托福阅读-TheDevelopmentofInstrumentalMusic(T58P1)

1、The DeVelOPment Of Instrumental MUSiC【Paragraph 1 】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 SUbStitUt

2、ing an instrument for a VOiCe in music Written for Singing Or ClanCing. 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 ne

3、ither 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

4、rather than to SerVe a religious Or COmmUnal purpose, WaS a no table feature Of the SeVe ntee nth Cen tury and One that has distinguished modern WeStern EUrOPean music from the musical traditions Of ASia and AfriCa Paragraph 2】NOt surprisingly, the rise Of instrumental music WaS accompanied by impro

5、veme nts in in StrUme nts and refi neme nts in tunin g In deed, instrume ntai 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 t

6、he 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 Baches Well-TemPered ClaVier(1722) WaS an attempt to POPUIariZe this System to a SkePtiCal musical PUbliC The new

7、 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 Of Scientific inquiry.Paragraph 3)In the SeVenteenth Century, northern Italy WaS the WOrld Center for the man Ufa Ct Ure Of

8、 violins. The Amati, Guarneri, and StradiVari families Of CremO na, Italy, established the techniques Of making high-quality ViOlinS that Were SOUght in all Of the great COUrtS Of EUrOPe Transmitted from father to SOnz the COnStrllCtiOn techniques USed to PrOdUCe these instruments Were guarded SO Se

9、Cretly that modern ViOlinmakerS have never SUCCeSSfUlly imitated them ElSeWhere, around 1650, earlier instruments Were Standardized and refined. AISO during this Period amateur music making WaS Widespread, and PrOfeSSiOnal PerfOrmanee also took a great leaP forward, as a new breed Of VirtUOSi inSPir

10、ed the Writing Of treatises On Performance techniques Paragraph 4 Three main types Of COmPOSitiOn一the SOnata, the suite, and the COnCertO-ClOminated SeVenteenth-century instrumental music All three reflect the baroque taste for ClramatiC COntraStS in tempo and texture The SOnata (from the Italian WO

11、rd for soundeer* 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 COntraStingtempo-k fast/slow/fastHb each b ased On a SOn g Or dance form Of the time The suite, Written for any COmbination Of instr

12、uments, is a SeqUenCe Or Series Of movements derived from VariOUS EUrOPean COUrt Or folk dances-for example, the Sarabande? the PaVanez the minuet, and gigue, Orjig Henry PUrCell (1659-1695) in England, FranCOiS COUPerin (1668-1733) in FranCez and JOhann Sebastian BaCh(1685- 1750)in Germa ny all COn

13、 tribUted to the developme nt Of the SUite as a musical gen re. Finally, the COnCertO (from the Same root as COnCertato, Which describes OPPOSing Or Contrasting bodies Of SOU nd) is a COmPOSitiOn COnSiSting Of two groups Of instruments, One Small and the Other large, Playing in dialogue The typical

14、baroque COncerto, the COn CertO grosso (Hlarge COn CertO”)featured Several moveme nts WhOSe n Umber a nd kind Varied COnSiderably.【Paragraph 5 The leacling Italian instrumental COmPOSer Of the baroque era WaS AntOniO ViValdi (1678-1741). ViValdi Wrote SOme 450 concertos. He Systematized the COnCertO

15、 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 COnCertOSz each Of Which mu

16、sically describes a Single SeaS on.【Paragraph 1 】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 WaSz for the most Partz the result Of SUbStitUti

17、ng 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 neit

18、her 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 PrOVideCl by a Set Of SUng lyrics. The idea Of music as an aesthetic exercise, COmPOSed for its OWn Sake r

19、ather than to SerVe a religious Or COmmUnal PUrPOSez WaS a no table feature Of the SeVe ntee nth Cen tury and One that has distinguished modern Western EUrOPean music from the musical traditions Of ASia and Africa ACCOrding to Paragraghl, all Of the following are true Of EUrOPean music Written befor

20、e the Seventeenth CentUry EXCEPTA. It WaS Often in the form Of SOngB. it WaS Often USed to express religious feelingC. It Often featured instruments Playing by themselves D it Often accompanied narrative Or StOry-telling text2. The WOrd explicit in the PaSSage is ClOSeSt in meaning toA. COmPleXB. Ob

21、ViOUSC. PracticalD. lengthy3. ACCOrCli ng to Paragraghl, What is a no table feature Of SeVe nteenthcentury music?A. SeCUIar ideas replaced religion as the Central resource for new musical ideasB. InStrUmental music WaS COmPOSed as an independent means Of artistic expressionC. MUSiC Combined the musi

22、cal traditions Of ASiaz AfriCa, and EUrOPeD. Instrumental music WaS Written to SerVe the needs Of the COmmllnityParagraph 2 J NOt SUrPriSingl% the rise Of instrumental music WaS accompanied by improveme nts in in StrUmentS and refi neme nts in tuning. In deed, instrume ntai music Came to dominate mu

