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Proponents of different jazz styles have always argued that their predecessor’s musical style did not include essential characteristics that define jazz as jazz. Thus, 1940''s swing was belittled by beboppers of the 1950''s who were themselves attacked by free jazzes of the 1960''s. The neoboppers of the 1980''s and 1990''s attacked almost everybody else. The titanic figure of Black saxophonist John Coltrane has complicated the arguments made by proponents of styles from bebop through neobop because in his own musical journey he drew from all those styles. His influence on all types of jazz was immeasurable. At the height of his popularity, Coltrane largely abandoned playing bebop, the style that had brought him fame, to explore the outer reaches of jazz.
Coltrane himself probably believed that the only essential characteristic of jazz was improvisation, the one constant in his journey from bebop to open-ended improvisations on modal, Indian, and African melodies. On the other hand, this dogged student and prodigious technician? D who insisted on spending hours each day practicing scales from theory books? D was never able to jettison completely the influence of bebop, with its fast and elaborate chains of notes and ornaments on melody.
Two stylistic characteristics shaped the way Coltrane played the tenor saxophone: he favored playing fast runs of notes built on a melody and depended on heavy, regularly accented beats. The first led Coltrane to sheets of sound” where he raced faster and faster, pile-driving notes into each other to suggest stacked harmonies. The second meant that his sense of rhythm was almost as close to rock as to bebop.
Three recordings illustrate Coltrane’s energizing explorations. Recording Kind of Blue with Miles Davis, Coltrane found himself outside bop, exploring modal melodies. Here he played surging, lengthy solos built largely around repeated motifs; an organizing principle unlike that of free jazz saxophone player Ornette Coleman, who modulated or altered melodies in his solos. On Giant Steps, Coltrane debuted as leader, introducing his own compositions. Here the sheets of sound, downbeat accents, repetitions, and great speed are part of each solo, and the variety of the shapes of his phrases is unique. Coltrane’s searching explorations produced solid achievement. My Favorite Things was another kind of watershed. Here Coltrane played the soprano saxophone, an instrument seldom used by jazz musicians. Musically, the results were astounding. With the soprano’s piping sound, ideas that had sounded dark and brooding acquired a feeling of giddy fantasy.
When Coltrane began recording for the Impulse! Label, he was still searching. His music became raucous, physical. His influence on rockers was enormous, including Jimi Hendrix, the rock guitarist, who, following Coltrane, raised the extended guitar solo using repeated motifs to a kind of rock art form.
The primary purpose of the text is to
[A] Discuss the place of Coltrane in the world of jazz and describe his musical explorations.
[B] Examine the nature of bebop and contrast it with improvisational jazz.
[C] Analyze the musical sources of Coltrane’s style and their influence on his work.
[D] Acknowledge the influence of Coltrane’s music on rock music and rock musicians.
Which of the following best describes the organization of the fourth paragraph?
[A] A thesis referred to earlier in the text is mentioned and illustrated with three specific examples.
[B] A thesis is stated and three examples are given each suggesting that a correction needs to be made to a thesis referred to earlier in the text.
[C] A thesis referred to earlier in the text is mentioned, and three examples are presented and ranked in order of their support of the thesis.
[D] A thesis is stated, three seemingly opposing examples are presented, and their underlying correspondence is explained.
According to the text, John Coltrane did all of the following during his career EXCEPT
[A] Improvise on melodies from a number of different cultures.
[B] Perform as leader as well as soloist.
[C] Spend time improving his technical skills.
[D] Eliminate the influence of bebop on his own music.
According to the text a major difference between Coltrane and other jazz musicians was the
[A] Degree to which Coltrane’s music encompassed all of jazz.
[B] Repetition of motifs that Coltrane used in his solos.
[C] Number of his own compositions that Coltrane recorded.
[D] Indifference Coltrane maintained to musical technique.
In terms of its tone and form, the text can best be characterized as
[A] Dogmatic explanation.
[B] Indignant denial.
[C] Enthusiastic praise.
[D] Speculative study.
