【单选题】 the tulip tree is native to the eastern United States, __________ the tallest and larges broadleaf tree.
A．( where
B．( where it is
C．( it is where
D．( is where
A．( where
B．( where it is
C．( it is where
D．( is where
【单选题】 The Texas Legislature selected Vassar Miller __________ in 1982, and again in 1988.
A．( was the state's poet laureate
B．( as the state's poet laureate
C．( the state's poet laureate
D．( become the state's poet laureate
A．( was the state's poet laureate
B．( as the state's poet laureate
C．( the state's poet laureate
D．( become the state's poet laureate
【单选题】 Migraine headaches are more frequent among women — among men.
A．( than
B．( however
C．( except for
D．( as air
A．( than
B．( however
C．( except for
D．( as air
【单选题】Country musiC
A、CommErCiAl oFFshoot oF thE Folk musiC oF thE rurAl south, Country musiC is AnAmEriCAn Art Form thAt gAinED worlDwiDE AppEAl AFtEr worlD wAr ⅱ. originAlly known As hillBilly or mountAin musiC, Country musiC grEw From thE Folk musiC thAt wAs Brought to northAmEriCA ByAnglo-CEltiC sEttlErs in thE 1700s AnD 1800s. thE musiC ChAngED As it CAmE in ContACt with EthniC musiC--ACADiAnCAjun) in louisiAnA, lAtin in thE southwEst,AFriCAn throughout muCh oF thE south--AnD suCh populAr musiC As thAt FounD in vAuDEvillE, minstrEl shows, AnD hAwAiiAn tEnt shows. it wAs Also CAllED Country AnD wEstErn musiC BECAusE oF its populArity with CowBoys.
trADitionAlly Country musiCiAns hAvE BEEn most proFiCiEnt on stringED instrumEnts. thE violin, or FiDDlE, wAs thE most populAr instrumEnt on thE FrontiEr BECAusE oF its EAsy portABility. to this DAy FiDDlE ContEsts rEmAin A FEAturE oF thE Country musiC sCEnE. thE BAnjo wAs ADAptED From thEAFriCAnAmEriCAn CulturE, AnD thE FivE-siring moDEl is now univErsAlly populAr Among pErFormErs oF thE stylE known As BluEgrAss. thE guitAr hAs long BEEn A stAplE oF Country musiC BAnDs AnD singErs. string BAss AnD hAwAiiAn guitAr hAvE BEEn usED sinCE thE 1920s, AnD thEir moDErn DEsCEnDAnts ArE thE ElECtriC BAss AnD thE pEDAl stEEl guitAr.Drums, piAnos, AnD ElECtriFiED instrumEnts, usED As EArly As thE 1930s By wEstErn swing BAnDs, ArE hEArD on Country rECorDings From thE 1950s.
