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一、{{B}}PARTⅠLISTENINGCOMPREHENSION{{/B}}（总题数：

1，分数：

10.00）

{{B}}SECTIONA{{/B}}

Inthissectionyouwillhearamini-lecture.YouwillhearthelectureONCEONLYWhilelistening,takenotesontheimportantpoints.Yournoteswillnotbemarked,butyouwillneedthemtocompleteagap-fillingtaskonANSWERSHEETONEafterthemini-lecture.Usetheblanksheetfornote-taking.

Nowlistentothemini-lecture.

AmericanJazzMusicianLouisArmstrong

ArmstrongwasborninNewOrleans.Hewassopoorduringhischildhoodthatsometimes{{U}}

（1）{{/U}}garbagecansforsupper.

Ⅰ.ThespiritofArmstrong'

sworldnot{{U}}

（2）{{/U}}by:

1）the{{U}}（3）{{/U}}ofpovertyand

2）thedangersofwildliving.

Ⅱ.Armstrong'

slifebefore1920s:

1）Armstrong'

sdancingforpenniesand{{U}}（4）{{/U}}forhissupperwithastrollingquartetofotherkids.

2）HavinghisdreamslikeotherAmericanboys,regardlessofhispointofsocial{{U}}（5）{{/U}}.

3）Theplacesheplayedandthepeopleheknewweresweetand{{U}}（6）{{/U}}atoneendofthespectrumandroughattheother.

4）Experiences,pomp,humor,eroticcharisma,grief,majesty,theprofoundlygruesomeandmonumentallyspiritualcameintohis{{U}}（7）{{/U}}.

{{B}}Ⅲ.Armstrong'

slifefrom1920on:

{{/B}}

1）Armstrongwouldbeangryifsomebodyintendedtochallengehim.

2）Musicianswereusedtohave"

cuttingsessions"

:

battlesof{{U}}（8）{{/U}}andstamina.

3）ThemelodicandrhythmicvistasArmstrong{{U}}（9）{{/U}}solvedthemind-bodyproblem.

LouiseArmstrongwassogreatthatthebigbandssoundedlikehim,theirfeaturedimproviserstookdirectionfromhim,andeveryschoolofjazzsincehashadtoaddresshowhe{{U}}（10）{{/U}}thebasicsoftheidiom-swing,blues,balladsandAfro-Hispanicrhythms.

（分数：

（1）.

1.00）

填空项1:

__________________ 

（正确答案：

searching/lookingfor）

解析：

[听力原文]1-10

Today,IamgoingtotalkabouttheAmericanJazzFatherLouisArmstrong.Hehadperfectpitchandperfectrhythm.Hisimprovisedmelodiesandsingingcouldbeasloftyasamoonflightoraslowdownastheblooddropsofastreetthugdyinginthegutter.Likemostofthegreatinnovatorsinjazz,hewasasmallman.Buttheextentofhisinfluenceacrossjazz,acrossAmericanmusicandaroundtheworldhassuchcontinuingstaturethatheisoneofthefewwhocaneasilybementionedwithStravinsky,PicassoandJoyce.Hislifewastheembodimentofonewhomovesfromragstoriches,fromanonymitytointernationallyimitatedinnovator.LouisDanielArmstrongsuppliedrevolutionarylanguagethattookonsuchpervasivenessthatitbecamecommonplace,likethelightbulb,theairplane,thetelephone.

ThatiswhyArmstrongremainsadeepforceinourAmericanexpression.Notonlydowehearhiminthosetrumpetplayerswhorepresentthepresentrenaissanceinjazz-WyntonMarsalis,WallaceRoney,TerenceBlanchard,RoyHargroye,NicholasPayton-wecanalsodetecthisinfluenceincertainrhythmsthatsweepfromcountry-and-westernmusicallthewayovertothechanteddoggerelofrap.

FormanyyearsitwasthoughtthatArmstrongwasborninNewOrleansonJuly4,1900,aperfectdayforthemanwhowrotethemusicalDeclarationofIndependenceforAmericansofthiscentury.ButtheestimablewriterGaryGiddinsdiscoveredthebirthcertificatethatprovesArmstrongwasbornAug.4,1901.Hegrewupatthebottom,hustlingandhustling,tryingtobringsomethinghometoeat,sometimessearchinggarbagecansforfoodthatmightstillbesuitableforsupper.ThespiritofArmstrong'

sworld,however,wasnotdominatedbythedeprivationofpovertyandthedangersofwildliving.

