GRE阅读提速提分2个重要技巧指点解读

泛读就是大致看看，但GRE考试题目有时候会考到段落或文章整体结构，这哪里是随便浏览就可以掌握的?人们也总结了很多阅读技巧。它们固然可以帮助读者有效的缩小阅读量，甚至是鼓励大家完全忽视掉那些专业的细节，但这些技巧存在有共同的问题：只对讲解员所讲到的有限的文章适用。改进的办法是发明不同的技巧去应对所有的文章。

这些做法GRE阅读理解的手法理论上是可行的，但在实践上给考生留下了问题：他们不容易知道何时该使用哪些技巧。技巧越多，就越具特殊性，杂多技巧的组合，会让人感到混乱。

另一方面，做题的技巧倒是非常实用，不过，运用做题技巧的基本条件是知道题目考察的是文章的哪个位置;位置的确定也许不能只靠单纯的阅读技巧来碰运气。GRE文章是论证性文字，而不是说明性文字，如电视机的说明书和校园简介，也不是叙述性文字，如长篇小说和短篇小说。GRE考试题目也总是以考论证结构为主。

美征老师介绍，考主题和态度(包括写法型EXCEPT，考负评价的取非，从否定角度考核心内容的一般的EXCEPT);考特殊论证内容，如让步、对比;考句子在段落中的作用(in order to);考有哪些论据(论据列举);考论据中的特殊形式(泛指化)。

由此，新GRE阅读读文章最重要的是分析结构。分析结构是一种研究式的学习，在其要求下，我们的阅读方法是结构化阅读。论证性文字一定是以论证为特点，这特点分布于文章的各个层面：篇章——段落——句子——单词。

篇章由多个论点组成，论点由作为论据的句子构成，句子本身的典型构成是前后场由表示论证关系的词汇连接，体现论证的意义的单词最重要。要想真正读懂文章，必须把所有那些表现论证的字词句抓出，而这却恰好是过去所有阅读方法都忽略的。

GRE阅读提分技巧：了解关联词作用

关联词和广义的关联成分，经过GRE考试的反复宣传，已经获得众所周知的重要性，在此不论。但是，单纯的关联词也可能组成没有新鲜内容的堆砌文章，于是内容上的关联成为必要，这需要靠论证形式，也就是，我们要看一个论点是如何展开的，或说文章是如何结构或论证的。

对一个论点而言，论证的方式是分角度;但不是所有论点都可以分角度，那些不容易分角度的，论点按照其自身潜在包含的内容展开，由此有差异、正、反三类关系，每种关系的论证都相对模式化。这样就可以懂得GRE阅读理解文章每句话在论证上的作用，无须完全依赖对文章各句所涉专业知识的了解。

希望从本文开始的抽象论述到文章分析的具体论述中，读者们可以大致了解，结构化阅读分析的本质和它的运用的益处：我们没有精读，没有泛读，也没有诉诸技巧，而只是问，这个文章各句以及每句各部分是怎么组织起来进行论证论点的，由此就拆解了该文的结构，并顺带分析了所考的四道题目。

评价这些阅读理论的标准，首先应该来自新GRE阅读考试的要求。这要求再简单不过，要求15分钟左右读完和答完一长一短两篇文章的内容和题目。在这个要求下，精读显然是不行的，虽然如果时间足够长，可以保证做对细节题。

以上就是我们对GRE考试中阅读技巧的分析和总结。考生在备战新GRE阅读中对技巧的掌握也是要到位的。阅读中的方法技巧能够帮助考生快速浏览文章并找出有用的信息，屏蔽无用和干扰的信息，迅速锁定答案。这就是GRE阅读技巧的作用。

GRE考试阅读理解模拟题及答案解析

Questions 1 to 3 are based on the following reading passage.

Immediately relevant to game theory are the sex ratios in certain parasitic wasp species that have a large excess of females.

In these species, fertilized eggs develop into females and unfertilized eggs into males.

A female stores sperm and can determine the sex of each egg she lays by fertilizing it or leaving it unfertilized.

By Fisher‘s genetic argument that the sex ratio will be favored which maximizes the number of descendants an individual will have and hence the number of gene copies transmitted, it should pay a female to produce equal numbers of sons and daughters.

