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题型:阅读理解-阅读单选 难度:0.65 引用次数:279 题号:19194387

An elderly black man sits on a drum with his legs on two sides. Using his fingers and the edge of his hand, he taps repeatedly at the drumhead, producing strong drumbeat. A second drummer joins in playing with the same rhythm. A third black man plays a stringed instrument, the body of which is roughly fashioned from a calabash (葫芦). Another calabash has been made into a drum, and a woman beats at it with two short sticks. One voice, then other voices join in. A dance accompanies this musical give-and-take, a moving picture that appears, on the one hand, informal and spontaneous yet, on closer inspection, ritualized (程式化的) and precise. It is a dance of massive size. A dense crowd of dark bodies forms into circular groups—perhaps five or six hundred individuals moving in time to the beat of the music, some swaying gently, others aggressively stomping their feet. A number of women in the group begin chanting.

The scene could be Africa. In fact, it is nineteenth-century New Orleans. Scattered firsthand accounts provide us with fascinating details of the slave dances that took place in the open area then known as Congo Square and there are perhaps no more fascinating documents in the history of African American music. Benjamin Latrobe, the noted architect, witnessed one of these collective dances on February 21,1819, and not only left us a vivid written account of the event but made several sketches of the instruments used. These drawings confirm that the musicians of Congo square, about 1891, were playing percussion (打击乐器) and stringed instruments almost identical to those characteristic of real African music.

Later documents add to our knowledge of the public slave dances in New Orleans but still leave us with many open questions — some of which, in time, historical research may be able to explain, while others might never be answered. One thing, however, is clear. Although these days we tend to view the intersection of black and white musical currents as a theoretical, almost symbolic issue, these storied accounts of the Congo Square dances provide us with a real time and place, an actual transfer of totally African ritual to the native soil of the New World.

1. Which of the following best describes the musical scene in the beginning?
A.It’s slow and relaxing.B.It’s lovely and childlike.
C.It’s strong and organized.D.It’s delightful and encouraging.
2. What’s the purpose of paragraph 2?
A.To help its readers to read a music history book.
B.To show the value of the accounts in music history.
C.To familiarize its readers with a type of ancient music.
D.To praise an architect who was a dedicated music lover.
3. What’s the new understanding of the music?
A.It’s more of a musical theory.B.It’s more of a vivid life.
C.It’s more of a religious ceremony.D.It’s more of a cultural symbol.
4. What can we learn about Congo Square?
A.A place where foreigners held musical festivals.
B.A place where music historians wrote their books.
C.A place where slaves could have a break from hard labour.
D.A place where African music found its voice on the new land.
【知识点】 音乐与舞蹈 说明文

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文章大意:本文是一篇记叙文。文章主要讲述了享誉世界的小提琴家Anne­-Sophie Mutter学习小提琴的故事。

【推荐1】Today, at 28, the young German violinist Anne-Sophie Mutter is at the top. “She gives radiance (光辉) to music,” wrote Geoffrey Norris in The Daily Telegraph, London.

Born in Rheinfelden on June 29, 1963, Anne­-Sophie grew up in Wehr, a small town just five kilometers from the Swiss border. Her father, Karl Wilhelm Mutter, and her mother, Gerlinde, considered music lessons part of a good education. It came as no surprise when Anne-Sophie said she wanted a violin for her fifth birthday.

Her parents thought she was too young for the violin, and persuaded her to start on the piano. But Anne­-Sophie has always had a mind of her own. “I longed to play the violin,” she says, “it seemed to me a much more interesting instrument.” After six months, her parents gave in.

The famous violin teacher Erna Honigberfer, who lived nearby, became Annie­-Sophie’s tutor. After only nine months of lessons, she entered the six­year­old in a nationwide competition for young musicians. With Christoph accompanying her on the piano, Anne­-Sophie won first prize.

In 1974, Erna Honigberfer died. Anne-­Sophie’s new teacher was Aida Stucki. She taught Anne-­Sophie to develop her own ideas on how a piece should be played, not just to imitate others. This is one of the violinist’s strongest and most distinctive characteristics today.

Though the Mutters were short of money at times, they limited their daughter’s performances to once or twice a year. “We are glad we went the family road,” says her father. “No outsider can ever have an effect on our daughter’s career or push her into playing more concerts than she wants to.” Later she was allowed to give six to eight concerts a year and make some recordings.

1. Anne-Sophie’s career dates back to         .
A.the late 1960sB.1974
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3. Which sentence shows Anne-Sophie’s strong point as a violinist?
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C.She wanted a violin for her fifth birthday.
D.Violin seemed to her a much more interesting instrument.
4. The virtue (美德) the Mutters have is that they believe         .
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【推荐2】Scientists say they have used artificial intelligence (AI) to create music to represent the protein structure of the novel coronavirus.

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