in 1922 rADio stAtions wBAp in Fort worth, tEx. , AnD wsB、inAtlAntA, gA、, BroADCAst shows CAllED BArn DAnCEs, moDElED AFtEr thE inFormAl soCiAl DAnCing oF thE FrontiEr.ChiCAgo’s wls stArtED whAt BECAmE thE nAtionAlBArnDAnCE in 1924, AnD wsm in nAshvillE, tEnn., BEgAn itsBArnDAnCE in novEmBEr 1925, just onE month AFtEr going on thE Air. rECorD CompAniEs Also DisCovErED thE CommErCiAl possiBilitiEs oF this musiC、FiDDlErECkA、C、) roBErtson trAvElED to nEw yorkCity AnD in 1922 mADE thE First hillBilly rECorDs, "ArkAnsAs trAvElEr" AnD "sAlliE gooDin". thE gEorgiA FiDDlEr johnCArson hAD thE First sAlEs suCCEss thE nExt yEAr with his okEh rECorD oF "littlE olD logCABin in thE lAnE".A、tExAs nAtivE who ACtuAlly hAD voiCE trAining AnD light opErA ExpEriEnCE, vErnonDAlhArt (his rEAl nAmE wAs mArion slAughtEr) solD millions oF rECorDs in thE 1920s For DozEns oF DiFFErEnt CompAniEs. his First Big sEllErs wErE "thE prisonEr’s song" AnD "thE wrECk oF thE olD 97" For viCtor in 1924. in 1927 jimmiE roDgErs, originAlly A yoDElEr, mADE his First rECorDings.BECAusE roDgErs, viCtor rECorDs inspirED numErous mEn to BEComE Country EntErtAinErs, hE BECAmE known As thE FAthEr oFCountry musiC、
hollywooD’s singing CowBoys won For Country musiC nAtionAl AnD intErnAtionAl AuDiEnCEs During thE lAtEr 1930s.EvEn though rECorD sAlEs For Country AnD othEr typEs oF musiC slippED During thE grEAtDEprEssion, rADio ContinuED to BroADCAst A lArgE ArrAy oF livE Country musiC tAlEnt, usuAlly in thE EArly morning, noon, or lAtE night hours. nEw BArn DAnCEs wErE hEArD on thE AirwAvEs, AnD two oF thE loCAl shows gAinED nEtwork rADio AuDiEnCEs During thE 1930s.
worlD wAr ⅱ ACCElErAtED Country musiC’s growth AwAy From An ExClusivEly southErn AnD rurAl phEnomEnon. southErn sErviCEmEn took thE musiC with thEm to FAr-Flung pArts oF thE nAtion AnD thE worlD, whilE CiviliAn DEFEnsE workErs From thE south Brought thEir lovE oF thE musiC into thE vArious CEntErs oF wAr proDuCtion.
thE postwAr yEArs Brought A nEwFounD nAtionAl prospErity, whiCh BoostED Country musiC to grEAtEr CommErCiAl hEights. singErs AnD BusinEss ExECutivEs ClosEly tiED to thE musiC sought AnD won A nEw rEspECtABility From trADE pApErs AnD nAtionAl mEDiA、thE olD tErms hillBilly AnD mountAin wErE rEplACED By Country, AnD EvEn For A timE By Country AnD wEstErn, in rECognition oF thE nEw populArity oF thE CowBoy singErs on tElEvision.
点击查看答案
A、CommErCiAl oFFshoot oF thE Folk musiC oF thE rurAl south, Country musiC is AnAmEriCAn Art Form thAt gAinED worlDwiDE AppEAl AFtEr worlD wAr ⅱ. originAlly known As hillBilly or mountAin musiC, Country musiC grEw From thE Folk musiC thAt wAs Brought to northAmEriCA ByAnglo-CEltiC sEttlErs in thE 1700s AnD 1800s. thE musiC ChAngED As it CAmE in ContACt with EthniC musiC--ACADiAnCAjun) in louisiAnA, lAtin in thE southwEst,AFriCAn throughout muCh oF thE south--AnD suCh populAr musiC As thAt FounD in vAuDEvillE, minstrEl shows, AnD hAwAiiAn tEnt shows. it wAs Also CAllED Country AnD wEstErn musiC BECAusE oF its populArity with CowBoys.
trADitionAlly Country musiCiAns hAvE BEEn most proFiCiEnt on stringED instrumEnts. thE violin, or FiDDlE, wAs thE most populAr instrumEnt on thE FrontiEr BECAusE oF its EAsy portABility. to this DAy FiDDlE ContEsts rEmAin A FEAturE oF thE Country musiC sCEnE. thE BAnjo wAs ADAptED From thEAFriCAnAmEriCAn CulturE, AnD thE FivE-siring moDEl is now univErsAlly populAr Among pErFormErs oF thE stylE known As BluEgrAss. thE guitAr hAs long BEEn A stAplE oF Country musiC BAnDs AnD singErs. string BAss AnD hAwAiiAn guitAr hAvE BEEn usED sinCE thE 1920s, AnD thEir moDErn DEsCEnDAnts ArE thE ElECtriC BAss AnD thE pEDAl stEEl guitAr.Drums, piAnos, AnD ElECtriFiED instrumEnts, usED As EArly As thE 1930s By wEstErn swing BAnDs, ArE hEArD on Country rECorDings From thE 1950s.
