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Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 31 to 35. In the 1960s it took pop and rock groups one or two days to record their songs. Nowadays, it can take months and months. Many rock groups begin by recording only one instrument, for example, the voice. Then they record other instruments- electric piano, synthesizer, guitars and drums. Next, they might use a computer to add special effects. Finally, they 'mix' all the instruments until they get the sound that they want. This means that a CD or cassette will always sound very different from a live concert. Music engineers have developed a new computer program that will change the future of music. A computer can analyze a singer's voice. Then if you give the computer the lyrics and music of a song, the computer can 'sing' it in that voice. This means that a singer only needs to record one song and the computer can then sing other songs in the singer's own voice Singers can sing new songs many years after they have died. Most of us listen to music for pleasure, but for the record companies, music is a product, the same as soap powder. When a record company finds a new group (or "band"), they first try to develop the band's 'profile'. They will try to create an 'image' for the band that they think will attract young people. Instead of allowing the band's full artistic freedom, they will often tell the band what they should wear, what they should say and how they should sing and play. In recent year, many rock groups have started their own record companies because they say that the big companies are too commercial: Today, to record songs, it takes_____________.

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Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 36 to 42. It may seem as if the art of music by its nature would not lend itself to the exploration and expression of reality characteristic of Romanticism, but that is not so. True, music does not tell stories or paint pictures, but it stirs feelings and evokes moods, through both of which various kinds of reality can be suggested or expressed. It was in the rationalist 18th century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally failed, and the Romanticists profited from the error. Their discovery of new realms of experience proved communicable in the first place because they were in touch with the spirit of renovation, particularly through poetry. What Goethe meant to Beethoven and Berlioz and what German folk tales and contemporary lyricists meant to Weber, Schumann, and Schubert are familiar to all who are acquainted with the music of these men. There is, of course, no way to demonstrate that Beethoven's Egmont music or, indeed, its overture alone corresponds to Goethe's drama and thereby enlarges the hearer's consciousness of it; but it cannot be an accident or an aberration that the greatest composers of the period employed the resources of their art for the creation of works expressly related to such lyrical and dramatic subjects. Similarly, the love of nature stirred Beethoven, Weber, and Berlioz, and here too the correspondence is felt and persuades the fit listener that his own experience is being expanded. The words of-the creators themselves record this new comprehensiveness. Beethoven referred to his activity of mingled contemplation and composition as dichten, making a poem; and Berlioz tells in his Memoires of the impetus given to his genius by the music of Beethoven and Weber, by the poetry of Goethe and Shakespeare, and not least by the spectacle of nature. Nor did the public that ultimately understood their works gainsay their claims. It must be added that the Romantic musicians including Chopin, Mendelssohn, Glinka, and Liszt-had at their disposal greatly improved instruments. The beginning of the 19th century produced the modern piano, of greater range and dynamics than ever before, and made all wind instruments more exact and powerful by the use of keys and valves. The modern full orchestra was the result. Berlioz, whose classic treatise on instrumentation and orchestration helped to give it definitive form, was also the first to exploit its resources to the full, in the Symphonic fantastique of 1830. This work, besides its technical significance just mentioned, can also be regarded as uniting the characteristics of Romanticism in music, it is both lyrical and dramatic, and, although it makes use of a "story," that use is not to describe the scenes but to connect them; its slow movement is a "nature poem" in the Beethovenian manner; the second, fourth, and fifth movements include "realistic" detail of the most vivid kind; and the opening one is an introspective reverie. The word "error" in paragraph 1 refers to_____________.

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