The video game company "Pixel Perfect" saw a significant drop in sales for its flagship title, Retro-Rampage, in the city of Aethelgard. However, the following year, sales of Retro-Rampage in Aethelgard surged dramatically. Pixel Perfect's marketing team concluded that Aethelgard residents had simply rediscovered their love for the classic game.
Which of the following, if true, most seriously weakens the marketing team's conclusion?
(A) Pixel Perfect launched a highly successful advertising campaign for Retro-Rampage in Aethelgard during the second year.
(B) A popular online streamer with a large following in Aethelgard began playing Retro-Rampage extensively during the second year.
(C) Pixel Perfect released a major update for Retro-Rampage, adding new levels and characters, just before the second year's sales surge.
(D) Sales of other, similar retro-themed video games also increased in Aethelgard during the second year.
(E) Pixel Perfect repackaged and re-released Retro-Rampage with a slightly altered title and updated cover art in Aethelgard for the second year.
The highway department of a certain state increased the speed limit on some highways last year. Subsequently, the accident rate on those highways increased by 10% compared to the previous year. The department concluded that the increased speed limit caused more accidents.
Which of the following, if true, most seriously weakens the highway department's conclusion?
(A) Most drivers on those highways exceeded the speed limit, whether it was the older, lower limit or the current, higher one.
(B) When the speed limit was lower, the highways in question were seldom patrolled by the police for speeding violations.
(C) Because of the increased speed limit, the highways became more attractive routes to many drivers who previously avoided them.
(D) In raising the speed limit, the highway department was responding to political pressure from lawmakers.
(E) The highway department failed to consider that, overall, the number of accidents statewide decreased last year.
答案:
2.RCPueblo, name given by the Spanish to the sedentary Native Americans who lived in stone or adobe communal houses in what is now the SW United States. The term pueblo is also used for the villages occupied by the Pueblo. Their prehistoric settlements, known as the Anasazi and Mogollon cultures, extended southward from S Utah and S Colorado into Arizona, New Mexico, and adjacent territory in Mexico. The transition from Archaic (see Americas, antiquity and prehistory of the) hunters and gatherers to sedentary agricultural populations occurred around the 1st cent. A.D., when corn, squash, and beans were widely adopted; the trio of foods is still used by the Pueblo. Although agriculture provided the bulk of the diet for these early populations, hunting and gathering was an important source of additional foodstuffs. Pottery manufacture began about A.D. 400 and was used for cooking and water storage. Clothing was woven from cotton, grown in warmer areas, and yucca fiber. Early houses among the Anasazi and Mogollon were pit houses, which were replaced by adobe and stone surface dwellings throughout the region by the end of the first millennium A.D.
Villages were variable in size and architectural content, but most included circular, often subterranean structures known as kivas (apparently a derivation of the pit house) and storage pits for grains. Prior to the 14th and 15th cent., densely settled villages were more the exception than the rule. Large pueblos were found at Chaco Canyon, dating to the 11th and early 12th cent., and at Mesa Verde, where multistoried cliff houses were inhabited in the 13th and 14th cent.; a great lunar observatory was built at Chimney Rock, S Colo., in the 11th cent. Changing climatic conditions forced the abandonment of much of the region by the early 14th cent., with populations migrating to their present-day locations in the Rio Grande valley and a few other isolated areas (e.g., the Hopi mesas).
Initial contact with European populations came in the 16th cent., when Spaniards entered the Rio Grande area. The seven Zuñi towns were reported by the Franciscan Marcos de Niza to be the fabulous Seven Cities of Cibola, leading to the first intensive contacts—a Spanish exploration party under Francisco Vásquez de Coronado in 1540. Due to increasing pressure on the existing food supplies, the initially friendly Pueblo became hostile and then revolted; their resistance ended in a mass execution of Native Americans by Coronado. In 1598 Juan de Oñate began full-scale missionary work and moved the provincial headquarters of the Spanish colonial government to Santa Fe. By 1630, 60,000 Pueblo had been converted to Christianity, and 90 villages had chapels, according to Father de Benavides.