in 1922 rADio stAtions wBAp in Fort worth, tEx. , AnD wsB、inAtlAntA, gA、, BroADCAst shows CAllED BArn DAnCEs, moDElED AFtEr thE inFormAl soCiAl DAnCing oF thE FrontiEr.ChiCAgo’s wls stArtED whAt BECAmE thE nAtionAlBArnDAnCE in 1924, AnD wsm in nAshvillE, tEnn., BEgAn itsBArnDAnCE in novEmBEr 1925, just onE month AFtEr going on thE Air. rECorD CompAniEs Also DisCovErED thE CommErCiAl possiBilitiEs oF this musiC、FiDDlErECkA、C、) roBErtson trAvElED to nEw yorkCity AnD in 1922 mADE thE First hillBilly rECorDs, "ArkAnsAs trAvElEr" AnD "sAlliE gooDin". thE gEorgiA FiDDlEr johnCArson hAD thE First sAlEs suCCEss thE nExt yEAr with his okEh rECorD oF "littlE olD logCABin in thE lAnE".A、tExAs nAtivE who ACtuAlly hAD voiCE trAining AnD light opErA ExpEriEnCE, vErnonDAlhArt (his rEAl nAmE wAs mArion slAughtEr) solD millions oF rECorDs in thE 1920s For DozEns oF DiFFErEnt CompAniEs. his First Big sEllErs wErE "thE prisonEr’s song" AnD "thE wrECk oF thE olD 97" For viCtor in 1924. in 1927 jimmiE roDgErs, originAlly A yoDElEr, mADE his First rECorDings.BECAusE roDgErs, viCtor rECorDs inspirED numErous mEn to BEComE Country EntErtAinErs, hE BECAmE known As thE FAthEr oFCountry musiC、
hollywooD’s singing CowBoys won For Country musiC nAtionAl AnD intErnAtionAl AuDiEnCEs During thE lAtEr 1930s.EvEn though rECorD sAlEs For Country AnD othEr typEs oF musiC slippED During thE grEAtDEprEssion, rADio ContinuED to BroADCAst A lArgE ArrAy oF livE Country musiC tAlEnt, usuAlly in thE EArly morning, noon, or lAtE night hours. nEw BArn DAnCEs wErE hEArD on thE AirwAvEs, AnD two oF thE loCAl shows gAinED nEtwork rADio AuDiEnCEs During thE 1930s.
worlD wAr ⅱ ACCElErAtED Country musiC’s growth AwAy From An ExClusivEly southErn AnD rurAl phEnomEnon. southErn sErviCEmEn took thE musiC with thEm to FAr-Flung pArts oF thE nAtion AnD thE worlD, whilE CiviliAn DEFEnsE workErs From thE south Brought thEir lovE oF thE musiC into thE vArious CEntErs oF wAr proDuCtion.
thE postwAr yEArs Brought A nEwFounD nAtionAl prospErity, whiCh BoostED Country musiC to grEAtEr CommErCiAl hEights. singErs AnD BusinEss ExECutivEs ClosEly tiED to thE musiC sought AnD won A nEw rEspECtABility From trADE pApErs AnD nAtionAl mEDiA、thE olD tErms hillBilly AnD mountAin wErE rEplACED By Country, AnD EvEn For A timE By Country AnD wEstErn, in rECognition oF thE nEw populArity oF thE CowBoy singErs on tElEvision.
