托福 新托福 58 - The Development of Instrumental Music
题目
1 2 3 4 5 6 7 8 9 10 11 12 13 14
1.According to paragraph 1, all of the following are true of European music written before the seventeenth century EXCEPT:
  • A.It was often in the form of song
  • B.It was often used to express religious feeling.
  • C.It often featured instruments playing by themselves
  • D.It often accompanied narrative or story-telling text
  • 正确答案:
    答案解析:
    答题统计
    答题统计

    登录 后才可以查看答案解析,还没有账号?

    还没有账号?马上 注册 >>

    阅读原文 中文译文

    Until the sixteenth century, almost all music was written for the voice rather than for musical instruments Even during the Renaissance (from the fourteenth to the sixteenth century), instrumental music was, for the most part, the result of substituting an instrument for a voice in music written for singing or dancing The seventeenth century marked the rise of music that lacked extramusical meaning Like a mathematical equation or geometric formula, the instrumental music of the early modern era carried no explicit narrative content-it was neither a vehicle of religious expression nor a means of supporting a secular (nonreligious) vocalized text. Such music was written without consideration for the associational content traditionally provided by a set of sung lyrics. The idea of music as an aesthetic exercise, composed for its own sake rather than to serve a religious or communal purpose, was a notable feature of the seventeenth century and one that has distinguished modern Western European music from the musical traditions of Asia and Africa.

    Not surprisingly, the rise of instrumental music was accompanied by improvements in instruments and refinements in tuning Indeed, instrumental music came to dominate musical composition at the very moment that Western musicians were perfecting such stringed instruments as the violin, viola, and cello and such keyboard instruments as the organ and harpsichord. By the early eighteenth century, musicians were adopting the system of tuning known as equal temperament, whereby the octave was divided into twelve half-steps of equal size Johann Sebastian Bach' s Well­ Tempered Clavier (1722) was an attempt to popularize this system to a skeptical musical public. The new attention paid to improving instruments and systematizing tuning mirrored the efforts of scientists and philosophers to bring precision and uniformity to the tools and methods for scientific inquiry.

    In the seventeenth century, northern Italy was the world center for the manufacture of violins. The Amati, Guarneri, and Stradivari families of Cremona, Italy, established the techniques of making high-quality violins that were sought in all of the great courts of Europe. Transmitted from father to son, the construction techniques used to produce these instruments were guarded so secretly that modern violinmakers have never successfully imitated them. Elsewhere, around 1650, earlier instruments were standardized and refined. Also during this period amateur music making was widespread, and professional performance also took a great leap forward, as a new breed of virtuosi inspired the writing of treatises on performance techniques.

    Three main types of composition-the sonata., the suite, and the concerto-dominated seventeenth-century instrumental music. All three reflect the baroque taste for dramatic contrasts in tempo and texture. The sonata (from the Italian word for "sounded," that is, music played and not sung) is a piece written for a few instruments-often no more than one or two. It usually consisted of three movements of contrasting tempo-fast/slow/fast-each based on a song or dance form of the time. The suite, written for any combination of instruments, is a sequence or series of movements derived from various European court or folk dances-for example, the sarabande, the pavane, the minuet, and gigue, or jig Henry Purcell (1659-1695) in England, Francois Couperin (1668-1733) in France, and Johann Sebastian Bach (1685-1750) in Germany all contributed to the development of the suite as a musical genre. Finally, the concerto (from the same root as concert ato, which describes opposing or contrasting bodies of sound) is a composition consisting of two groups of instruments, one small and the other large, playing in dialogue. The typical baroque concerto, the concerto grosso ("large concerto") featured several movements whose number and kind varied considerably.

    The leading Italian instrumental composer of the baroque era was Antonio Vivaldi (1678 -1741) Vivaldi wrote some 450 concertos He systematized the concerto grosso into a three- movement form (fast/slow/fast) and increased the distinctions between solo and ensemble groups in each movement Of the many exciting compositions Vivaldi wrote for solo violin and ensemble, the most glorious is The Four Seasons, a group of four violin concertos, each of which musically describes a single season.

