathastodowithmakingjunk,Ithink.Sameaseverybodyelse.”It was snowing heavily, and although every true New Yo

34、rker looks forward to a white Christmas, the shoppers on Fifth Avenue were in a hurry, not just to track down the last-minute presents, but to escape the bitter cold and get home with their families for Christmas Eve.Josh Lester turned into 46th Street. He was not yet enjoying the Christmas spirit,

35、because he was still at work, albeit a working dinner at Joannes. Josh was black, in his early thirties, and an agreeable-looking person, dressed smartly but not expensively. He was from a hard-working family in upstate Virginia, and was probably happiest back home in his parents house. But his deme

36、anor concealed a Harvard law degree and an internship in DC with a congressman, a junior partnership in a New York law firm, along with a razor-sharp intellect and an ability to think on his feet. Josh was very smart.The appointment meant Josh wouldnt get home until after Christmas. He was not, howe

37、ver, unhappy. He was meeting Jo Rogers, the senior senator for Connecticut, and one of the best-known faces in the US. Senator Rogers was a Democrat in her third term of office, who knew Capitol Hill inside out but who had nevertheless managed to keep her credibility with her voters as a Washington

38、outsider. She was pro-abortion, anti-corruption, pro-low carbon emissions and anti-capital punishment, as fine a progressive liberal as you could find this side of the Atlantic. Talk show hosts called her Honest Senator Jo, and a couple of years ago, Time magazine had her in the running for Woman of

39、 the Year. It was election time in the following year, and the word was she was going to run for the Democratic nomination. Rogers had met Josh in DC, thought him highly competent, and had invited him to dinner.Josh shivered as he checked the address on the slip of paper in his hand. Hed never been

40、to Joannes, but knew it by reputation, not because of its food, which had often been maligned, or its jazz orchestra, which had a guest slot for a well-known movie director who played trumpet, but because of the stellar quality of its sophisticated guests: politicians, diplomats, movie actors, hall-

41、of-fame athletes, journalists, writers, rock stars and Nobel Prize winners in short, anyone who was anyone in this city of power brokers.Josh told him, and although the waiter refrained from curling his lip, he managed to show both disdain and effortless superiority with a simple flaring of his nost

42、rils.“Yes, Senator, please come this way,” and as Senator Rogers passed through the crowded room, heads turned as the diners recognized her and greeted her with silent applause. In a classless society, Rogers was the closest thing to aristocracy that America had. Alberto hovered for a moment, then w

43、ent to speak to a colleague.After two hours, Rogers and Josh got up to leave. There was a further flurry of attention by the staff, including an offer by Alberto to waive payment of the bill, which Rogers refused. As they were putting on their coats, Rogers said, “Thank you, Alberto. Oh, have I intr

44、oduced you to my companion, Josh Lester?”A look of panic, followed by one of desperate optimism flashed across Albertos face. “Ah, not yet, no, . not properly, ” he said weakly. “Josh Lester. This is the latest recruit to my election campaign. Hes going to be my new deputy campaign manager, in charg

45、e of raising donations. And if we get that Republican out of the White House next year, youve just met my Chief of Staff.”It came as if from nowhere.There were about two dozen of us by the bank of elevators on the 35th floor of the north tower of the World Trade Center. We were firefighters, mostly,

46、 and we were in various stages of exhaustion. Some guys were sweating like pigs. Some had their turnout coats off, or tied around their waists. Quite a few were breathing heavily. Others were raring to go. All of us were taking a beat to catch our breaths, and our bearings, figure out what the hell was going on. Wed been at this thing, hard, for almost an hour, some a little bit less, and we were now