【单选题】looking At thEAtrE history
onE oF thE primAry wAys oF ApproAChing thE grEEk thEAtrE is through ArChEology, thE systEmAtiC stuDy oF mAtEriAl rEmAins suCh As ArChitECturE, insCriptions, sCulpturE, vAsE pAinting, AnD othEr Forms oF DECorAtivE Art.
![]()
sErious on-sitE ExCAvAtions BEgAn in grEECE ArounD 1870, But w.D6rpFElD DiD not BEgin thE First ExtEnsivE stuDy oF thE thEAtrE oFDionysus until 1886.
![]()
sinCE thAt timE, morE thAn 167 othEr grEEk thEAtrEs hAvE BEEn iDEntiFiED AnD mAny oF thEm hAvE BEEn ExCAvAtED、
![]()
nEvErthElEss, thEy still Do not pErmit us to DEsCriBE thE prECisE AppEArAnCE oF thE skEnE (illustrAtions printED in Books ArE ConjECturAl rEConstruCtions), sinCE mAny piECEs ArE irrEvoCABly lost BECAusE thE BuilDings in lAtEr pErioDs BECAmE sourCEs oF stonE For othEr projECts AnD whAt rEmAins is usuAlly BrokEn AnD sCAttErED、
![]()
thAt most oF thE BuilDings wErE rEmoDElED mAny timEs hAs CrEAtED grEAt proBlEms For thosE sEEking to DAtE Both thE pArts AnD thE suCCEssivE vErsions.DEspitE thEsE DrAwBACks, ArChEology proviDEs thE most ConCrEtE EviDEnCE wE hAvE ABout thE thEAtrE struCturEs oF AnCiEnt grEECE.But, iF thEy hAvE tolD us muCh, ArChEologists hAvE not ComplEtED thEir work, AnD mAny sitEs hAvE sCArCEly BEEn touChED、
pErhAps thE most ControvErsiAl usE oF ArChEologiCAl EviDEnCE in thEAtrE history is vAsE pAintings, thousAnDs oF whiCh hAvE survivED From AnCiEnt grEECE. (most oF thosE usED By thEAtrE sCholArs ArE rEproDuCED in mArgArEtEBiEBEr’s "thE history oF thE grEEk AnD romAn thEAtrE". )DEpiCting sCEnEs From mythology AnD DAily liFE, thE vAsEs ArE thE most grAphiC piCtoriAl EviDEnCE wE hAvE, But thEy ArE Also EAsy to misintErprEt. somE sCholArs hAvE ConsiDErED Any vAsE thAt DEpiCts A suBjECt trEAtED in A surviving DrAmA or Any sCEnE showing mAsks, FlutE plAyErs, or CErEmoniAls to BE vAliD EviDEnCE oF thEAtriCAl prACtiCE. this is A highly quEstionABlE Assumption, sinCE thE grEEks mADE wiDEsprEAD usE oF mAsks, DAnCEs, AnD musiC outsiDE thE thEAtrE AnD sinCE thE myths on whiCh DrAmAtists DrEw wErE known to EvEryonE, inCluDing vAsE pAintErs, who might wEll DEpiCt thE sAmE suBjECts As DrAmAtists without BEing inDEBtED to thEm. thosE vAsEs showing sCEnEs unquEstionABly thEAtriCAl ArE FEw in numBEr.
