爵士乐在兰斯顿·休斯诗歌中的功能
摘要
美国诗人兰斯顿·休斯是哈莱姆文艺复兴时期的领军诗人,除诗歌外他还有翻译作品,并著有自传、小说、戏剧、散文、民间传说、儿童读物等各种文体的作品。休斯一生出版了三十余部著作。他的诗歌生涯始于一九二六年的第一部诗集《疲惫的布鲁斯》,最后一本诗集是一九六七年的《豹与鞭》,其间共著有十六本诗集,被世人誉为“哈莱姆的莎士比亚”和“黑人民族的桂冠诗人”。休斯在诗中运用黑人民间艺术,创立了独特的诗风,成为美国二十世纪最有创见的诗人之一。休斯在其作品中大量运用黑人音乐,实验性地进行爵士诗歌创作,成为了爵士诗歌的一位先驱。一九六二年休斯给年轻黑人作家立下原则：在享有作家自由的同时,要充满民族自豪感地去描写黑人日常生活中的态度、经历和语言。
休斯的爵士诗歌引起了不少学者的关注,并且就这一主题现在已有相当数量的研究成果。很多学者从写作动机入手,研究休斯为何而写爵士诗歌,得出了各种结论。然而在中国,对兰斯顿·休斯的研究还处于初期。虽然也有不少关于休斯的学术论文,但这些研究主要局限在休斯较为著名的作品,“爵士诗歌”这一概念则鲜有提及。总体上,国内外研究还有很大的可研究空间。爵士音乐在诗歌中的作用便是值得研究的话题之一。目前,人们对于爵士乐是否能够有效地促进诗歌表达这一问题,看法还有争议。因此,对此进行研究并试图得出一种可能的观点,尚有一定价值。
本文认为,爵士音乐帮助了休斯进行表达,从而更好地实现了其诗歌的社会价值,即：唤醒黑人民族意识、提高黑人民族地位,从而促进黑人民族进步和发展,并取得民族自由和平等。本文从爵士乐和诗歌的关系入手,从五方面探讨了爵士乐在爵士诗歌中的作用,即：爵士乐增强了诗歌的音乐性、增加了多样而贴近生活的表达方式、赋予了诗歌时代感、表达了黑人对自由平等的诉求、提供了一种反边缘化策略。
本文主要采用文本分析方法。由于篇幅所限,部分引用的诗歌并未全文引用。本文详细分析了兰斯顿·休斯爵士诗歌中的爵士元素,从文化的角度剖析了这些爵士元素的功能,并从新颖的视角探讨了爵士乐发展如何反过来影响休斯的爵士诗歌实现其社会价值。这一视角对休斯研究提供了新的研究策略。
As a poet, autobiographer, novelist, playwright, essayist, folklorist, translator and writer of children's books, Langston Hughes was the leading poet of the Harlem Renaissance. During his literary career he published more than three dozen books. With his starting point The Weary Blues (1926) and his final volume of verse which was published posthumously, The Panther and the Lash (1967), Hughes published sixteen books of poetry during his lifetime, winning him unofficial yet well-deserved titles as "Shakespeare in Harlem" and "the poet laureate of the Negro". His utilization of African-American folk art in his primary genre, poetry, established him as one of the most original poets of the twentieth century. Committed to African-American vernacular culture, Hughes employed black music into his writing. Owing to his creative experiment of jazz music in his jazz poems, he was also acknowledged as a pioneer of jazz poetry. Most of his works remained loyal to the principles that he had laid down in 1926 for young black writers:write with race pride to reveal the attitudes, experiences, and language of everyday black Americans while enjoying the freedom as an artist.
Hughes'jazz poems have attracted many scholars and much academic research has been done to unveil the charm of his jazz poetry. Many researchers have tried to discover the motivations of his jazz poems and have reached various conclusions. In China, however, the study of Langston Hughes is still at a starting stage. There are a small number of academic writings about him, but most confine to his most well-known works. Jazz poetry, however, is so far a seldom mentioned concept. Both domestic and foreign studies on Hughes leave plenty of room for further research. Among the possibilities a basic question that still remains unanswered is what functions jazz has in Langston Hughes'poetry. Since there are positive and negative comments on the issue, it is worthwhile to look into the question and gain a possible answer.
This paper holds that jazz music helps Hughes in his jazz poems to express his social ideals:to arouse African Americans'racial awareness, to elevate black social status, so as to achieve his people's improvement and finally attain racial freedom and justice. In order to explain this, the relationship between jazz and jazz poetry is firstly analyzed. The paper then falls into five aspects to examine the functions of the music in his jazz poetry:jazz as an enhancer of poetic rhythm, jazz as a true-to-life diversity of expressions, jazz as a time tag of the poetic lines, jazz as a strong weapon and loud voice calling for freedom and justice, and jazz as a successful model of anti-marginalization.
