(单词翻译:单击)
听力文本
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.
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. "
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.
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. 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.
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.
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.
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.
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.
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":
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:
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.
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.
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:"
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.
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.
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.
Charlie ParkerCharlie 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.
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.
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".
重点解析
1.different from不同于
This place is very quiet, quite different from the hustle and bustle of the cities.
这个地方很安静， 与城市的拥挤喧嚣十分不同。
2.take part in参加
Students should do surveys, visit museums, take part in charity work and hand in reports for teachers to decide on their marks.
学生应该通过做调查，参观博物馆，参加公益劳动，上交给老师的这些活动的报告，决定他们的成绩。
3.be able to能够
You should then be able to save and reload these overlays as required.
然后，您应该能够根据需要保存和重新加载这些覆盖值。
4.lead to导致
If this is true, there is no particular reason to hope that more education will lead to a more democratic world.
假如真是这样的话，就不存在特别的原因希望更好的教育导致一个更加民主的世界。
5.take away拿走
On the other hand, if you left them with all their assets but took away the brand, in five years they'd be gone altogether.
相反，假如将品牌拿走，把其他资产都留给管理人员，五年后，他们肯定早已各分道扬镳、各奔前程了。
6.feel at ease感到轻松
Yet I feel at ease here and free to be myself.
但是我在这里感到轻松自由并且有种找到了自我的感觉。
参考译文
我是雪莉·格里菲斯，我是史蒂夫·恩贝尔，这里是VOA慢速英语栏目《美国人物志》。今天我们讲述美国最伟大的爵士音乐家之一查理·帕克的故事。查理·帕克在他短暂的一生中，影响了爵士乐发展的方向。他的影响一直持续到今天。
查理·帕克永远改变了爵士乐表演和创作的方向。他创作了一种叫比波普的新型爵士乐形式。它不同于流行多年的舞曲或“摇摆乐”风格。
比波普的表演者脱离了传统的音乐旋律，乐手会伴随着当时的音乐和节奏，自由地演奏一首歌。所以在每次演出时，乐手可以以不同的方式演奏同一首歌。查理·帕克说：“音乐是你自己的体验，你的思想，你的智慧。如果你没有这些体验，你的喇叭就不会把它表现出来。”
查理·帕克于1920年8月29日出生在美国中西部的堪萨斯州。他第一次上音乐课是在当地的公立学校。他的母亲在1933年给他买了一个萨克斯风。
两年后，查理·帕克决定辍学，成为一名职业音乐家。在接下来的四年里，查理·帕克主要在密苏里州的堪萨斯城工作，在那里，爵士乐变得流行起来。查理在一种叫做夜总会的公共饮食场所与不同的团体一起演奏，从而发展成为一名音乐家。他还通过听当地老爵士音乐家的音乐来学习。在这段时间里，查理出现了影响了他的余生的严重问题。他开始依赖酒精和非法毒品海洛因。
1936年的一个晚上，这位年轻的音乐家决定参加一次“即兴演奏”。堪萨斯城各地的音乐家会在这些计划外的演出中尽情演奏。这些即兴演奏经常演变成音乐上的战斗。越好，越快，越强，越有创造力的音乐家会赢。
那天晚上查理开始吹奏萨克斯管。有一段时间他演奏得很好。但后来他迷失在音乐中。鼓手扔了查理的乐器，使他停了下来。查理后来说：“我回家后哭了，那之后的三个月都没有去演奏。”但是，这一事件让查理更加努力地提高自己的演奏能力。
1939年，查理去了纽约市。他在那待了将近一年。他能找到几份演奏萨克斯管的有偿工作。然而，查理的大部分时间都是在无报酬的即兴演奏会上度过的。正是在这段时间里，查理开始发展自己的爵士乐风格。
查理后来说，就在那时他有了一个重大发现。他总是以同样的方式演奏歌曲，他觉得这样没意思。查理想一定有另一种演奏的方法。他说：“有时候我能听到那种音乐，但我不会演奏。”查理开始创作一首叫《切罗基人》的歌曲，他用和弦的高音作为主旋律，并做了其他的改变。现在他可以演奏他听到的东西了。
查理·帕克是在1939年12月发现这种新的演奏方式的。后来他说，以这种方式演奏，自己才算活了过来。这里是他演奏的《切罗基人》。
1940年，查理·帕克的名字第一次出现在关于音乐的新闻报道中。在接下来的五年里，他加入了不同的乐队。他曾在厄尔·海恩斯管弦乐团和比利·埃克斯坦管弦乐团演奏。他还和其他年轻的爵士音乐家一起演奏，他们帮助使这种新风格广为人知。小号手迪兹·吉莱斯皮和迈尔斯·戴维斯，钢琴家塞隆尼斯·孟克和巴德·鲍威尔都是其中的一员。帕克被认为是最伟大的比波普爵士音乐家。这首歌“就是现在”是他这段时间的热门歌曲之一：
帕克持续的吸毒习惯影响了他。他经常演出迟到。或者他想念他们。他不喜欢大乐队的音乐。很明显，他在和一个大乐队一起演奏时感到不自在，即使这个乐队遵循的是他自己的音乐理念。
1945年，他回到纽约市。他有了创办一个小型爵士乐队的想法。在纽约，他开始了与迪兹·吉莱斯皮的合作。他们的合作是美国音乐史上最伟大的合作之一。他们得到了年轻音乐家的支持。然而，他们不得不与那些反对爵士乐任何新发展的人进行斗争。
那一年，查理·帕克和迪兹·吉莱斯皮把新的爵士乐带到了加利福尼亚。即使在迪兹回到纽约之后，查理仍然继续在洛杉矶录制和表演。就在这段时间，帕克录制了《鸟类学》：
1946年，查理·帕克遭受了精神崩溃。查理对海洛因和酒精的依赖导致了这种严重的精神问题。他被送到医院，在那里住了六个月。
查理在1947年回到纽约市。接下来的四年被认为是他最成功的四年。查理组建了自己的小乐队，和其他乐队一起演奏。查理曾三次访问欧洲，在那里他录制了大约一半的专辑。
1951年7月，由于查理使用非法毒品，纽约市的官员剥夺了他在夜总会演奏的权利。他的债务大大增加。他的身心健康开始衰退。
两年后，查理·帕克获得了在纽约再次演奏的许可。但是找工作是很困难的。1955年3月，他终于有机会演奏了两个晚上。那是在鸟园，纽约市最著名的爵士夜总会。鸟园于1949年开始营业。查理·帕克的追随者们所称他为“鸟”，该夜总会就是以此命名的。
帕克知道，这些表演可能是他最后一次有机会重获几年前的辉煌。他最后一次公开露面是在1955年3月5日，在鸟园。那次演出并不成功。7天后，他心脏病发作去世。享年仅34岁。
现在查理·帕克依然影响着现代爵士乐。他引导许多艺术家去“演奏他们所听到的音乐”。爵士音乐家继续演奏查理的音乐，他们经常模仿查理的声音和风格。但是，专家说，没有人能像查理·帕克一样演奏。
译文为可可英语翻译，未经授权请勿转载！