writtEn EviDEnCE ABout AnCiEnt grEEk thEAtrE is oFtEn trEAtED As lEss rEliABlE thAn ArChEologiCAl EviDEnCE BECAusE most writtEn ACCounts ArE sEpArAtED so FAr in timE From thE EvEnts thEy DEsCriBE AnD BECAusE thEy proviDE no inFormAtion ABout thEir own sourCEs. oF thE writtEn EviDEnCE, thE surviving plAys ArE usuAlly trEAtED As thE most rEliABlE.But thE olDEst surviving mAnusCripts oF grEEk plAys DAtE From ArounD thE tEnth CEntury,C、E、, somE 1500 yEArs AFtEr thEy wErE First pErFormED、sinCE printing DiD not Exist During this timE spAn, CopiEs oF plAys hAD to BE mADE By hAnD, AnD thErEForE thE possiBility oF tExtuAl Errors CrEEping in wAs mAgniFiED、nEvErthElEss, thE sCripts oFFEr us our rEADiEst ACCEss to thE CulturAl AnD thEAtriCAl ConDitions out oF whiCh thEy CAmE.But thEsE sCripts, likE othEr kinDs oF EviDEnCE, ArE suBjECt to vArying intErprEtAtions.CErtAinly pErFormAnCEs EmBoDiED A mAlE pErspECtivE, For ExAmplE, sinCE thE plAys wErE writtEn, sElECtED, stAgED, AnD ACtED By mEn. yEt thE Existing plAys FEAturE numErous ChorusEs oF womEn AnD mAny FEAturE strong FEmAlE ChArACtErs.BECAusE thEsE ChArACtErs oFtEn sEEm viCtims oF thEir own powErlEssnEss AnD AppEAr to BE govErnED, EspECiAlly in thE ComEDiEs, By sExuAl DEsirE, somE CritiCs hAvE sEEn thEsE plAys As rAtionAlizAtions By thE mAlE-DominAtED CulturE For kEEping womEn sEgrEgAtED AnD CloistErED、othEr CritiCs, ho
onE oF thE primAry wAys oF ApproAChing thE grEEk thEAtrE is through ArChEology, thE systEmAtiC stuDy oF mAtEriAl rEmAins suCh As ArChitECturE, insCriptions, sCulpturE, vAsE pAinting, AnD othEr Forms oF DECorAtivE Art.
pErhAps thE most ControvErsiAl usE oF ArChEologiCAl EviDEnCE in thEAtrE history is vAsE pAintings, thousAnDs oF whiCh hAvE survivED From AnCiEnt grEECE. (most oF thosE usED By thEAtrE sCholArs ArE rEproDuCED in mArgArEtEBiEBEr’s "thE history oF thE grEEk AnD romAn thEAtrE". )DEpiCting sCEnEs From mythology AnD DAily liFE, thE vAsEs ArE thE most grAphiC piCtoriAl EviDEnCE wE hAvE, But thEy ArE Also EAsy to misintErprEt. somE sCholArs hAvE ConsiDErED Any vAsE thAt DEpiCts A suBjECt trEAtED in A surviving DrAmA or Any sCEnE showing mAsks, FlutE plAyErs, or CErEmoniAls to BE vAliD EviDEnCE oF thEAtriCAl prACtiCE. this is A highly quEstionABlE Assumption, sinCE thE grEEks mADE wiDEsprEAD usE oF mAsks, DAnCEs, AnD musiC outsiDE thE thEAtrE AnD sinCE thE myths on whiCh DrAmAtists DrEw wErE known to EvEryonE, inCluDing vAsE pAintErs, who might wEll DEpiCt thE sAmE suBjECts As DrAmAtists without BEing inDEBtED to thEm. thosE vAsEs showing sCEnEs unquEstionABly thEAtriCAl ArE FEw in numBEr.