Hamilton, noting that the eggs develop within their host—the larva of another insect—and that the newly emerged adult wasps mate immediately and disperse, offered a remarkably cogent analysis.

Since only one female usually lays eggs in a given larva, it would pay her to produce one male only, because this one male could fertilize all his sisters on emergence.

Like Fisher, Hamilton looked for an evolutionarily stable strategy, but he went a step further in recognizing that he was looking for a strategy.

1. The author suggests that the work of Fisher and Hamilton was similar in that both scientists

(A) conducted their research at approximately the same time

(B) sought to manipulate the sex ratios of some of the animals they studied

(D) studied game theory, thereby providing important groundwork for the later development of strategy theory

(E) studied reproduction in the same animal species

(For the following question, consider each of the choices separately and select all that apply)

2. The passage contains information that would answer which of the following questions about wasps?

□A How many eggs does the female wasp usually lay in a single host larva?

□B Can some species of wasp determine sex ratios among their offspring?

□C What is the approximate sex ratio among the offspring of parasitic wasps?

3. Which of the following is NOT true of the species of parasitic wasps discussed in the passage?

A) Adult female wasps are capable of storing sperm.

B) Female wasps lay their eggs in the larvae of other insects.

C) The adult female wasp can be fertilized by a male that was hatched in the same larva as herself.

D) So few male wasps are produced that extinction is almost certain.

E) Male wasps do not emerge from their hosts until they reach sexual maturity.

Questions 4 to 5 are based on the following reading passage.

Tocqueville, apparently, was wrong. Jacksonian America was not a fluid, egalitarian society where individual wealth and poverty were ephemeral conditions.

At least so argues E. Pessen in his iconoclastic study of the very rich in the United States between 1825 and 1850.

Pessen does present a quantity of examples, together with some refreshingly intelligible statistics, to establish the existence of an inordinately wealthy class.

Though active in commerce or the professions, most of the wealthy were not self-made, but had inherited family fortunes.

In no sense mercurial, these great fortunes survived the financial panics that destroyed lesser ones.

Indeed, in several cities the wealthiest one percent constantly increased its share until by 1850 it owned half of the community‘s wealth.

Although these observations are true, Pessen overestimates their importance by concluding from them that the undoubted progress toward inequality in the late eighteenth century continued in the Jacksonian period and that the United States was a class-ridden, plutocratic society even before industrialization. (162 words)

4. According to the passage, Pessen indicates that all of the following were true of the very wealthy in the United States between 1825 and 1850 EXCEPT:

(A) They formed a distinct upper class.

(B) Many of them were able to increase their holdings.

(C)Some of them worked as professionals or in business.

(D) Most of them accumulated their own fortunes.

(E) Many of them retained their wealth in spite of financial upheavals.

5. Which of the following best states the author‘s main point?

(A) Pessen‘s study has overturned the previously established view of the social and economic structure of early nineteenth-century America.

(B) Tocqueville‘s analysis of the United States in the Jacksonian era remains the definitive account of this period.

(C) Pessen‘s study is valuable primarily because it shows the continuity of the social system in the United States throughout the nineteenth century.

(D) The social patterns and political power of the extremely wealthy in the United States between 1825 and 1850 are well documented.

(E) Pessen challenges a view of the social and economic system in the United States from 1825 to 1850, but he draws conclusions that are incorrect.

Question 6 is based on the following passage.

Anaerobic glycolysis is a process in which energy is produced, without oxygen, through the breakdown of muscle glycogen into lactic acid and adenosine tri- phosphate (ATP), the energy provider.

The amount of energy that can be produced anaerobically is a function of the amount of glycogen present—in all vertebrates about 0.5 percent of their muscles‘ wet weight.

Thus the anaerobic energy reserves of a verte-brate are proportional to the size of the animal.

If, for example, some predators had attacked a 100-ton dinosaur, normally torpid, the dinosaur would have been able to generate almost instantaneously, via anaerobic glycolysis, the energy of 3,000 humans at maximum oxidative metabolic energy production.

6. The passage‘s suggestion that the total anaerobic energy reserves of a vertebrate are proportional to the vertebrate‘s size is based on which of the following assumption?

