[CASK EFFECT] 难度【LSAT】1-23解读

lghscuUID: 2552043

题目请参考

【CASK EFFECT】0910G阅读全方位锻炼--难度【LSAT】1-23

【CASK EFFECT】1006G阅读全方位锻炼--难度【LSAT】--答题解读汇总

答案：DADBBDDC

13(D)
根据“a piano exactly contemporary”定位原文
“To use a piano exactly contemporary with the work’s composition”Beethoven只是一个例子，用来反驳“composers write only for the instruments available to them”
the instruments available to them-- a piano exactly contemporary
“the melody obviously calls for a high F-sharp, but pianos did not have this high an F-sharp when Beethoven composed the concerto.”
即“Incapable of playing the high F-sharp that the melody of the concerto calls for”

14(A)
“main idea”全文主旨题
本文采用背景式开头，提出“Nevertheless, the early music approach to performance raises profound and troubling questions”
并从两方面进行论证
1“Early music advocates assume that composers write only for the instruments available to them, but”
2 “In addition, early music advocates often inadvertently divorce music and its performance from the life of which they were, and are, a part”
很明显，只有选项(A)最为合适
“The early music movement has yet to resolve a number of troubling questions regarding its approach to the performance of music”

15(D)
根据“second paragraph”，“Beethoven’s first piano concerto”定位
“To use a piano exactly contemporary with the work’s composition”Beethoven只是一个例子，用来反驳“composers write only for the instruments available to them”，并得出“To use a piano exactly contemporary with the work’s composition would require playing a note that was probably frustrating for Beethoven himself to have had to play”
the instruments available to them-- a piano exactly contemporary
“the melody obviously calls for a high F-sharp, but pianos did not have this high an F-sharp when Beethoven composed the concerto.”
选项(D)最佳
“Illustrate how composers like Beethoven sometimes composed music that called for notes that could not be played on instruments that were currently available”

16(B)
根据“the final movements of symphonies by Mozart and Beethoven might be played more slowly by today’s orchestras”定位原文
“And although in the early nineteenth century the first three movements (sections) of Mozart’s and Beethoven’s symphonies were often played faster, and the last movement slower than today, this difference can readily be explained by the fact that at that time audiences applauded at the end of each movement, rather than withholding applause until the end of the entire work”
即
“Audiences were to return to the custom of applauding at the end of each movement of a symphony”

17(B)
根据“the organization of the last paragraph”查找相关信息：
TS : In addition, early music advocates often inadvertently divorce music and its performance from the life of which they were, and are, a part
论据：discovery和audiences’ concepts of musical intensity and excitement
即
“A criticism is stated and then elaborated with two supporting examples”

18(D)
定位原文
“And although in the early nineteenth century the first three movements (sections) of Mozart’s and Beethoven’s symphonies were often played faster, and the last movement slower than today, this difference can readily be explained by the fact that at that time audiences applauded at the end of each movement, rather than withholding applause until the end of the entire work, As a result, musicians were not forced into extra brilliance in the finale in order to generate applause”
如果上述不成立，作者解释将被weakened，即
“Early nineteenth-century audience applauded only perfunctorily after the first three movements of symphonies and conventionally withheld their most enthusiastic applause until the final movement was completed”

19(D)
根据“the early music recordings mentioned in the third paragraph”定位原文
“The discovery that Haydn’s and Mozart’s symphonies were conducted during their lifetimes by a pianist who played the chords to keep the orchestra together has given rise to early music recordings in which a piano can be heard obtrusively in the foreground, despite evidence indicating that the orchestral piano was virtually inaudible to audiences at eighteenth-century concerts and was dropped as musically unnecessary when a better way to beat time was found.”
选项(D)表述最为接近
“By making audible the sound of an orchestral piano that was inaudible in eighteenth century performances, these recordings unwittingly create music that is unlike what eighteenth century audiences heard.”

20(C)
根据“he modern audience’s tendency to withhold applause until the end of a symphony’s performance”定位原文
“And although in the early nineteenth century the first three movements (sections) of Mozart’s and Beethoven’s symphonies were often played faster, and the last movement slower than today, this difference can readily be explained by the fact that at that time audiences applauded at the end of each movement, rather than withholding applause until the end of the entire work. As a result, musicians were not forced into extra brilliance in the finale in order to generate applause, as they are now. To restore the original tempo of these symphonies represents an irrational denial of the fact that our concepts of musical intensity and excitement have quite simply, changed”
即有
“A change since the early nineteenth century in audiences’ concepts of musical excitement and intensity”