[答案與考點解析]
「答案」A
「考點解析」本題是一道中心主旨題。第一段的倒數第一、二句是全文的中心主旨句，全文就是根據這兩句話展開論述的。抓住這兩句話就可以找出本題的正確選項A.考生在解題時，尤其是破解中心主旨題時，一定要先找出全文的中心主旨句。
「答案」C
「考點解析」這是一道例(舉)證與細節理解題。第四段第一句明確指出“三張唱片爲科爾特蘭尼富有活力的探索提供了證明”。這說明第四段將講述三個例子用來說明在前一段即第三段所提出的論點。另外這三個例子是按着先後順序給出的，因此本題的正確選項是C.考生在解題時要注意段落之間的相互關係，更要注意句子之間的相互關係。
「答案」D
「考點解析」這是一道細節理解題型。本題屬於比較難的題型，因爲本題的涉及面比較廣。本題A、B、C選項的內容分別在第二段第一句、第四段第三四句和第二段第二句提到過。故本題的正確選項應該是D.其實這道題表面上非常難，但是對於善於捕捉全文中心主旨句的同學來講確比較容易，因爲從第一段第四句的原因狀語從句中就可以推導出本題的正確答案D.考生在解題時應時時牢記全文的中心主旨句。
「答案」A
「考點解析」本題是一道審題定位題型。根據本題題幹中的“other jazz musicians”可將本題的答案信息來源定位在第一段的第一至四句，因爲在這四句話中提到了其它的爵士音樂家。第一段第四句的狀語從句明確指出了“Coltrane”與其它音樂家的不同在於他吸收了各種風格的爵士音樂。故本題的正確答案應該是A.考生在解題時應重視審題定位。
「答案」C
「考點解析」本題是一道歸納推導題型。細心的同學可從本文作者在論述時使用的詞語中推導出本題的正確答案C.例如作者在第一段第四句的主語上使用了“titanic figure”;在第五句使用了“his influence…was immeasurable”;在最後一段的第三句使用了“his influence… was enormous”，這都反映了作者的“enthusiastic praise”。考生在解題時要重視原文作者在表達觀點時的遣詞造句。
[參考譯文]
不同的爵士樂風格的支持者一貫認爲他們前輩的音樂風格沒有包括那些使爵士樂之所以成爲爵士樂的本質特徵。這樣，二十世紀五十年代的比波普派輕視二十世紀四十年代的搖擺音樂派，而他們自己又受到二十世紀六十年代的自由爵士派的抨擊。二十世紀八十至九十年代的新比波普派幾乎對任何其他人都進行抨擊。而黑人薩克斯管巨匠約翰?科爾特蘭尼使這些從比波普派到新比波普派的支持者所提出的主張更加複雜化，因爲在他自己的音樂例程中，他經歷了所有這些風格。他對所有爵士音樂的風格的影響是不可估量的。在他最受歡迎的時期，科爾特蘭尼基本上放棄了比波普風格的演奏以便探索爵士樂更深的處延，然而正是比波普風格的演奏使得他成名。
科爾特蘭尼自己可能認爲爵士樂的唯一本質特徵就是即興創作，這是他從比波普風格到對形式音樂、印度音樂、非洲音樂的自由即興演奏的歷程中一直沒有改變的。另一方面，這個頑強的學生和異常的技巧家每天花幾個小時用以練習理論書籍上的曲譜，從未能完全拋棄比波普的影響，在他的旋律中可以找到帶有比波普特點的快速和精細的音符以及修飾效果。
有兩種風格特徵影響了科爾特蘭尼演奏男高音薩克斯管的方式：他喜歡對建立於一種旋律上的音符進行快速的演奏，同時也依賴於強有力的、有規律的重音節奏。前者引導科爾特蘭尼走向“片狀聲響”的境界，在那裏科爾特蘭尼的演奏越來越快，將音符成堆互相累放起來以表達一種堆疊起來的和諧感。而後者意味着，他的節奏感之接近於搖滾樂幾乎就像其接近於比波普風格一樣。
三張唱片爲科爾特蘭尼富有活力的探索提供了證明。和馬爾斯?戴維斯合作錄製《有幾分憂傷》時，科爾特蘭尼發現他已離開了波普風格，對形式音樂進行探索。在這中間，他演奏那些跌宕起伏的冗長的獨奏，而這些獨奏基本上是圍繞着一個重複主題展開的。該種主題是用以組織其音樂的原則，它和自由派爵士樂薩克斯管演奏家奧尼迪?科爾曼採用的組織方式不同。後面這位音樂家在他的獨奏中會對其旋律進行調節改變。在《大踏步》中，科爾特蘭尼初次以領導者角色出現，對他自己的作品進行了介紹。在這中間，“片狀聲響”、強拍重音、重複迴旋和極快的速度組成了每一段獨奏的各個部分，各樂章的形式的多樣性是獨一無二的。科爾特蘭尼深刻的探索獲得了穩固的成就。《我的鐘愛之物》是另一種意義上的分水嶺。在這裏，科爾特蘭尼演奏了爵士樂演奏家很少使用的女高音薩克斯管，所產生的音樂上的效果是驚人的。伴隨着女高音薩克斯管的尖音，那些顯得昏暗及帶有沉思意味的主題獲得了一種令人眼花繚亂的夢幻感覺。
當科爾特蘭尼開始爲衝動唱片公司進行音樂錄製時，他仍然在探索。他的音樂變得沙啞而感性。搖滾樂手受到他的巨大影響，其中包括吉米?亨德瑞克斯這位吉它手。後者仿效科爾特蘭尼，使基於重複主題的大段吉他獨奏上升成爲一種搖滾藝術形式。
Text 2Many objects in daily use have clearly been influenced by science, but their form and function, their dimensions and appearance, were determined by technologists, artisans, designers, inventors, and engineers ?D using nonscientific modes of thought. Many features and qualities of the objects that a technologist thinks about cannot be reduced to unambiguous verbal descriptions; they are dealt with in the mind by a visual, nonverbal process. In the development of Western technology, it has been nonverbal thinking, by and large, that has fixed the outlines and filled in the details of our material surroundings. Pyramids, cathedrals, and rockets exist not because of geometry or thermodynamics, but because they were first a picture in the minds of those who built them.