1. The passage suggests that the transition from Archaic hunters and gatherers to sedentary agricultural populations among the Pueblo was primarily triggered by
(A) the construction of pit houses and storage pits for grains
(B) the adoption of corn, squash, and beans as staple crops
(C) the development of pottery for cooking and water storage
(D) the establishment of densely settled villages and large pueblos
(E) the migration of populations to the Rio Grande valley and Hopi mesas
2. Which of the following can be inferred about the relationship between agriculture and hunting and gathering in early Pueblo populations?
(A) Agriculture completely replaced hunting and gathering as a food source.
(B) Hunting and gathering provided the majority of the Pueblo's diet, while agriculture was a supplementary food source.
(C) The Pueblo relied equally on agriculture and hunting and gathering for their food supply.
(D) Agriculture provided the bulk of the Pueblo's diet, but hunting and gathering remained an important supplementary food source.
(E) The importance of agriculture and hunting and gathering varied significantly among different Pueblo settlements.
3. The author's mention of the lunar observatory at Chimney Rock is most likely intended to
(A) provide evidence of the Pueblo's advanced astronomical knowledge
(B) illustrate the reasons for the Pueblo's migration to the Rio Grande valley
(C) support the idea that densely settled villages were common before the 14th century
(D) emphasize the importance of religion in Pueblo culture
(E) suggest that the Pueblo abandoned the site due to Spanish colonization
4. The passage indicates that the abandonment of much of the Pueblo region in the early 14th century was most likely caused by
(A) the Spanish colonization and missionary efforts
(B) conflicts between the Anasazi and Mogollon cultures
(C) the Pueblo's transition from a sedentary to a nomadic lifestyle
(D) changing climatic conditions and environmental factors
(E) the Pueblo's preference for the architectural styles of the Rio Grande valley and Hopi mesas
5. Based on the information in the passage, which of the following statements about the Seven Cities of Cibola is most accurate?
(A) They were the seven Zuni towns that Marcos de Niza reported to be wealthy and splendid.
(B) They were the actual destinations of Coronado's exploration party in 1540.
(C) They were the sites of the first intensive contacts between the Pueblo and the Spanish.
(D) They were the locations where the Pueblo revolted against the Spanish colonizers.
(E) They were the places where the Spanish established their colonial government headquarters.
6. The passage suggests that the Pueblo's initial friendliness towards the Spanish colonizers changed to hostility primarily due to
(A) religious differences and the Spanish efforts to convert the Pueblo to Christianity
(B) the Spanish colonizers' lack of interest in establishing trade relations with the Pueblo
(C) the increasing pressure on the Pueblo's food supplies caused by the Spanish presence
(D) the Pueblo's resistance to the Spanish colonizers' attempts to change their architectural styles
(E) the Spanish colonizers' preference for the Zuni towns over other Pueblo settlements
7. Which of the following can be inferred about the impact of Spanish missionary work on the Pueblo by 1630?
(A) The Spanish had successfully converted all Pueblo to Christianity.
(B) The Pueblo's traditional religious practices remained largely unaffected by Spanish missionary efforts.
(C) A significant number of Pueblo had been converted to Christianity, and many villages had chapels.
(D) The Pueblo actively resisted Spanish attempts to convert them to Christianity, leading to widespread revolts.
(E) Spanish missionary work focused primarily on the Zuni towns and had little impact on other Pueblo settlements.
8. The passage's discussion of the Pueblo's history from prehistoric times to the Spanish colonial period serves to
(A) argue that the Pueblo's cultural identity remained largely unchanged despite external influences
(B) illustrate the complex interplay of environmental, cultural, and political factors in shaping the Pueblo's development
(C) demonstrate the superiority of the Pueblo's architectural and astronomical achievements compared to those of other Native American tribes
(D) emphasize the Pueblo's successful resistance against Spanish colonization and missionary efforts
(E) suggest that the Spanish colonization had a more significant impact on the Pueblo's development than environmental factors like changing climatic conditions.