Discussion in the paper relies mainly on textual analysis. In order to confine the paper to a reasonable length many poems are not fully quoted. The paper goes to a detailed explanation of jazz elements, and examines jazz music's functions in Langston Hughes's jazz poems from a cultural perspective. The paper also analyzes the influence of jazz development on the social value of Hughes' jazz poetry from a new perspective, which, according to the covered resources and materials, may cast new light on future Hughes studies.
休斯的爵士诗歌引起了不少学者的关注,并且就这一主题现在已有相当数量的研究成果。很多学者从写作动机入手,研究休斯为何而写爵士诗歌,得出了各种结论。然而在中国,对兰斯顿·休斯的研究还处于初期。虽然也有不少关于休斯的学术论文,但这些研究主要局限在休斯较为著名的作品,“爵士诗歌”这一概念则鲜有提及。总体上,国内外研究还有很大的可研究空间。爵士音乐在诗歌中的作用便是值得研究的话题之一。目前,人们对于爵士乐是否能够有效地促进诗歌表达这一问题,看法还有争议。因此,对此进行研究并试图得出一种可能的观点,尚有一定价值。
本文认为,爵士音乐帮助了休斯进行表达,从而更好地实现了其诗歌的社会价值,即：唤醒黑人民族意识、提高黑人民族地位,从而促进黑人民族进步和发展,并取得民族自由和平等。本文从爵士乐和诗歌的关系入手,从五方面探讨了爵士乐在爵士诗歌中的作用,即：爵士乐增强了诗歌的音乐性、增加了多样而贴近生活的表达方式、赋予了诗歌时代感、表达了黑人对自由平等的诉求、提供了一种反边缘化策略。
本文主要采用文本分析方法。由于篇幅所限,部分引用的诗歌并未全文引用。本文详细分析了兰斯顿·休斯爵士诗歌中的爵士元素,从文化的角度剖析了这些爵士元素的功能,并从新颖的视角探讨了爵士乐发展如何反过来影响休斯的爵士诗歌实现其社会价值。这一视角对休斯研究提供了新的研究策略。
As a poet, autobiographer, novelist, playwright, essayist, folklorist, translator and writer of children's books, Langston Hughes was the leading poet of the Harlem Renaissance. During his literary career he published more than three dozen books. With his starting point The Weary Blues (1926) and his final volume of verse which was published posthumously, The Panther and the Lash (1967), Hughes published sixteen books of poetry during his lifetime, winning him unofficial yet well-deserved titles as "Shakespeare in Harlem" and "the poet laureate of the Negro". His utilization of African-American folk art in his primary genre, poetry, established him as one of the most original poets of the twentieth century. Committed to African-American vernacular culture, Hughes employed black music into his writing. Owing to his creative experiment of jazz music in his jazz poems, he was also acknowledged as a pioneer of jazz poetry. Most of his works remained loyal to the principles that he had laid down in 1926 for young black writers:write with race pride to reveal the attitudes, experiences, and language of everyday black Americans while enjoying the freedom as an artist.
Hughes'jazz poems have attracted many scholars and much academic research has been done to unveil the charm of his jazz poetry. Many researchers have tried to discover the motivations of his jazz poems and have reached various conclusions. In China, however, the study of Langston Hughes is still at a starting stage. There are a small number of academic writings about him, but most confine to his most well-known works. Jazz poetry, however, is so far a seldom mentioned concept. Both domestic and foreign studies on Hughes leave plenty of room for further research. Among the possibilities a basic question that still remains unanswered is what functions jazz has in Langston Hughes'poetry. Since there are positive and negative comments on the issue, it is worthwhile to look into the question and gain a possible answer.
This paper holds that jazz music helps Hughes in his jazz poems to express his social ideals:to arouse African Americans'racial awareness, to elevate black social status, so as to achieve his people's improvement and finally attain racial freedom and justice. In order to explain this, the relationship between jazz and jazz poetry is firstly analyzed. The paper then falls into five aspects to examine the functions of the music in his jazz poetry:jazz as an enhancer of poetic rhythm, jazz as a true-to-life diversity of expressions, jazz as a time tag of the poetic lines, jazz as a strong weapon and loud voice calling for freedom and justice, and jazz as a successful model of anti-marginalization.
Discussion in the paper relies mainly on textual analysis. In order to confine the paper to a reasonable length many poems are not fully quoted. The paper goes to a detailed explanation of jazz elements, and examines jazz music's functions in Langston Hughes's jazz poems from a cultural perspective. The paper also analyzes the influence of jazz development on the social value of Hughes' jazz poetry from a new perspective, which, according to the covered resources and materials, may cast new light on future Hughes studies.
引文
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1 Langston Hushes, "The Negro Artist and the Racial Mountain," The Nation (June 23,1926):692-694.
2 Ibid.,693.
1 Edward E. Waldron, "The Blues Poetry of Langston Hughes," Negro American Literature Forum, vol.5, no.4 (Winter,1971):140-49.
