A new outdoor positioning and survival tool has been developed that allows rescue personnel to quickly locate the position of hikers and mountain climbers who become lost or injured. The federal government is considering legislation that would require all climbers to carry this device. Proponents argue this law would significantly reduce casualties and dangerous situations.
Which of the following, if true, would most weaken the claim that the proposed law would reduce the occurrence of dangerous situations for climbers?
(A) The device is prohibitively expensive, so many amateur climbers would not be able to afford it and would attempt climbs without it.
(B) Most experienced climbers already voluntarily carry locator beacons and survival gear that are just as effective as the new tool.
(C) Some climbers will inevitably forget or neglect to carry the device, especially on climbs perceived as less risky.
(D) The increased safety provided by the positioning tool will embolden more unprepared and inexperienced people to attempt dangerous climbs they otherwise would have avoided.
(E) Rescue teams already use helicopters and other effective search methods to locate lost and injured climbers in a timely manner.
A survey of residents on an island indicated that the consumption of alcoholic beverages was quite high. In response, the island's government is considering extending the hours during which alcohol can be sold. However, opponents of this measure argue that the survey results are unreliable, as the total consumption reported by survey respondents accounts for less than half of the island's actual alcohol sales.
Which of the following, if true, would most weaken the opponents' argument?
(A) Island residents tend to underreport their consumption of alcohol and other disapproved behaviors on surveys.
(B) The survey was conducted during the island's peak tourist season when alcohol sales are unusually high.
(C) Most of the alcohol purchased on the island is consumed by tourists visiting from other countries, not by island residents.
(D) Extending the hours of alcohol sales could lead to increased alcohol abuse and associated public health problems among island residents.
(E) The survey also found that a majority of island residents oppose extending the hours during which alcohol can be sold.
答案：
DC
2.RC
This study is an investigation of what musicians consider to be their aesthetic experience with jazz music selections that vary in level of conceptual advancement (melodic complexity during improvised solos). Music major participants (N = 128) were assigned to either the jazz musician (n = 64) or nonjazz musician (n = 64) group. Data were gathered as participants manipulated the dial of a Continuous Response Digital Interface (CRDI) to indicate the magnitude of their aesthetic responses as they listened to four audio selections. Written responses were collected following each session via a questionnaire. Statistical analysis of group responses indicated a significant difference between the two participant groups only for the most conceptually advanced selection. An analysis of group graphs indicated that jazz musician participants rated this same selection higher: These findings suggest that greater instrumental jazz ensemble experience is related to greater aesthetic interest when listening to a jazz selection containing a high level of conceptual complexity.
A variety of researchers have examined the connections between knowledge of music and aesthetic response. Madsen and Madsen (1970) defined the aesthetic experience and suggested that it “represents the composite emotional and intellectual responsiveness to music which is modified and reinforced over time” (p. 44). Sloboda (1985) suggested that reaching a cognitive stage—one that requires more abstract thought than that experienced while simply attending—is necessary to undergo an affective response while listening to and appreciating music. Boyle and Radocy (1987) described aesthetic response as a combination of perception and cognition of artistic qualities with the feelingful response to these qualities.
The ability to experience an affective response to music, one involving feelings and emotion, as Price (1986) suggested, is a learned behavior that results from repeated interactions with musical stimuli over time. It may be that this repeated behavior, through study, practice, or performance, allows for greater ability to process musical information that may influence a listener’s response to a higher degree. Shaffer and Todd (1994) suggested that the interpretation or performance of music requires “a good working knowledge of the musical intentions of the composer in relation to the conventions and styles of [the] period" (p. 260). Bharucha (1994) suggested that composers base compositional decisions on their knowledge of standard music practices and nontraditional techniques. Campbell (1991) found that, given two groups of listeners, those with experience have the ability to process complex information found in a musical example, while those with less experience may only be able to attend to single components or concepts found at any given time in the same musical selection. Gfeller, Asmus, and Eckert (1991) questioned whether various musical and textural settings influenced the affective responses of subjects having various levels of musical knowledge. Given this body of research, consideration should be given to the possible connections between musical knowledge and aesthetic response. Conceivably, those who possess greater knowledge about and sensitivity toward jazz music may also be those who have a great deal of exposure through study, practice, and performance. In an analysis of listening preferences, Gregory (1994) indicated that perhaps experience with a performing medium during training positively affects the subject’s listening preference of “unfamiliar” music performed via that medium. One interpretation of this statement is that experience or knowledge of jazz through direct exposure via performance opportunities may influence the affective response of subjects who understand this music.
Since examples represent a hierarchy of melodic complexity during improvised solos, and participant groups indicated low familiarity ratings across all musical selections (see Table 2), it seems musically important that the selection representing the highest level of complexity was the only selection that resulted in a significant difference in aesthetic interest between the jazz musician and the nonjazz musician participant groups. This finding may suggest that greater instrumental jazz experience may be related to greater aesthetic responsiveness to a selection possessing a highly advanced level of conceptuality. Considering that the jazz musician participants’ CRDI mean ratings for the three most conceptually advanced selections resulted in mean differences of less than six degrees on a 256—degree scale, this finding may suggest that the presence of improvisation in a musical selection, regardless of its level of conceptual advancement, may result in similar aesthetic response from jazz musicians. It seems this finding also demonstrates, as Price (1986) suggested, the sum result of learned behavior from repeated interactions with musical stimuli over time has the potential to influence affective response. Other factors that may influence a listeners’ affective response to jazz music may include not only familiarity with the musical selection, but also familiarity with the performing artist. Although the design of this study attempted to measure participants’ level of familiarity with each musical selection, it did not measure participants’ familiarity with the selected artists.
