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美国进步音乐界不久前展开了关於黑人音乐问题的讨论,在进步的文艺刊物「群众与主流」上(从去年二月到十月)先後发表了阿·鳥·贝莱的「黑人音乐的前途」,美国劳动青年联盟全国(?)行书记姆·威廉逊的「黑人音乐走哪条道路?」,美国艺术批评家斯·芬克尔斯坦的「关於黑人作曲家」等论文。这个讨论是美国进步文化生活中的一次有意义的事件,在许多论文中,都对黑人音乐的产生,它与黑人解放斗争的关系,它在美国音乐文化中的地位作了详尽的分析,对在美帝国主义反动的种族歧视政策和商业音乐的影响下,黑人音乐和黑人音乐家如同遭受严重的摧残和迫害作了深切的揭发。这些论文对於我们进一步了解美国的音乐情况是有帮助的,这一期我们先把阿·鳥·贝莱的一篇论文译出发表,其他的几篇也将在以后陆续刊出。
The progressive music industry in the United States recently started discussions on black music issues. In the progressive literary publication “The Masses and the Mainstream,” (from February to October last year), Alice Bird has published “The Future of Black Music ”Which Road to Negro Music Does Michel Williamson, secretary of the U.S. National Working Union for Young Men, and“ The Black Composer ”by American art critic Stephen Finkelstein? This discussion is a meaningful event in the progressive cultural life of the United States. In many papers, it has made a detailed analysis of the production of black music, its relationship with the struggle for the liberation of Blacks and its status in the music culture of the United States. Under the influence of the reactionary racial discrimination policies of the United States imperialists and commercial music, black music and black musicians were deeply exposed as if severely tortured and persecuted. These essays are helpful for us to get a better understanding of the music situation in the United States. In this issue we will first publish a paper by A. Bird Belle and others will be published one after another.