2014考研英語：閱讀理解實(shí)例解析（九）_跨考網(wǎng)

　　面對一篇閱讀理解，我們究竟應(yīng)該如何下手?下面，我們通過具體的實(shí)例，來和小編分享一下考研英語閱讀理解的剖析方法以及答題技巧。>>>考研英語復(fù)習(xí)備考手冊

　　Imagine howmuch sleep future musicologists will lose over Philip Glass. Throughout hiscareer he has changed his scores to suit the circumstances, trimming them forrecordings, for example, because he believes that nonvisual performancesbenefit from (relative) concision. The notion of an immutable, sacrosancturtext -- the very thing musicologists sift historical evidence hoping toestablish -- is entirely alien to him.

　　Still, youwould think that if Mr. Glass held anything sacred, it would be the structureand format of ’’Einstein on the Beach.’’ At that opera’s premiere in 1976, and in its 1984 and 1992 revivals, ’’Einstein’’ played for five hours with nointermission. Free of narrative but rich in associations and imagery --Einstein as a madly ecstatic violinist but also as the father of nuclear power-- the work unfolded inexorably, its repeated musical phrases creating rhythmicwheels within wheels. The libretto, mostly numbers, solfege syllables andquirky, stream-of-consciousness spoken texts, works its own hypnotic spell.Listeners were free to come and go as they pleased, but some of the work’s power came from itsrelentlessness, to say nothing of the quirkiness of Robert Wilson’s staging.

　　The versionthat Mr. Glass and his ensemble presented at Carnegie Hall on Thursday eveningswept away the elements that made the work a happening and transformed it intoa concert piece: three hours long, with an intermission and with formal seatingrules in force. The breadth of the work was presented, if not its full sweep.The two-hour trim was accomplished by deleting sections from all but a fewscenes. Some trims were noticeable: Lucinda Childs’s tale of the multicolored bathingcap was intact, as were the quotations from Carole King’s ’’I Feel the Earth Move,’’ but Mr. Bojangles was evictedfrom this version.

　　Musically,the score survived the trims and might even have benefited from them: Thebrisker movement from one section to the next highlighted the degree of inventivenessthat drives this piece and pointed up passages of real beauty. In ’’Knee Play 3,’’ for example, the unaccompaniedchorus sings streams of numbers, yet the music has the grandeur of a sacredsetting much of the time and, at others, the energy of a symphonic presto. AndTim Fain, the violinist, gave the solo passages in the second, fourth and fifth’’Knee Plays’’ and in the climactic, swirling ’’Spaceship Interior’’ scene an electrifying, virtuosicworkout.

　　Some of thework’s magic is in the way its elements pull in opposite directions. Therepetition of short phrases, on one hand, can be soporific; yet the wheezingkeyboard and woodwind textures and the bursts of choral counting, withsibilants creating their own rhythmic patterns, are invigorating. And becausethe performance is heavily amplified, timbres seem to melt together: Is thatrepeating fragment a voice, a violin or the top notes of the organfigure? The ensemble, which included musicians who have been with Mr.Glass from the early days as well as newcomers, gave the score a tight,high-energy readi1.

　　1. Futuremusicologists will lose much sleep over Philip Glass because_____.

　　[A] PhilipGlass’ works are consistently changing based on the different context andvarious external conditions.

　　[B] PhilipGlass’s music is characterized by its unintelligibility.

　　[C] PhilipGlass is ignorant of establishing an immutable, sacrosanct urtext.

　　[D] PhilipGlass’s works are totally alien to modern and even future audience.

　　2. To makethe opera become a concert, Mr. Glass trimmed _____.

　　[A] the taleof the multicolored bathing cap

　　[B] thequotations form Carole King

　　[C] Mr.Bojangles’ scene

　　[D] LucindaChilde’s adventure

　　3. Which oneof the following is NOT true of the new version of "Einstein on theBeach" ?

　　[A] Theformer structure and format was kept constantly for the majority part.

　　[B] Theversion was changed into a concert with a more formal procedure and a morefixed setting.

　　[C] Theversion was a success partly because of the advantages brought by the trims.

　　[D] Theversion was tighter than its ancestor.

　　4. The contrary elements which addedcharm to the new version were_____.

　　[A] thesoporific repetition of phrases and invigorating music

　　[B] thestreams numbers and symphonic energy

　　[C] theclassical violin solo passage and electrifying workout

　　[D] itsinnovative nature and authenticity

　　5.The passage is mainly _____.

　　[A] acomparison of two versions of "Einstein on the Beach"

　　[B] anintroduction of a new art form

　　[C] a studyon the influence of trims on musical works

　　[D] ananalysis of Mr. Glass’ works

　　文章剖析：

　　這篇文章主要介紹了音樂家菲利普·格拉斯的作品。文章第一段提到格拉斯作品多變的風(fēng)格;第二段講述其作品"愛因斯坦在海灘"的特點(diǎn);第三段講述卡內(nèi)基大廳演出的"愛因斯坦在海灘"版本的刪節(jié);第四段第五段講述新版本音樂特色。

　　詞匯注釋：

　　immutableadj. 不變的, 永恒的

　　sacrosanctadj. 極神圣的

　　urtext n. 原始文本(如樂譜等)

　　sift v. 選拔，精選

　　libretto n. 歌詞

　　solege n.視唱練習(xí)

　　quirky adj 詭詐的，離奇的

　　hypnotic adj.催眠的

　　brisker adj. 輕快的，活潑的

　　virtuosicadj. 藝術(shù)的

　　presto n. 急板樂段或樂章

　　timbre n. 音色，音質(zhì)

　　soporificadj. 催眠的

　　wheeze v. 喘息

　　inexorablyadv. 無情地, 冷酷地

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