英语翻译Lesson 5 Latin Music and SalsaLatin music is very common in countries where people speak Spanish or Portuguese.However,people all over the world can enjoy it.This music comes from Mexico,the Caribbean,Central American,and South America.Sa_百度作业帮
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英语翻译Lesson 5 Latin Music and SalsaLatin music is very common in countries where people speak Spanish or Portuguese.However,people all over the world can enjoy it.This music comes from Mexico,the Caribbean,Central American,and South America.Sa
英语翻译Lesson 5 Latin Music and SalsaLatin music is very common in countries where people speak Spanish or Portuguese.However,people all over the world can enjoy it.This music comes from Mexico,the Caribbean,Central American,and South America.Salsa is one kind of Latin music.Big cities like Miami,New York,San Juan,Havana,and Panama City have their own kinds of salsa.Latin music is a mixture of European music and African music.It has a strong beat.Many years ago,people played Latin music mostly on guitars with drums,but now whole orchestras with lots of other instruments posers of Latin music express their feelings in their music.Sometimes they are very happy,and sometimes they are sad.Ruben Blades and Juan Luis Guerra are two famous modern Latin American composers.They perform their own music with their own orchestras.People play salsa and other Latin music at home or when they visit their friends.Sometimes salsa fans play cards in the afternoon or at night on weekends or holidays while they listen to Latin music.Some people bring guitars and play them while they sing.The other people relax and enjoy the music,but they don’t stop playing cards.They roast or bake food in the oven or fry it on top of the stove in oil.When the food is ready,they stop playing cards.They listen to the music while they eat.The food tastes good.People who dance enjoy Latin music because it is easy to dance to.The beat is very strong.Dancers can move their whole bodies.They can dance alone or with someone.Other people enjoy listening to Latin music.Usually the words are in Spanish or Portuguese,but sometimes they are in English or another language.Many Latin songs have beautiful words,but if a person does not understand them,it is not important.A person can still enjoy the music.The sound is international.
第5课拉丁音乐和辣酱拉丁音乐是很普通的国家,在那里人们使用西班牙语或葡萄牙语.然而,世界各地的人民都能享受它.这音乐来自于墨西哥、加勒比海地区中美洲和南美洲.莎莎是一种拉丁音乐.大城市如迈阿密,纽约,圣胡安,哈瓦那,而且巴拿马城市都有自己的种辣酱.拉丁音乐是一种混合物欧洲音乐和非洲音乐.它有一个强烈的拍子.许多年以前,人们打了拉丁音乐和鼓主要在吉他,但现在整个乐队很多其他的乐器玩它.作曲家的拉丁音乐表达他们的感情他们的音乐.有时候他们很高兴,他们有时是悲伤的.鲁本刀片和胡安路易斯·Guerra是两个著名的当代拉美作曲家.履行自己的音乐与自己的乐队.人们会玩沙沙及其他拉丁音乐在家还是他们来他们的朋友.有时莎莎球迷在下午打牌还是在晚上的时候在周末或假日听拉丁音乐.有些人把吉他,演他们当他们唱歌.别人放松放松,享受一些音乐,但是他们不能停止玩扑克牌.他们烤或烤食品炒炉或炉灶顶部的油.当食物做好时,他们就不再玩扑克牌.他们听音乐,他们吃.这食物尝起来好吃.跳舞的人享受拉丁音乐,因为它很容易跳舞.节奏很强.舞蹈家能够移动整个身体.他们会跳舞单独或与某人.其他的人喜欢听拉丁音乐.通常而言都是西班牙语或葡萄牙语,但有时它们用英语或另一种语言.很多拉丁歌曲有优美的言辞,但是如果一个人不了解他们,它是不重要的.一个人还可以欣赏音乐.这种声音是国际.From Wikipedia, the free encyclopedia
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The music history of the United States includes many styles of ,
music. Some of the best-known genres of American music are , , and
The history began with the , the first people to populate North America. The music of these people was highly varied in form, and was mostly religious in purpose.
