GRE長(zhǎng)篇閱讀預(yù)測(cè)發(fā)布，以下是對(duì)GRE閱讀中耗時(shí)多難度高的長(zhǎng)閱讀題型的文章和題目預(yù)測(cè)，看完就能提升閱讀讀文章的速度節(jié)省時(shí)間提升解題效率，高分不容錯(cuò)過(guò)!

　　GRE預(yù)測(cè)長(zhǎng)篇閱讀

　　In the early twentieth century, the idea that pianists should be musician-scholars whose playing reflected the way composers wanted their music to sound replaced the notion that pianists should be virtuosos whose performances thrilled audiences with emotional daring and showy displays of technique. One important figure to emerge in the period, though a harpsichordist rather than a pianist, was Wanda Landowska (1879–1959). She demonstrated how the keyboard works of Baroque composers such as Bach, Handel, Scarlatti, and Couperin probably sounded in their own times. It would be a mistake to consider Landowska a classicist, however. She had been born in an age of Romantic playing dominated by Liszt, Leschetizky, and their pupils. Thus she grew up with and was influenced by certain Romantic traditions of performance, whatever the stringency of her musical scholarship; Landowska knew how to hold audiences breathless, and when she gave recitals, they responded with deathlike silence and rapt attention.

　　Her playing was Romantic, but it was at least as close in spirit to the style of playing intended by composers of the Baroque (1600–1750) and Classical (1750–1830) eras, as have been the more exacting but less emotionally resonant interpretations of most harpsichordists since Landowska. She had a miraculous quality of touch, a seemingly autonomous left hand; no artist in her generation could clarify with such deftness the polyphonic writing of the Baroque masters. And none could make their music so spring to life.

　　Her achievements were the result of a lifetime of scholarship, truly remarkable physical gifts, and resilient rhythm, all combined with excellent judgment about when not to hold the printed note sacrosanct. Of course, developing such judgment demanded considerable experience and imagination. She was a genius at underlining the dramatic and emotional content of a piece, and to do so, she took liberties, all kinds of liberties, while nevertheless preserving the integrity of a composer’s score. In short, her entire musical approach was Romantic: intensely personal, full of light and shade, never pedantic.

　　Thanks to Landowska, Bach’s music (originally composed for the harpsichord) now sounded inappropriately thick when played on the piano. One by one, pianists stopped playing Bach’s music as adapted for the piano by Liszt or by Tausig. Then they gradually stopped performing any kind of Baroque music on the piano, even Scarlatti’s. The piano repertoire, it began to be felt, was extensive enough without reverting to transcriptions of Baroque music originally written for the harpsichord—and piano performances of Bach and Scarlatti were, despite the obvious similarities between the harpsichord and the piano, transcriptions, no matter how faithfully the original notes were played. In accordance with this kind of purism came an emphasis on studying composers’ manuscript notations, a relatively new field of musicology that is flourishing even today.

　　GRE預(yù)測(cè)長(zhǎng)篇閱讀題目及答案

　　1. The passage suggests that Landowska’s playing embodied a rejection of which of the following?

　　A. Emotionally resonant interpretations of musical works.

　　B. An audience’s complete silence during a performance.

　　C. Performances of previously obscure Baroque works.

　　D. The idea that a performer can correctly judge when not to hold the printed note sacrosanct.

　　E. Performances emphasizing showy displays of technique that compromise the integrity of a composer’s original score.

　　正確答案

　　E

　　題目解析

　　主旨直選法，細(xì)讀第一句得出文章主旨：在這個(gè)時(shí)期，一種新idea代替了舊的notion。新的idea是文章主旨：pianists should be musician-scholars whose playing reflected the way composers wanted their music to sound(鋼琴家應(yīng)該是這么一種音樂(lè)家：其演奏反映的是作曲家希望他們的作品能夠被聽(tīng)到的樣子)。 深入理解：鋼琴家應(yīng)該作為一種重現(xiàn)作曲家意圖的媒介。 然后說(shuō)： One important figure to emerge in the period is L(本文主人公) 根據(jù)全文理解，L是這種新的idea的踐行者。 那么題目：L的演奏反對(duì)什么? 由上述L支持的東西來(lái)推論：L支持演奏應(yīng)該原原本本的表達(dá)作曲家的意圖(the way composers wanted their music to sound)，那么L會(huì)反對(duì)： E：一種表演：重視技巧，而compromise(此處作危害，GRE常考)the integrity of the composer's original score.(original是關(guān)鍵)