writtEn EviDEnCE ABout AnCiEnt grEEk thEAtrE is oFtEn trEAtED As lEss rEliABlE thAn ArChEologiCAl EviDEnCE BECAusE most writtEn ACCounts ArE sEpArAtED so FAr in timE From thE EvEnts thEy DEsCriBE AnD BECAusE thEy proviDE no inFormAtion ABout thEir own sourCEs. oF thE writtEn EviDEnCE, thE surviving plAys ArE usuAlly trEAtED As thE most rEliABlE.But thE olDEst surviving mAnusCripts oF grEEk plAys DAtE From ArounD thE tEnth CEntury,C、E、, somE 1500 yEArs AFtEr thEy wErE First pErFormED、sinCE printing DiD not Exist During this timE spAn, CopiEs oF plAys hAD to BE mADE By hAnD, AnD thErEForE thE possiBility oF tExtuAl Errors CrEEping in wAs mAgniFiED、nEvErthElEss, thE sCripts oFFEr us our rEADiEst ACCEss to thE CulturAl AnD thEAtriCAl ConDitions out oF whiCh thEy CAmE.But thEsE sCripts, likE othEr kinDs oF EviDEnCE, ArE suBjECt to vArying intErprEtAtions.CErtAinly pErFormAnCEs EmBoDiED A mAlE pErspECtivE, For ExAmplE, sinCE thE plAys wErE writtEn, sElECtED, stAgED, AnD ACtED By mEn. yEt thE Existing plAys FEAturE numErous ChorusEs oF womEn AnD mAny FEAturE strong FEmAlE ChArACtErs.BECAusE thEsE ChArACtErs oFtEn sEEm viCtims oF thEir own powErlEssnEss AnD AppEAr to BE govErnED, EspECiAlly in thE ComEDiEs, By sExuAl DEsirE, somE CritiCs hAvE sEEn thEsE plAys As rAtionAlizAtions By thE mAlE-DominAtED CulturE For kEEping womEn sEgrEgAtED AnD CloistErED、othEr CritiCs, ho
【单选题】origins oF jAzz musiC
thE musiCAl phEnomEnon known As jAzz DEvElopED in thE yEArs just prior to 1900, mAinly in thE City oF nEw orlEAns AnD to A lEssEr ExtEnt in othEr lArgEAmEriCAn CitiEs. thE roots oF this quintEssEntiAllyAmEriCAn musiC ArE vAriED AnD ComplEx, But sEvErAl mAin strAnDs oF CulturE AnD musiCAl trADition CAn BE thought oF As prECursors whiCh EvEntuAlly CulminAtED in A rECognizABlE musiCAl gEnrE.
it is proBABlE thAt BlACkAFriCAns who wErE Brought to thE nEw worlD to work As slAvEs on plAntAtions CArriED with thEm An ABility to improvisE in musiC, in othEr worDs, to spontAnEously vAry inDiviDuAl pArts in A musiCAl pErFormAnCE.
![]()
whilE working As slAvEs on plAntAtions AnD lAtEr As FrEE hAnDs in work plACEs, BlACks usED work songs with A DEgrEE oF improvisAtion, rECAlling thEirAFriCAn hEritAgE, As A rhythm to EAsE thE pAin oF hArD mAnuAl lABor.
![]()
thEsE songs inCluDED spirituAls, thAt is, rEligious songs ExprEssing thE hArD ConDition oF BEing slAvEs, AnD FiElD hollErs, whiCh wErE A Form oF CommuniCAtion BEtwEEn FiElD hAnDs.
![]()
thE proBlEms FACED By thE nEwly FrEED slAvEs Also BECAmE mAtEriAl For A stylE oF singing whiCh originAtED in moAning AnD lAmEntAtions ABout thE DiFFiCultiEs oF liFE.At First thEsE improvisAtions wErE not ACCompAniED By instrumEnts, But lAtEr, trAvEling musiCiAns with guitArs or BAnjos CrEAtED sounDs with soAring AnD sliDing pitCh.
![]()
EvEntuAlly A pAttErn oF musiC EmErgED whiCh wAs rEFErrED to As thE BluEs, An importAnt ComponEnt oF EArly jAzz Forms.