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Steinway & Sons, the illustrious piano manufacturer, has long been a paragon of excellence in the realm of musical instruments. Founded in 1853 by German immigrant Henry Engelhard Steinway in New York City, the company has since transcended its humble origins to become an international icon, revered for its unwavering dedication to crafting pianos of unrivaled quality, tonal richness, and enduring value. The Steinway name has become so synonymous with perfection that it is often invoked as the sine qua non of the piano world, the standard against which all other instruments are judged.
Central to Steinway's preeminence is an indefatigable commitment to the art and science of piano-making, a process that has been assiduously refined and perfected over the company's 170-year history. Each Steinway piano is a testament to the consummate skill, discerning eye, and inexorable devotion of the company's master artisans, who meticulously oversee every facet of the manufacturing process with a punctiliousness bordering on the obsessive. From the judicious selection of the most exceptional materials to the final, painstaking voicing and regulation of each instrument, no detail, however minuscule, is overlooked in the quest for pianistic perfection.
The creation of a Steinway piano is an odyssey that begins with the sourcing of materials of uncompromising quality from the far corners of the globe. The soundboard, the pulsating heart of the piano, is meticulously crafted from the finest Sitka spruce, a wood prized for its extraordinary resonance, strength, and tonal clarity. This tonewood is carefully paired with ribs of the same material, each assiduously tapered to ensure optimal vibration and sound transmission. The bridge, the conduit through which the strings' vibrations are transmitted to the soundboard, is fashioned from the hardest rock maple, selected for its stability, durability, and ability to withstand the immense tension exerted by the strings.
The keys, the vital interface between the pianist and the instrument, are sculpted from the finest Bavarian spruce, a wood cherished for its lightness, responsiveness, and tactile sensitivity. The hammers, which strike the strings to produce the piano's voice, are made from premium wool felt of the highest grade, a material that offers the ideal balance of firmness and flexibility, allowing for the creation of a rich, nuanced, and expressive tonal palette. The cast iron plate, the piano's backbone, is a marvel of engineering, designed to withstand the colossal tension of the strings, which can exceed 20 tons in a concert grand. This plate is precision-engineered to distribute the immense force evenly across the instrument, ensuring its structural integrity, tuning stability, and longevity.
Beyond the materials themselves, it is Steinway's proprietary manufacturing techniques that truly distinguish the company from its peers. Foremost among these is the celebrated "rim-bending" process, a laborious and time-consuming method of shaping the piano's rim that has become the hallmark of Steinway craftsmanship. In this exacting procedure, multiple layers of hard rock maple are painstakingly bent into the iconic shape of the piano's rim using a complex array of molds, forms, and clamps, a task demanding immense skill, strength, and patience. The rim-bending process, which can span several months from start to finish, imbues the piano with unparalleled structural integrity, tonal depth, and a rich, powerful sound that is instantly recognizable as the Steinway "voice."
In recent years, Steinway has also embraced cutting-edge technology to enhance the capabilities of its instruments, most notably with the introduction of the Spirio, a high-resolution player piano system that captures and reproduces the nuances and artistry of live performances by the world's most illustrious pianists. The Spirio's advanced playback technology allows for the meticulous reproduction of even the most subtle details of a pianist's technique, from the gossamer touch of a delicate pianissimo to the thundering power of a virtuosic cadenza. This seamless fusion of old-world craftsmanship and new-world innovation represents a bold new frontier for Steinway, one that promises to redefine the boundaries of the piano and the possibilities of musical expression.
