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本月原始】矫矫
讲的是关于一个作曲家 E 的，第一段没怎么看懂，大概是这个作曲家在一个 XX 公司里。出现了一个短语，大概是：vocal tone，不懂什么意思
第二段，说这个作曲家 extended pieces 失败了，主要有两个原因：（1）有 32Bars,太长了 （2）别人很难复制。因为演奏这个 pieces 的人都是那些最优秀的演奏家（这里有高亮，问作用）
第三段：说这个公司同时出 classical music 和 mordern music,出现了一个什么问题来着（问了第三段在全文中的作用）
这篇文章我感觉主要是音乐方面的术语有点多，看起来费劲。 再就是第一段各种插入语、长难句很多，比较难搞懂逻辑关系。不过题干都比较短，考的细节不是很多。
原文
SONGS, EXTENDED PIECES, AND SHEET MUSIC
(Paragraph 1) Out of all the aspects of the music business, vocal tunes represented number one priority for promotion during Ellington’s tenure at the Mills organization. Hit vocal tunes sold sheet music. According to Paul Mills and other sources, the biggest profit came from plugging songs more than particular recordings:
It was rare for an African American musician/composer to be involved in this Tin Pan Alley-dominated process that resulted in songs being covered by a wide variety of artists in different genres. But this dovetailed perfectly with the marketing strategy for Ellington which held that African American music represented a potentially popular genre. Mills Music commissioned lyrics for many of Ellington’s instrumentals, and a few of them, including ‘In My Solitude” and “I let a Song Go Out Of My Heart,” became his biggest hits of the decade. Of other contemporary African Americans, perhaps only Fats Waller (who had some of his copyrights handled by Mills) enjoyed the same advantages and presence in the song-writing marketplace that Ellington received during his tenure with Mills Music. Louis Armstrong had two songbooks dedicated to his work in 1927, for years before Mills published songbooks that collected Ellington material, but Armstrong’s folios emphasized his famed “hot” instrumental breaks and were intended for trumpet players, not the mass commercial market at which Mills aimed Ellington’s work. The Mills organization made Ellington sheet music available in multiple formats that served individual musicians and different sized bands.
The marketing of Ellington’s sheet music also represented a form of integration practiced by the Mills organization to increase Ellington’s commercial potential. Ads accompanying his sheet music featured cross-promotions with either exclusively or mostly white songwriters and artists. Such racial cross-promotion was rare in any facet of the industry, and must have advanced Ellington’s work with a white audience, especially notation-reading musicians more inclined to appreciate the sophisticated nature of the Ellington material compared to the usual Tin Pan Alley fare. Conversely, such cross-promotion may have increased the sales of the white songwriters whom Mills Music marketed alongside Ellington. Ellington was a star as well as performer, and it appears from the ads that Mills used this fame to cast a favourable light on other Mills-managed performers and composers.
(Paragraph 2) Ellington’s extended pieces, which he began writing in 1930, proved to be one area where economic motives did not mesh smoothly with artistic motives. Many reasons existed for the relative commercial failure of these pieces. First, until mid-1940s, publishers tended to refuse songs that lasted more than 32 bars. Not only were they too long for the standard 10” 78 RPM record format, but they also entailed additional pages in printed sheet music, which mandated a more expensive and less marketable product. An additional problem ensued because, even if the public bought sheet music for such extended pieces as “creole Rhapsody” and “Reminiscing In Tempo,” it would be difficult or impossible for most musicians to reproduce the complicated intricacy of Ellington’s arrangements and the unique timbres of his instrumentalists. Ellington wrote these pieces with his band’s individual talents in mind, and those men constituted some of the best musicians in jazz history. The fact that such pieces were deemed too long by radio programmers did not help their popularity either.
(Paragraph 3) The segregation that existed between popular and classical music further complicated the longer pieces’ immediate success. When Mills Music started publishing classical folios, some customers would not buy from them because they sold popular music as well, even though their versions were cheaper and “had better engraving.” Paul Mills’s father-in-law, a conductor, used different names when he worked on classical radio programs and popular music programs. According to Paul Mills, “You couldn’t even use the same name playing two different kinds of music. it was that much of a difference.”
Ellington’s extended works upset those segments of society that insisted on strict separation of popular and classicla music. Their relaxed and charming transgression of the three-minute barriers of pop and jazz recording and their uniquely Ellingtonian straddling of pop, jazz, and classicla idiom established them as some of the freshesta nd most intriguing pieces in the Ellington canon, even decades later. Trackslike “creole” and “Reminiscing” deserved the application of the 12-inch format, but instead were released on 10-inch discs, which meant that listeners could not hear them in their enrirety without stopping the composition in mid-stride and turning the record over. With their shifting tempos and unpredictable transitions, these pieces represented a musical adventure. They were and remain examples of the kind of emotional and intricately plotted-out music that rewards repeated listenings and careful attention, like the best music of any genre. In these longer works, Ellington demonstrated the nearsightedness of the tenets of segregation in the area of music, as well as race.
Irving Mills fought resistant record companies to release the extended Ellington pieces “Cotton Club Medley” and “Reminiscing,” which Brunswick initially threatened to delete. Mills did this even though he felt that “Reminiscing” represented a “wrong direction” and “never should have been released.” John Hammond, who called the piece “formless and shallow,” believed that Ellington’s resistance on writing extended
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发表于 2017-12-21 02:38:44