AnothEr importAnt ingrEDiEnt in thE FormAtion oF jAzz is whAt BECAmE known As rAgtimE, A musiCAl Form thAt FlourishED From ABout 1890 until thE stArt oF worlD wAr i, in whiCh thE mEloDy oF A tunE wAs synCopAtED ovEr thE BAss linE AnD gAvE A rAggED FEEl. rAgtimE EvEntuAlly BECAmE FormAlizED AnD writtEn, But thE stylE oF thE rAgtimE tunEs wAs inFluEntiAl in Forming thE EArly DirECtion oF jAzz musiC、
musiCologists hAvE pointED out thAt nEw orlEAns BECAmE thE FoCAl point oF EArly jAzz pErFormAnCE BECAusE BrAss instrumEnts usED By militiA BAnDs During thECivil wAr AnD By town BAnDs For EntErtAinmEnt BEgAn to FinD thEir wAy into sEConDhAnD storEs AnD pAwn shops in nEw orlEAns. this EnABlED poorEr pEoplE to oBtAin instrumEnts ChEAply. thE DEmAnD For livE musiC wAs so grEAt thAt mAny oF thEsE AmAtEurs, whosE mAstEry oF thEsE ChEAply Bought instrumEnts wAs oFtEn inComplEtE, wErE CAllED on to pErForm, thEir unpolishED stylE mAy hAvE BEEn An importAnt ingrEDiEnt oF thE spontAnEous AnD unorthoDox sounD typiCAl oF EArly jAzz.
ACCorDing to lEn wEinstoCk, A historiAn oF jAzz, AnothEr rEAson why nEw orlEAns BECAmE A CEntEr oF this musiCAl stylE wAs thE ExistEnCE within thE City’s populAtion oF A lArgE group oF FrEnCh AnD spAnish sEttlErs who prEsErvED thEir ChArACtEristiC spEECh AnD CulturE. through intErmArriAgE withAFriCAnAmEriCAns, A suBCulturE oF DEsCEnDAnts DEvElopED, thECrEolEs. sinCE thECrEolEs in nEw orlEAns hAD not BEEn EnslAvED, mAny oF thEm BECAmE DistinguishED in thE EConomiC AnD CulturAl liFE oF thE FrEnCh sECtion oF thE City.CrEolEs hAD thEir own musiCAl rEsourCEs inFluEnCED By FrEnCh or spAnish ColoniAl trADitions, But somE wErE Also FormAlly trAinED in thEEuropEAn ClAssiCAl trADition AnD lEArnED thE prECisE tEChniquEs AnD tonAl sophistiCAtion nECEssAry to plAy in ChAmBEr EnsEmBlEs AnD EvEn At thE opErA housE. howEvEr, in 1894,CrEolEs living in nEw orlEAns wErE ForCED By A rACiAl sEgrEgAtion lAw to movE to thE ArEA oF thE City inhABitED By thE poor, lArgEly unEDuCAtED BlACk populAtion whosE musiCAl trADition wAs typiCAlly ChArACtErizED By mEmorizAtion An
thE musiCAl phEnomEnon known As jAzz DEvElopED in thE yEArs just prior to 1900, mAinly in thE City oF nEw orlEAns AnD to A lEssEr ExtEnt in othEr lArgEAmEriCAn CitiEs. thE roots oF this quintEssEntiAllyAmEriCAn musiC ArE vAriED AnD ComplEx, But sEvErAl mAin strAnDs oF CulturE AnD musiCAl trADition CAn BE thought oF As prECursors whiCh EvEntuAlly CulminAtED in A rECognizABlE musiCAl gEnrE.
it is proBABlE thAt BlACkAFriCAns who wErE Brought to thE nEw worlD to work As slAvEs on plAntAtions CArriED with thEm An ABility to improvisE in musiC, in othEr worDs, to spontAnEously vAry inDiviDuAl pArts in A musiCAl pErFormAnCE.
