A hotel manager has proposed a new policy to offer discounts for weddings with a higher number of guests than the couple getting married. The reasoning behind this policy is that weddings of such large sizes typically involve many guests driving from out of town, and the hotel manager believes that the increased number of guests will compensate for the cost of the discount.
Which of the following, if true, would most strongly support the hotel manager's reasoning behind the proposed discount policy?
(A) The hotel has recently hosted a significant number of large-scale weddings.
(B) The majority of the hotel's guests are business travelers attending conferences.
(C) There are very few hotels in the area that can accommodate weddings of a similar size.
(D) The hotel has a reputation for providing exceptional catering services for weddings.
(E) Most of the hotel's wedding bookings are made at least six months in advance.
A community has decided to charge a fee to new residents moving into the area, citing the reason that the process of moving in and transporting furniture can cause damage to the community's roads and facilities. However, existing residents also frequently move within the community and transport furniture. It would be unfair to charge only the new residents moving in.
Which of the following would be most useful in evaluating whether the community's decision to charge a fee only to new residents is justified?
(A) The average length of time that residents live in the community before moving out.
(B) The proportion of damage to roads and facilities caused by existing residents moving within the community compared to the total damage.
(C) The cost of repairing the damage caused to the community's roads and facilities each year.
(D) The number of new residents moving into the community annually compared to the number of existing residents moving within the community.
(E) The average size and weight of the furniture being transported by new and existing residents during moves.
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The eerie phosphorescence displayed by a rare form of blue diamond can be used as an easy, cheap, and nondestructive way to identify individual gemstones and to distinguish natural blue diamonds from synthetic ones, analyses suggest.
Phosphorescence, a "glow-in-the-dark" process in which energy previously absorbed by a substance is released slowly in the form of light, is common in a certain type of blue diamond. After exposure to light, these type IIb diamonds, which have boron- and nitrogen-containing impurities, softly glow in colors ranging from blue through pink to fiery red, says Sally Eaton-Magaña, a chemical engineer at the Gemological Institute of America in Carlsbad, Calif. The orange-red glow from the 45.52-carat Hope Diamond, a type IIb gemstone on display at the Smithsonian Institution in Washington, D.C., is visible for as long as a minute after the lights go out.
Although millions of visitors to the Smithsonian's National Museum of Natural History see the Hope Diamond each year, the gem has received remarkably little scientific attention. While a set of 239 colored diamonds known as the Aurora Heart Collection was on loan to the museum in 2005, Eaton-Magaña and her colleagues studied the set's type IIb diamonds as well as the Hope Diamond and the museum's 30.62-carat Blue Heart Diamond. They also studied the blue diamonds in the Aurora Butterfly Collection in New York City. In all, the researchers studied 67 natural blue diamonds, 3 synthetic ones, and a gray diamond that other researchers had turned blue via treatments at high temperature and high pressure. In some of their tests, the scientists shone a high-intensity ultraviolet light on each gemstone for 20 seconds and then measured its phosphorescence at various wavelengths.
Reddish phosphorescence in diamonds was thought to be rare, says Eaton-Magaña. However, the tests showed that all natural type IIb diamonds glow for several seconds at two visible wavelengths—a 500-nanometer, greenish-blue light and a 660-nm reddish one. The relative strengths of the phosphorescence at the two wavelengths dictate the hue of a stone's overall glow. Differences in the peak intensities of those emissions and the rates at which they wane provide a virtual fingerprint for each stone, the researchers report in the January Geology.
Neither the synthetic stones nor the color-enhanced gray gemstone glowed at the 660-nm wavelength. The new technique's ability to distinguish between artificial diamonds and the true blue gems "solves one of the big problems in diamond markets," says Stephen E. Haggerty, a geologist at Florida International University in Miami.
Tests on the Hope Diamond suggest that variations in phosphorescence from one part of a large gem to another are negligible, says Eaton-Magaña. Scientists would therefore still be able to identify the pieces of a large diamond if it were stolen and cut into smaller stones.
1. The primary purpose of the passage is to:
(A) describe the unique phosphorescent properties of type IIb diamonds and their potential applications.
(B) compare the phosphorescence of natural and synthetic blue diamonds.
(C) explain the scientific importance of studying the Hope Diamond.
(D) discuss the challenges faced by researchers in studying rare gemstones.
