Béla Bartók托福聽力原文翻譯及問題答案

Béla Bartók托福聽力原文翻譯及問題答案

一、Béla Bartók托福聽力原文：

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

MALE PROFESSOR:So I just finished reviewing your papers on the influence of nationalism on a composer's music...and initially I was surprised none of you chose to write about Béla Bartók–that is until I remembered we haven't had a chance to discuss him in class yet.He was a wonderful and groundbreaking composer.

Béla Bartók was a Hungarian whose life stretched from the late nineteenth century to the middle of the twentieth century,but he was not a fan of the Romantic style of music that was popular in his homeland during his youth.

FEMALE STUDENT:Wait,Hungary wasn't a country in 1900,was it?MALE PROFESSOR:You're right,I should've been clearer.Bartók was born in Austria-Hungary,a nation that broke apart when he was about forty years old—actually,the town where he was born is presently part of Romania. The political history of that region is complex;suffice it to say Bartók is generally known as a Hungarian composer.

So...during Bartok's youth,the music played in the concert halls of Austria–Hungary was dominated by romantic pieces by mostly German composers.We discussed the romantic style last week.These pieces were long and lyrical–they were meant to have a sort of...grandeur about them.

And in the early 1900s,composers who worked in the romantic style were the most popular in Austria–Hungary. But Bartok,he was part of a musical community that was trying to change this,and it led him to...well,the first thing it did was lead him to travel.He looked to the countryside for the music of the farmers and the people who lived in small towns.And their music...well,you could say he discovered the music that was popular in those areas.

MALE STUDENT:What do you mean?MALE PROFESSOR:Well...all the music we've been talking about the past few weeks,it really was all in the cities.That's where the composers and the orchestras were.Out in remote areas of the countryside,in rural locations,music was more traditional–the same songs that were enjoyed by previous generations.

Bartok went out,he traveled through a significant portion of eastern Europe actually,he roamed the countryside and listened to the music heard in small towns and at all sorts of celebrations.He attended weddings,dances,and religious ceremonies where he heard a very different sort of music than the romantic stuff being played in the concert halls in the cities.The music he heard is what we would consider"folk music."MALE STUDENT:And then he had those same songs played in the concert halls?MALE PROFESSOR:No.A first,he went around to document the folk music.He really wanted to make sure the folk songs were written down before they disappeared.In fact,Bartok didn't start out the trip thinking of himself as a composer. He was an ethnomusicologist—he studied the traditional music of the region.But it turns out that what would later have a notable influence on European music on the whole was the way Bartok used elements he heard in folk songs in his own compositions.

He adopted a number of elements from what he heard,like,unusual rhythms...and...he liked to use the glissando as his hallmark,which he probably got from listening to Croatian folk music.A glissando is...well,I've got a recording of Bartok here...let's wait until the music is fresh in our minds.Suzy,do you have something you want to ask first?

FEMALE STUDENT:Yeah,before you mentioned nationalism and–MALE PROFESSOR:Ah,right,yes.When Bartok had his new pieces performed,their folk music roots made them instantly popular.It happened to be a time of strong nationalism in Austria-Hungary,so his compositions came at just the right time.He became very successful there.Particularly,when Bartok's ballet The Wooden Prince opened,there was great excitement for music that included musical elements from local folk songs,music that reflected the region's musical traditions.However,as popular as Bartok was in his homeland,he did not get much international recognition during his lifetime.

二、Béla Bartók托福聽力中文翻譯：

旁白：聽音樂歷史課的一部分講座。

男教授：我剛剛完成了你關(guān)于民族主義對(duì)作曲家音樂的影響的論文的審查……起初，我很驚訝你們中沒有人選擇寫貝拉·巴托克——直到我記得我們還沒有機(jī)會(huì)在課堂上討論他。他是一位出色的、開創(chuàng)性的作曲家。

貝拉·巴托克是一名匈牙利人，他的生活從19世紀(jì)末一直延續(xù)到20世紀(jì)中葉，但他并不喜歡年輕時(shí)在家鄉(xiāng)流行的浪漫主義音樂風(fēng)格。

女學(xué)生：等等，匈牙利在1900年不是一個(gè)國(guó)家，是嗎？男教授：你說得對(duì)，我應(yīng)該更清楚一點(diǎn)。Bartók出生于奧地利-匈牙利，這個(gè)國(guó)家在他40歲左右的時(shí)候分裂了。實(shí)際上，他出生的小鎮(zhèn)現(xiàn)在是羅馬尼亞的一部分&nbsp；該地區(qū)的政治歷史是復(fù)雜的；只要說巴托克是匈牙利作曲家就足夠了。

所以…在巴托克年輕時(shí)，在奧地利-匈牙利音樂廳演奏的音樂主要是德國(guó)作曲家的浪漫作品。上周我們討論了浪漫風(fēng)格。這些作品既長(zhǎng)又抒情——它們的目的是要有一種……宏偉。

