|
Reading Passage 3 |
|
|
Title: |
音樂(lè)的起源和影響 |
|
Question types: |
判斷Yes/No/Not Given 配對(duì) |
|
文章內(nèi)容回顧 |
主要是一個(gè)專家的研究成果，關(guān)于音樂(lè)的起源和影響。描述音樂(lè)和語(yǔ)言之間的聯(lián)系和關(guān)系。Blacking Mitten是其中一個(gè)重要人物。 |
|
英文原文閱讀 |
We can only guess as to how music was created in the primitive psyche of the time. What follows is pretty much my guess. Early man most likely took some interest in the sounds around him, in some cases it meant life or death, as in the roar of a tiger, or it was pleasing to the ear, as in a bird singing away. I can imagine that after a successful hunt, the hunters would prance and growl around a fire emulating the sounds of the fierce beast they had just slain. They might even have started hitting sticks together in an attempt to emulate the sounds of their clubs thumping dully upon the head of some prey, or the hollow melon sound of a neighbor’s skull when they were fighting amongst themselves over some chunk of meat, or for the best looking mate. The former most likely, due to the fact that the latter would be a six of one half dozen of the other proposition, cosmetics having yet to be invented. In any case, as far as the origin of music is concerned, drums were probably the first primitive music instrument if we remove the human voice from the equation. The Encyclopedia Britannica states "Drums appear with wide geographic distribution in archaeological excavations from Neolithic times onward; one excavated in Moravia is dated at 6000 BC. Early drums consisted of a section of hollowed tree trunk covered at one end with reptile or fish skin and were struck with the hands. Later, the skin was taken from hunted game or cattle, and sticks were used. The double-headed drum came later, as did pottery drums in various shapes”. Basically “Bangin' on the bongos like a chimpanzee¹” was probably our first artistic expression in the realm of music. (¹ Money for Nothing—Dire Straits) The next logical step up from percussion instruments may have been in the woodwind or string family. Imagine a primitive man fascinated by the sound of the wind blowing over some hollow reed, then recreating the effect for his fellow villagers at the next log bashing party, what a hit he would have been! Regular life of the party, such as it was. Panpipes would have been an easy progression for the primitive mind of the time, stick a bunch of varying length reeds together and voila, let the good times roll. The move from the panpipe to the flute must have taken a much greater leap of faith for the period, yet wooden and bone flutes discovered in china have been dated as far back as 9,000 years ago, and one bone flute made from mammoth bone dates back 35,000 years and has a 4 note scale comparable to the Do, Re, Mi, Fa, scale that was so adamantly drummed into our little grade school heads. So some concept of a musical scale existed even if the designer merely chose sounds that were pleasing to him. Still the jump from blowing over a hollow reed to blowing down a tube with graduated fingering holes was a large one. The string section most likely started when some brave soul realized that the sinews garnered from the animals they hunted had uses beyond the traditional binding and stitching functions. From the simple, primitive musical “twang” of a string stretched on a bow as in the Brazilian “berimbau” to the myriad of complex stringed instruments in use today, from violins, to guitars, to pianos, and the many cultural variations thereof. Pythagoras was credited with the mathematics of music as we know it today. His followers “The Pythagoreans” were all musicians as well as mathematicians. According to legend, Pythagoras discovered that musical notes could be translated into mathematical equations when passing blacksmiths at work, and thought that the sounds of their anvils being hit were harmonious and decided that the scientific law causing this to happen must be mathematical and could be applied to music. He went to the blacksmiths and discovered that the anvils were simple ratios of each other, one was half the size of the first, another was 2/3 the size, and so on. The music of the time being un-harmonious in his opinion, (probably due to instrument makers using scale pleasing to them with no regard for what others were doing). The legend also has Pythagoras studying the vibrations of a string stretched tightly between two posts, and basing his musical scale on the frequency of the vibration when the string length was changed. When you attach a string between two posts and pull it tight, you can create sound or musical notes by plucking on the string. The vibration of the string will create a fundamental frequency, according to the length, tension and mass of the string. The string can also vibrate at multiples of its fundamental frequency. These are called harmonics. If the dimensions of the string or wire are correct, the sound made from plucking the string will be a pleasant musical sound, if they are slightly different, the sound may not be musical and just be a sound. In most cases, the string will vibrate at the fundamental frequency or 1st harmonic. But if you pull the string harder, it can be made to vibrate with a shorter wavelength and higher frequency or the 2nd harmonic, 3rd harmonic or even higher. Pythagoras and his school did experiments to discover the relations between musical notes. The pitch of a note being played on, say, a guitar depends on: -The length of the string. -The tension of the string. -The material the string is made of. |
|
題型難度分析 |
判斷和配對(duì)題是經(jīng)典的搭配，前者相比之下稍微容易，是應(yīng)該把握分?jǐn)?shù)之處。 |
|
題型技巧分析 |
段落細(xì)節(jié)配對(duì)難度較大，建議考生放在本篇文章所有題型的最后去做。做時(shí)注意切不可逐題去原文整篇文章搜尋答案，這樣會(huì)導(dǎo)致文章來(lái)來(lái)回回看很多遍，耗時(shí)太長(zhǎng)。 1. 劃出所有題目的keywords, 同時(shí)考慮到有可能出現(xiàn)近義替換的詞，有針對(duì)性的去原文尋找答案。比如：看到be conscious of立刻想到雅思高頻近義替換是be aware of…, 看到reproduce想到copy。 2. 某些題目可以對(duì)題目進(jìn)行細(xì)致的分析。平時(shí)通過(guò)精讀多多熟悉文章結(jié)構(gòu)安排，了解行文模式。 3. 做題時(shí)以文章為基準(zhǔn)，每看一段，瀏覽題目中的keywords是否與其相關(guān)。 |
|
劍橋雅思推薦原文練習(xí) |
劍4 The Aim and Nature of Archaeology |
|
考試趨勢(shì)分析和備考指導(dǎo)： 1. 此次考試前兩篇文章不是很難，大多數(shù)考生反應(yīng)第三篇的長(zhǎng)難單詞偏多，話題熟悉度不夠。整體難度為中上等。 2. 傳統(tǒng)題型仍然居多，配對(duì)，判斷題尤甚，heading次之。小題型中，填空近期常出現(xiàn)。 3. 本次考試的前兩篇是舊文章，話題背景知識(shí)的積累和普及建立在對(duì)機(jī)經(jīng)的回顧上。 4. 考生應(yīng)多分析劍橋系列中具有代表性的文章，尤其是了解其行文結(jié)構(gòu)。 5. 閱讀考試的難度有上升趨勢(shì)，復(fù)習(xí)時(shí)應(yīng)選擇一些有難度的文章，題目加以練習(xí)。 |
|