Found Sound托福聽力原文翻譯及問題答案

Found Sound托福聽力原文翻譯及問題答案

一、Found Sound 托福聽力原文：

NARRATOR: Listen to part of a lecture in a music history class.

MALE PROFESSOR: So let's continue our discussion of twentieth century music. By the early twentieth century, some composers in Europe and the United States, composers of what's considered classical music, were already moving away from traditional forms and were experimenting with different ways of composing. In many cases, moving away from traditional western scales and tonalities.

But as the century progressed, some composers, composers of what was called avant-garde music, went further.Their experiments with musical composition were not always well accepted.  Quite the contrary, you see, many people felt avant-garde music was too radical and wasn't even legitimate art.

A case in point is the composer John Cage.Cage was probably the most famous composer of twentieth-century avant-garde music.  He didn't begin his music radical, but as time went on, his musical experiments led him there.

What caused the change?

Two experiences in particular entirely changed how he thought about music. First was his 1951 meeting with the avant-garde painter Robert Rauschenberg....

Now, avant-garde is a term that applies many different artistic genres.  Rauschenberg had created a series of famous paintings that consisted simply of white paint of different textures on canvas. That's all they were: white.

But the concept of these paintings actually wasn't so simple.

Rauschenberg was asking, in effect, how much could you leave out of an artwork and still have something? Because in fact, even on a purely white canvas, there's still plenty to see, shadows, dust, reflections....

For Cage, Rauschenberg's white paintings opened up a whole new way of understanding what art could be.

The second key experience in Cage's development came when he stepped in an anechoic chamber.An anechoic chamber is a room with special walls that absorb sound. Anechoic means without echoes. So an anechoic chamber was a room where, in theory, you can experience total silence. But Cage entered this room and he heard two sounds, one high and one low. The high sound, he was told, was his nervous system operating, and the low sound was his blood circulating.

Cage was profoundly affected. He realized that music doesn't need to be created intentionally.  We find it all around us. This idea came to be called found sound.  It's the sounds that are already there, traffic outside your window, or whatever. For Cage, they were just as musical as sounds made by musical instruments.These experiences led Cage to create a composition that would convey the idea of found sound.  That is, it would provide an opportunity for the audience to identify random sounds of the environment as music. So he composed a piece called 4 minutes 33 seconds, commonly known as the silent composition. And this composition was completely silent, literally.   When it was performed the first time, a pianist sat on stage at the piano and the only thing he did was raise and lower the lid of the keyboard to indicate the beginning or ending of a movement.   4 minutes 33 seconds had three movements, but not a note was played in any of them.

Well, the audience was outraged. Music critics called the piece ridiculous. But Cage saw no reason for the outrage. The fact that the audience was scandalized showed that they missed the whole point of his composition, which was that there's no such thing as silence, no such thing as a complete absence of sound, and whilst in fact during that first performance, the sound of wind and rain and people muttering.

Cage had a different understanding of silence. He defined silence as the absence of intended sounds. So to perceive 4 minutes 33 seconds as music, the audience needed to tune in to the sounds around them.

This was quite revolutionary. So we should probably be sympathetic to their reactions at the time. I mean, it's confounding people even today!Cage's silent composition is still performed all over the world, but I'm afraid to say, it's often misinterpreted. It's been choreographed, in dance performances for instance, in which case the sound was the beat of the dancers' feet against the stage floor. And it's been performed by people who made noises on purpose to call attention to the piece's silence. Can you see why we can consider these performances to be misinterpretations?

二、Found Sound 托福聽力中文翻譯：

旁白：在音樂史課上聽一節(jié)課的一部分。

男教授：那么讓我們繼續(xù)討論二十世紀(jì)的音樂。到了二十世紀(jì)初，歐洲和美國(guó)的一些作曲家，即古典音樂的作曲家，已經(jīng)開始擺脫傳統(tǒng)形式，嘗試不同的作曲方式。在許多情況下，要擺脫傳統(tǒng)的西方音階和色調(diào)。

但隨著世紀(jì)的發(fā)展，一些作曲家，所謂前衛(wèi)音樂的作曲家，走得更遠(yuǎn)。他們的音樂創(chuàng)作實(shí)驗(yàn)并不總是被廣泛接受。恰恰相反，你看，很多人覺得前衛(wèi)音樂太激進(jìn)了，甚至不是合法的藝術(shù)。

作曲家約翰·凱奇就是一個(gè)很好的例子。凱奇可能是二十世紀(jì)最著名的前衛(wèi)音樂作曲家。他并沒有開始他的音樂激進(jìn)，但隨著時(shí)間的推移，他的音樂實(shí)驗(yàn)將他帶到了那里。

是什么導(dǎo)致了這種變化？

特別是兩次經(jīng)歷徹底改變了他對(duì)音樂的看法。第一次是1951年與先鋒派畫家羅伯特·勞申伯格的會(huì)面。。。。

現(xiàn)在，先鋒派這個(gè)詞適用于許多不同的藝術(shù)流派。Rauschenberg創(chuàng)作了一系列著名的繪畫作品，這些作品僅僅由畫布上不同紋理的白色顏料組成。他們都是白人。