(E) highlight the role of boron and nitrogen impurities in the phosphorescence of diamonds.
2. It can be inferred from the passage that the study of the phosphorescence of type IIb diamonds:
(A) has been a major focus of research at the Gemological Institute of America for many years.
(B) was limited by the availability of natural blue diamonds for analysis.
(C) required collaboration between the Smithsonian Institution and the Aurora Butterfly Collection.
(D) was motivated by the need to address a significant problem in the diamond market.
(E) relied on the use of high-intensity ultraviolet light to stimulate phosphorescence.
3. The author mentions the 239 colored diamonds in the Aurora Heart Collection primarily to:
(A) emphasize the rarity of type IIb diamonds.
(B) provide context for the study of blue diamonds by Eaton-Magaña and her colleagues.
(C) suggest that the phosphorescence of colored diamonds varies based on their hue.
(D) compare the phosphorescence of the Hope Diamond to that of other famous gemstones.
(E) highlight the scientific significance of the Aurora Heart Collection.
4. Based on the information in the passage, which of the following can be inferred about the phosphorescence of type IIb diamonds?
(A) It is a more reliable indicator of a diamond's authenticity than its color.
(B) It is influenced by the presence of impurities other than boron and nitrogen.
(C) It is a characteristic that can be enhanced through high-temperature and high-pressure treatments.
(D) It is a phenomenon that has been widely studied in the field of gemology.
(E) It is a property that is unique to blue diamonds and not found in other colored diamonds.
5. The passage suggests that the phosphorescence of type IIb diamonds is significant because it:
(A) allows for the identification of individual gemstones.
(B) provides insight into the geological formation of blue diamonds.
(C) enables the determination of a diamond's market value.
(D) facilitates the detection of synthetic diamonds in the market.
(E) both A and D.
6. According to the passage, the phosphorescence of the Hope Diamond:
(A) has been extensively studied by scientists prior to Eaton-Magaña's research.
(B) is not representative of the phosphorescence of other type IIb diamonds.
(C) is the result of its unique chemical composition compared to other blue diamonds.
(D) can be observed by visitors to the Smithsonian's National Museum of Natural History.
(E) is stronger than the phosphorescence exhibited by the Blue Heart Diamond.
7. The passage implies that the study of the phosphorescence of type IIb diamonds is:
(A) a well-established field with a long history of research.
(B) a relatively new area of research with significant potential applications.
(C) a controversial topic among gemologists and diamond experts.
(D) a research area that has been hindered by the scarcity of natural blue diamonds.
(E) a field that has been primarily driven by the interests of the diamond industry.
8. The findings of Eaton-Magaña and her colleagues regarding the phosphorescence of type IIb diamonds:
(A) contradict previous assumptions about the rarity of reddish phosphorescence in diamonds.
(B) suggest that the phosphorescence of blue diamonds is not influenced by their size.
(C) indicate that the phosphorescence of synthetic blue diamonds is identical to that of natural ones.
(D) demonstrate that the phosphorescence of type IIb diamonds is a result of their exposure to ultraviolet light.
(E) confirm that the phosphorescence of blue diamonds is a well-understood phenomenon in the scientific community.
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The late 19th and early 20th centuries bore witness to an extraordinary artistic phenomenon that would forever alter the landscape of Western music: the fusion of French Impressionism and Italian opera. This unlikely partnership, born of a shared desire to push the boundaries of musical expression, gave rise to a new era of creativity and innovation that continues to captivate audiences and inspire composers to this day.
Impressionism, a term borrowed from the visual arts, first emerged in France during the 1870s as a reaction against the rigid formalism and naturalism that had dominated European music for centuries. Pioneered by visionary composers such as Claude Debussy and Maurice Ravel, Impressionist music sought to evoke a sense of mood, atmosphere, and color through the use of unconventional harmonies, fluid rhythms, and orchestral textures. Drawing inspiration from the ethereal beauty of nature, the symbolist poetry of Baudelaire and Verlaine, and the dreamlike imagery of Japanese art, Debussy and his contemporaries crafted a musical language that was at once intensely personal and universally resonant.