(A) larger vertebrates conserve more energy than smaller vertebrates

(B) larger vertebrates use less oxygen per unit weight than smaller vertebrates

(D) the amount of muscle tissue in a vertebrate is directly related to its size

(E) the size of a vertebrate is proportional to the quantity of energy it can utilize

Questions 7-10 are based on the following passage.

Extraordinary creative activity has been characterized as revolutionary, flying in the face of what is established and producing not what is acceptable but what will become accepted.

According to this formulation, highly creative activity transcends the limits of an existing form and establishes a new principle of organization.

However, the idea that extraordinary creativity transcends established limits is misleading when it is applied to the arts, even though it may be valid for the sciences.

Difference between highly creative art and highly creative science arise in part from a difference in their goals.

For the sciences, a new theory is the goal and end result of the creative act. Innovative science produces new propositions in terms of which diverse phenomena can be related to one another in more coherent ways.

Such phenomena as a brilliant diamond or a nesting bird are relegated to the role of data, serving as the means for formulating or testing a new theory.

The goal of highly creative art is very different: the phenomenon itself becomes the direct product of the creative act.

Shakespeare‘s Hamlet is not a tract about the behavior of indecisive princes or the uses of political power; nor is Picasso‘s painting Guernica primarily a propositional statement about the Spanish Civil War or the evils of fascism.

What highly creative artistic activity produces is not a new generalization that transcends established limits, but rather an aesthetic particular.

Aesthetic particulars produced by the highly creative artist extend or exploit, in an innovative way, the limits of an existing form, rather than transcend that form.

This is not to deny that a highly creative artist sometimes establishes a new principle of organization in the history of an artistic field; the composer Monteverdi, who created music of the highest aesthetic value, comes to mind.

More generally, however, whether or not a composition establishes a new principle in the history of music has little bearing on its aesthetic worth.

Because they embody a new principle of organization, some musical works, such as the operas of the Florentine Camerata, are of signal historical importance, but few listeners or musicologists would include these among the great works of music.

On the other hand, Mozart‘s The Marriage of Figaro is surely among the masterpieces of music even though its modest innovations are confined to extending existing means.

It has been said of Beethoven that he toppled the rules and freed music from the stifling confines of convention.

But a close study of his compositions reveals that Beethoven overturned no fundamental rules.

Rather, he was an incomparable strategist who exploited limits—the rules, forms, and conventions that he inherited from predecessors such as Haydn and Mozart, Handel and Bach—in strikingly original ways.

(For the following question, consider each of the choices separately and select all that apply)

7. The passage supplies information for answering which of the following questions?

(A) Has unusual creative activity been characterized as revolutionary?

(B) Did Beethoven work within a musical tradition that also included Handel and Bach?

(C) Who besides Monteverdi wrote music that the author would consider to embody new principles of organization and to be of high aesthetic value?

8. The author regards the idea that all highly creative artistic activity transcends limits with

(A) deep skepticism

(B) strong indignation

(D) moderate amusement

(E) sharp derision

9. The author implies that an innovative scientific contribution is one that

(A) is cited with high frequency in the publications of other scientists

(B) is accepted immediately by the scientific community

(D) presents the discovery of a new scientific fact

(E) introduces a new valid generalization

10. Which of the following statements would most logically concluded the last paragraph of the passage?

(A) Unlike Beethoven, however, even the greatest of modern composers, such as Stravinsky, did not transcend existing musical forms.

(B) In similar fashion, existing musical forms were even further exploited by the next generation of great European composers.

(D) By contrast, the view that creativity in the arts exploits but does not transcend limits is supported in the field of literature.

(E) Actually, Beethoven‘s most original works were largely unappreciated at the time that they were first performed.

Immediately relevant to game theory are the sex ratios in certain parasitic wasp species that have a large excess of females.

某些寄生性胡蜂种群内雌性的数量远超雄性，这种性别比与博弈论紧密相关。

倒装句，正常的语序是 the sex ratios(一堆修饰成分) are immediately relevant to game theory.

game theory：博弈论

In these species, fertilized eggs develop into females and unfertilized eggs into males.

在这些种群内，受精卵发育为雌蜂，而未受精卵发育为雄蜂。

A female stores sperm and can determine the sex of each egg she lays by fertilizing it or leaving it unfertilized.