2 Steven C. Tracy, Langston Hughes and the Blues (Urbana:University of Illinois Press,1988).
3 Babette Deutsch, "Waste Land of Harlem," New York Times Book Review (May 6,1951).
4 Donald C. Dickinson, "Langston Hughes," in American Writers:Supplement I, ed. Leonard Unger (New York: Scribner,1979),342.
1 Cary D. Wintz, "Langston Hughes:A Kansas Poet in the Harlem Renaissance," Kansas Quarterly, vol.7, no.3 (Summer,1975):58-69.
2 Onwuchekwa Jemie, Lanston Hughes:An Introduction to the Poetry (Columbia University Press,1976),9-19.
3 David Chinitz, "Rejuvenation through Joy:Lanston Hughes, Primitivism, and Jazz," American Literary History, vol.9, no.1 (Spring,1997),60-78.
4 Robert O'Brien Hokanson, "Jazzing It Up:The Be-Bop Modernism of Langston Hughes," Mosaic:A journal for the Interdisciplinary Study of Literature, vol.31, no.4 (December,1998):61-82.
5 Anita Patterson, "Jazz, Realism, and the Modernist Lyric:the Poetry of Langton Hughes", Modern Language Quarterly:A Journal of Literary History, vol.61, no.4 (December,2000):615-682.
6 According to China Knowledge Resource Integrated Database and National Library of China before March 1, 2010.
1 Li Li, "Langston Hughes:Singer of Black Culture," Journal of Kangding Nationality Teachers College, vol.13, no. 1 (March,2004):38-40.
2 Yang Qi, "Langston Hughes:A Remarkable American Black Poet," Journal of Southern Yangtze University (Humanities & Social Sciences Edition), vol.5, no.1 (February,2006):92-97.
3 He Qing, "Reading Langston Hughes's Poetry in the Angle of View of Postcolonialism Criticism," The World Literature Criticism, no.1 (2008):38-40.
4 Yang Xinyu, "The Everlasting Blues - On 'The Weary Blues' by Langston Hughes," Reading and Writing Perodical, Vol.4, no.5 (May 2007):16-17.
5 Luo Lianggong, "Cultural Identity in Langston Hughes' Poetry," Contemporary Foreign Literature, no.4 (2003): 109-113.
6 Luo Lianggong, "American Black Music and Langston Hughes's Innovations in Poetry," Foreign Literature Studies, no.4 (2002):48-54.
7 Luo Lianggong, "Interpretation of Langston Hughes' Poetry from a Social Semiotic Approach," Journal of Liaoning University (Philosophy Social Sciences Edition), vol.159, no.5 (1999):101-104.
1 Jeremy Yudkin. Understanding Music (3rd Ed.) (New Jersey:Prentice Hall,2002),412-433.
2 Ibid.,433.
1 John A. Kouwenhoven, "What's'American'about America," in The Beer Can by the Highway (Baltimore:John Hopkins University Press,1961),37-73.
2 Stefan Heckel, "Jazz Analysis," Stefan Heckel. Pianist & Composer. My Home Page, n.d., http://www.ohmsk.net/kug/kial.pdf (accessed April 1,2010)
3 Nathan Davis, African American Music:A Philosophical Look at African American Music in Society (Columbus: Ginn Press,1996),52.
4 Vladimir Bogdanov, Chris Woodstra, and Stephen Thomas Erlewine, ed., All Music Guide:The Definitive Guide to Popular Music (4th Ed.) (San Francisco:Backbeat Books/All Media Guide,2001).
5 Jeremy Yudkin, Understanding Music (3rd Ed.) (New Jersey:Prentice Hall,2002),412-413.
1 Ernest T. Ferand, Anthology of Music:Improvisation in Nine Centuries of Western Music (Cologne:Arno Volk Verlag,1961),5.
2 Joan Ellen Smiles, Improvised Ornamentation in Late Eighteenth-Century Music:An Examination of Contemporary Evidence (Stanford:Stanford University,1976),1.
3 Derek Bailey, Musical Improvisation:Its Nature and Practice in Music (New Jersey:Prentice Hall,1980),5.
1 Stanley Dance, The World of Duke Ellington (New York:Scribner's,1970),2.
2 Frank A. Salamone, The Culture of Jazz:Jazz As Critical Culture (Lanham, Md.:University Press of America, 2009),186.
3 Bruce Crowther and Mike Pinfold, Singing Jazz (London:Miller Freeman Books,1997),129.
1 Robert G. O'Meally, "Checking Our Balances:Ellison on Armstrong's Humor," Boundary 2, vol.30, no.2 (Summer 2003):115-136.
1 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),388.
2 Ted Gioia, The History of Jazz (New York:Oxford University Press,1998),199-216.
3 Ibid.,101.
1 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),475.
1 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),483.
1 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),89.
1 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),398.