With the arrival of large numbers of colonizers from European countries like France, Spain, Scotland, England, Ireland, and Wales came
, , , as well as large numbers of
played a variety of instruments, especially
similar to the . The Spanish also played a similar instrument called the Bandora. Both of these cultures introduced
style vocals.
As the United States incorporated more land, spreading west towards the Pacific Ocean, more immigrants began to arrive in the country, bringing with them their own instruments and styles. During this time, the United States grew to incorporate the
and . Immigrants brought with them the
and Polish ,
, and other styles of , , , , ,
In the 20th century, American popular music achieved great international acclaim. Even since the
songs of the 19th century,
has greatly influenced American popular music. The rural
of poor black Southerners and the
of black urbanites were among the earliest styles of American popular music. At the time, black performers typically did not perform their own material, instead using songs produced by the music publishing companies of . African American blues evolved during the early 20th century, later evolving to create genres like . During this time, jazz diversified into steadily more experimental fields. By the end of the 1940s, jazz had grown into such varied fields as
Rock and roll was soon to become the most important component of American popular music, beginning with the
boom of the 1950s. In the following decade,
evolved into secular . Rock, country and soul, mixed with each other and occasionally other styles, spawned a legion of subgenres over the next few decades, ranging from
and . In the 1970s, urban African Americans in New York City began performing spoken lyrics over a
this became known as . By the dawn of the 21st century, hip hop had become a part of most recorded American popular music. The blues are now as iconic as you can get.
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The first musicians anywhere in North America were , who consist of hundreds of
across the country, each with their own unique styles of . Of these cultures, many, and their musical traditions, are now extinct, though some remain relatively vibrant in a modern form, such as .
By the 16th century, large-scale
of English, French and Spanish settlers brought new kinds of folk music. This was followed by the importation of Africans as , bringing their music with them. The Africans were as culturally varied as the Native Americans, descended from hundreds of ethnic groups in . American music is, like most of its hemispheric neighbors, a mixture of African, European and a little bit of native influences. Still later in the country's history, ethnic and musical diversity grew as the United States grew into a melting pot of different peoples. Immigration from China began in large numbers in the 19th century, most of them settling on the West Coast. Later, Japanese, Indian, Scottish, Polish, Italian, Irish, Mexican, Swedish,
immigrants also arrived in large numbers.
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In the 19th century, African-Americans were freed from
following the . Their music was a mixture of Scottish and African origin, like African American gospel displaying
and other distinctly African traits.
were popular, but it was
which became a major foundation for music in the 20th century.
(or Negro spirituals, as they were then known) were Christian songs, dominated by passionate and earthy vocals are similar to the church music of Scotland, which were performed in an African-style and Scottish style
format using hymns derived from those sung in colonial New England choirs, which were based on Moravian, English and Dutch church music. These hymns spread south through
in the late 18th century, where they were partnered with the music of the African slaves. During the
of religious fervor in the early 19th century, spirituals spread across the south. Among some whites, slave music grew increasingly popular, especially after the , when black and white soldiers worked together and Southern slaves fled north in huge numbers.
By the end of the 19th century,
shows had spread across the country, and even to continental Europe. In minstrel shows, performers imitated slaves in crude caricatures, singing and dancing to what was called "Negro music", though it had little in common with authentic African American folk styles. An African American variety of dance music called the
also became popular, evolving into
by the start of the 20th century.
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run along the East Coast of the United States. The region has long been historically poor compared to much of the many of the rural Appalachian people travelled to cities for work, and were there labeled , and their music became known as hillbilly music. In the 19th and early 20th centuries, Irish and Scottish immigrants arrived in large numbers. They mingled there with poor whites of other ethnic backgrounds, as well as many blacks. The result was a diverse array of folk styles which have been collectively referred to as . These styles included ,
and , and are the root of modern .
Appalachian folk music began its evolution towards pop-country in 1927, when
began recording in a historic session with
(Barraclough and Wolff, 537). Rodgers sang often morbid lyrical themes that drew on the blues to create tales of the poor and unlucky (Collins, 11), while the Carters preferred more upbeat ballads with clear vocals, complementary instrumentation and wholesome lyrics (Garofalo, 53). Their success paved the way for the development of popular country, and left its mark on the developing genre of .