雌蜂携带精子，它可以通过选择是否让其受精来决定每一枚它产的卵的性别。

F的遗传学观点认为，让每一个体产生最多后代并因此传播自身基因的性别比最具竞争优势，生育数量相当的两种性别的后代对雌蜂是最有利的。

(F哥的观点，前边都没问题，使劲生尽量让自己的基因被表达和传播，但结论很怪，他说要生儿女一边多的最好，莫非蜂是一夫一妻制，怪了点。)

Hamilton, noting that the eggs develop within their host—the larva of another insect—and that the newly emerged adult wasps mate immediately and disperse, offered a remarkably cogent analysis.

H，注意到卵都是在宿主内发育——另一种昆虫的幼虫——而且新生的蜂成熟后立刻交配并离开，提出了一种相当有说服力的分析。

Since only one female usually lays eggs in a given larva, it would pay her to produce one male only, because this one male could fertilize all his sisters on emergence.

既然每只幼虫只有一只雌蜂产卵，只生产一只雄蜂才最有利，因为这只雄蜂已经足够为它所有的姐妹提供精子。

(H哥的观点更合理，一只雄蜂已经足够用了，在保证有精子的情况下，雌蜂越多越能保证产生更多后代。)

Like Fisher,Hamilton looked for an evolutionarily stable strategy, but he went a step further in recognizing that he was looking for a strategy.

H和F都寻找一种进化论意义上的稳定策略，但H更进一步，他意识到自己是在寻找这样一种策略。

1. The author suggests that the work of Fisher and Hamilton was similar in that both scientists

(A) conducted their research at approximately the same time

(B) sought to manipulate the sex ratios of some of the animals they studied

(D) studied game theory, thereby providing important groundwork for the late development of strategy theory

(E) studied reproduction in the same animal species

选C。

他们都尝试解释为什么这些寄生蜂种群内有特定的性别比，且能保持这个比例稳定。

(For the following question, consider each of the choices separately and select all that apply)

2. The passage contains information that would answer which of the following questions about wasps?

□A How many eggs does the female wasp usually lay in a single host larva?

□B Can some species of wasp determine sex ratios among their offspring?

□C What is the approximate sex ratio among the offspring of parasitic wasps?

不定项选择，有时候真的会选3个。

选B。

A在瞎聊显然没有。

关于C，其实我们知道C问题的相关信息，一个寄主内一只雄蜂，但因为不知道寄主内卵的总数，所以不能确定性别比。不能answer，所以不选C。

3. Which of the following is NOT true of the species of parasitic wasps discussed in the passage?

(A) Adult female wasps are capable of storing sperm.

(B) Female wasps lay their eggs in the larva of other insects.

(D) So few male wasps are produced that extinction is almost certain.

(E) Male wasps do not emerge from their hosts until they reach sexual maturity.

选D。

其实我个人对E是不确定的，但由于D实在错的明显且单选。

Questions 4 to 5 are based on the following reading passage.

Tocqueville, apparently, was wrong. Jacksonian America was not a fluid, egalitarian society where individual wealth and poverty were ephemeral conditions.

托克维尔认为杰克森时代的美国是平等的，穷人有机会使自己跻身富裕阶层，似乎(有人认为)他错了。

(apparently，这个词有两种解释，都是源于apparent。一种是“显而易见地，明显地”;一种是“似乎是这样地(其实未必如此)，表面上地”。下文可以看出作者拿出的证据都是间接的(P的研究结果)，且最终作者否定了P的结论，所以 apparently 应该做“似乎”讲，取第二种解释。此处 Ch'en Meng 老师的文档把 apparently 译成“显然”我认为是错误的。

Jachsonian，杰克逊的，这里的杰克逊是美国第七任总统(任期1828-1836)安德鲁·杰克逊，一直被认为是美国最杰出的十位总统之一，民主党创建者之一。与本题无关。)

At least so argues E. Pessen in his iconoclastic study of the very rich in the United States between 1825 and 1850.

