Read first and then discuss the questions.

　　Where did jazz originate? What musical, social, and cultural ingredients (n. 成分, 因素) combined to form jazz? These questions, and their respective answers, are important for the student of jazz history to investigate.

　　Jazz is the only indigenous American art form and it is truly a cultural product of the United States. Western and African musical culture were the seeds of jazz, but America was the soil where jazz grew and prospered (V．成功, 兴隆, 昌盛). Jazz is neither a music of Blacks nor the music of Whites, but jazz is actually a blending of a variety of traditions, heritages, and philosophies (n. 哲学, 哲学体系) .

　　During the early history of America, slavery was a standard social practice. Slaves were forcibly brought from Africa to America. While in America, the displaced African’s (including African musicians who brought their musical traditions and talents with them) would learn from already established Western musical theories and performance practices. At the same time, Western musicians would learn African (Eastern) musical theories and performance practices from the African musicians.

　　Primitive (原始的) African culture places a great emphasis on music, much more so than Western societies. Music is an important aspect (n. 方面) of many of the day-today activities of the primitive African societies. As a primitive musical expression, early African music placed a great emphasis on rhythmic (adj. 节奏的, 合拍的) activity with a more simple use of melody (n. 悦耳的音调) and harmony (n. 协调, 融洽). African rhythms are quite complex and very advanced, yet the melodies and harmonies are simple. This strong emphasis on musical tradition and usage was brought with the African populations during their forced exile of slavery to America.

　　While in America, these new Black Americans still expressed themselves through their musical traditions. Since they were in America, their old musical traditions could not be reproduced exactly for many reasons, including not being allowed to use traditional African instruments. To understand a comparable situation, let us assume (vt. 假定, 设想) that we have a fictional American rock band who are forcibly taken to a foreign country. While in slavery, the rock musicians still desire to create their music. Unfortunately, their new “owners” give them permission to perform their rock music, but the rock band is not allowed to use any electric guitars, an electric bass, a drum set, keyboards, or any type of electronic instruments. This would cause quite a problem for the rock band, but if they have a strong enough desire to create their music, they would have to find a way to do so with the resources (instruments etc. ) that were available to them. This imaginary (adj. 假想的, 想象的) scenario (剧情概要, 或是某一特定情节) was exactly what the African musicians faced as slaves in America.

　　Along with finding new instruments, the African musicians were being exposed to the Western musical culture. This exposure was a vital essence to the evolution of jazz. These new Western melodic, harmonic, rhythmic, and aural traditions affected the African musicians tremendously. Of course, White musicians were also being affected by what they head from the African musicians. As time passes, the give and take between the African and Western musical traditions would blossom into what would be called Jazz.

　　To this day, elements that started with the African slaves can still be heard in jazz and rock. One example still in use is the African “call and response” method of early African songs. In a call and response, the soloist sings a portion of a melody while the group responds afterwards (much like a musical question and answer) .

　　Another example is “pitch-bending”. During the advent of jazz, the musicians would bend pitches for expressive purposes. This bent pitch catches our ears because the ear does not know where the pitch will actually end up, thus creating a musical surprise. Countless jazz and rock musicians use this technique today. Listen to a rock lead-guitar solo and count all the pitch-bends utilized. Most of today's synthesizers even have a pitch-bend device built in.

　　The roots of jazz are from African and Western musical traditions blended together. Over a period of many years, these traditions exchanged musical qualities and slowly evolved into jazz. The African emphasis on rhythm combined with Western theoretical musical thought created a new music for all musicians and audiences to enjoy. As the jazz musical tree grew, other sub-styles of music grew from the trunk of jazz. Music styles such as Rhythm and Blues (n. 节奏和布鲁斯) Soul, Funk, Rap, and Rock and Roll are all descendants (n. 子孙, 后裔, 后代) of jazz and the jazz heritage.

Questions For Discussion:

1．Does Jazz come from Africa?

2．Does Jazz come from Blues?

When I was young I loved taking part in high school musicals．I loved to 　31 in front of hundreds of people．In one production, I auditioned（试音）like 32 else. My music teacher was to 　33 that I would get a particular part in the music drama. The part I thought I had was a 　34 lead who sang some of the most beautiful love songs.

But one day the show director pulled me aside. I was 　35 to be offered the leading role. To my disappointment, he said, “Bob, I found a boy with an excellent voice. I need to give the 　36 to him.”

From that moment on I began hating music class. I 37 that I didn’t like what we were singing. My music teacher didn’t know why. She 38 me in front of the class and told me I had changed. She didn’t know what I had been told. But when they 39 the finalists I was given a 　40 role. For some time my pride was 　41 with having to do something I didn’t think I should be doing. But I didn’t it. The minor rold I had 　42 to be much more fun than I had expected. My performance even 　43 my brother who was also in the audience.

Life is really like a 　44 and although we do not audition for the role, each of us is 　45 by the director to play a certain part in it. The 46 is that we sometimes don’t like the part we are given. Like me in high school I became 　47 –if I couldn’t be the lead, I wouldn’t show up for rehearsal（彩排）.

Then we wonder why we feel so 　48 . Sometimes we don’t even feel like we are a part of the “Big Show. ” Everyone does indeed have a role. Some are in front of the curtain, some are behind, but all are 49 for the show to go on All 　50 to success no matter how minor the part is.

31．A．debate　　　　　　　　 B．broadcast　　　　　　　　　 C．sing　　　　　　　　　　　 D．show

32．A．someone　　　　　　 B．everyone　　　　　　　　　 C．anyone　　　　　　　　　 D．no one

33．A．prejudiced　　　　　 B．concerned　　　　　　　　 C．unexpected　 　　　 D．convinced

34．A．romantic　 　　 B．ridiculous　　　　 C．mysterious　 　　　 D．sensitive

35．A．attempting　 　　 B．expecting　　　　 C．volunteering　　 　 D．pretending

36．A．part　　　 　　 B．deal　　　　　　　 C．favor　　　　 　 D．item

37．A．assessed　　 　　 B．advocated　　　　 C．concluded　　 　 D．complained

38．A．warned　　 　　 B．scolded　　　　　 C．informed　　　 　 D．suspected

39．A．presented　　 　 B．identified C．announced D．delivered

40．A．specific　　 　 B．super　　　　　　 C．slight　　　 　　　 D．small

41．A．struggling　 　　 B．competing　　　　 　 C．swinging　　 　　　 D．changing

42．A．happened 　　　　 B．proved　　　　　 C．expanded　　　 　 D．switched

43．A．terrified: 　　　　　 B．disappointed　　　 C．surprised　　 　　 D．embarrassed

44．A．joke　　 　　　　 B．journey　　　　　 C．stage　　　 　　　 D．play

45．A．appointed　 　　　 B．attached　　　　　 C．employed　　 　　 D．instructed

46．A．reason　　　 　 B．problem　　　 　　　　 C．balance　　　 　　 D．focus

47．A．curious　　 　　 B．helpless　　　 　　　　 C．angry　　　 　　　 D．positive

48．A．exhausted　　 　 B．lost　　　　 　　　　　 C．delighted　　 　　 D．thrilled

49．A．necessary　　　　　 B．dependent　　　　　　　　　 C．natural　　　　　　　　　 D．perfect

50．A．react B．adjust C．refer D．contribute