Though Appalachian and African American folk music became the basis for most of American popular music, the United States is home to a diverse assortment of ethnic groups. In the early 20th century, many of these ethnic groups supported niche record industries and produced minor folk stars like , the "King of the Ukrainian Fiddlers" (Kochan and Kytasty, 308). Some of these ethnic musicians eventually became well-known across the country, such as , the
This same period also saw the rise of
around the start of the 20th century. These were large-scale inter-tribal events featuring spiritual activity and musical performances, mostly group percussion based (Means, 594).
Large-scale immigration of
music peaked in the first few decades of the 20th century. People like
become stars within their niche, and made the United States the international center for klezmer (Broughton, 583).
In , ethnic
who had lived in the area for centuries, played a distinct style of , different from that played in Mexico. The influence of
music was a major distinguishing characteristic of this music, which gradually evolved into what is now known as
(Burr, 604).
have long constituted a distinct minority with their own cultural identity. The Cajuns are descendants of
from the region of , the Creoles are black and French-speaking. Their music was a mixture of bluesy work songs mixed with jazz and other influences, and included styles like
and . Though these genres were geographically limited, they were modernized and mixed with more mainstream styles, evolving into popular
music by the middle of the century (Broughton and Kaliss, 558).
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The first field of American music that could be viewed as , rather than
or , was the singing of the colonial New England choirs, and travelling singing masters like . It was here that techniques and traditions like ,
were created, gradually spreading south and becoming an integral part of the . The Great Awakening was a period of religious fervor, among whites and blacks (both slave and free), that saw passionate, evangelical "" grow in popularity (Ferris, 98).
During the 19th century, it was not spirituals that gained truly widespread acclaim, but rather peppy comic songs performed by
in , and written by legendary songwriters like
and . During the Civil War, popular ballads were common, some used liberally by both the North and the South as patriotic songs. Finally, late in the century, the African American
evolved into , which became a North American and European sensation, while mainstream America was enthralled by the brass band marches of .
was the biggest source of
early in the 20th century (Garofolo, 17). Tin Pan Alley was a place in New York City which published
for dance songs like "After the Ball Is Over". The first few decades of the 20th century also saw the rise of popular, comic , such as the
tradition and composers and writers like ,
and . At the same time,
and , two distinct but related genres, began flourishing in cities like , Chicago and
and began to attract some mainstream audiences.
Blues and jazz were the foundation of what became American popular music. The ability to sell recorded music through
changed the music industry into one that relied on the charisma of star performers rather than songwriters. There was increased pressure to record bigger hits, meaning that even minor trends and fads like Hawaiian
left a permanent influence (the steel guitar is still very common in ).
also left their mark, especially on jazz, which has long been a part of the music scene in Latin America. During the 1920s,
singers like
became the first musical celebrities of national renown. , blues and jazz were also diversifying during this period, with new subgenres evolving in different cities like , New York, New Orleans and Chicago.
, a popular jazz singer
Jazz quickly replaced the blues as American popular music, in the form of
, a kind of
from the early 1930s. Swing used large ensembles, and was not generally improvised, in contrast with the free-flowing form of other kinds of jazz. With swing spreading across the nation, other genres continued to evolve towards popular traditions. In Louisiana,
was adding influences from
and generating some regional hit records, while
was spawning ,
bars and , which were to evolve into the pop-folk of the 1940s, bluegrass and country.The American Popular music reflects and defines American Society.
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In the 1940s, blues became the basis for , while jazz evolved into an ever more experimental
scene. Country and folk music further developed as well, gaining newfound popularity and acclaim for hard-edged . Perhaps most importantly, the 1940s saw the rise of the youth culture. Teenagers from across the country began to identify with each other and launched numerous trends. The first
arose, begin this opened up new audiences for popular music, which had been primarily an adult phenomenon prior to the 40s.
