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《考研英语阅读理解100篇 高分版》 Unit 3 - TEXT FOUR

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2019年01月26日

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Imagine how much sleep future musicologists will lose over Philip Glass. Throughout his career he has changed his scores to suit the circumstances, trimming them for recordings, for example, because he believes that nonvisual performances benefit from (relative) concision. The notion of an immutable, sacrosanct urtext—the very thing musicologists sift historical evidence hoping to establish—is entirely alien to him.
Still, you would think that if Mr. Glass held anything sacred, it would be the structure and format of Einstein on the Beach. At that opera's premiere in 1976, and in its 1984 and 1992 revivals, “Einstein” played for five hours with no intermission. Free of narrative but rich in associations and imaginary—Einstein as a madly ecstatic violinist but also as the father of nuclear power—the work unfolded inexorably, its repeated musical phrases creating rhythmic wheels within wheels. The libretto, mostly numbers, solfege syllables and quirky, stream-of-consciousness spoken texts, works its own hypnotic spell. Listeners were free to come and go as they pleased, but some of the work's power came from its relentlessness, to say nothing of the quirkiness of Robert Wilson's staging.
The version that Mr. Glass and his ensemble presented at Carnegie Hall on Thursday evening swept away the elements that made the work a happening and transformed it into a concerto piece: three hours long, with an intermission and with formal seating rules in force. The breadth of the work was presented, if not its full sweep. The two-hour trim was accomplished by deleting sections from all but a few scenes. Some trims were noticeable: Lucinda Childe's tale of the multicolored bathing cap was intact, as were the quotations from Carole King's “I Feel the Earth Move”, but Mr. Bojangles was evicted from this version.
Musically, the score survived the trims and might even have benefited from them: The brisker movement from one section to the next highlighted the degree of inventiveness that drives this piece and pointed up passages of real beauty. In Knee Play 3, for example, the unaccompanied chorus sings streams of numbers, yet the music has the grandeur of a sacred setting much of the time and, at others, the energy of a symphonic presto. And Tim Fain, the violinist, gave the solo passages in the second, fourth and fifth Knee Plays and in the climactic, swirling Spaceship Interior scene an electrifying, virtuosic workout.
Some of the work's magic is in the way its elements pull in opposite directions. The repetition of short phrases, on one hand, can be soporific; yet the wheezing keyboard and woodwind textures and the bursts of choral counting, with sibilants creating their own rhythmic patterns, are invigorating. And because the performance is heavily amplified, timbres seem to melt together: Is that repeating fragment a voice, a violin or the top notes of the organ figure? The ensemble, which included musicians who have been with Mr. Glass from the early days as well as newcomers, gave the score a tight, high-energy reading.
1. Future musicologists will lose much sleep over Philip Glass because _____.
[A] Philip Glass's works are consistently changing based on the different context and various external conditions
[B] Philip Glass's music is characterized by its unintelligibility
[C] Philip Glass is ignorant of establishing an immutable, sacrosanct urtext
[D] Philip Glass's works are totally alien to modern and even future audience
2. To make the opera become a concerto, Mr. Glass trimmed _____.
[A] the tale of the multicolored bathing cap
[B] the quotations from Carole King
[C] Mr. Bojangles' scene
[D] Lucinda Childe's adventure
3. Which one of the following is NOT true of the new version of Einstein on the Beach?
[A] The former structure and format was kept constantly for the majority part.
[B] The version was changed into a concerto with a more formal procedure and a more fixed setting.
[C] The version was a success partly because of the advantages brought by the trims.
[D] The version was tighter than its ancestor.
4. The contrary elements which added charm to the new version were _____.
[A] the soporific repetition of phrases and invigorating music
[B] the streams of numbers and symphonic energy
[C] the classical violin solo passage and electrifying workout
[D] inventiveness and real beauty
5. The passage is mainly _____.
[A] a comparison of two versions of Einstein on the Beach
[B] an introduction of a new art form
[C] a study on the influence of trims on musical works
[D] an analysis of Mr. Glass's works