Whatstruckhimmost,ashismemoir,Satchrno:

MyLifeinNewOrleans,attests,wastheceremonialvigorofthepeople.RangingfromalmostEuropeanpaletojetblack,theNegroesofNewOrleanshadmanysocialclubs,paradesandpicnics.Withrags,blues,snippetsfromopera,churchmusicandwhateverelse,awidebreadthofrhythmandtunewascreatedtoaccompanyorstimulateeverykindofhumaninvolvement.Beforebecominganinstrumentalist,ArmstrongthechildwaseitherdancingforpenniesorsingingforhissupperwithastrollingquartetofotherkidswhowanderedNewOrleansfresheningupthesub-tropicaleveningwithsomesweetlyharmonizednotes.

Hehadsomeknuckleheadinhissoultoo.Whileagenialfountainofjoy,Armstrongwasastreetboy,andhehadadirtymouth.ItwashisshootingoffapistolonNewYear'

sEvethatgothimthrownintotheColoredWaifs'

Home,aninstitutionbentonrefiningruffians.ItwastherethatyoungLouisfirstputhislipstothemouthpieceofacomet.LikeanyAmericanboy,nomatterhispointofsocialorigin,hehadhisdreams.Atnightheusedtolieinbed,hearingthemasterlyFreddieKeppardoutinthestreetsblowingthatgoldenhorn,andhopethathetoowouldsomedayhavecommandofaclarionsound.

Thesounddevelopedveryquickly,andhewassoonknownaroundNewOrleansasformidable.Theplacesheplayedandthepeopleheknewweresweetandinnocentatoneendofthespectrumandroughattheother.HeplayedpicnicsforyoungNegrogirls,MississippiriverboatsonwhichthewhitepeoplehadneverseenNegroesintuxedosbefore,anddiveswherethecustomerscutandshotoneanother.Onetimehewitnessedtwowomenfightingtothedeathwithknives.Outofthoseexperiences,everythingfrompomptohumortoeroticcharismatogrieftomajestytotheprofoundlygruesomeandmonumentallyspiritualworkeditswayintohistone.HebecameabeaconofAmericanfeeling.

From1920on,hewashellontwofeetifsomebodywasinthemoodtochallengehim.Musiciansthenwerewonttohave"

-battlesofimaginationandstamina.Fairlysoon,youngArmstrongwasleftalone.Healsodidalittlepimpingbutgotoutofthegamewhenoneofhisgirlsstabbedhim.Withatroutsandwichamonghiseffects,ArmstrongtookatraintoChicagoin1922,wherehejoinedhismentorJoeOliver,andtherevolutiontookplaceinfallform.KingOliverandhisCreoleJazzBand,featuringthedarkyoungpowerhousewiththelargemouth,broughtoutthepeopleandallthemusicians,blackandwhite,whowantedtoknowhowitwastrulydone.Themostimpressivewhitemusicianofhistime,BixBeiderbecke,jumpedupandwentglassy-eyedthefirsttimeheheardArmstrong.

WhenhewascalledtoNewYorkCityin1924bythebig-timebandleaderFletcherHenderson,Armstronglookedexactlylikewhathewas,ayoungmanwhowasnottobefooledaroundWithandmightslapthetasteoutofyourmouthifyouwenttoofar.Hisimprovisationssetthecityonitshead.Thestiffrhythmsofthetimewereslashedawaybyhiscombinationofthepercussiveandthesoaring.HesoonreturnedtoChicago,perfectedwhathewasdoingandmadeonerecordafteranotherthatreorderedAmericanmusic,suchasPotatoHeadBluesandI'

maDingDongDaddy.Needingmorespaceforhisimprovisedline,ArmstrongrejectedthecontrapuntalNewOrleansfrontlineofclarinet,Trumpetandtromboneinfavorofthesingle,featuredhorn,whichsoonBecametheconvention.Hiscombinationofvirtuosity,strengthandpassionwasunprecedented.NooneinWesternmusic-notevenBach-haseversettheinnovativepaceonaninstrument,thenstooduptosingandconvertedthevocalists.Pops.SweetPapaDip.Satchmo.

ThemelodicandrhythmicvistasArmstrongopenedupsolvedthemind-bodyproblemastheworldwitnessedhowthebrainandthemusclescouldworkinperfectcoordinationontheaestheticspot.ApolloandDionysusmetinthesweatingcontainerofageniusfromNewOrleanswhosesensitivityandpassionwereepicincompletelynewterms.InhisradicalreinterpretationsArmstrongbentandtwistedpopularsongswithhishornandhisvoiceuntiltheywereshornofsentimentalityandelevatedtoseriousart.Hebroughtthechangeagentofswingtotheworld,themostrevolutionaryrhythmofhiscentury.Helearnedhowtodressandbecameafashionplate,Hisslangwasthe