20世紀(jì)初，浪漫主義風(fēng)格的作曲家在奧地利-匈牙利最受歡迎&nbsp；但是巴托克，他是一個(gè)音樂社區(qū)的一員，這個(gè)社區(qū)試圖改變這一點(diǎn)，這讓他…嗯，他做的第一件事就是帶領(lǐng)他旅行。他向鄉(xiāng)村尋找農(nóng)民和小城鎮(zhèn)居民的音樂。他們的音樂…你可以說他發(fā)現(xiàn)了那些地區(qū)流行的音樂。

男學(xué)生：什么意思？男教授：嗯……過去幾周我們談?wù)摰乃幸魳?，都是在城市里。那是作曲家和管弦樂?duì)所在的地方。在偏遠(yuǎn)的農(nóng)村地區(qū)，在農(nóng)村地區(qū)，音樂更為傳統(tǒng)——與前幾代人喜歡的歌曲相同。

巴托克出去了，他游歷了東歐的大部分地區(qū)，他在鄉(xiāng)村漫步，聽小城鎮(zhèn)和各種慶?；顒?dòng)中聽到的音樂。他參加了婚禮、舞會(huì)和宗教儀式，在那里他聽到了與城市音樂廳演奏的浪漫音樂截然不同的音樂。他聽到的音樂是我們認(rèn)為的“民間音樂”。男學(xué)生：然后他在音樂廳演奏了同樣的歌曲？男教授：沒有。首先，他四處記錄民間音樂。他真的想確保民歌在消失之前被記錄下來。事實(shí)上，巴托克一開始并沒有把自己當(dāng)成作曲家&nbsp；他是一位民族音樂學(xué)家，研究該地區(qū)的傳統(tǒng)音樂。但事實(shí)證明，后來對(duì)整個(gè)歐洲音樂產(chǎn)生顯著影響的是巴托克在自己的作品中使用民歌元素的方式。

他從他聽到的音樂中吸收了一些元素，比如不尋常的節(jié)奏……而且……他喜歡用格利桑多作為自己的標(biāo)志，這可能是他聽克羅地亞民間音樂時(shí)得到的。我這里有一張巴托克的錄音…讓我們等到音樂在我們腦海中重新出現(xiàn)。蘇西，你有什么想先問的嗎？

女學(xué)生：是的，在你提到民族主義之前，男教授：啊，對(duì)，是的。當(dāng)巴托克的新作品被演奏時(shí)，他們的民間音樂根源使他們立即流行起來。這恰巧是奧匈帝國(guó)民族主義強(qiáng)烈的時(shí)期，所以他的作品來得正是時(shí)候。他在那里非常成功。特別是當(dāng)巴托克的芭蕾舞《木王子》首演時(shí)，人們對(duì)包含當(dāng)?shù)孛窀枰魳吩氐囊魳贩浅Ｅd奮，這些音樂反映了該地區(qū)的音樂傳統(tǒng)。然而，盡管巴托克在他的祖國(guó)很受歡迎，但在他的一生中并沒有得到多少國(guó)際認(rèn)可。

三、Béla Bartók托福聽力問題：

Q1:1.What is the lecture mainly about?

A.The influence of the Romantic style of music on eastern European composers

B.The relationship between nationalism and popular music in the early 1900s

C.The popularity of folk music in Austria-Hungary during the early 1900s

D.The influence of folk music on the compositions of one Hungarian composer

Q2:2.What does the professor imply about romantic music in Austria-Hungary in the early 1900s?

A.It was not as popular there as it was in other European countries.

B.It motivated Bartók to listen to other types of music.

C.It was listened to in the countryside more than it was in the cities.

D.Its popularity was due to the work of Bartók and other ethnomusicologists.

Q3:3.Why does the professor mention local celebrations in the countryside?

A.To show how folk music influenced composers throughout Eastern Europe

B.To give an example of when performances of Bartók music took place

C.To give an example of occasions when Bartók had an opportunity to hear folk music

D.To talk about why romantic music was popular in the countryside

Q4:4.What was Bartók’soriginal goal when he started to travel through eastern Europe?

A.To promote his ballet,The Wooden Prince

B.To document the local popular music

C.To discover which musical elements were popular in all countries

D.To find unusual musical elements he could use in his own compositions

Q5:5.According to the professor,why was Bartók’s music popular in Austria-Hungary?

A.Bartók's music was considered more sophisticated than other concert-hall music.

B.Bartók's compositions incorporated music from the local culture.

C.People were familiar with the Romantic elements Bartók included in his music.

D.Bartók took advantage of the popularity of ballet there and wrote many new ballets.

Q6:6.What does the professor mean when he says this?

A.He wants to change the topic of discussion.

B.He wants to acknowledge that the students may not be familiar with Bart’k’s music.

C.He believes the students should already be familiar with the term‘glissando'.

D.He will use an example of glissando to help define the term.

四、Béla Bartók托福聽力答案：

A1:正確答案：D

A2:正確答案：B

A3:正確答案：C

A4:正確答案：B

A5:正確答案：B

A6:正確答案：D

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