各位鄉(xiāng)親父老直奋，讓我們繼續(xù)用最通俗的方法來讀懂英語文章吧勋桶！
關(guān)于語法的、關(guān)于知識(shí)的车海、還有你懂的~
求轉(zhuǎn)發(fā)碧浊、請點(diǎn)贊涂邀、快漲粉，GO箱锐！
原文版
Some of the world’s most famous musicians recently gathered in Paris and New Orleans to celebrate the first annual International Jazz Day. UNESCO(United Nations Educational, Scientific and Cultural Organization) recently set April 30 as a day to raise awareness of jazz music, its significance, and its potential as a unifying voice across cultures.
Despite the celebrations, though, in the U.S. the jazz audience continues to shrink and grow older, and the music has failed to connect with younger generations.
It’s Jason Moran’s job to help change that. As the Kennedy Center’s artistic adviser for jazz, Moran hopes to widen the audience for jazz, make the music more accessible, and preserve its history and culture.
“Jazz seems like it’s not really a part of the American appetite,” Moran tells National Public Radio’s reporter Neal Conan. “What I’m hoping to accomplish is that mu generation and younger start to reconsider and understand that jazz is not black and write anymore. It’s actually color, and it’s actually digital.”
Moran says one of the problems with jazz today is that the entertainment aspect of the music has been lost.
“The music can’t be presented today the way it was in 1908 or 1958. It has to continue to move, because the way the world works is not the same,” says Moran.
Last year, Moran worked on a project that arranged Fats Waller’s music for a dance party, “Just to kind of put it back in the mind that Waller is dance music as much as it is concert music,” says Moran. “For me, it’s the recontextualization. In music, where does the emotion lie比勉？ Are we, as abstract as a Charlie Parker record gets us into a dialogue about our emotions and our thoughts？ Sometimes we lose sight that the music has a wider context,” says Moran, “So I want to continue those dialogue. Those are the things I want to foster.”
分析版
Some of the world’s most famous musicians recently gathered in Paris and New Orleans to celebrate（這些音樂家“聚集在巴黎和新奧爾良”為的是什么？所以這個(gè)的to celebrate自然就是不定式作目的狀語）?the first annual International Jazz Day. UNESCO( United Nations Educational, Scientific and Cultural Organization) recently set April 30 as a day to raise（這里的結(jié)構(gòu)是set+一個(gè)日期+as + a day to do sth.浩聋，意思就是“把某一聽設(shè)定為一個(gè)去做什么事兒的日子”）?awareness of jazz music, its significance, and its potential as a unifying voice across cultures（第一段一直在說爵士樂观蜗，如果你對爵士樂有興趣，推薦你去翻一翻村上春樹的小冊子衣洁，叫《爵士群英譜》墓捻，據(jù)我所知，一共兩本）.
Despite（注意坊夫，出現(xiàn)了轉(zhuǎn)折砖第，后面對于爵士樂的態(tài)度跟前面不一樣了）?the celebrations, though, in the U.S. the jazz audience continues to shrink（這個(gè)詞的本意是“收縮”或者“萎縮”，這里指的是那些爵士樂的老聽眾践樱，所以可以理解為這個(gè)群體的人數(shù)在不斷“減少”）?and grow older, and the music has failed to（fail to這個(gè)詞組特別常見厂画，也挺好，可以記一記拷邢。沒有必要機(jī)械地翻譯成“做... ...失敗了”袱院，這個(gè)太不像中國話，理解為一個(gè)否定詞就行瞭稼，具體怎么翻譯忽洛，看具體的文章而定。補(bǔ)一句环肘，如果你學(xué)過《新概念英語》欲虚，尤其是第三冊，就會(huì)發(fā)現(xiàn)亞歷山大老先生極為愛用這個(gè)表達(dá)悔雹，跟著我學(xué)習(xí)《新概念》的同學(xué)也肯定N多次聽我叨念過這個(gè)fail to do的用法）?connect with（connect with的意思是“與... ...產(chǎn)生聯(lián)系”复哆，這里的意思當(dāng)然就是年輕人不怎么喜歡爵士樂了）?younger generations.
It’s Jason Moran’s job to help change that. As the Kennedy Center’s（這就是好著名的那個(gè)“肯尼迪中心”）?artistic adviser for jazz, Moran hopes to widen the audience for（這個(gè)表達(dá)意思是“拓寬... ...的聽眾范圍”，比如很多女同學(xué)都希望widen the audience forTFBOYS腌零。不知道用TFBOYS舉例子是不是可以漲粉... ...）?jazz, make the music more accessible（make sth. + adj.的意思就是“使得什么怎么樣”梯找，這里就是“使得爵士樂更加容易讓人接受”∫娼В客觀地說锈锤，爵士樂的曲風(fēng)的確不是那么大眾化，聽多了的話會(huì)有一種迷迷糊糊的感覺闲询。我算是還挺喜歡爵士樂的久免，我是不怎么喜歡搖滾樂）, and preserve its history and culture.