1 Arnold Rampersad, ed., The Collected Poems ofLangston Hughes (New York:Vintage Books,1995),92.
1 Nicholas F. Pici, "Trading Meanings:The Breath of Music in Toni Morrison's Jazz," Connotations, no.3
(1997-1998):377.
2 Langston Hughes, "Note on Blues," Fine Clothes to the Jew (New York:Alfred A. Knopf),1927.
1 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),498-499.
1 Langston Hughes, The Big Sea:An Autobiography (New York:Alfred A. Knopf,1940),158-163.
1 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),483.
2 Thomas Okey, The Story of Paris (Gloucester:Dodo Press,2009),166.
3 Langston Hughes, The Big Sea:An Autobiography (New York:Alfred A. Knopf,1940),682.
1 Cheryl L. Keyes, "Verbal Art Performance in Rap Music:The Conversation of the 80's," Folklore Forum, vol.17, no.2 (1984):143-52.
2 Hortense Spillers,"'All the Things You Could Be by Now, If Sigmund Freud's Wife Was Your Mother': Psychoanalysis and Race." Boundary, no.2 (1996):140.
3 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),509.
4 Ibid.,226.
1 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),239.
2 Kevin Young, ed., Jazz Poems (Everyman's Library Pocket Poets) (New York:Alfred A. Knopf,2006),12.
1 Edgar Allan Poe, "The Poetic Principle", in Edgar Allan Poe:Critical Theory, eds. Stuart and Susan F. Levine (Chicago:University of Illinois Press),175-211.
2 Amiri Baraka, Black Music (New York:Apollo,1968),243.
3 Luo Xuanmin, ed., Appreciation of English and American Literature (Essay & Poetry) (Beijing:Tsinghua University Press,2002),326.
1 Stanley J. Kunitz and Howard Haycraft, Twentieth Century Authors (New York:H. W. Wilson,1942),684.
2 Arnold Rampersad, "Langston Hughes's Fine Clothes to the Jew," in Langston Hughes, ed. Harold Bloom (New York:Chelsea,1999),7.
3 Ibid.,11.
1 Arnold Rampersad, ed., The Collected Poems ofLangston Hughes (New York:Vintage Books,1995),90.
1 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),360.
1 Arnold Rampersad, ed., The Collected Poems ofLangston Hughes (New York:Vintage Books,1995),424.
2 Ibid.,404.
1 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),408.
2 Ibid.,406.
1 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),525.
2 Charles H. Nichols, ed., Arna Bontemps-Langston Hughes, Letters 1925-1967 (New York:Paragon House,1990).
1 Sim Copans, Chansons de revendication:reflets de l'histoire americaine Ⅱ(Paris:Minard,1966).
2 Langston Hushes, "The Negro Artist and the Racial Mountain," The Nation (June 23,1926):692-694.
1 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),358.
1 Ted Gioia, The History of Jazz (New York:Oxford University Press,1998),29-199.
2 "Jass and Jassism," New Orleans times-Picayune, June 20,1918.
3 Jeremy Yudkin, Understanding Music (3rd Ed.) (New Jersey:Prentice Hall,2002),412.
4 Ted Gioia, The History of Jazz (New York:Oxford University Press,1998),31.
1 Donald Marquis, In Search of Buddy Bolden, First Man of Jazz (Baton Rouge:Louisiana State University Press, 1978),58.
2 Donald C. Dickinson, "Langston Hughes", in American Writers:Supplement I, ed. Leonard Unger (New York: Scribner,1979),320.
1 Langston Hughes, The Big Sea:An Autobiography (New York:Alfred A. Knopf,1940),52.
1 Ted Gioia, The History of Jazz (New York:Oxford University Press,1998),45.
2 Jeremy Yudkin, Understanding Music (3rd Ed.) (New Jersey:Prentice Hall,2002),417.
3 Henry O. Osgood, So This Is Jazz! (Boston:Little, Brown,1926),247.
4 Leopold Stokowski, "Where Is Jazz Leading America?" The Etude (September,1924):595.
5 Gilbert Seldes, The Seven Lively Arts (New York:Harper & Brothers,1924),83-84,95-97.
1 Frank Tirro, Jazz, A History (London:J.M. Dent & Sons,1979),140.
2 "Jazz Ruining Girls, Declares Reformers," New York American, June 22,1922.
3 Robert Haven Schauffler, "Jazz May Be Lowbrow, But -," Collier's 72(1928),10.
4 Dave Peyton, "The Musical Bunch," Chicago Defender, January 28,1928.
1 Borgna Brunner, ed., Time Almanac of 2005 with Information Please (Boston:Little Brown & Co.,2004),377.
1 Maud Cuney-Hare, Negro Musicians and Their Music, (Washington D.C.:Associated Publishers,1936),156.
2 "Buying American in Music," Literary Digest (Dec.29,1934):24.
3 Hughes Panassie, Hot Jazz:The Guide to Swing Music, trans. Lyle Dowling and Eleanor Dowling (London: Cassell,1936),2.
4 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),153-155.
