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This is not to deny that the Black gospel music of the
early twentieth century differed in important ways from the
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slave spirituals. Whereas spirituals were created and dis-* D4 ]. c: c! W" i0 f: t
seminated in folk fashion, gospel music was composed,
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(5) published, copyrighted, and sold by professionals. Never-
theless, improvisation remained central to gospel music.
One has only to listen to the recorded repertoire of gospel
songs to realize that Black gospel singers rarely sang a
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song precisely the same way twice and never according to
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(10)its exact musical notation. They performed what jazz musi-
cians call "head arrangements" proceeding from their own
feelings and from the way "the spirit" moved them at the
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time. This improvisatory element was reflected in the man-8 q$ D& [4 G' d
ner in which gospel music was published. Black gospel
(15)composers scored the music intended for White singing
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groups fully, indicating the various vocal parts and the
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accompaniment, but the music produced for Black singers
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included only a vocal line and piano accompaniment.
19.The passage suggests which of the following about
Black gospel music and slave spirituals?6 ^. H$ H: D4 ^4 U( I1 \, L5 O
(A) Both became widely known in the early twentieth
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century.2 q3 Q6 g: v, P4 M' c! [! Z
(B) Both had an important improvisatory element.# {# n4 [* X6 ]4 ?$ N
(C) Both were frequently performed by jazz
musicians.
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(D) Both were published with only a vocal line and
piano accompaniment.
(E) Both were disseminated chiefly by Black singing
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groups.
请问B是从哪里看出来的呢？
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发表于 2011-7-28 21:14:16
发表于 2011-7-28 21:40:45
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