至少E·Pessen的颠覆传统的研究这样认为，ta的研究对象是1825-1850年的美国超富阶层。

(倒装句，正常语序是 At least E·Pessen argues so in his iconoclastic study of …… )

Pessen does present a quantity of examples, together with some refreshingly intelligible statistics, to establish the existence of an inordinately wealthy class.

P的确列举了若干例子，结合一些明显的数据，以勾勒出这个超越常人理解的富裕阶层，使人耳目一新。

Though active in commerce or the professions, most of the wealthy were not self-made, but had inherited family fortunes.

(然而)尽管大部分富人在各自的职业领域相当活跃，其巨额财富却是来自家族传承，而非个人奋斗。

In no sense mercurial, these great fortunes survived the financial panics that destroyed lesser ones.

经济恐慌时期，这些巨富毫无意外得以全身而退，小规模的资本却悉数倾覆。

(in no sense 绝不(adv.);mercurial 反复无常的，难以预测的。

in no sense mercurial 是说这些巨富能够从经济恐慌时期存活下来，不是偶然的，是毫不令人意外的。)

Indeed, in several cities the wealthiest one percent constantly increased its share until by 1850 it owned half of the community‘s wealth.

实际上在某些城市，前1%的富人的财富持续增加，直到1850年，已占他们所在区域总财富的半数。

即便这些观察是真实的，P也高估了它们的重要性，并误以为这个无疑是不平等的进程在杰克逊时代得以继续，甚至使美国在完成工业化以前，就成为一个等级森严的，由财阀统治的社会。

4. According to the passage, Pessen indicates that all of the following were true of the very wealthy in the United States between 1825 and 1850 EXCEPT:

(A) They formed a distinct upper class.

(B) Many of them were able to increase their holdings.

(C)Some of them worked as professionals or in business.

(D) Most of them accumulated their own fortunes.

(E) Many of them retained their wealth in spite of financial upheavals.

选D。

见第四句。

5. Which of the following best states the author‘s main point?

(A) Pessen‘s study has overturned the previously established view of the social and economic structure of early nineteenth-century America.

(B) Tocqueville‘s analysis of the United States in the Jacksonian era remains the definitive account of this period.

(C) Pessen‘s study is valuable primarily because it shows the continuity of the social system in the United States throughout the nineteenth century.

(D) The social patterns and political power of the extremely wealthy in the United States between 1825 and 1850 are well documented.

(E) Pessen challenges a view of the social and economic system in the United States from 1825 to 1850, but he draws conclusions that are incorrect.

选E。

有点儿重要，多说几句。

P的研究虽然是反传统的，但是他overturn学界对这个时期的社会经济结构观点吗?显然没有，第7句可见他的结论是有问题的。

托克维尔对于杰克森时代的美国的分析仍然是权威(definitive)的吗?

最大干扰项。

托克维尔是著名的法国历史学家，政治家，贵族出身的他曾游历美国，写下著名的《美国的民主》(还有《美国游记》及大量书信)，一直被认为是美国社会的旁观者之眼。如果你跟我一样有这种半吊子背景知识，怎么看都觉得这个选项对。可惜即便“托克维尔观点”真的有这种地位，文中也看不出来，作者明确表态的内容，仅限于P质疑托克维尔，P的结论有问题，并不能证明托克维尔的观点就是权威的。所以，重申我们在填空题讲解中就一次次叮嘱各位的那种观点，

“GRE文字推理部分，如果你没有背景知识——是一种幸运，倘若不幸具备一些背景知识——切记要非常谨慎地使用，一切从文本和常识出发。”

不一定是valuable的，也不一定有continuity。

documented 用文件证实或证明的，明确记录的。

显然不够明确(not well)，否则也不会产生这么多分歧，学者们各说各话。

Question 6 is based on the following passage.

Anaerobic glycolysis is a process in which energy is produced, without oxygen, through the breakdown of muscle glycogen into lactic acid and adenosine tri-phosphate (ATP) , the energy provider.

无氧糖酵解是一个无氧情况下生产能量的过程，分解的鸡糖原转化为乳酸，和三磷酸腺苷也就是能量提供者。

(读这句话我也快疯了，两个办法，查字典，或者用缩写代号。我还写了一个代号版本：

AG是一个无氧情况下生产能量的过程，分解的肌肉GLYCG转化成乳酸和ATP也就是能量的提供者。

还是用填空题的经验，“不认识的词猜测它的语法角色，然后用代号代表”。)

The amount of energy that can be produced anaerobically is a function of the amount of glycogen present—in all vertebrates about 0.5 percent of their muscles‘ wet weight.