1 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),160-161.
1 Onwuchekwa Jemie, Lanston Hughes:An Introduction to the Poetry (Columbia University Press,1976).9-19.
2 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),426.
1 Willie "the Lion" Smith and George Hoefer, Music on My Mind:The Memoirs of an American Pianist (New York: Da Capo,1978),52-53.
1 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),480-481.
2 Oxford Advanced Learner's English-Chinese Dictionary (the 4th Edition) (Beijing:Commercial Press,2002),899.
1 Donald C. Dickinson, "Langston Hughes." in American Writers:Supplement I, ed. Leonard Unger (New York: Scribner,1979),341.
2 Pharoah Sanders, "Freedom sounds:a conversation about jazz with Robert O'Meally and Moustafa Bayoumi, NYC. Nov.26,1997." Borderlines, July 01,1998.
3 Nathan Davis, African American Music:A Philosophical Look at African (Boston:Pearson Custom Publishing, 1995),137.
1 Scott DeVeaux, "Constructing the Jazz Tradition:Jazz Historiography," Black American Literature Forum 25, no.3 (fall 1991):525-60.
2 David Tame, The Secret Power of Music:The Transformation of Self and Society through Musical Energy (New York:Destiny Books,1984),199.
3 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),390.
1 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),267-268.
2. Baraka, Amiri. Black Music. New York:Apollo,1968.
3. Beach, Christopher. The Cambridge Introduction to Twentieth-Century American Poetry. Cambridge:Cambridge University Press,2003.
4. Boamah-Wiafe, Daniel. The Black Experience in Contemporary America (Second Edition). Omaha:Wisdom Publishers,1993.
5. Bloom, Harold, ed. Modern Critical Views:Langston Hughes. New York: Chelsea House Press,2007.
6. Bogdanov, Vladimir, Chris Woodstra, and Stephen Thomas Erlewine. All Music Guide:The Definitive Guide to Popular Music.4th ed. San Francisco:Backbeat Books/All Media Guide,2001.
7. Crowther, Bruce, and Mike Pinfold. Singing Jazz. London:Miller Freeman Books, 1997.
8. Davis, Nathan T. and Ursula Broschke-Davis. African American Music:A Philosophical Look at African American Music in Society. Columbus:Ginn Press, 1996.
9. Dodat, Francois. Langston Hughes. Paris:Seghers,1964.
10. Feinstein, Sascha. Jazz Poetry:From the 1920s to the Present. Westport, Connecticut:Greenwood Publishing Group,1997.
11. Ferand, Ernest T. Anthology of Music:Improvisation in Nine Centuries of Western Music. Cologne:Arno Volk Verlag,1961.
12. Gates, Henry Louis, Jr., and K. A. Appiah, eds. Langston Hughes:Critical Perspectives Past and Present. New York:Amistad,1993.
13. Gioia, Ted. The History of Jazz. New York:Oxford University Press,1998.
14. Hones, LeRoy. Blues People:The Negro Experience in White America and the Music. New York:William Morrow & Co.,1963.
15. Hughes, Langston. The Big Sea: An Autobiography. New York:Alfred A. Knopf, 1940.
16. Jemie, Onwuchekwa. Lanston Hughes:An Introduction to the Poetry. Columbia University Press,1976.
17. Kunitz, Stanley J., and Howard Haycraft. Twentieth Century Authors. New York:H. W. Wilson,1942.
18. Lange, Art and Nathan Mackey. Moment's Notice:Jazz in Poetry and Prose. Minneapolis:Coffee House Press,1993.
19. Longhurst, Brian. Popular Music & Society. London:Polity Press,1995.
20. Marquis, Donald. In Search of Buddy Bolden, First Man of Jazz. Baton Rouge: Louisiana State University Press,1978.
21. O'Meally, Robert G., ed. The Jazz Cadence of American Culture. New York: Columbia University Press,1998.
22. Osgood, Henry O. So This Is Jazz! Boston:Little, Brown,1926.
23. Parini, Jay and Brett C. Millier, eds. The Columbia History of American Poetry. New York:Columbia UP,1993.
24. Rampersad, Arnold, ed. The Collected Poems of Langston Hughes. New York: Vintage Books,1995.
25. Salamone, Frank A. The Culture of Jazz:Jazz As Critical Culture. Lanham, Md.: University Press of America,2009.
26. Smiles, Joan Ellen. Improvised Ornamentation in Late Eighteenth-Century Music: An Examination of Contemporary Evidence. Stanford:Stanford University,1976.
27. Tame, David. The Secret Power of Music:The Transformation of Self and Society through Musical Energy. New York:Destiny Books,1984.