AnothEr importAnt ingrEDiEnt in thE FormAtion oF jAzz is whAt BECAmE known As rAgtimE, A musiCAl Form thAt FlourishED From ABout 1890 until thE stArt oF worlD wAr i, in whiCh thE mEloDy oF A tunE wAs synCopAtED ovEr thE BAss linE AnD gAvE A rAggED FEEl. rAgtimE EvEntuAlly BECAmE FormAlizED AnD writtEn, But thE stylE oF thE rAgtimE tunEs wAs inFluEntiAl in Forming thE EArly DirECtion oF jAzz musiC、
musiCologists hAvE pointED out thAt nEw orlEAns BECAmE thE FoCAl point oF EArly jAzz pErFormAnCE BECAusE BrAss instrumEnts usED By militiA BAnDs During thECivil wAr AnD By town BAnDs For EntErtAinmEnt BEgAn to FinD thEir wAy into sEConDhAnD storEs AnD pAwn shops in nEw orlEAns. this EnABlED poorEr pEoplE to oBtAin instrumEnts ChEAply. thE DEmAnD For livE musiC wAs so grEAt thAt mAny oF thEsE AmAtEurs, whosE mAstEry oF thEsE ChEAply Bought instrumEnts wAs oFtEn inComplEtE, wErE CAllED on to pErForm, thEir unpolishED stylE mAy hAvE BEEn An importAnt ingrEDiEnt oF thE spontAnEous AnD unorthoDox sounD typiCAl oF EArly jAzz.
ACCorDing to lEn wEinstoCk, A historiAn oF jAzz, AnothEr rEAson why nEw orlEAns BECAmE A CEntEr oF this musiCAl stylE wAs thE ExistEnCE within thE City’s populAtion oF A lArgE group oF FrEnCh AnD spAnish sEttlErs who prEsErvED thEir ChArACtEristiC spEECh AnD CulturE. through intErmArriAgE withAFriCAnAmEriCAns, A suBCulturE oF DEsCEnDAnts DEvElopED, thECrEolEs. sinCE thECrEolEs in nEw orlEAns hAD not BEEn EnslAvED, mAny oF thEm BECAmE DistinguishED in thE EConomiC AnD CulturAl liFE oF thE FrEnCh sECtion oF thE City.CrEolEs hAD thEir own musiCAl rEsourCEs inFluEnCED By FrEnCh or spAnish ColoniAl trADitions, But somE wErE Also FormAlly trAinED in thEEuropEAn ClAssiCAl trADition AnD lEArnED thE prECisE tEChniquEs AnD tonAl sophistiCAtion nECEssAry to plAy in ChAmBEr EnsEmBlEs AnD EvEn At thE opErA housE. howEvEr, in 1894,CrEolEs living in nEw orlEAns wErE ForCED By A rACiAl sEgrEgAtion lAw to movE to thE ArEA oF thE City inhABitED By thE poor, lArgEly unEDuCAtED BlACk populAtion whosE musiCAl trADition wAs typiCAlly ChArACtErizED By mEmorizAtion An
【单选题】 The word "Accordingly" in line 24 is closest in meaning to
A．( However
B．( Consequently
C．( Nevertheless
D．( Ultimately
A．( However
B．( Consequently
C．( Nevertheless
D．( Ultimately
【单选题】 The word "sedentary" in line 29 is closest in meaning to
A．( inactive
B．( inefficient
C．( unchangeable
D．( unbalanced
A．( inactive
B．( inefficient
C．( unchangeable
D．( unbalanced
【单选题】 The word "diverse" in line 14 is closest in meaning to
A．(surrounding
B．( divided
C．( different
D．( stimulating
A．(surrounding
B．( divided
C．( different
D．( stimulating
【单选题】 What point does the author make to illustrate that babies are born with the ability to acquire language
A．(Babies begin to understand words in songs
B．( Babies exaggerate their own sounds and expressions
C．( Babies are more sensitive to sounds than are adults
D．( Babies notice even minor differences between speech sounds
A．(Babies begin to understand words in songs
B．( Babies exaggerate their own sounds and expressions
C．( Babies are more sensitive to sounds than are adults
D．( Babies notice even minor differences between speech sounds
发布评论 查看全部评论