无氧(代谢)能够产生的能量值是一个关于体内糖原的函数——在所有脊椎动物中，这个值与他们肌肉湿重的0.5%相关。

(A是B的函数，就是用含B的式子能够表示或推算A的值。这里的function再翻译成功能就不通顺了。)

Thus the anaerobic energy reserves of a vertebrate are proportional to the size of the animal.

所以，一只脊椎动物所蕴含的无氧能量(最大)储备与它们的体型有关。

如果，比如说，有什么掠食者攻击了一头100吨重的恐龙，一般都是趁龙先生睡觉的时候，一瞬间恐龙先生通过无氧糖酵解产生的能量，大概相当于3000个人类有氧代谢能产生的能量最大值的总和。

6. The passage‘s suggestion that the total anaerobic energy reserves of a vertebrate are proportional to the vertebrate‘s size is based on which of the following assumption?

(A) larger vertebrates conserve more energy than smaller vertebrates

(B) larger vertebrates use less oxygen per unit weight than smaller vertebrates

(D) the amount of muscle tissue in a vertebrate is directly related to its size

(E) the size of a vertebrate is proportional to the quantity of energy it can utilize

选D

很好的一道逻辑题。

请在看一遍2，3两句话。

然后整理一下它们的逻辑链条。

1)无氧糖解产生的能量;

2)体内蕴含的糖原，也就是肌肉湿重的05%;

3)动物的体型大小。

第2句告诉我们，1)和2)相关;

第3句接着告诉我们，因此1)和3)也相关。

现在题目问我们第3句是基于什么样的一个假设。

希望你能敏锐地察觉到，这个假设就是 “2)和3)相关”。

再说个类似的描述，“我跟你同班”，“我跟他同班”，隐含着一个“你跟他也同班”的假设。

多说几句。像这种短文章，只有一道题，有些老师会告诉你，读完问题去文中找答案，我个人表示保留。如果你阅读能力足够强，看懂第四句话用不了多长时间;如果你读不懂，你也未必能迅速判断它跟题目无关。所以说到底，提高你的阅读速度和理解力，不要想那些抄近路的小花招。在标准化考试中，真正能帮你的是实力，不是窍门和好运气，又不是买彩票，你同意吗。

最无辜的还是恐龙先生，你继续睡吧。

Questions 7-10 are based on the following passage.

Extraordinary creative activity has been characterized as revolutionary, flying in the face of what is established and producing not what is acceptable but what will become accepted.

非凡的创造性活动是一种革命，它与现有的规则格格不入，创造不是为了讨好，而是为了改变。

According to this formulation, highly creative activity transcends the limits of an existing form and establishes a new principle of organization.

根据这个定义，高创造性活动超越现有形式的限制，建立一种新的规范。

However, the idea that extraordinary creativity transcends established limits is misleading when it is applied to the arts, even though it may be valid for the sciences.

然而，“卓越创造超越成规”的观点在艺术领域是不成立的，尽管它可能适用于科学界。

Difference between highly creative art and highly creative science arise in part from a difference in their goals.

高创造性艺术品与创造性科学研究的区别，缘于他们迥异的初衷。

对科学来说，新的理论是创造活动的目标和最终结果。新的科学制造新的命题，用以更条理分明地解释相关联的不同现象。

Such phenomena as a brilliant diamond or a nesting bird are relegated to the role of data, serving as the means for formulating or testing a new theory.

比如，一颗夺目的钻石或者一只筑巢的鸟都会被记录成某种数据，用以归纳或测试一种新理论。

The goal of highly creative art is very different: the phenomenon itself becomes the direct product of the creative act.

高创造性艺术的目标则完全不同：现象本身就是创造性活动的直接产物。

莎士比亚的哈姆雷特并非只为描述一个优柔寡断的王子或者或政治权谋;毕加索的格尔尼卡的主题也并非主要关于西班牙内战或法西斯主义。

What highly creative artistic activity produces is not a new generalization that transcends established limits, but rather an aesthetic particular.