28. Tirro, Frank. Jazz, A History. London:J.M. Dent & Sons,1979.
29. Tracy, Steven C. Langston Hughes and the Blues. Urbana:University of Illinois Press,1988.
30. Yan, Liu. Guided Readings in American Poetry. Beijing:Beijing Language and Culture University Press,1998.
31. Young, Kevin, ed. Jazz Poems (Everyman's Library Pocket Poets). New York:A. A. Knopf,2006.
32. Yudkin, Jeremy. Understanding Music (3rd Ed.). New Jersey:Prentice Hall,2002.
33.陈铭道,《黑皮肤的感觉：美国黑人音乐文化》。北京：世界知识出版社,1999年。
1. DeVeaux, Scott, "Constructing the Jazz Tradition:Jazz Historiography," Black American Literature Forum 25, no.3 (fall 1991):525-60.
2. Dickinson, Donald C., "Langston Hughes." In American Writers:Supplement I, edited by Leonard Unger,342. New York:Scribner,1979.
3. Hokanson, Robert O'Brien, "Jazzing It Up:The Be-Bop Modernism of Langston Hughes," Mosaic:A journal for the Interdisciplinary Study of Literature, vol.31, no. 4 (December,1998):61-82.
4. Hushes, Langston, "The Negro Artist and the Racial Mountain," The Nation, June 23,1926,692-694.
5. Kouwenhoven, John A., "What's'American'about America." In The Beer Can by the Highway,37-73. Baltimore:John Hopkins University Press.
6. Patterson, Anita, "Jazz, Realism, and the Modernist Lyric:the Poetry of Langton Hughes", Modern Language Quarterly:A Journal of Literary History, vol.61, no. 4 (December,2000):615-682
7. Rampersad, Arnold, "Langston Hughes's Fine Clothes to the Jew." In Langston Hughes, edited by Harold Bloom,7. New York:Chelsea,1999.
8. Tracy, Steven C., "Putting the Blue, Black, and Red in the Red, White, and Blue: Langston Hughes and the Emergence of the Blues in American Literature," Foreign Literature Studies, vol.30 (2008):31-49.
9. Waldron, Edward E., "The Blues Poetry of Langston Hughes," Negro American Literature Forum, vol.5, no.4 (Winter,1971):140-49
10. Wintz, Cary D., "Langston Hughes:A Kansas Poet in the Harlem Renaissance,' Kansas Quarterly, vol.7, no.3 (Summer,1975):58-69.
11.李庚敏,在文体中疲惫——《疲惫的布鲁斯》之文体学浅析。科技经济市场,2006年第12期：第261页。
12.李莉,兰斯顿·休斯：黑人文化的歌者。康定民族师范高等专科学校学报,2004年第13卷第1期：第38—40页。
13.罗良功,从社会符号学角度解读兰斯顿·休斯的诗歌形式。辽宁大学学报,1999年第5期：第101—104页。
14.罗良功,论黑人音乐与兰斯顿·休斯的诗歌艺术创新。外国文学研究,2002年第4期,第48-54页。
15.杨新宇,永远的布鲁斯——评兰斯顿·休斯的《萎靡的布鲁斯》。读与写(教育教学刊),2007年第4卷第5期：第16—17页。
16.于静,布鲁斯——独特的黑人文学叙事风格。长春工程学院学报(社会科学版),2006年第7卷第4期：第49—51页。
1 Langston Hushes, "The Negro Artist and the Racial Mountain," The Nation (June 23,1926):692-694.
2 Ibid.,693.
1 Edward E. Waldron, "The Blues Poetry of Langston Hughes," Negro American Literature Forum, vol.5, no.4 (Winter,1971):140-49.
2 Steven C. Tracy, Langston Hughes and the Blues (Urbana:University of Illinois Press,1988).
3 Babette Deutsch, "Waste Land of Harlem," New York Times Book Review (May 6,1951).
4 Donald C. Dickinson, "Langston Hughes," in American Writers:Supplement I, ed. Leonard Unger (New York: Scribner,1979),342.
1 Cary D. Wintz, "Langston Hughes:A Kansas Poet in the Harlem Renaissance," Kansas Quarterly, vol.7, no.3 (Summer,1975):58-69.
2 Onwuchekwa Jemie, Lanston Hughes:An Introduction to the Poetry (Columbia University Press,1976),9-19.
3 David Chinitz, "Rejuvenation through Joy:Lanston Hughes, Primitivism, and Jazz," American Literary History, vol.9, no.1 (Spring,1997),60-78.
4 Robert O'Brien Hokanson, "Jazzing It Up:The Be-Bop Modernism of Langston Hughes," Mosaic:A journal for the Interdisciplinary Study of Literature, vol.31, no.4 (December,1998):61-82.
5 Anita Patterson, "Jazz, Realism, and the Modernist Lyric:the Poetry of Langton Hughes", Modern Language Quarterly:A Journal of Literary History, vol.61, no.4 (December,2000):615-682.
6 According to China Knowledge Resource Integrated Database and National Library of China before March 1, 2010.
1 Li Li, "Langston Hughes:Singer of Black Culture," Journal of Kangding Nationality Teachers College, vol.13, no. 1 (March,2004):38-40.