Yet even as Steinway embraces the future, it remains steadfastly committed to the traditional values and practices that have defined the company since its inception. In an age of increasing automation and mass production, Steinway continues to rely on the irreplaceable expertise of its skilled artisans, many of whom have dedicated their entire careers to mastering the intricacies of the piano-making craft. This unwavering commitment to human craftsmanship, passed down through generations of Steinway artisans, ensures that each piano bears the unmistakable imprint of the hands that created it, imbuing the instrument with a character and individuality that cannot be replicated by machines.
However, Steinway's adherence to tradition has not made the company immune to the challenges of the modern era. In an increasingly globalized and digitized world, where the piano must compete with a plethora of electronic instruments and digital distractions, Steinway has had to adapt and evolve to remain relevant and compelling to new generations of musicians. This has been particularly evident in emerging markets such as China and India, where the rapid growth of the middle class has created new opportunities for the piano industry, but also new challenges in the form of local competitors and changing consumer preferences.
To navigate these challenges, Steinway has employed a multi-faceted strategy that combines a renewed focus on innovation with a heightened emphasis on education and outreach. By developing new technologies like the Spirio, Steinway has sought to bridge the gap between the venerable traditions of the past and the digital realities of the present, offering pianists and music lovers new ways to experience and interact with the instrument. At the same time, the company has redoubled its efforts to cultivate the next generation of pianists through a range of educational initiatives, from sponsoring youth piano competitions and masterclasses to partnering with music schools and conservatories around the world.
Central to Steinway's enduring success has been its ability to build and maintain a reputation for uncompromising quality and craftsmanship that transcends time and place. The Steinway name has become synonymous not only with technical excellence but also with a certain ineffable magic, a sense that each Steinway piano is not merely an instrument but a work of art, a conduit for the deepest expressions of the human soul. This reputation has been painstakingly cultivated over generations, through the countless hours of labor and devotion invested by Steinway's artisans, and through the company's unwavering commitment to using only the finest materials and the most exacting standards of construction.
The result of this dedication is an instrument that is cherished not only by pianists but by music lovers around the world, an instrument that has been integral to some of the most iconic moments in musical history. From the concert halls of New York and Vienna to the jazz clubs of New Orleans and Paris, from the recording studios of Los Angeles to the practice rooms of aspiring pianists everywhere, Steinway pianos have been at the heart of the musical experience for over a century and a half. They have been the trusted companions of the world's greatest pianists, from Vladimir Horowitz and Arthur Rubinstein to Martha Argerich and Lang Lang, and have been immortalized in countless recordings that continue to inspire and delight new generations of listeners.
As Steinway looks to the future, it faces a world of both challenges and opportunities. The rapid pace of technological change, the shifting demographics of the global music market, and the evolving tastes and expectations of consumers all present new hurdles for the company to surmount. Yet at the same time, the enduring power and appeal of music, and the timeless allure of the piano as the king of instruments, offer a constant reminder of the vital role that Steinway has played, and will continue to play, in shaping the musical landscape.
Ultimately, the story of Steinway is a testament to the indomitable human spirit, to the power of dedication, craftsmanship, and an unwavering commitment to excellence. It is a story that reminds us of the transformative potential of music, and of the enduring value of the things we create with our hands and our hearts. As long as there are pianists and music lovers who cherish these values, who believe in the power of art to elevate and ennoble the human experience, the legacy of Steinway will endure, a shining beacon of the very best that humanity has to offer.
1. The passage suggests that Steinway's "rim-bending" process is crucial to the piano's quality because it:
(A) allows for the use of less expensive materials in the piano's construction.
(B) enables the piano to maintain its structural integrity and tuning stability over time.
(C) is a faster and more efficient method of shaping the piano's rim compared to traditional techniques.
(D) results in a piano with a more modern, streamlined appearance that appeals to contemporary audiences.
(E) has been widely adopted by other piano manufacturers seeking to emulate Steinway's success.
2. According to the passage, Steinway's approach to addressing the challenges of the modern era involves:
(A) a singular focus on developing new technologies to compete with electronic instruments.
(B) a complete abandonment of traditional piano-making techniques in favor of automation and mass production.
