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[问答] 求助一道老G阅读题~哭着求！！快疯了真的！ [复制链接]

starrywalk
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电梯直达

楼主

发表于 2015-10-11 18:45:17 |只看该作者 |倒序浏览

Proponents of different jazz styles have always argued that their predecessors’ musical style did not include essential characteristics that define jazz as jazz. Thus, 1940’s swing was belittled by beboppers of the 1950’s, who were themselves attacked by free jazzers of the 1960’s. The neoboppers of the 1980’s and 1990’s attacked almost everybody else. The titanic figure of Black saxophonist John Coltrane has complicated the arguments made by proponents of styles from bebop through neobop because in his own musical journey he drew from all those styles. His influence on all types of jazz was immeasurable. At the height of his popularity, Coltrane largely abandoned playing bebop, the style that had brought him fame, to explore the outer reaches of jazz.
Coltrane himself probably believed that the only essential characteristic of jazz was improvisation, the one constant in his journey from bebop to open-ended improvisations on modal, Indian, and African melodies. On the other hand, this dogged student and prodigious technician—who insisted on spending hours each day practicing scales from theory books—was never able to jettison completely the influence of bebop, with its fast and elaborate chains of notes and ornaments on melody.
Two stylistic characteristics shaped the way Coltrane played the tenor saxophone, he favored playing fast runs of notes built on a melody and depended on heavy, regularly accented beats. The first led Coltrane to “sheets of sound,” where he raced faster and faster, pile-driving notes into each other to suggest stacked harmonies. The second meant that his sense of rhythm was almost as close to rock as to bebop.
Three recordings illustrate Coltrane’s energizing explorations. Recording Kind of Blue with Miles Davis, Coltrane found himself outside bop, exploring modal melodies. Here he played surging, lengthy solos built largely around repeated motifs—an organizing principle unlike that of free jazz saxophone player Ornette Coleman, who modulated or altered melodies in his solos. On Giant Steps, Coltrane debuted as leader, introducing his own compositions. Here the sheets of sound, downbeat accents, repetitions, and great speed are part of each solo, and the variety of the shapes of his phrases is unique. Coltrane’s searching explorations produced solid achievement. My Favorite Things was another kind of watershed. Here Coltrane played the soprano saxophone, an instrument seldom used by jazz musicians. Musically, the results were astounding. With the soprano’s piping sound, ideas that had sounded dark and brooding acquired a feeling of giddy fantasy.
When Coltrane began recording for the Impulse! label, he was still searching. His music became raucous, physical. His influence on rockers was enormous, including Jimi Hendrix, the rock guitarist, who, following Coltrane, raised the extended guitar solo using repeated motifs to a kind of rock art form.

23. Which of the following best describes the organization of the fourth paragraph?
(A) A thesis referred to earlier in the passage is mentioned and illustrated with three specific examples.
(B) A thesis is stated and three examples are given each suggesting that a correction needs to be made to a thesis referred to earlier in the passage.
(C) A thesis referred to earlier in the passage is mentioned, and three examples are presented and ranked in order of their support of the thesis.
(D) A thesis is stated, three seemingly opposing examples are presented, and their underlying correspondence is explained.
(E) A thesis is stated, three dissimilar examples are considered, and the thesis is restated.

24. According to the passage, John Coltrane did all of the following during his career EXCEPT:
(A) improvise on melodies from a number of different cultures
(B) perform as leader as well as soloist
(C) spend time improving his technical skills
(D) experiment with the sounds of various instruments
(E) eliminate the influence of bebop on his own music

27. In terms of its tone and form, the passage can best be characterized as
(A) dogmatic explanation
(B) indignant denial
(C) enthusiastic praise
(D) speculative study
(E) lukewarm review

答案是AEAC

23.我不赞成标准答案的referred earier，前面根本没提到explore啊？？
24.不明白呀？他不是说abandon bebop了吗？？？？那不就是减轻bebop在自己作品上的影响力吗？虽然后面说了一直没能完全放弃bebop的影响，但那也至少减轻了呀？？？而且整篇文章不都是萨克斯吗！！只不过一个是TS一个是SS，都是一种乐器呀？
26.我觉得indifference to musical technique也对
27.没看出来多狂热啊？？？？难道只褒不贬就不是lukewarm了吗？感觉作者很淡定啊？

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starrywalk
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沙发

发表于 2015-10-13 18:36:14 |只看该作者

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【2025FALL】全站祈福已开放~~来领祈福章，求offer得offer

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crazyrobin
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板凳

发表于 2015-10-13 18:53:50 |只看该作者

23题上一段说的是2种因素影响了他play的方式。后面直接用3个recording来解释了这种方式。

24问的是except ABCD原文都可以找到。唯独E没有。他abandon behop和 eliminate behop对他个人音乐的影响完全是两码事。abandon只是不用这种乐器，而eliminate这种乐器对他音乐的影响指更多的东西。另外文章还说他没能完全jettison behop对他的影响，因此E错误是 contradiction的错误。

26题没有

27
这几句话

The titanic figure of Black saxophonist John Coltrane has complicated the arguments made by proponents of styles from bebop through neobop because in his own musical journey he drew from all those styles. His influence on all types of jazz was immeasurable. At the height of his popularity, Coltrane largely abandoned playing bebop, the style that had brought him fame, to explore the outer reaches of jazz.

Musically, the results were astounding. With the soprano’s piping sound, ideas that had sounded dark and brooding acquired a feeling of giddy fantasy.

都immeasurable astounding了能叫lukewarm？
lukewarm只会说 he make contribution这种，完全不会加这么多形容词

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