As Impressionism began to take hold in France, its influence quickly spread across Europe, finding particularly fertile ground in Italy. For centuries, Italian opera had been renowned for its passionate lyricism, dramatic intensity, and virtuosic vocal writing. However, by the late 19th century, many Italian composers had begun to feel constrained by the conventions of the bel canto style and the formulaic structures of opera seria. Seeking new ways to express the depths of human emotion and the complexities of the modern world, these composers turned to the innovations of French Impressionism for inspiration.
One of the first Italian composers to fully embrace the Impressionist aesthetic was Ottorino Respighi. Born in Bologna in 1879, Respighi studied composition in his native Italy before moving to Paris in 1900 to immerse himself in the city's vibrant musical scene. There, he attended the performances of Debussy's groundbreaking opera "Pelléas et Mélisande" and became fascinated by the composer's use of shimmering orchestral colors, unconventional harmonies, and fluid, dreamlike melodies. Returning to Italy in 1903, Respighi began to incorporate these elements into his own compositions, creating a unique fusion of Italian lyricism and French harmonic innovation.
Respighi's most famous work, the orchestral tone poem "Pini di Roma" (1924), is a stunning example of this synthesis. Inspired by the majestic pine trees that line the streets of Rome, the piece evokes the city's timeless beauty through a series of impressionistic vignettes, each one more luminous and evocative than the last. From the shimmering opening chords that depict the play of sunlight on the pines to the haunting offstage trumpet calls that evoke the ghosts of ancient Roman soldiers, "Pini di Roma" is a masterpiece of atmospheric writing that owes as much to Debussy as it does to the Italian symphonic tradition.
Respighi's success paved the way for a new generation of Italian composers who would further explore the possibilities of Impressionism in opera. Among the most significant of these was Riccardo Zandonai, whose 1914 opera "Francesca da Rimini" is a landmark of the genre. Based on an episode from Dante's "Inferno," the opera tells the tragic story of Francesca and Paolo, two young lovers condemned to eternal damnation for their adulterous passion. Zandonai's score is a marvel of Impressionistic color and texture, with shimmering string tremolos, haunting woodwind solos, and lush, chromatic harmonies that perfectly capture the opera's sense of doomed romanticism.
Another key figure in the Impressionist-Italian opera tradition was Italo Montemezzi, whose 1913 work "L'amore dei tre re" (The Love of Three Kings) is a masterpiece of atmospheric writing. Set in a mythical medieval kingdom, the opera tells the story of a young princess torn between her love for a mysterious stranger and her duty to her father and her people. Montemezzi's score is a tour de force of Impressionistic orchestration, with shimmering harp glissandi, ethereal string harmonics, and haunting modal melodies that evoke a sense of ancient mystery and timeless tragedy.
Perhaps the most famous Italian composer to be influenced by French Impressionism was Giacomo Puccini. Although Puccini is often associated with the verismo style of Italian opera, which emphasized realism and social commentary, his later works show a distinct Impressionistic influence. This is particularly evident in his 1910 opera "La fanciulla del West" (The Girl of the Golden West), which tells the story of a love triangle set against the backdrop of the California Gold Rush.
Puccini's score for "La fanciulla del West" is a marvel of Impressionistic color and atmosphere. From the shimmering opening chords that evoke the vast expanse of the American West to the haunting love themes that capture the opera's sense of longing and desire, Puccini's music is suffused with a sense of mystery and ambiguity that is quintessentially Impressionistic. The composer's use of unconventional harmonies, pentatonic scales, and exotic orchestral timbres (such as the distinctive sound of the celesta) further underscores the opera's sense of otherness and adventure.
Puccini's Impressionistic influence can also be seen in his 1918 opera "Il tabarro" (The Cloak), a gritty tale of love, jealousy, and murder set on the banks of the Seine in Paris. Here, Puccini uses Impressionistic techniques to evoke the gloomy atmosphere of the Parisian docks, with murky orchestral colors, eerie dissonances, and fragmentary melodies that suggest the characters' inner turmoil and despair.
The influence of French Impressionism on Italian opera was not limited to the realm of composition, however. It also had a profound impact on the visual and dramatic aspects of opera production. Inspired by the Impressionist painters' use of light, color, and atmosphere to create mood and emotion, Italian stage designers and directors began to experiment with new ways of creating immersive, multi-sensory experiences for their audiences.
