“歌唱比号角更融入我的血液”

Vic Hobson
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引用次数: 0

摘要

本章探讨了音乐家、作家和评论家对路易斯·阿姆斯特朗的演唱和演奏的接受历史。阿姆斯壮的演唱和演奏可以得到同等程度的欣赏,现在对他的看法是,阿姆斯壮的演唱与爵士独奏的发展没有关系,这两种做法是没有联系的。阿姆斯特朗并不是这样解释的。他在一次采访中解释说,他故意把他在四重奏中唱的台词解释为他在乐器上演奏的台词,以“Sweet Adeline”(1903年)为例。这解释了为什么阿姆斯特朗认为唱歌是他音乐生涯的纽带。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
“Singing Was More into My Blood, Than the Trumpet”
This chapter explores the reception history of Louis Armstrong’s singing and playing by musicians, writers, and critics. The present-day view of Armstrong whose singing and playing can be appreciated in equal measure, assumes that the two practices are not related and that Armstrong’s singing did not relate to the development of the jazz solo. This was not how Armstrong explained it. He explained in an interview that he knowingly interpreted the lines he sang in a quartet as lines he played on his instrument, using the example of “Sweet Adeline” (1903) This explains why Armstrong thought singing to be the nexus of his musicianship.
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