但這些畫的概念其實(shí)并不那么簡(jiǎn)單。

Rauschenberg實(shí)際上是在問，你能從一件藝術(shù)品中留下多少東西，然后還能保留一些東西？因?yàn)槭聦?shí)上，即使在純白色的畫布上，仍然有很多東西可以看到，陰影、灰塵、反射。。。。

對(duì)于凱奇來說，勞申伯格的白色繪畫開辟了一種全新的理解藝術(shù)的方式。

凱奇成長(zhǎng)過程中的第二個(gè)關(guān)鍵經(jīng)驗(yàn)是他走進(jìn)了一個(gè)電波暗室。消聲室是一個(gè)有特殊墻壁的房間，可以吸收聲音。無回聲指無回聲。所以消聲室是一個(gè)房間，理論上，你可以體驗(yàn)到完全的寂靜。但凱奇走進(jìn)這個(gè)房間，聽到兩個(gè)聲音，一個(gè)高一個(gè)低。他被告知，高音是他的神經(jīng)系統(tǒng)在運(yùn)轉(zhuǎn)，低音是他的血液在循環(huán)。

凱奇深受影響。他意識(shí)到音樂不需要刻意創(chuàng)作。我們發(fā)現(xiàn)它無處不在。這個(gè)想法后來被稱為“發(fā)現(xiàn)聲音”。這是已經(jīng)存在的聲音，窗外的交通，或者其他什么。對(duì)于凱奇來說，它們就像樂器發(fā)出的聲音一樣悅耳。這些經(jīng)歷促使凱奇創(chuàng)作了一部作品，表達(dá)了“發(fā)現(xiàn)聲音”的理念。也就是說，它將為觀眾提供一個(gè)將環(huán)境中的隨機(jī)聲音識(shí)別為音樂的機(jī)會(huì)。因此，他創(chuàng)作了一首名為“4分33秒”的作品，俗稱無聲作品。從字面上看，這篇作文是完全無聲的。第一次演奏時(shí)，一位鋼琴家坐在鋼琴前的舞臺(tái)上，他所做的唯一一件事就是升降鍵盤蓋，以指示樂章的開始或結(jié)束。4分33秒有三個(gè)動(dòng)作，但其中沒有一個(gè)音符。

觀眾很憤怒。音樂評(píng)論家稱這首曲子荒謬可笑。但凱奇認(rèn)為沒有理由憤怒。觀眾感到震驚的事實(shí)表明，他們錯(cuò)過了他的作文的全部要點(diǎn)，那就是沒有沉默，沒有完全沒有聲音，而事實(shí)上，在第一場(chǎng)演出中，風(fēng)和雨的聲音以及人們的咕噥聲。

凱奇對(duì)沉默有不同的理解。他把沉默定義為沒有預(yù)期的聲音。因此，要將4分33秒視為音樂，觀眾需要收聽周圍的聲音。

這是相當(dāng)革命性的。因此，我們可能應(yīng)該同情他們當(dāng)時(shí)的反應(yīng)。我的意思是，即使在今天，這也讓人困惑！凱奇的無聲作品仍然在全世界演出，但我恐怕要說的是，它經(jīng)常被曲解。它是經(jīng)過編排的，比如在舞蹈表演中，聲音是舞者的腳在舞臺(tái)上的拍打。這是由故意制造噪音的人表演的，目的是讓人們注意到這首曲子的沉默。你能理解為什么我們會(huì)認(rèn)為這些表現(xiàn)是誤解嗎？

三、Found Sound 托福聽力問題：

Q1:1.What does the professor mainly discuss?

A. The influence of avant-garde music on twentieth-century painting.

B. Critical reactions to twentieth-century experimental art forms.

C. The concepts behind a piece by an avant-garde composer.

D. The traditional elements in a famous piece of avant-garde music.

Q2:2.According to the professor, how was John Cage influenced by Rauschenberg's White Paintings?

A. They made him understand that artists should not be concerned with their audience.

B. They showed him that an artwork with little content could still be rich in meaning.

C. They demonstrated the importance of collaborating with artists in other fields.

D. They inspired him to compose music that created visual impressions in listeners.

Q3:3.Why was his visit to the anechoic chamber a profound experience for Cage?

A. He discovered that he could still hear sounds inside the chamber.

B. He discovered that echoes could be eliminated from a musical piece.

C. He recognized the possibility of recording his body's natural sounds.

D. He realized that music did not need to be composed in silence.

Q4:4.What was Cage's attitude toward found sound?

A. He considered found sound to be a theoretical concept with no practical use.

B. He believed any noises could be musical if arranged carefully.

C. He believed that unintentional noises could serve as replacements for musical instruments.

D. He believed that compositions with random noises could be interpreted in different ways.

Q5:5.What does the professor imply when he discusses the audience at the first performance of 4'33"?

A. He believes that outside noise might have distracted the audience.

B. He thinks that music critics appreciated the piece more than the general audience did.

C. He suspects that the audience did not want to offend the composer.

D. He thinks that the audience's response to the piece was understandable.

Q6:6.Why does the professor consider many of today's performance of 4'33" to be misinterpretations?

A. They take place outdoors

B. They contain sounds that are intentional.

C. The last longer than 4 minutes and 33 seconds.

D. They do not include an actual piano.

四、Found Sound 托福聽力答案：

A1:正確答案：C

A2:正確答案：B

A3:正確答案：A

A4:正確答案：C

A5:正確答案：D

A6:正確答案：B

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