    留言区中有很多我们对问题的解答喔, 登录后可以查看

    还没有账号?马上 注册 >>

    最新提问
    • wx_6697
      觉得B C 意思一样,不知道选哪个
    • wx_5576
      这道题C为什么对,E为什么不对?
    • wx_5576
      B为什么不能选啊?
    • wx_6697
      TPO30 passage 2 Q5我选的 D,不明白为啥不对?
    • wx_6697
      鑫哥,TPO6passage3Q5 答案是给错了吗?好多人都选A
    • wx_6697
      这题也很容易选错选成了D
    • wx_6697
      这道题A为什么错了
    • 芊儿
      为什么这道题不选c??a中的variety不是应该对应文中的differentiating 吗??求解!
    • wx_1000
      这道题不选E是因为太细节了吗
    • 王金阁
      这个题为什么不选C啊。。。
    • 芊儿
      这道题的D选项不是和文中的better able to reproduce in open settings相对应么??
    • 风荨火
      有大佬解释一下这个为啥选D嘛?
    • 以沫
      请问这个D 在哪里提现?为什么D错?
    • 芊儿
      第六题 的C选择为什么不对,感觉A是明显驳斥啊...
    • wx_6697
      鑫哥,这道题D是从哪里看出来的
    • wx_6697
      这题选的A,根据是Joly’s calculations clearly supported those geologists who insisted on an age for Earth far in excess of a few million years.想问鑫哥为啥不选A
    • wx_6697
      这题我选的是C依据是into a new habitat outside of its natural range, it may adapt to the new environment and leave its enemies behind.C为啥错了呢?鑫哥
    • wx_8861
      F选项的weather-related destruction在哪里体现了呢?原文最后一段的开头Among the costs里的costs是不是打错了?应该是coast?
    • wx_6697
      求问这道题B为啥不选,原文依据:viable seeds of pioneer species can be found in large numbers on some forest floors.
    • 与托福的斗争史
      与托福的斗争史 去解答 去解答
      这题为什么选C?
    • 小雨淅沥哗啦的下
      小雨淅沥哗啦的下 去解答 去解答
      B哪里错了
    • 小雨淅沥哗啦的下
      小雨淅沥哗啦的下 去解答 去解答
      B为啥不对
    • 李浩然
      B选项错误,是因为残缺么?
    • wx_100
      请问在做题的时候如何排除c呢。看了答案,感觉是该选a的,但是当时做题脑子一热,就特别钟爱c,也没看其他选项。。求敲醒。。
    • wx xxxxx
      请问鑫哥,这段开头有写As one pesticide replaces another为什么不是对应a new pesticide is developed?
    • wx_7695
      鑫哥,从哪里看出来这个masks 不是use呀,原文说了wear呀
    • haiyuqiao
      @鑫哥,这题the damage will continue 不应该对应前面的 the target species evolves resistance to it,然后As one pesticide replaces another,不应该是结束了time cycle 吗
    • wx_2065
      鑫哥,想知道E错在哪里?
    • wx_7695
      鑫哥,B选项 cannot extended to earlier geological periods. 原文说的意思是后来的进化无法估计吧
    • wx_2163
      B为什么不选
    • wx_7780
      鑫哥,这个哪里看不use了。BD是修饰错,C是无中生有,怎么能直接选出A?
    • 100
      看到第一句话,以为是中心句就选了A... 为什么不能选A呢
    • 100
      为什么选b?
    • gu33
      请问下 这里选D的原因是 因为 evolutionary approach 对应着 原文的 Rates of evolution 嘛? 这里我选了C。。不是很懂 插入句和 D的关系 求解答
    • 我是啦啦啦
      我是啦啦啦 去解答 去解答
      这个题A哪里错了?是因为主语不对吗?这个C比A多一步推理啊
    • haiyuqiao
      鑫哥,D选项里的19世纪出现了很多假设,原文中并没有提到啊
    • wx_7060
      为什么选a 呢。我觉得a是细节。F哪错了?
    • wx_1105
      我想问一下,这道题为什么不能选A呢?
    • wx_8122
      D为什么不选
    • wx_1655
      f选项哪里说了
    • chaulaw
      鑫哥,原文是below经济损害水平,D是一触发经济损害就用,这也对吗?
    • chaulaw
      interclan婚姻是对的吗?不是只在自己的family结婚扩大家族吗?
    • wx_6697
      鑫哥,这道题答案是不是错了,好多人选D 我也选的D求解答
    • wx_6697
      这道题应该是一道易错题,每个选项的都有,然而我选的A错了,求解
    • wx_6697
      鑫哥,这题的C是怎么得到的?B也没有找到啊?难道不是应该选B
    • wx_6697
      鑫哥,还有这个,好多人选A答案是不是错了
    • wx_6697
      求问D是从哪里得出来的,我选的B呀哎呀
    • wx_4185
      it is difficult to say how far they were intended to be portraits rather than generalized images 这句话怎么理解呢
    • 此楠楠
      请问下这个插入题怎么选的呢?
    • 此楠楠
      求鑫哥讲解下A选项。。。 Even though in error, Joly’s calculations clearly supported those geologists who insisted on an age for Earth far in excess of a few million years.