The creative shaping process of a technologist’s mind can be seen in nearly every artifact that exists. For example, in designing a diesel engine, a technologist might impress individual ways of nonverbal thinking on the machine by continually using an intuitive sense of rightness and fitness. What would be the shape of the combustion chamber? Where should be valves be placed? Should it have a long or short piston? Such questions have a range of answers that are supplied by experience, by physical requirements, by limitations of available space, and not least by a sense of form. Some decisions such as wall thickness and pin diameter may depend on scientific calculations, but the nonscientific component of design remains primary.
Design courses, then, should be an essential element in engineering curricula. Nonverbal thinking, a central mechanism in engineering design, involves perceptions, the stock-in-trade of the artist, not the scientist. Because perceptive processes are not assumed to entail hard thinking， nonverbal thought is sometimes seen as a primitive stage in the development of cognitive processes and inferior to verbal or mathematical thought. But it is paradoxical that when the staff of the Historic American Engineering Record wished to have drawings made of machines and isometric views of industrial processes for its historical record of American engineering, the only college students with the requisite abilities were not engineering students, but rather students attending architectural schools.
If courses in design, which in a strongly analytical engineering curriculum provide the background required for practical problem-solving, are not provided, we can expect to encounter silly but costly errors occurring in advanced engineering systems. For example, early models of high-speed railroad cars loaded with sophisticated controls were unable to operate in a snowstorm because a fan sucked snow into the electrical system. Absurd random failures that plague automatic control systems are not merely trivial aberrations; they are a reflection of the chaos that results when design is assumed to be primarily a problem in mathematics.
the text, the author is primarily concerned with
[A] Identifying the kinds of thinking that is used by technologists.
[B] Stressing the importance of nonverbal thinking in engineering design.
[C] Proposing a new role for nonscientific thinking in the development of technology.
[D] Contrasting the goals of engineers with those of technologists.
2. It can be inferred that the author thinks engineering curricula are
[A] Strengthened when they include courses in design.
[B] Weakened by the substitution of physical science courses for courses designed to develop mathematical skills.
[C] Strong because nonverbal thinking is still emphasized by most of the courses.
[D] Strong despite the errors those graduates of such curricula have made in the development of automatic control systems.
h of the following statements best illustrates the main point of the first two paragraphs of the text?
[A] When a machine like a rotary engine malfunctions, it is the technologist who is best equipped to repair it.
[B] Each component of an automobile? D for example, the engine or the fuel tank? D has a shape that has been scientifically determined to be best suited to that component’s function.
[C] A telephone is a complex instrument designed by technologists using only nonverbal thought.
[D] The distinctive features of a suspension bridge reflect its designer''s conceptualization as well as the physical requirements of its site.
h of the following statements would best serve as an introduction to the text?
[A] The assumption that the knowledge incorporated in technological developments must be derived from science ignores the many nonscientific decisions made by technologists.
[B] Analytical thought is no longer a vital component in the success of technological development.
[C] As knowledge of technology has increased, the tendency has been to lose sight of the important role played by scientific thought in making decisions about form, arrangement, and texture.
[D] A movement in engineering colleges toward a technician’s degree reflects a demand for graduates who have the nonverbal reasoning ability that was once common among engineers.
5. The author calls the predicament faced by the Historic American Engineering Record paradoxical (line 6, paragraph 3) most probably because
[A] The publication needed drawings that its own staff could not make.
[B] Architectural schools offered but did not require engineering design courses for their students.
[C] College students were qualified to make the drawings while practicing engineers were not.