1. Future musicologists will lose much sleep over Philip Glass because _____.
[A] Philip Glass's works are consistently changing based on the different context and various external conditions
[B] Philip Glass's music is characterized by its uninte-lligibility
[C] Philip Glass is ignorant of establishing an immutable, sacrosanct urtext
[D] Philip Glass's works are totally alien to modern and even future audience
1. 未来的音乐学家会在Philip Glass身上耗费许多不眠之夜,因为 _____。
[A] Philip Glass的作品在不同的情景和外部条件下不断地发生变化
[B] Philip Glass作品的重要特点就是非常难以理解
[C] Philip Glass不屑于创立不变的、神圣的乐谱
[D] Philip Glass的作品对于现代甚至是未来的观众来说是完全陌生的
答案:A 难度系数:☆☆☆
分析:推理题。文章刚开始就提到,未来的音乐学家会在Glass身上耗费掉许多不眠之夜,引申来看就是Glass的作品会很耗费人的精力。接下来文章就介绍了Glass作品的特点,他的作品会因环境和时代的变化而作出许多变动,他不相信那种永恒不变的乐谱,这可能就是未来的音乐学家要在他身上耗费许多精力的原因。文章接下来还举了具体的例子说明他如何把自己的歌剧改编成协奏曲,因此,A最为符合。
2. To make the opera become a concerto Mr. Glass trimmed _____.
[A] the tale of the multicolored bathing cap
[B] the quotations from Carole King
[C] Mr. Bojangles' scene
[D] Lucinda Childe's adventure
2. 为了让这部歌剧变为协奏曲,Glass先生删去了 _____。
[A] 彩色游泳帽的故事
[B] 引用的Carole King的话
[C] Bojangles先生的场景
[D] Lucinda Childe的冒险经历
答案:C 难度系数:☆☆☆
分析:细节题。文章第二段提到演出的版本缩短了两个小时,而且删节比较明显。在说明删去的内容时,作者却指出了一些完整的情节,这一点容易让考生混淆,所以就需要从中挑出哪些是删去了的。原文提到,Lucinda Childe彩色游泳帽的故事是完整的,引用Carole King的话“我感到了地动”也是,而Bojangles先生却没有在这次演出中出现,因此,答案为选项C。选项D有一定的迷惑性,Lucinda Childe的故事实际上就是彩色游泳帽的故事,但是选项中用了adventure这个词是无中生有,因此可以排除该选项。
3. Which one of the following is NOT true of the new version of Einstein on the Beach?
[A] The former structure and format was kept constantly for the majority part.
[B] The version was changed into a concerto with a more formal procedure and a more fixed setting.
[C] The version was a success partly because of the advantages brought by trims.
[D] The version was tighter than its ancestor.
3. 关于《海滩上的爱因斯坦》,下列哪个说法是错误的?
[A] 原来的结构和形式大部分没有改变。
[B] 这个版本被改成了一部协奏曲,形式更加正式,场景也更加固定。
[C] 这个版本获得成功,部分原因在于所作的删节。
[D] 这个版本比其原作更紧凑。
答案:A 难度系数:☆☆☆
分析:细节题。题干要求找出关于《海滩上的爱因斯坦》这部作品描述错误的一项。选项A,文章第二段提到Glass先生将这部剧作的结构和形式视为神圣,表演了五个小时,可是在新版本中删去了两个小时,其结构和形式应该发生了变化,因此,这个选项有可能是错误的。B在文章第三段提到,C在文章第四段提到,这部作品可能还因为删节而获益,因为乐段之间的转换更快了,凸现了主要的美。D,文章第四段提到乐段之间的转换更快,最后一段的最后一句也提到,Glass先生的演奏团队给了这个版本一个紧凑的解读,这两处都可以反映出这个版本更为紧凑了。相比较而言,A的陈述是错误的。
4. The contrary elements which added charm to the new version were _____.
[A] the soporific repetition of phrases and invigorating music
[B] the streams of numbers and symphonic energy
[C] the classical violin solo passage and electrifying workout
[D] inventiveness and real beauty
4. 为这个新版本增添了魅力的相矛盾的元素是 _____。
[A] 催人入睡的重复的乐句和令人振奋的音乐
[B] 数字串和和声的力量
[C] 经典的小提琴独奏和电子化的加工
[D] 创造性和真正的美
答案:D 难度系数:☆☆☆☆
分析:细节题。文章最后一段指出,这部作品的魅力部分就在于里面有相异、相冲突的元素,一面是乐句的不停重复有催眠的效果,但是轻吟的键盘乐器、木管乐器以及突然爆发的合唱,还有那些特有的咝咝声,听起来都那么令人振奋。而因为演奏的声音被放大了许多,音质仿佛也融合在了一起。那重复的片断是人声、小提琴的声音还是管风琴的高音?而不管是一直跟随Glass先生演出的团队还是新来的人员,都把乐谱唱得紧凑而高昂。前三个选项都是这些特点的一个方面,而D以精练的语言最好地概括了这些特点。