23、sical COmPOSitiOn at the Very moment that WeStern musicians Were Perfecting SUCh Stringed-iinstruments as the ViOlinz viola, and Cello and SUCh keyboard inStrUmentS as the Organ and harpsichord By the early eighteenth Centuryz musicians Were adopting the System Of tuning known as equal temperament,

24、Whereby the OCtaVe WaS divided into twelve half-steps Of equal SiZe JOhann SebaStian Bachzs Well-TemPered Cl a Vi er (1722) WaS an attempt to POPUIariZe this System to a SkePtiCal musical PUbliC The new attention Paid to improving instruments and Systematizing tuning mirrored the e幵orts Of SCientist

25、s and PhilOSOPherS to bring PreCiSiOn and Uniformity to the tools and methods Of SCientific inquiry.4. ACCOrding to Paragraph 2, the rise Of instrumental music WaS accompanied by What Other changes?A. Mixing Of String and keyboard instruments in COmPOSitiOnSB. IrnPrOVements to instruments and SyStem

26、S Of tuningC. The invent!On Of new Stringed instrumentsD. A reduced emphasis On the ViOlin and harpsichord in musical COmPOSitiOn5. The WOrd adopting in the PaSSage is ClOSeSt in meaning toA. relying OnB. holding On toC. beginning to USeD. influenced by6. The WOrd SkePtiCal in the PaSSage is ClOSeSt

27、 in meaning toA. doubtingB. ignorantC. growing D SeriOUS7. Why does the author mention the activities Of -scientists and PhilOSOPhersn in the passage?A. TO indicate that the new emphasis On accuracy and SyStematiZatiOn that WaS taking PlaCe in music WaS also taking PlaCe in Other fieldsB. TO SUggeSt

28、 that the Study Of music WaS no longer limited to musicians OnlyC. TO argue that SOme Of the Changes in instrumental music Originated OUtSide Of musical CirCleSD TO PrOVide an example Of PrOfeSSiOnS that SUPPOrted the new approaches in SeVenteenth instrumental music【Paragraph 3 】In the SeVenteenth c

29、entury, northern Italy WaS the WOrld Center for the manufacture Of Violins. The Amati, Guarneri, and StradiVari families Of CrernOna, Italyz 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 COnStrllCti

30、On techniques USed to PrOdUCe these instruments Were guarded SO SeCretly that modern ViOlinmakerS have never SUCCeSSfUlly imitated them ElSeWherez around 1650z earlier instruments Were Standardized and refined. AlSO during this Period amateur music making WaS Widespread, and PrOfeSSiOnal PerfOrmanee

31、 also took a great leaP forward, as a new breed Of VirtUOSi inSPired the Writing Of treatises On Performance techniques 8. According to Paragraph 3Z Which Of the following is true about the PrOdUCtiOn Of ViOlinS in the Seventeenth century?A. ViOlins Were made at large manufacturing Centers in nOrthe

32、rn ItalyB. Standards Of ViOlin design Were Created and enforced by the great COUrtS Of EUrOPeC. Several families Shared design techniques to improve inStrUment quality D Violins Were Carefully Crafted according to SPeeifiC family traditions9. The WOrd refined in the PaSSage is ClOSeSt in meaning toA

33、. improved B testedC. regulatedD. restored10. ACCOrding to Paragraph 3, all Of the following Characterized the developments Of Seventeenth- CentUry EUrOPean instrumental music EXCEPTA. Instruments Of SUPeriOr quality Were PrOdUCedB. IVIanUalS On PerfOrmanee techniques Were WrittenC. In dividuals acc

34、omplished in Playi ng Certain instrume nts gained recog nitionD AmateUr musical Performances replaced PrOfeSSiOnal PerformancesParagraph 4 Three main types Of COmPOSitiOn一 the SOnata, the suite, and the COnCertOClOminated SeVenteenthcentury instrumental music All three reflect the baroque taste for

35、ClramatiC COntraStS in tempo and texture The SOnata (from the Italian WOrd for lsounded 寫 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,b fast/slow/fastHb each based On a SOng O

36、r dance form Of the time The SUitez 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 PaVanez the minuet, and gigue, Orjig Henry PUrCell (1659-1695) in England, FranCOiS COUPerin (1668-1

37、733) in FranCez and JOhann Sebastian BaCh (1685-1750) in Germany all Contributed to the development Of the SUite as a musical gen re. Finally, the COnCertO (from the Same root as COnCertato, Which describes OPPOSing Or Contrasting bodies Of SOUnd) is a COmPOSitiOn COnSiSting Of two groups Of instrum

38、ents, 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.11. According to Paragraph 4. What did SOnatas and SUiteS have in COmmon?A. They developed as musical

39、gen res before the COn CertO didB. Their movements did not allow for many COmbinatiOnS Of instrumentsC. Their movements Were based On danCeSD. They Were more POPUlar in Italy than in any Other EUrOPean COUntry12. ACCOrding to Paragraph 4. Which Of the following is a Characteristic Of a COnCerto?A. I

