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?

　　　 Scores of farms across he country are opening up to overnight guests．The best have all the appeal of a first-rate inn（小旅馆） — plus here a moo, there a moo．

　　　 Sure, you and your kids have a plan for the theme parks．In the meanwhile, why not make a little hay（干草）? Farm stays are fast becoming the great American alternative to the pre-packaged vacation．

　　　 LIBERTY HALL FARM

　　　 Rochester, Vt．; 802/767-3926; ．Adults $75, teens $50, kids 12 and under $35, including breakfast and dinner; shared baths．

　　　 Beth and Bob Kennett run a farm straight out of a storybook．You’ll find Beth in the kitchen, rolling out dough（生面团） for a pie．Bob’s busy with other work．Guests sleep in seven sunny bedrooms right in the farmhouse and can participate in any of the farm jobs．Maybe you and your kids won’t be up at 6 am to meet the milk truck, but you can help with the milking twice a day, collect eggs, and pick sweet corn and wild blackberries in season．

　　　 HULL-O FARM

　　　 Durham, N．Y．; 518/239-6950; Adults $110, kids 10-14 $60, 5-9 $50, 2-4 $35, under 2 free, including breakfast and dinner; private baths．

　　　 It started in 1993 as a way to bring in some extra money at a time of falling milk prices．But soon after Frank and Sherry Hull opened their Catskill Mountains dairy farm to overnight visitors, they discovered they loved it．As you drive up, Sherry greets you on the porch（入口处） of the 1825 farmhouse with a cow-shaped cookie jar．Before long your kids are playing around with the cows, sheep, ducks, goats and getting ready for a hayride．

　　　 MERAMEC FARM CABINS

　　　 Bourbon, Mo．; 573/732-4765; Doubles with private bath $75, $10 per additional person．Trail and riding fees extra．

　　　 Climb on the back of the Ford pick up and catch up with the herd．One gentle cow named Cricket will even let the kids sit on her back．At the barn（牲口棚） Carol will introduce you to the horses — 15 Missouri Fox Trotters — and lead you on a ride over the hills and down along the spring-fed Meramec River, where everyone swims．Grab a fishing pole and head back to the river．When you have your fill of the wild, try Carol and Dave’s favorite restaurants, within 20 miles of the farm．

74．The underlined sentence in the first paragraph implies that _____．

　　　 A．you can enjoy the best cuisine at the first rate restaurant

　　　 B．some farms provide country experiences as well as good accommodations

　　　 C．farm work is hard, but you can enjoy it a lot, playing with the animals

　　　 D．if you want to hear a cow’s cry, please stay on a best farm

75．We can learn from the three ads that ____．

　　　 A．Hull-O Farm was not built for overnight visitors

　　　 B．Frank and Sherry Hull run a farm out of a storybook

　　　 C．kids can sit on a gentle cow’s back on Hull-O Farm

　　　 D．you can’t milk a cow if you get up late on Liberty Hill Farm

76．The Browns have a 13-year-old son and 11-year-old daughter．If they stay on Liberty Hill Farm for one night, how much will they pay?

　　　 A．$175．　　 　　　 B．$220．　　 　　　　 C．$235．　　 　　　 D．$250．

77．Who will be most likely interested in the webpage?

　　　 A．Kids who want to find pleasure in the theme parks．

　　　 B．People who expect to be employed on the farm．

　　　 C．Those who plan to have family vacations on working farms．

　　　 D．Researchers who are interested in raising cows on farms．