One of the most important figures in this regard was the Italian stage designer Adolfo Hohenstein. Born in St. Petersburg in 1854, Hohenstein studied painting in Germany before moving to Italy in the 1870s, where he became a leading figure in the world of opera production. Hohenstein's designs for operas such as Verdi's "Falstaff" and Puccini's "Tosca" were heavily influenced by the Impressionist aesthetic, with their emphasis on color, light, and atmosphere over realistic detail.
Hohenstein's use of Impressionistic techniques can be seen in his design for the 1893 premiere of Puccini's "Manon Lescaut" at the Teatro Regio in Turin. The opera, which tells the story of a young woman torn between love and luxury, was set in 18th-century France, and Hohenstein's designs perfectly captured the rococo elegance and decadence of the period. His use of soft, diffused lighting, pastel colors, and intricate, asymmetrical patterns created a sense of dreamlike beauty and unreality that perfectly complemented Puccini's lush, Impressionistic score.
The impact of French Impressionism on Italian opera can be seen in the sheer number of works that were influenced by the movement. According to musicologist Julian Budden, between 1890 and 1920, approximately 30% of all new Italian operas showed some degree of Impressionistic influence, whether in their harmonic language, orchestration, or visual design. This figure is even higher when considering works that were not explicitly labeled as "Impressionistic" but still bore the hallmarks of the style, such as Zandonai's "Francesca da Rimini" or Montemezzi's "L'amore dei tre re."
The legacy of French Impressionism in Italian opera can still be felt today, more than a century after the movement first emerged. Contemporary Italian composers such as Salvatore Sciarrino and Luca Francesconi continue to draw on the Impressionistic tradition in their works, using unconventional harmonies, ethereal timbres, and atmospheric effects to create a sense of mystery and ambiguity.
In conclusion, the influence of French Impressionism on Italian opera was a watershed moment in the history of Western music. By breaking free from the constraints of traditional forms and embracing a new language of color, light, and atmosphere, Italian composers such as Respighi, Zandonai, Montemezzi, and Puccini created works of unparalleled beauty and emotional depth that continue to captivate audiences to this day. Their success in blending the lyricism and drama of Italian opera with the harmonic and orchestral innovations of French Impressionism paved the way for a new era of experimentation and creativity in the world of classical music.
Moreover, the impact of this artistic cross-pollination extended far beyond the realm of opera. The Impressionistic techniques pioneered by Debussy and his contemporaries had a profound influence on composers working in a wide range of genres, from orchestral music to solo piano works to ballet scores. The lush harmonies, shimmering timbres, and atmospheric effects of Impressionism became an integral part of the modern musical vocabulary, shaping the course of classical music throughout the 20th century and beyond.
The fusion of French Impressionism and Italian opera also had significant cultural and political implications. In an era of increasing nationalism and cultural chauvinism, the idea of an artistic exchange between two of Europe's great musical powers was a powerful symbol of international cooperation and understanding. By embracing the innovations of French composers, Italian musicians were able to break free from the parochialism and conservatism that had long dominated their country's musical scene, forging a new path forward that was both cosmopolitan and distinctly Italian.
Today, as we look back on the rich history of Western classical music, the influence of French Impressionism on Italian opera stands out as a shining example of the power of artistic exchange and collaboration. Through their willingness to embrace new ideas and techniques, composers such as Respighi, Zandonai, Montemezzi, and Puccini not only created works of stunning beauty and emotional depth but also helped to shape the course of music history, leaving a legacy that continues to inspire and enchant us to this day.
In a world that is increasingly divided by political, cultural, and ideological differences, the story of French Impressionism and Italian opera serves as a reminder of the transformative power of artistic collaboration and exchange. By reaching across borders and embracing new ideas and perspectives, we can create works of art that transcend the limitations of our individual experiences and speak to the universal human condition. In this sense, the fusion of French Impressionism and Italian opera is not just a historical curiosity but a model for the kind of creative collaboration and cultural exchange that we need more than ever in the 21st century.
Questions:
1. Which of the following Italian composers is most closely associated with the verismo style of opera?
(A) Ottorino Respighi
(B) Riccardo Zandonai
(C) Italo Montemezzi
(D) Giacomo Puccini
(E) Adolfo Hohenstein
2. According to the passage, approximately what percentage of new Italian operas composed between 1890 and 1920 showed some degree of Impressionistic influence?