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The early 1940s saw the first major commercial success for Appalachian folk. Singers like
emerged, in groups like the
and . Lyrically, these performers drew on early
like , and the whole scene became gradually associated with the political left (Garofolo, 196). By the 1950s, the anti-Communism scare was in full swing, and some performers with a liberal or
bent were blacklisted from the music industry.
In the middle of the 40s,
reached its peak of popularity. It was a mixture of diverse influences, including , ,
and popular
songs, and included early stars like , who became among the best known musicians of the era.
With a honky tonk root, modern
arose in the 1940s, mixing with
and the blues to form . Rockabilly's earliest stars were
and , who entertained to crowds of devoted teenage fans. At the time, black audiences were listening to R&B, doo wop and gospel, but these styles were not perceived as appropriate for white listeners. People like Haley and Presley were white, but sang in a black style. This caused a great deal of cheeze controversy from concerned parents who felt that "race music", as it was then known, would corrupt their children. Nevertheless, rockabilly's popularity continued to grow, paving the way for the earliest rock stars like , ,
Among country fans, rockabilly was not well-regarded.[] Instead, the pop sounds of singers like
became popular. Williams had an unprecedented run of success, with more than ten chart-topping singles in two years (), including well-remembered songs still performed today like "" and "". It was performers like Williams that established the city of
as the center of the country music industry. There, country and pop were mixed, resulting in what was known as the .
Main articles:
The 1950s also saw the widespread popularization of , in the form of powerful singers like . Gospel first broke into international audiences in 1948, with the release of Jackson's "Move On Up a Little Higher", which was so popular it couldn't be shipped to record stores fast enough. As the music became more mainstream in the later part of the decade, performers began adding influences from
to make a more palatable and dance-able sound. Early in the next decade, the lyrics were secularized, resulting in . Some of soul's biggest stars began performing in the 50s gospel scene, including , ,
, a complex type of vocal music, also became popular during the 1950s, and left its mark on 1960s soul and R&B. The genre's exact origins are debatable, but it drew on groups like the
and , who played a kind of R&B with smooth, alternating lead vocals. With the addition of gospel inflections, doo wop's polished sound and romantic ballads made it a major part of the 50s music scene, beginning in 1951. The first popular groups were
("Glory Of Love") and
("Golden Teardrops"). Doo wop diversified considerably later in the decade, with groups like
("Gee"), creating a style of
and the ballad style via
("Earth Angel"), while singers lik Lymon became the first black teen idol in the country's history after the release of the Top 40 pop hit "Why Do Fools Fall in Love" (1956).
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Latin music imported from
(, , ) and Mexico ( and ) had brief periods of popularity during the 50s. The earliest popular Latin music in the United States came with rumba in the early 1930s, and was followed by
in the mid-40s, mambo in the late 40s and early 50s, chachachá and
in the mid-50s,
in the late 50s and finally
in the mid-60s, while Latin music mixed with jazz during the same period, resulting in
The first Mexican-Texan pop star was , who began recording in 1934. It was not until the 40s, however, that
became popularized by female duets like
and , who had a string of regional hits. The following decade saw the rise of , known as the "Queen of the (Mexican) ", who sang romantic pop songs.
The 50s saw further innovation in the Mexican-Texan community, as electric guitars, drums and elements of rock and jazz were added to .
was the first major performer of conjunto, known for introducing Colombian
and Mexican
to conjunto bands. Later,
modernized the conjunto big bands by adding electric guitars, amplified
and a drum kit and slowing down the frenetic dance rhythms of the style. In the mid-1950s, bandleader
used accordion in his band, thus beginning the evolution of . The rock-influenced
was the first major star of this scene.
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Louisiana's Cajun and Creole communities saw their local music become a brief mainstream fad during the 1950s. This was largely due to the work of , who began recording for
in 1955. He took authentic Cajun and Creole music and added more elements of rock and roll: a rollicking beat, frenetic vocals and a dance- the result was a style called . Chenier continued recording for more than thirty years, releasing over a hundred albums and paving the way for later stars like
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In the 1960s, music became heavily involved in the burgeoning youth , as well as various social and political causes. The beginning of the decade saw the peak of doo wop's popularity, in about 1961, as well as the rise of ,
and the first
arose during this period, along with the roots of what would later become , , , ,
and . An American
occurred simultaneously as a period of sexual liberation and racial conflict, leading to growth in the lyrical maturity and complexity of popular music as songwriters wrote about the changes the country was going through.