“Jazz seems like it’s not really a part of the American appetite（這個(gè)詞是“口味”的意思，既可以是吃的那個(gè)“口味”扭弧，也可以興趣阎姥、愛好方面的“品味”）,” Moran tells National Public Radio’s reporter Neal Conan.“What I’m hoping to accomplish is that my generation and younger start to reconsider and understand that jazz is not black and white anymore（什么叫“爵士樂不再是黑色和白色的”？看鸽捻，后面有一個(gè)color丁寄，這個(gè)話的前提又是在勸年輕人重新喜歡上爵士樂氨淌，懂了吧？這里實(shí)際上的意思是“爵士樂不再是一種單調(diào)的音樂”）. It’s actually color, and it’s actually digital.”
Moran says one of the problems with jazz today is that the entertainment aspect of the music has been lost.“The music can’t be presented today the way it was in 1908 or 1958（看來在一點(diǎn)上美國人民和我們的感受是一樣的伊磺，就是現(xiàn)在的音樂大不如前了。美國人現(xiàn)在沒有新的披頭士删咱、MJ屑埋，我們沒有新的周華健、張學(xué)友痰滋。當(dāng)然摘能，我們有偉大的TFBOYS！漲粉漲粉漲粉... ...）. It has to continue to move, because the way the world works is not the same（這個(gè)表達(dá)特別好敲街，可以拿小本本抄下來哈团搞，就是“世界不再按照以前的樣子轉(zhuǎn)運(yùn)了”，也就是世界變了）,” says Moran.
Last year, Moran worked on a project that arranged Fats Waller’s music（Fats Waller是一位爵士樂的高手逻恐，中文翻譯成“胖子沃勒”，20世紀(jì)上半葉的一位爵士樂手峻黍，大家可以搜來聽聽）for a dance party,“Just to kind of（kind of絕對不是“... ...的一種”這個(gè)意思哈复隆，你看它在動(dòng)詞的前面，意思是“類似于”）put it back in the mind that Waller is dance music as much as it is concert music,” says Moran. “For me, it’s the recontextualization（請注意姆涩，這是一個(gè)特別復(fù)雜的合成詞挽拂，即使用詞根詞綴法去拆，其實(shí)也無法準(zhǔn)確理解這個(gè)詞的意思骨饿。那么怎么辦亏栈？如果是在考場上，遇到這種情況宏赘，你需要做的事情一定不是胡編一個(gè)意思出來绒北，因?yàn)檫@會(huì)對你自己形成誤導(dǎo)，而是結(jié)合前文置鼻，弄清楚這個(gè)詞是一個(gè)什么傾向性的詞就可以了镇饮。比如在這里，你覺得就Moran前面說的那些話而言箕母，這是更接近一個(gè)好詞還是更接近一個(gè)壞詞储藐？當(dāng)然，從表面上看嘶是，這個(gè)詞的意思是“語境重構(gòu)”钙勃，仿佛是沒有好壞的）. In music, where does the emotion lie（高能預(yù)警，下面的這一串話話都特別文藝聂喇，快拿出小本本抄一抄辖源∥敌“在音樂的世界里，情感棲身與何處克饶？”）? Are we, as humans, gaining any insight（這個(gè)詞的意思是“洞見”酝蜒，講得更高級(jí)一點(diǎn)，就是“領(lǐng)悟”或者“感悟”）?on how to talk about ourselves and how something as abstract as a Charlie Parker record（在音樂方面提到record這個(gè)詞矾湃，就是指“唱片”）?gets us into a dialogue about our emotions and our thoughts（get sb. into就是“把誰帶到什么地兒”亡脑，那么在這里，就是指把我們帶入了一種“對話”之中邀跃。跟誰對話呢霉咨？“跟我們自己的情感對話，跟我們自己的思想對話”拍屑，快說途戒，是不是特別文藝？）? Sometimes we lose sight（lose sight的字面意思是“失明”僵驰，這里肯定不是咯喷斋，一聽爵士樂就失明還得了。這里的意思是“看不到”矢渊，更準(zhǔn)確地說就是“忽視”继准、“意識(shí)不到”）that the music has a wider context,” says Moran, “so I want to continue those dialogues. Those are the things I want to foster（如果在考場上，你理解為“我準(zhǔn)備接著干”矮男，是一點(diǎn)問題都沒有的移必，但還是最好知道一下foster的意思是“促進(jìn)”）.”
