2018年可锐考研第1轮复习之英语阅读.docx

可锐教育官网 2018年可锐考研第一轮复习之英语阅读（四） Proponents of different jazz styles have always argued that theirpredecessor’s musical style did not include essential characteristics thatdefine jazz as jazz. Thus, 1940’s swing was belittled by beboppers of the 1950’s who werethemselves attacked by free jazzes of the 1960’s. The neoboppers ofthe 1980’s and 1990’s attacked almost everybody else. The titanic figure of Blacksaxophonist John Coltrane has complicated the arguments made by proponents ofstyles from bebop through neobop because in his own musical journey he drewfrom all those styles. His influence on all types of jazz was immeasurable. Atthe height of his popularity, Coltrane largely abandoned playing bebop, thestyle that had brought him fame, to explore the outer reaches of jazz. 　　Coltrane himself probably believed that the only essentialcharacteristic of jazz was improvisation, the one constant in his journey frombebop to open-ended improvisations on modal, Indian, and African melodies. Onthe other hand, this dogged student and prodigious technician — whoinsisted on spending hours each day practicing scales from theory books — was neverable to jettison completely the influence of bebop, with its fast and elaboratechains of notes and ornaments on melody. 　　Two stylistic characteristics shaped the way Coltrane played thetenor saxophone: he favored playing fast runs of notes built on a melody anddepended on heavy, regularly accented beats. The first led Coltrane to “sheets ofsound” where he raced faster and faster, pile-driving notes into eachother to suggest stacked harmonies. The second meant that his sense of rhythmwas almost as close to rock as to bebop. 　　Three recordings illustrate Coltrane’s energizingexplorations. Recording Kind of Blue with Miles Davis,Coltrane found himself outside bop, exploring modal melodies. Here he playedsurging, lengthy solos built largely around repeated motifs — anorganizing principle unlike that of free jazz saxophone player Ornette