[D] Engineering students were not trained to make the type of drawings needed to record the development of their own discipline.
[考點解析]
1.「答案」B
「考點解析」這是一道中心主旨題。本題的正確答案信息點在原文第一段的倒數第二句，該句強調“nonverbal thinking”的重要性。可見本題的正確選項應該是B.考生在破解中心主旨題時一定要首先找出原文的中心主旨句。
2.「答案」A
「考點解析」這是一道反推題。根據題幹中的“engineering curricula”可將本題的正確答案信息來源確定在原文的第三段第一句。該句中“should”一詞的理解十分重要。“should”是“應該做”而實際上確“沒有做”。根據“should”一詞並且結合第三段第一句進行反推即逆向思維，可得出本題的正確選項是A.考生在解題時應該重視關鍵的語言信號詞，更要加強反推的能力。
3.「答案」D
「考點解析」本題是一道細節歸納推導題。其實只要考生抓住第一段中的中心主旨句(倒數第二句)和第二段中的中心主旨句(倒數第一句)，就不難尋找出本題的正確答案D.要想知道某一段的主要含義就要首先找出該段的中心主旨句。另外考生在破解此類題型時還要善於根據中心主旨句進行合理的邏輯推導。
4.「答案」A
「考點解析」這是一道中心主旨題。如果考生抓住了全文的中心主旨句(第一段的倒數第二句)以及每段的中心主旨句(例如第二段的倒數第一句)，就不難尋找出本題的正確選項A，因爲該選項所強調的內容與這些中心主旨句所表達的內容是相互一致的。考生在破解中心主旨題型時一定要具備尋找和理解中心主旨句的能力。
5.「答案」D
「考點解析」本題是一道細節推導題。題幹已經將本題的答案信息確定在第三段的尾句，該句強調的是“engineering students”在教育方面的缺陷，因此本題的正確選項應該是D.如果考生在理解此句時有困難，可藉助於本段的主題句(第三段第一句)來破解本題。第三段第一句強調的是“engineering curricula”缺乏“design courses”。這句話同樣是表明“engineering students”在教育方面的缺失。考生在破解此類題型時一定要善於總結和歸納原文的信息。
[參考譯文]
許多日常使用的事物明顯受到了科學的影響，但它們的形狀和功能，它們的大小和外觀，是由工藝人員、工匠、設計師、發明家和工程師運用非科學思維模式來設計的。工藝人員所考慮物體的很多性質和特點不能歸結到毫不模糊的字面描述;在思維中，它們以一種視覺上的、非言語的方式被加以處理。在西方科技的發展過程中，大體上是由非言語思維刻畫了我們物質環境的輪廓並充實了其中的細節。金字塔、大教堂、火箭之所以存在，不是因爲幾何學或熱力學的原因，而是因爲在它們的製造者的頭腦中事先存在了這樣一幅畫面。
在幾乎每一件現存的人造製品身上都能看出工藝人員思維創造性的製作過程。比如說，在柴油發動機的設計中，通過不斷使用關於合適感和適當感的直觀體會，一個工藝人員得以用他個人的非語言思維來影響到機器本身。燃燒室的形狀應怎樣?閥門應該放在哪裏?它應該有個長的活塞還是應該有個短的?這樣的問題有着由經驗、物理需要、可用空間的侷限以及並非微不足道的形狀感等因素提供的一系列答案。某一些決定，比如壁厚和銷釘直徑，可能需要由科學的計算來定奪，但設計中的非科學成分仍然是主要的。
因此設計課程應該成爲工程課程中的基本成份。非語言思維，這一工程設計的核心機制，包括了感受這一屬於藝術家的而非科學家的慣用手段。因爲人們認爲感受的過程不需要“硬思維”，非語言思維被視爲認知過程發展的一個原始階段而且比語言和數學思維差。但令人感到自相矛盾的是，當《美國工程歷史名錄》的工作人員希望得到爲其美國工程歷史記錄而繪製的機器圖和等比例圖時，唯一具有所需技能的大學生不是工程學大學生，而是就讀於建築學院的大學生。
如果不能開設設計課程(它能在一個高度分析性工程學課程體系中提供解決實際問題的背景知識)，我們就會在先進的工程系統中遇到愚蠢而同時會導致極大損失的錯誤。比如，裝載了精密控制設備的早期高速鐵路車輛模型不能在暴風雪中正常運行，原因是一個風扇將雪吸入到電子系統中。干擾着自動控制系統的荒唐的隨機故障不是輕微的失常;它們是一種混亂的反映，人們認爲這種混亂主要在設計數學方面的問題時就會產生。
