美国国家公共电台 NPR A Jazz Pianist Considers Fidel Castro's Music Education Legacy

A Jazz Pianist Considers Fidel Castro's Music Education Legacy²

play pause stop mute unmute max volume 00:0004:56repeat repeat off Update Required To play the media you will need to either update your browser³ to a recent version or update your Flash plugin. AUDIE CORNISH, HOST: 

The late Fidel Castro made music part of his mission to promote a Cuban identity. Conservatories⁴ got a boost after the 1959 revolution, producing several generations of talented musicians and composers. Harold Lopez-Nussa is part of a new crop of jazz players making their voices heard outside Cuba. Betto Arcos reports that Lopez-Nussa was trained in one of the country's classical conservatories.

BETTO ARCOS, BYLINE⁵: You can hear Harold Lopez-Nussa's training in his playing.

(SOUNDBITE OF HAROLD LOPEZ-NUSSA SONG, "LOBO'S CHA")

ARCOS: The 33-year-old pianist is reluctant to admit the classical influence on his jazz playing, but he's quick to acknowledge the education he and many others received.

HAROLD LOPEZ-NUSSA: All of those great pianists that we have from Cuba now - they came from the classical training because this is the school that we have to learn music in Cuba. It's classical. So I did all my stuff there from 8 years old until 25.

(SOUNDBITE OF HAROLD LOPEZ-NUSSA SONG, "LOBO'S CHA")

NED SUBLETTE: He had a level of training that - it's really hard to get anywhere else.

ARCOS: Ned Sublette is the author of "Cuba And Its Music: From The First Drums To The Mambo."

SUBLETTE: After the revolution in 1959, the new revolutionary government made culture a priority. And a system of conservatories has continued to this day. So you will meet Cuban musicians who have been trained from childhood to be competitive, professional musicians. And most of them have a conservatory⁶ background.

ARCOS: But it's not just music school. Sublette quotes British musicologist Geoff Baker⁷.

SUBLETTE: There are four main streams of influence on Cuban musicians - family, conservatory, street and religion.

ARCOS: Harold Lopez-Nussa certainly draws on the first two.

(SOUNDBITE OF HAROLD LOPEZ-NUSSA SONG, "FERIA")

ARCOS: His grandparents were musicians. His father is a respected drummer and music educator.

LOPEZ-NUSSA: Before I was born, I have the music in my body and my blood. Eighty percent of what I am doing today and why I am a musician is because of my family. I have a lot of support from them - my father, my uncle, my mother, who was a piano teacher.

ARCOS: As far as the last two streams of influence are concerned, Lopez-Nussa is not particularly religious, but he's certainly aware of the sounds of the street and Cuba's long tradition of popular music.

(SOUNDBITE OF SONG, "FERIA")

LOPEZ-NUSSA: (Singing in Spanish).

ARCOS: Lopez-Nussa started listening to jazz as a teenager with his friends at the conservatory. He says he's following in the footsteps of such great Cuban pianists as Ernesto Lecuona, Frank Emilio Flynn and Chucho Valdes. He remembers seeing Valdes up close when he was 10 years old.

LOPEZ-NUSSA: He came to my school to play for the kids. And I was so impressed by his playing, this kind of freedom that he have with the keyboard. And I always thinking this experience.

ARCOS: So it's no surprise that a tune⁸ Valdes made popular with his band Irakere turns up on Lopez-Nussa's new album.

(SOUNDBITE OF HAROLD LOPEZ-NUSSA SONG, "BACALAO CON¹ PAN")

ARCOS: Harold Lopez-Nussa recently signed with an American label. He says improved relations between Cuba and the U.S. ushered⁹ in by the Obama administration have opened new opportunities. He'd like to see more Cuban musicians coming to play in the U.S.

LOPEZ-NUSSA: And I also hope that more American musicians can come to Cuba and share with us his art and his music. I have a lot of hope about this approach that will be better for all of us.

ARCOS: Lopez-Nussa hopes this cross-cultural exchange can continue under the new administration in Washington. After all, he says, music doesn't just come from school. For NPR News, I'm Betto Arcos.

(SOUNDBITE OF HAROLD LOPEZ-NUSSA SONG, "AFRICA")

1 con   

n.反对的观点，反对者，反对票，肺病；vt.精读，学习，默记；adv.反对地，从反面；adj.欺诈的

参考例句：

• We must be fair and consider the reason pro and con.我们必须公平考虑赞成和反对的理由。
• The motion is adopted non con.因无人投反对票，协议被通过。

2 legacy   

n.遗产，遗赠；先人(或过去)留下的东西

参考例句：

• They are the most precious cultural legacy our forefathers left.它们是我们祖先留下来的最宝贵的文化遗产。
• He thinks the legacy is a gift from the Gods.他认为这笔遗产是天赐之物。

3 browser   

n.浏览者

参考例句：

• View edits in a web browser.在浏览器中看编辑的效果。
• I think my browser has a list of shareware links.我想在浏览器中会有一系列的共享软件链接。

4 conservatories   

n.（培植植物的）温室，暖房( conservatory的名词复数 )

参考例句：

• Conservatories have grown in popularity over the past 10 years. 过去10年，温室越来越受到欢迎。 来自互联网
• FEBRI ELEMENT offers Offers to Railing systems, Aluminium elements and Conservatories. 是一家现代化、得信赖的产品供应商，该供应商从事栏杆，护栏系统，梯式支座装置、式支座装置，钢梯的制造和销售。 来自互联网

5 byline   

n.署名；v.署名

参考例句：

• His byline was absent as well.他的署名也不见了。
• We wish to thank the author of this article which carries no byline.我们要感谢这篇文章的那位没有署名的作者。

6 conservatory   

n.温室，音乐学院；adj.保存性的，有保存力的

参考例句：

• At the conservatory,he learned how to score a musical composition.在音乐学校里，他学会了怎样谱曲。
• The modern conservatory is not an environment for nurturing plants.这个现代化温室的环境不适合培育植物。

7 baker   

n.面包师

参考例句：

• The baker bakes his bread in the bakery.面包师在面包房内烤面包。
• The baker frosted the cake with a mixture of sugar and whites of eggs.面包师在蛋糕上撒了一层白糖和蛋清的混合料。

8 tune   

n.调子；和谐，协调；v.调音，调节，调整

参考例句：

• He'd written a tune,and played it to us on the piano.他写了一段曲子，并在钢琴上弹给我们听。
• The boy beat out a tune on a tin can.那男孩在易拉罐上敲出一首曲子。

9 ushered   

v.引，领，陪同( usher的过去式和过去分词 )

参考例句：

• The secretary ushered me into his office. 秘书把我领进他的办公室。
• A round of parties ushered in the New Year. 一系列的晚会迎来了新年。 来自《简明英汉词典》