5. The passage is mainly _____.
[A] a comparison of two versions of Einstein on the Beach
[B] an introduction of a new art form
[C] a study on the influence of trims on musical works
[D] an analysis of Mr. Glass's works
5. 这篇文章主要是 _____。
[A] 两个版本的《海滩上的爱因斯坦》的比较
[B] 介绍一种新的艺术形式
[C] 对删节音乐作品产生的影响的研究
[D] 对Glass先生作品的分析
答案:D 难度系数:☆
分析:主旨题。这篇文章主要介绍了Glass先生的作品《海滩上的爱因斯坦》,突出表现了其作品的一些独特之处。选项A,文章虽然两个版本都提到了,但并不是对这两个版本的比较;B不符合原文;C的说法原文提到了,但只是文章的一小部分内容而已;选项D,可以看出全文都是对其作品的分析,相对来说比较切合题意。因此,正确答案为D。

设想一下,未来的音乐学者得在Philip Glass身上花掉多少不眠之夜啊。在他的职业生涯中,Philip为适应环境而改变乐谱,比如为了录音而修改乐谱,因为他坚信(相对的)简洁对非视觉表演有好处。音乐学者希望通过筛选历史证据建立起那种永恒的、神圣的原始乐谱概念,但他在这一点上有完全不同的想法。
但是,如果你想知道Glass先生是否还觉得有神圣的东西的话,那就是《海滩上的爱因斯坦》的结构和格式。1976年这部歌剧首次公演,1984年和1992年重演,在剧中,“爱因斯坦”没有停歇地表演了五个小时。爱因斯坦不仅是一个疯狂的小提琴迷,也是核能之父,而这部作品没有多少叙述,却充满了联想和想象,它冷酷地展现在大家面前,循环反复的乐句创造出环环相套的节奏。歌词大多都是数字、视唱练习的音节和怪异的意识流口语文本,组合成一种催眠的咒语。听众可以自由来去,但是这部作品的部分力量就来源于它的冷酷,更不用说Robert Wilson离奇的舞台布置了。
周四晚上,Glass先生和他的演出团队在卡内基大厅进行了演出,这次演出删除了这部剧作中一些令其显得怪诞的因素,将其转变为一部协奏曲。这次演出历时三个小时,有一次幕间休息,还有正式的座位规则。如果说这次演出并没有将这部剧作的全部内容展示出来的话,至少其雄浑的效果还是得以展现出来。该剧被删去了几部分,从而缩短了两个小时,有些改动值得注意,比如Lucinda Childe彩色游泳帽的故事是完整的,还有引用的Carole King的话“我感到了地动”也没有被删掉,但是Bojangles先生却被逐出了这次剧演。
从音乐上来讲,尽管作了删节,但乐谱还是获得了成功,甚至应该说是得益于删节。从一节到下一节轻快的过渡突出了其独创性,使得该作品更为独特,并突出了真正美的篇章。比如在“膝盖戏3”中,没有伴奏的合唱队流畅地唱着数字,但是这时的音乐却带有一种庄严的色彩,而其他乐章又体现了和声急板乐曲的力量。小提琴手Tim Fain在第二、第四和第五“膝盖剧”中进行了独奏,而在高潮的回旋的“太空船内部”一幕中,进行了电子化、艺术性的加工。
这部作品的魅力部分在于里面的元素各不相同。短乐句的反复一方面有催眠的效果,但是轻吟的键盘乐器、木管乐器以及突然爆发的合唱,还有那些咝咝声,形成了特有的节奏模式,听起来都那么令人振奋。而因为演奏的声音被放大了许多,音质仿佛也融合在了一起。那重复的片断是人声,是小提琴的声音还是管风琴的高音?而不管是一直跟随Glass先生演出的团队还是新来的人员,都把乐谱唱得紧凑而高昂。
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