2 Yang Qi, "Langston Hughes:A Remarkable American Black Poet," Journal of Southern Yangtze University (Humanities & Social Sciences Edition), vol.5, no.1 (February,2006):92-97.
3 He Qing, "Reading Langston Hughes's Poetry in the Angle of View of Postcolonialism Criticism," The World Literature Criticism, no.1 (2008):38-40.
4 Yang Xinyu, "The Everlasting Blues - On 'The Weary Blues' by Langston Hughes," Reading and Writing Perodical, Vol.4, no.5 (May 2007):16-17.
5 Luo Lianggong, "Cultural Identity in Langston Hughes' Poetry," Contemporary Foreign Literature, no.4 (2003): 109-113.
6 Luo Lianggong, "American Black Music and Langston Hughes's Innovations in Poetry," Foreign Literature Studies, no.4 (2002):48-54.
7 Luo Lianggong, "Interpretation of Langston Hughes' Poetry from a Social Semiotic Approach," Journal of Liaoning University (Philosophy Social Sciences Edition), vol.159, no.5 (1999):101-104.
1 Jeremy Yudkin. Understanding Music (3rd Ed.) (New Jersey:Prentice Hall,2002),412-433.
2 Ibid.,433.
1 John A. Kouwenhoven, "What's'American'about America," in The Beer Can by the Highway (Baltimore:John Hopkins University Press,1961),37-73.
2 Stefan Heckel, "Jazz Analysis," Stefan Heckel. Pianist & Composer. My Home Page, n.d., http://www.ohmsk.net/kug/kial.pdf (accessed April 1,2010)
3 Nathan Davis, African American Music:A Philosophical Look at African American Music in Society (Columbus: Ginn Press,1996),52.
4 Vladimir Bogdanov, Chris Woodstra, and Stephen Thomas Erlewine, ed., All Music Guide:The Definitive Guide to Popular Music (4th Ed.) (San Francisco:Backbeat Books/All Media Guide,2001).
5 Jeremy Yudkin, Understanding Music (3rd Ed.) (New Jersey:Prentice Hall,2002),412-413.
1 Ernest T. Ferand, Anthology of Music:Improvisation in Nine Centuries of Western Music (Cologne:Arno Volk Verlag,1961),5.
2 Joan Ellen Smiles, Improvised Ornamentation in Late Eighteenth-Century Music:An Examination of Contemporary Evidence (Stanford:Stanford University,1976),1.
3 Derek Bailey, Musical Improvisation:Its Nature and Practice in Music (New Jersey:Prentice Hall,1980),5.
1 Stanley Dance, The World of Duke Ellington (New York:Scribner's,1970),2.
2 Frank A. Salamone, The Culture of Jazz:Jazz As Critical Culture (Lanham, Md.:University Press of America, 2009),186.
3 Bruce Crowther and Mike Pinfold, Singing Jazz (London:Miller Freeman Books,1997),129.
1 Robert G. O'Meally, "Checking Our Balances:Ellison on Armstrong's Humor," Boundary 2, vol.30, no.2 (Summer 2003):115-136.
1 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),388.
2 Ted Gioia, The History of Jazz (New York:Oxford University Press,1998),199-216.
3 Ibid.,101.
1 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),475.
1 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),483.
1 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),89.
1 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),398.
1 Arnold Rampersad, ed., The Collected Poems ofLangston Hughes (New York:Vintage Books,1995),92.
1 Nicholas F. Pici, "Trading Meanings:The Breath of Music in Toni Morrison's Jazz," Connotations, no.3
(1997-1998):377.
2 Langston Hughes, "Note on Blues," Fine Clothes to the Jew (New York:Alfred A. Knopf),1927.
1 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),498-499.
1 Langston Hughes, The Big Sea:An Autobiography (New York:Alfred A. Knopf,1940),158-163.
1 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),483.
2 Thomas Okey, The Story of Paris (Gloucester:Dodo Press,2009),166.
3 Langston Hughes, The Big Sea:An Autobiography (New York:Alfred A. Knopf,1940),682.
1 Cheryl L. Keyes, "Verbal Art Performance in Rap Music:The Conversation of the 80's," Folklore Forum, vol.17, no.2 (1984):143-52.
2 Hortense Spillers,"'All the Things You Could Be by Now, If Sigmund Freud's Wife Was Your Mother': Psychoanalysis and Race." Boundary, no.2 (1996):140.
3 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),509.
4 Ibid.,226.
1 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),239.
2 Kevin Young, ed., Jazz Poems (Everyman's Library Pocket Poets) (New York:Alfred A. Knopf,2006),12.
1 Edgar Allan Poe, "The Poetic Principle", in Edgar Allan Poe:Critical Theory, eds. Stuart and Susan F. Levine (Chicago:University of Illinois Press),175-211.