(A) 10%
(B) 20%
(C) 30%
(D) 40%
(E) 50%
3. The passage suggests that Puccini's opera "La fanciulla del West" is notable for its use of:
(A) Realistic social commentary
(B) Traditional Italian bel canto style
(C) Conventional harmonies and orchestration
(D) Impressionistic color and atmosphere
(E) Grand, historical subject matter
4. Which of the following best describes the relationship between French Impressionism and Italian opera in the late 19th and early 20th centuries?
(A) Italian composers rejected the innovations of French Impressionism in favor of traditional operatic forms.
(B) French Impressionism had little impact on Italian opera, which remained largely unchanged during this period.
(C) Italian composers embraced the techniques of French Impressionism, leading to a new era of creativity and experimentation in opera.
(D) French Impressionism was a short-lived fad in Italy, with few composers incorporating its techniques into their work.
(E) The influence of French Impressionism on Italian opera was limited to a small group of avant-garde composers and had little mainstream impact.
5. The passage mentions Adolfo Hohenstein as an important figure in the history of Italian opera because of his:
(A) Contributions to the development of the verismo style
(B) Use of Impressionistic techniques in his stage designs
(C) Role in popularizing Italian opera in France and Germany
(D) Collaborations with prominent Italian composers such as Verdi and Puccini
(E) Innovations in the field of operatic composition
6. According to the passage, which of the following operas by Puccini is an example of his use of Impressionistic techniques to evoke a gloomy, mysterious atmosphere?
(A) "Manon Lescaut"
(B) "Tosca"
(C) "La fanciulla del West"
(D) "Il tabarro"
(E) "Turandot"
7. The passage suggests that the influence of French Impressionism on Italian opera was significant because it:
(A) Led to a rejection of traditional Italian operatic forms and styles
(B) Encouraged Italian composers to embrace a more nationalistic approach to opera
(C) Provided Italian composers with new techniques for expressing emotion and creating atmosphere
(D) Helped to establish Italian opera as the dominant form of classical music in Europe
(E) Brought about a renewed interest in the operas of earlier Italian composers such as Rossini and Verdi
8. The author of the passage would most likely agree with which of the following statements?
(A) The fusion of French Impressionism and Italian opera was a passing fad that had little lasting impact on classical music.
(B) Italian composers' adoption of Impressionistic techniques was a betrayal of their national musical heritage.
(C) The influence of French Impressionism on Italian opera demonstrates the importance of artistic exchange and collaboration across cultures.
(D) The Impressionistic works of Italian composers such as Respighi and Puccini are inferior to those of their French counterparts.
(E) The success of Italian composers in incorporating Impressionistic techniques into their operas was due primarily to the efforts of stage designers such as Adolfo Hohenstein.
9. The passage mentions all of the following as characteristics of French Impressionist music EXCEPT:
(A) An emphasis on realistic, detailed musical representation
(B) The use of unconventional harmonies and orchestral colors
(C) A focus on evoking mood, atmosphere, and emotion
(D) Inspiration drawn from nature, poetry, and visual art
(E) A break from traditional musical forms and structures
10. Which of the following best summarizes the main idea of the passage?
(A) French Impressionism was a short-lived musical movement that had little impact on Italian opera.
(B) The influence of French Impressionism on Italian opera led to a decline in the quality and popularity of Italian opera in the early 20th century.
(C) The fusion of French Impressionism and Italian opera was a significant development that shaped the course of classical music and demonstrated the power of artistic exchange and collaboration.
(D) Italian composers' adoption of Impressionistic techniques was a response to the political and social upheavals of the early 20th century.
(E) The success of Italian composers in incorporating Impressionistic elements into their operas was due primarily to the efforts of a few key figures such as Puccini and Respighi.
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[/md]作者: Monmonjjjj 时间: 2024-8-13 16:10
打卡CR：
1）酒店老板要给有很多guest的wedding打折，因为guest很多，能抵消discount/cost。就要去找guest和cost见的关系。
C：因为town里只有几家能办这种wedding，所以这些from out of the town的guest就会在这里住下，所以能有一笔收入用来抵消discount
2）community要charge新搬进来的人一个fee，用来维修damage。但是人们认为不对existing residents charge是unfair。要找new和existing之间damage的区别。
B：如果proportion很小，则证明existing的damage可以忽略不计，则不用charge；如果proportion很大，则证明需要给他们charge a fee作者: faye1030 时间: 2024-8-14 06:30
[md]CR