40、t WaS gen erally Performed by Only One Or two instrumentsB. It required more ViOlins than any Other type Of COmPOSitiOnC. It WaS invented by three famous composers: PUrCell, COUPerin, and BaChD. It COnSiSted Of movements that Varied in number and kind13. LOOk at the four SqUareS that indicate Where

41、the following Sentence COUId be added to the PaSSage SOme ancient instruments Underwent development; for instance, the ShaWn became the oboe.Where WOUld the Sentence best fit? Click On a Sqllare to add the Sentence to the PaSSage 【Paragraph 3 】In the Seventeenth century, northern Italy WaS the WOrld

42、 Center for the man Ufa Ct U re Of violins. The Amatiz Guar neri, and StradiVari families Of CremOna, ltalyz 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 COnStrllCtiOn techniques USed to PrOdUCe th

43、ese instruments Were guarded SO SeCretly that modern ViOlinmakerS have never SUCCeSSfUlly imitated them. 臼SeWhere, around 1650, earlier instruments Were StandardiZed and refined. AISO during this Period amateur music making WaS widespread, and Professional Performance also took a great leaP forward,

44、 as a new breed Of VirtUOSi inSPired the Writing Of treatises On Performance techniques 14. A Sentence for a brief SUmmary Of the PaSSage is Provided below COmPlete the SUmmary by Selecting the THREE anSWer ChOiCeS that express the most important ideas in the PaSSage SOme answer ChOiCe do not belong

45、 in the SUmmary because they express ideas that are not Presented in the PaSSage Or are minor ideas in the PaSSage In the Seventeenth century, instrumental music in Western EUrOPe developed in WayS that distinguished it from earlier EUrOPean music and the musical traditions Of ASia and Africa AnSWer

46、 ChOiCeSA. Before the SeVenteenth century, instrumental music WaS based On mathematical and Scientific PrinCiPleSB. The CliStinCtiVe feature Of SeVenteenth-century instrumental music WaS its independence Of any text, narrative, Or extramusical meaningC. The development Of instrumental music in the S

47、eVenteenth Century Went along With the improvements in design, tuning, and Playing Of musical instrumentsD The instrumental music in SOnataSz SUiteSz and COnCertOS WaS Characterized by dramatic COntrasts Of tempo, texture and instrumental groupE. The BarOqlle Period WaS domi no ted by COmPOSerS from

48、 a few aristocratic families from northern ItalyF. After the Seventeenth Century, most baroque instrumental COmPOSerS WrOte COnCertOS more than any Other type Of COmPOSitiOnThe DeVelOPment Of Instrumental MUSiCParagraph 1 Until the SiXteenth Century, almost all music WaS Written for the VOiCe rather

49、 than for musical instruments EVen during the Renaissanee (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 ClanCing. The SeVenteenth Century marked the rise Of music that la

50、cked 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 Writte

51、n 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 no table feature Of the SeVe ntee nth Cen tury and One that has dist

52、inguished modern WeStern EUrOPean music from the musical traditions Of ASia and Africa Paragraph 2】 NOt surprisingly, the rise Of instrumental music WaS accompanied by improveme nts in in StrUme nts and refi neme nts in tunin g In deed, instrume ntai music Came to dominate musical COmPOSitiOn at the

53、 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 di

54、vided into twelve half-steps Of equal SiZe JOhann SebaStian Baches Well-TemPered ClaVier(1722) WaS an attempt to POPUIariZe 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

55、PreCiSiOn and Uniformity to the tools and methods Of Scientific inquiry.Paragraph 3)In the SeVenteenth Century, northern Italy WaS the WOrld Center for the man Ufa Ct Ure Of violins. The Amati, Guarneri, and StradiVari families Of CremO na, Italy, established the techniques Of making high-quality Vi

56、OlinS that Were SOUght in all Of the great COUrtS Of EUrOPe Transmitted from father to SOnz 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 Standardi

57、zed and refined. AISO during this Period amateur music making WaS Widespread, and PrOfeSSiOnal PerfOrmanee also took a great leaP forward, as a new breed Of VirtUOSi inSPired the Writing Of treatises On Performance techniques Paragraph 4 Three main types Of COmPOSitiOn一the SOnata, the suite, and the

58、 COnCertO-ClOminated SeVenteenth-century instrumental music All three reflect the baroque taste for dramatic COntraStS in tempo and texture The SOn ata (from the Italian WOrCl for 'sounded 寫 that is, music Played and not Sung) is a PieCe Written for a fewI ACCOrding to Paragragh 1, all Of the fo

59、llowing are true Of EUrOPean music Written before the Seventeenth CentUry EXCEPT否定信息题：段首句速读'定位点细读 instruments-often no more than One Or two. It USUally COnSiSted Of three movements Of Contrasting tempo-b fast/slow/fastHb each based On a SOng Or dance form Of the time.The suite, Written for any Combination Of ins