(C) a combination of innovation, education, and outreach initiatives to remain relevant and compelling to new generations of musicians.
(D) a significant reduction in the use of high-quality materials to make their pianos more affordable for emerging markets.
(E) a shift away from the company's long-standing emphasis on craftsmanship and attention to detail in the manufacturing process.
3. The author's description of the Spirio player piano system primarily serves to:
(A) demonstrate Steinway's ability to incorporate cutting-edge technology into its instruments without compromising its traditional values.
(B) argue that digital reproductions of piano performances are superior to live concerts in terms of accuracy and accessibility.
(C) suggest that the future of the piano lies in its integration with computer technology and artificial intelligence.
(D) criticize Steinway for deviating from its core mission of creating hand-crafted, acoustic pianos of the highest quality.
(E) imply that the Spirio system is a gimmick designed to appeal to wealthy buyers rather than serious musicians.
4. The passage indicates that Steinway's reputation for quality and craftsmanship is:
(A) primarily a result of aggressive marketing campaigns and celebrity endorsements.
(B) based on the use of the most expensive materials, regardless of their suitability for piano construction.
(C) a reflection of the company's ability to mass-produce instruments at a lower cost than its competitors.
(D) rooted in the countless hours of labor and devotion invested by its skilled artisans over generations.
(E) largely undeserved, as many other piano manufacturers produce instruments of comparable quality.
5. Which of the following best describes the author's overall attitude towards Steinway?
(A) Critical and disapproving
(B) Neutral and objective
(C) Admiring and reverential
(D) Skeptical and questioning
(E) Ambivalent and conflicted
6. The passage suggests that Steinway's success in emerging markets such as China and India will depend on its ability to:
(A) compete solely on the basis of price with local piano manufacturers.
(B) adapt to changing consumer preferences and market conditions while maintaining its core values.
(C) completely localize its manufacturing process and supply chain in each country.
(D) convince consumers that traditional acoustic pianos are inherently superior to digital alternatives.
(E) focus exclusively on selling its most expensive, high-end models to affluent buyers.
7. According to the passage, the cast iron plate in a Steinway piano is designed to:
(A) enhance the piano's resonance and tonal quality.
(B) reduce the overall weight of the instrument for easier transport.
(C) withstand the immense tension of the strings and ensure the piano's structural integrity.
(D) provide a decorative element that enhances the piano's visual appeal.
(E) allow for greater flexibility in the piano's tuning and voicing.
8. The author's reference to the "indomitable human spirit" in the final paragraph serves to:
(A) suggest that Steinway's success is primarily a result of good fortune and historical circumstance.
(B) emphasize the role of individual agency and determination in shaping the company's legacy.
(C) argue that the piano industry as a whole has been in decline due to a lack of innovation and creativity.
(D) criticize Steinway for prioritizing profit margins over the well-being of its workers and artisans.
(E) imply that the future of the piano lies in the hands of a new generation of musicians and composers.
9. The passage suggests that the enduring appeal of the piano as an instrument is:
(A) primarily due to its association with classical music and traditional performance venues.
(B) a testament to the effectiveness of Steinway's marketing and branding strategies.
(C) a reflection of the inherent limitations and drawbacks of digital and electronic instruments.
(D) rooted in its ability to express the deepest emotions and experiences of the human soul.
(E) largely a function of its status as a symbol of wealth and social prestige.
10. Which of the following best captures the main idea of the passage?
(A) Steinway's success is primarily due to its ability to adapt to changing market conditions and consumer preferences.
(B) The piano industry as a whole is in decline, and Steinway's future prospects are uncertain at best.
(C) Steinway's commitment to craftsmanship and innovation has made it a global icon and a symbol of excellence in the piano world.
(D) The key to Steinway's success lies in its ability to appeal to the nostalgia and traditionalism of its customers.
(E) Steinway's story is ultimately a cautionary tale about the dangers of prioritizing tradition over progress in a rapidly changing world.