高创造性艺术活动要完成的并非一种超越成规的新概括，而是一个具体的美学对象。

Aesthetic particulars produced by the highly creative artist extend or exploit, in an innovative way, the limits of an existing form, rather than transcend that form.

高创造性艺术家创造的具体的美学对象，以新的方式拓展或利用了旧有的艺术形式，而不是超越它们。

不能否认，某领域的艺术史上确有高创造性艺术家建立过新的组织原则;作品艺术价值达到巅峰的作曲家蒙特威尔第就属于这种情况。

(Monteverdi，意大利作曲家(1567-1643)，被认为是歌剧这种形式的创始人)

More generally, however, whether or not a composition establishes a new principle in the history of music has little bearing on its aesthetic worth.

然而，更多普遍的情况是，一件作品是否在音乐史上建立了一种新的原则跟它的艺术价值无关。

一些音乐作品，比如 Florentine Camerata 的一些歌剧，体现了新的组织原则，在音乐史上具有一定的重要性，但没什么听众或音乐评家认为它们属于最伟大的音乐作品。

On the other hand, Mozart‘s The Marriage of Figaro is surely among the masterpieces of music even though its modest innovations are confined to extending existing means.

另一方面，尽管莫扎特的费加罗的婚礼只是稍微扩展了前人的手法，却足以被称为杰作。

It has been said of Beethoven that he toppled the rules and freed music from the stifling confines of convention.

有人说贝多芬颠覆了规则，把音乐从使人窒息的传统限制中解放出来。

But a close study of his compositions reveals that Beethoven overturned no fundamental rules.

但如果你详细地研究它的作品就会发现，贝多芬没有颠覆任何规则。

相反，他是无人企及的利用各种限制的大师，他从海顿、莫扎特、韩德尔、巴赫等前辈音乐家那里继承了很多规则、形式和传统，并极具创造性地加以利用。

( For the following question, consider each of the choices separately and select all that apply )

7. The passage supplies information for answering which of the following questions?

(A) Has unusual creative activity been characterized as revolutionary?

(B) Did Beethoven work within a musical tradition that also included Handel and Bach?

(C) Who besides Monteverdi wrote music that the author would consider to embody new principles of organization and to be of high aesthetic value?

选AB。

A 第1句。

B 第17句。

C 既创立新规则又受到听众好评的只举了Monteverdi，Florentine Camerata 时期的作品听众就不是很爱。

8. The author regards the idea that all highly creative artistic activity transcends limits with

(A) deep skepticism

(B) strong indignation

(D) moderate amusement

(E) sharp derision

选A。

A 深深怀疑; B 强烈愤怒; C 明显地漠不关心; D 觉得有点好玩; E 尖锐的嘲笑

你看看!不背单词行么!

9. The author implies that an innovative scientific contribution is one that

(A) is cited with high frequency in the publications of other scientists

(B) is accepted immediately by the scientific community

(D) presents the discovery of a new scientific fact

(E) introduces a new valid generalization

选E。

第5、6句。

10. Which of the following statements would most logically concluded the last paragraph of the passage?

(A) Unlike Beethoven, however, even the greatest of modern composers, such as Stravinsky, did not transcend existing musical forms.

(B) In similar fashion, existing musical forms were even further exploited by the next generation of great European composers.

(D) By contrast, the view that creativity in the arts exploits but does not transcend limits is supported in the field of literature.

(E) Actually, Beethoven‘s most original works were largely unappreciated at the time that they were first performed.

选B。

A项出现的Stravinsky、D的literture，文中都没出现过，无法判断，一定不选;

E贝多芬的作品初演，当时的听众喜欢不喜欢我们不知道，也不选;

C，很多作曲家都展示出了Monteverdi那样的多方面的才华(既创造新形式，又具有音乐性被人喜欢)，文中再看不到这种例子，不选;

B 伟大的欧洲作曲家创立的那些音乐形式在(贝多芬)以后仍然被后辈音乐家利用。从作者否定“贝多芬是颠覆性的”的态度，可以推测出这种倾向(大概有种“贝多芬都不颠覆你颠覆个鬼”的意味，酱)。

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