石燕儒 發問時間: 社會與文化語言 · 1 0 年前

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1.Port cities have always performed this function, with red-light districts

home to many venues, bars and clubs that became places of musical

expression and creativity, as well as places where musical styles and

influences were shared or blended in new ways, as at Memphis,

San Francisco, Hamburg, Oran and Liverpool.

2.These attitudes were reversed; in probably the first example of

formalized strategies for music tourism,New Orleans sought to

market itself as the ‘birthplace of jazz’, at just the time

that jazz had reached unparalleled popularity internationally ,

with big band jazz,Dixieland and other more'white' styles of

jazz performance constituting the orthodoxy of

‘popular music’ <Clarke,1995>.

3. Though the collapse of that industry in the 1980s encouraged

authorities to look past the less than 'salubrious' reputation of

the French Quarter <and of jazz> and embrace the city's musical

heritage as part of a wider push into domestic and international

visitor markets.

4. However, these marketing efforts remained conservative,Organized

around 'safe cultural channel' such as 'traditional jazz museums,

Archives, newsletters, performance halls and festivals, while the

Franco-African dimension of New Orleans music-making and

performance,Still alive in the black neighborhoods, went unsupported

and ignored,as a European performance aesthetic of the concert hall

prevailed.

1 個解答

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  • 1 0 年前
    最佳解答

    1 .城市總是完成了這個功能, 以紅輕的地區到許多案發地點, 酒吧和俱樂部家音樂表現和有創造力的那成為的地方, 以及音樂風格和影響透過新方法分享或者閃鋅礦的地方, 例如在孟斐斯, 舊金山, 漢堡, 奧蘭和利物浦。

    2 .這些姿勢倒轉了; 在為音樂旅遊業, 成為正式的策略的第一個例子中很可能, 新奧爾良企圖了作為爵士音樂ˇ的ˉ出生地銷售自己, 在那個爵士音樂國際到達無比聲望的時候剛剛' 構成ˉ流行音樂ˇ正統的爵士音樂表現的風格< Clarke,1995 > 。

    3 .儘管在八十年代, 那工業的崩潰鼓勵當局看起來是過去看起得比少和法蘭西一刻鐘< 和爵士音樂> 的 清爽的' 名譽作為更廣的推到國內的裡的一部分擁抱這個城市的音樂遺產' 並且國際訪問者銷售。

    4 .然而, 這些銷售努力保留, ' 安全文化通道 如同' 傳統爵士音樂博物館, 文獻, 通訊, 表現大廳和節日, 當新奧爾良音樂開始和表現, 黑鄰近地區的仍然活, 的 Franco 非洲的尺度去了沒有支撐周遭的組織並且忽視了, 如當這個音樂會大廳的一個歐洲表現美學的流行。

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