The first few years of the 1960s saw major innovation in . ,
and , and the
were popular, while an Appalachian folk and African American blues
became dominant among a smaller portion of the listening audience. An even larger population of young audiences in the United Kingdom listened to American blues. By the middle of the decade,
bands like ,
were topping the charts in what became known as the , alongside newly secularized
and the mainstreaming of the . Folk-based
also added new innovations to popular music, expanding its possibilities, such as by making singles more than the standard three minutes in length.
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Psychedelic rock became the genre most closely intertwined with the youth culture. It arose from the British Invasion of blues in the middle of the decade, when bands like ,
dominated the charts and only a few American bands, such as
and , could compete. It became associated with
and the anti-war movement, civil rights, feminism and environmentalism, paralleling the similar rise of
and . Events like
became defining symbols for the generation known as the , who were born immediately following World War 2 and came of age in the mid to late 60s.
Later in the decade, psychedelic rock and the youth culture splintered. , ,
appeared, and the connection between music and social activism largely disappeared from popular music.
Main articles:
In the middle of the decade, female soul singers like ,
were popular, while innovative performers like
invented a new style of soul called . Influenced by psychedelic rock, which was dominating the charts at the time, funk was a very rhythmic, dance-able kind of soul. Later in the decade and into the 70s, funk too split into two strands.
made pop-funk palatable for the masses, while
collective pioneered a new, psychedelia- and heavy metal-influenced form of avant-garde funk.
also appeared very late in the decade and into the next, with artists like ,
taking soul beyond the realm of the single into cohesive album-length artistic statements with a complex social conscience.
It was in this context, of album-oriented soul and funk, influenced by
and the civil rights movement, that African Americans in
invented .
Main articles:
led the rise of the
in the 60s, when the perceived superficiality of the Nashville Sound led to a national wave that almost entirely switched country music's capital and sound within the space of a few years. At the same time, bluegrass became a major influence on
and also evolved into new, progressive genres like . As part of the nationwide , Hawaiian
also saw mainstream success.
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With the widespread success of 's big band
in the late 1950s, the style became more influenced by rock and pop. 's wild, improvised style of accordion became popular, paving the way for the further success of . The Bernal brothers' band sold thousands of albums and used faster rhythms than before.
The early 1970s saw popular music being dominated by folk-based
and , followed by the rise of
subgenres, ,
and later, .
and pop-funk was also popular, while
fusions became more commonplace and a major
revival occurred among the Jewish community. Beginning in the early 70s,
arose in New York City, drawing on diverse influences from both white and black folk music, Jamaican
and the performance poetry of .
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's early pioneers included the British bands
and , though American cult bands
also played a major role. Their music was hard-edged and bluesy, with an often menacing tone that became more pronounced in later subgenres. In the beginning of the 70s, heavy metal-influenced
arose, and musicians like
became famous for gender-bending costumes and themes. Glam was followed by mainstream bombastic
bands becoming mainstream, with bands like
launching popular careers that lasted most of the decade. , a glitzy form of
metal, also found a niche audience but limited mainstream success.
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With the Bakersfield Sound the dominant influence, outlaw country singers like
were the biggest country stars of the 70s, alongside
bands like
who were more oriented towards crossover audiences. Later in the decade and into the next, these both mixed with other genres in the form of
like , while a
revival hit the country charts, led by .
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Hip hop was a cultural movement that began in
in the early 1970s, consisting of four elements. Two of them,
and , make up . These two elements were imported from Jamaica by . At neighborhood , DJs would spin popular records while the audience danced. Soon, an
arose to lead the proceedings, as the DJ began isolating and repeating the
(the most popular, dance-able part). MCs' introductions became more and more complex, drawing on numerous African-derived vocal traditions, and became the foundation of . By the end of the decade, hip hop had spread across the country, especially in
and Chicago.