　　2. Which of the following can be inferred from the passage about the compositions of Scarlatti?

　　A. They were adapted by Liszt and Tausig.

　　B. They have not been transcribed faithfully.

　　C. They were not composed during the Baroque period.

　　D. They were composed for instruments other than piano.

　　E. They fell out of favor with most musicians in the early twentieth century.

　　正確答案

　　D

　　題目解析

　　信息1： Then they gradually stopped performing any kind of Baroque music on the piano, even Scarlatti’s. 說(shuō)明S的作品從屬于Baroque music

　　信息2： Baroque music originally written for the harpsichord

　　說(shuō)明Baroque music 開(kāi)始不是寫(xiě)給piano的，因?yàn)槭菍?xiě)給H的

　　推斷： S屬于B;B不是寫(xiě)給piano;那么S也不是寫(xiě)給piano，所以D選項(xiàng)正確

　　3. The author’s assertion that Landowska should not be considered a classicist serves primarily to emphasize which of the following?

　　A. Landowska specialized in playing the works of composers of the Baroque era.

　　B. Landowska’s repertoire included orchestral music only.

　　C. Landowska’s musical performances were not devoid of emotion.

　　D. Landowska’s repertoire emphasized works of long-lasting interest and value.

　　E. Landowska advocated the study of Classical style or form.

　　正確答案

　　C

　　題目解析

　　"Landowska knew how to hold audiences breathless, and when she gave recitals, they responded with deathlike silence and rapt attention. "就說(shuō)明她的演奏是富有感情色彩的。然而 “by composers of the Baroque (1600–1750) and Classical (1750–1830) eras, as have been the more exacting but less emotionally resonant interpretations of most harpsichordists ” 說(shuō)明classical表演沒(méi)有感情。選項(xiàng)c的意思是L的表演不全沒(méi)有感情，也就是帶有感情，這個(gè)和classical的特點(diǎn)相悖，所以說(shuō)明L不是classical的

　　GRE詞匯精選之音樂(lè)類詞匯1

　　solo (aria) 獨(dú)唱;獨(dú)奏

　　fantasia 幻想曲

　　duet 二重唱

　　capriccio 隨想曲

　　trio 三重唱

　　concerto 協(xié)奏曲

　　quartet 四重唱

　　rhapsody 狂想曲

　　ensemble 大合唱

　　serenade 小夜曲

　　GRE詞匯精選之音樂(lè)類詞匯2

　　note 音符

　　sonata 奏鳴曲

　　scale 音階

　　gamut 全音階

　　symphony 交響樂(lè)

　　movement 樂(lè)章

　　lullaby 搖籃曲

　　score 樂(lè)譜

　　requiem 安魂彌撒

　　madrigal 情歌

　　reverie 夢(mèng)幻曲

　　overture 序曲

　　coda 尾聲

　　prelude 序曲

　　finale 尾聲

　　piano 輕柔的

　　forte 強(qiáng)音的

　　crescendo 音樂(lè)漸強(qiáng)

　　decrescendo 音樂(lè)漸弱

　　diminuendo

　　soprano 女高音

　　tenor 男高音

　　burlesque 諷刺滑稽的戲劇

　　audition 試唱

　　cantata 清唱?jiǎng)?/p>

　　rehearsal 排練

　　oratorio 清唱?jiǎng)?/p>

　　debut 初次登臺(tái)露面