2 Amiri Baraka, Black Music (New York:Apollo,1968),243.
3 Luo Xuanmin, ed., Appreciation of English and American Literature (Essay & Poetry) (Beijing:Tsinghua University Press,2002),326.
1 Stanley J. Kunitz and Howard Haycraft, Twentieth Century Authors (New York:H. W. Wilson,1942),684.
2 Arnold Rampersad, "Langston Hughes's Fine Clothes to the Jew," in Langston Hughes, ed. Harold Bloom (New York:Chelsea,1999),7.
3 Ibid.,11.
1 Arnold Rampersad, ed., The Collected Poems ofLangston Hughes (New York:Vintage Books,1995),90.
1 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),360.
1 Arnold Rampersad, ed., The Collected Poems ofLangston Hughes (New York:Vintage Books,1995),424.
2 Ibid.,404.
1 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),408.
2 Ibid.,406.
1 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),525.
2 Charles H. Nichols, ed., Arna Bontemps-Langston Hughes, Letters 1925-1967 (New York:Paragon House,1990).
1 Sim Copans, Chansons de revendication:reflets de l'histoire americaine Ⅱ(Paris:Minard,1966).
2 Langston Hushes, "The Negro Artist and the Racial Mountain," The Nation (June 23,1926):692-694.
1 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),358.
1 Ted Gioia, The History of Jazz (New York:Oxford University Press,1998),29-199.
2 "Jass and Jassism," New Orleans times-Picayune, June 20,1918.
3 Jeremy Yudkin, Understanding Music (3rd Ed.) (New Jersey:Prentice Hall,2002),412.
4 Ted Gioia, The History of Jazz (New York:Oxford University Press,1998),31.
1 Donald Marquis, In Search of Buddy Bolden, First Man of Jazz (Baton Rouge:Louisiana State University Press, 1978),58.
2 Donald C. Dickinson, "Langston Hughes", in American Writers:Supplement I, ed. Leonard Unger (New York: Scribner,1979),320.
1 Langston Hughes, The Big Sea:An Autobiography (New York:Alfred A. Knopf,1940),52.
1 Ted Gioia, The History of Jazz (New York:Oxford University Press,1998),45.
2 Jeremy Yudkin, Understanding Music (3rd Ed.) (New Jersey:Prentice Hall,2002),417.
3 Henry O. Osgood, So This Is Jazz! (Boston:Little, Brown,1926),247.
4 Leopold Stokowski, "Where Is Jazz Leading America?" The Etude (September,1924):595.
5 Gilbert Seldes, The Seven Lively Arts (New York:Harper & Brothers,1924),83-84,95-97.
1 Frank Tirro, Jazz, A History (London:J.M. Dent & Sons,1979),140.
2 "Jazz Ruining Girls, Declares Reformers," New York American, June 22,1922.
3 Robert Haven Schauffler, "Jazz May Be Lowbrow, But -," Collier's 72(1928),10.
4 Dave Peyton, "The Musical Bunch," Chicago Defender, January 28,1928.
1 Borgna Brunner, ed., Time Almanac of 2005 with Information Please (Boston:Little Brown & Co.,2004),377.
1 Maud Cuney-Hare, Negro Musicians and Their Music, (Washington D.C.:Associated Publishers,1936),156.
2 "Buying American in Music," Literary Digest (Dec.29,1934):24.
3 Hughes Panassie, Hot Jazz:The Guide to Swing Music, trans. Lyle Dowling and Eleanor Dowling (London: Cassell,1936),2.
4 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),153-155.
1 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),160-161.
1 Onwuchekwa Jemie, Lanston Hughes:An Introduction to the Poetry (Columbia University Press,1976).9-19.
2 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),426.
1 Willie "the Lion" Smith and George Hoefer, Music on My Mind:The Memoirs of an American Pianist (New York: Da Capo,1978),52-53.
1 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),480-481.
2 Oxford Advanced Learner's English-Chinese Dictionary (the 4th Edition) (Beijing:Commercial Press,2002),899.
1 Donald C. Dickinson, "Langston Hughes." in American Writers:Supplement I, ed. Leonard Unger (New York: Scribner,1979),341.
2 Pharoah Sanders, "Freedom sounds:a conversation about jazz with Robert O'Meally and Moustafa Bayoumi, NYC. Nov.26,1997." Borderlines, July 01,1998.
3 Nathan Davis, African American Music:A Philosophical Look at African (Boston:Pearson Custom Publishing, 1995),137.
1 Scott DeVeaux, "Constructing the Jazz Tradition:Jazz Historiography," Black American Literature Forum 25, no.3 (fall 1991):525-60.
2 David Tame, The Secret Power of Music:The Transformation of Self and Society through Musical Energy (New York:Destiny Books,1984),199.
3 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),390.
1 Arnold Rampersad, ed., The Collected Poems of Langston Hughes (New York:Vintage Books,1995),267-268.