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Cuban and Puerto Ricans in New York invented salsa in the early 1970s, using multiple sources from Latin America in the pan-Latin melting pot of the city. Puerto Rican
and Cuban ,
were the biggest influences, alongside , Mexican, , , ,
sources. Many of the earliest salsa musicians, like , had had a long career in various styles of Latin music. Salsa grew very popular in the 70s and into the next two decades, spreading south to Venezuela, Colombia, Puerto Rico, Mexico, Peru and especially Cuba.
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Punk rock arose as a reaction against what had come before. Early punks believed that hollow greed had destroyed American music, and hated the perceived bombasity and arrogance of the biggest bands of the 1970s. It arose in London and New York, with numerous regional centers by the end of the decade when acts like
saw unprecedented success for their defiantly anti-mainstream genre. It was the British band , however, that became wildly popular, more so in the UK than the U.S., and set the stage for adoption of elements of punk in popular music in the 80s.
Main articles: ,
The 1980s began with
dominating the charts, and continued through a new form of silky smooth soul, and ended with a popular
trend dominating mainstream America. Meanwhile, the first glimmer of punk rock's popularity began, and new
found niche markets. Hip hop diversified as a few artists gained mainstream success, finally breaking through in the last few months of the decade.
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In the 1980s, hip hop saw its first taste of mainstream success with
and . Meanwhile, hip hop was continuing its spread from the East Coast to most major urban areas across the country, and abroad. At the end of the decade, two albums broke the genre into the mainstream. 's
broke through with highly controversial and sometimes violent lyrics. N.W.A. proved especially important, launching the career of
and the dominant
sound of the next decade. That same year (1989), 's
became the earliest release of , and numerous regional styles of hip hop saw their first legitimization, including Chicago , Los Angeles , 's , 's
and 's . Drawing inspiration from the rebellious attitudes of the Civil Rights Movement and groups like Public Enemy, many intelligent and politically minded rappers began what is known as underground hip-hop with artists like Boots Riley from The Coup leading the way.
As the 90s began, hair metal was dominating the charts, especially formulaic bands like . In reaction to that, the first few years saw a sea change in American popular music. 's
along with Alice in Chains, Pearl Jam, and Soundgarden launched the defiantly anti-mainstream
movement among mainstream audiences, while 's
brought his West Coast
sound to widespread success.
Both these trends died out quickly, however, grunge done in by 's death and disillusionisment with grunge, a form of alternative rock, becoming mainstream. G Funk lasted a few years, displacing
as the dominant sound of hip hop. A rivalry began, fed by the music news, focusing on West Coast's
and the East Coast's . By the middle of the decade, Tupac and Biggie were shot dead, and Dr. Dre's
had fallen apart. East Coast rappers like , 50 Cent and
re-established the East Coast, while 's
and other performers found a mainstream audience.
, one of the top-selling artist of the 90s, injected renewed popularity to singer-songwriters such as , , and . In the wake of grunge and gangsta rap came a fusion of soul and hip hop, called , some popularity for British
and the rise of bands like
and , playing a form of pop punk influenced by Jamaican
and British
ska/punk fusionists from the early 80s.
also became popular, though nowhere's near as much so as in most of the rest of the world.
At the turn of the millennium,
groups like
were dominating the charts, many of them with a Latin beat (, ), and rappers like
were huge stars. Some
revivalists like
became highly hyped bands in the
field, and achieved substantial mainstream success. The first few years of the 2000s saw the further rise of pop-hip hop, fed by the breakthrough success of Eminem. Indeed, hip hop became an essential element of nearly all popular music during this period, resulting in new fusions like . Pop thug rappers like
were nationally renowned, though hard-edged hip made a return within a few years with the rise of . Politically minded hip hop in the tradition of Public Enemy and Boogie Down Productions has also diversified since the early 1990s with groups like The Coup, Sweatshop Union, Mr. Lif, Paris, Immortal Technique and many others.
(AUDIO). . Digital.library.unt.edu. Show 1.
Andersen, Kurt (January 2012). . Vanity Fair.
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