Results from previous studies (e.g., Lychner, 1995; Madsen et al., 1993), utilizing musician and nonmusician participants, did not indicate a difference in aesthetic response due to knowledge when more familiar classical music selections are used. Although Sloboda (1985) suggested that “untrained musicians have implicit knowledge of that which musicians can talk about explicitly” (p. 5), the participant responses to the Davis selection suggest its level of conceptual advancement might not be implicit for participants with less than three years of instrumental jazz ensemble experience and thus, limiting their magnitude of aesthetic response. Differing affective response findings between musicians and nonmusicians to a compositionally complex musical selection (excerpts from Le Sucre du printemps) utilized in Misenhelter and Price (2001) also support the present study’s results.
The author's citation of Sloboda's (1985) suggestion that reaching a cognitive stage is necessary to undergo an affective response while listening to and appreciating music primarily serves to:
(A) Refute the claim that affective responses to music are purely instinctive
(B) Illustrate the importance of intellectual engagement in the aesthetic experience
(C) Suggest that cognitive and affective responses to music are mutually exclusive
(D) Imply that untrained listeners are incapable of appreciating music on a cognitive level
(E) Demonstrate that affective responses to music precede cognitive understanding
Question 2:
Which of the following can be inferred from the passage about the relationship between the conceptual advancement of a jazz selection and the aesthetic responses of jazz musicians and nonjazz musicians?
(A) As conceptual advancement increases, the difference in aesthetic response between jazz musicians and nonjazz musicians decreases.
(B) The aesthetic responses of jazz musicians and nonjazz musicians converge at moderate levels of conceptual advancement.
(C) Nonjazz musicians exhibit higher aesthetic responses than jazz musicians to selections with low conceptual advancement.
(D) The gap in aesthetic response between jazz musicians and nonjazz musicians widens as conceptual advancement increases.
(E) Conceptual advancement has no bearing on the aesthetic responses of either jazz musicians or nonjazz musicians.
Question 3:
Consider the following statement:
"The study's finding that jazz musicians responded similarly to selections with varying levels of improvisational complexity suggests that the mere presence of improvisation, rather than its complexity, is the primary driver of their aesthetic response."
Which of the following, if true, would most weaken the argument above?
(A) Jazz musicians' familiarity with the performing artist influences their aesthetic response more than the presence of improvisation.
(B) The study did not control for factors such as the length or style of the musical selections.
(C) Jazz musicians exhibited significantly higher aesthetic responses to composed jazz music than to improvised jazz music.
(D) The study's sample size of jazz musicians was too small to generate statistically significant results.
(E) The nonjazz musicians in the study had some prior exposure to jazz music.
Question 4:
Based on the passage, the authors of the study would most likely agree with which of the following statements?
(A) The aesthetic experience of listening to jazz music is fundamentally different for musicians and nonmusicians.
(B) Familiarity with a musical selection is the most important factor in determining aesthetic response.
(C) The ability to appreciate conceptually complex jazz music is innate and cannot be developed through experience.
(D) Jazz musicians' extensive exposure to and engagement with jazz music may shape their aesthetic responses.
(E) The use of the Continuous Response Digital Interface (CRDI) in measuring aesthetic response is inherently flawed.
Question 5:
The passage suggests that Madsen and Madsen's (1970) definition of the aesthetic experience is most compatible with which of the following views?
(A) Aesthetic experiences are purely emotional and devoid of intellectual content.
(B) Aesthetic experiences are shaped by an individual's accumulated musical knowledge and exposure over time.
(C) Aesthetic experiences are universal and do not vary based on individual differences in musical background.
(D) Aesthetic experiences occur only in response to novel or unfamiliar musical stimuli.
(E) Aesthetic experiences are entirely subjective and cannot be studied empirically.
BDCDB
3.DI
The Turkish spice trade has experienced significant growth and transformation over the past few decades, emerging as a major player in the global spice market. With a rich history dating back to ancient times, Turkish spice production and trade has undergone a renaissance in recent years, driven by a combination of favorable climatic conditions, technological advancements, and a renewed focus on quality and innovation.
Turkey's unique terroir, characterized by diverse microclimates, fertile soils, and strategic location at the crossroads of Europe and Asia, has played a crucial role in shaping the country's spice identity. The varied climatic conditions, ranging from the Mediterranean coast to the Anatolian plateau, allow for the cultivation of a wide array of spices, including cumin, paprika, mint, red pepper, and saffron. These conditions, coupled with traditional farming techniques passed down through generations, contribute to the distinct flavors and aromas of Turkish spices.
In addition to its favorable growing conditions, Turkey's spice industry has benefited from significant investments in technology and infrastructure. Modern processing techniques, such as advanced drying and grinding methods, have enabled producers to optimize spice quality and consistency. Moreover, the establishment of state-of-the-art processing facilities and the adoption of stringent quality control measures have contributed to the industry's overall efficiency and competitiveness.
The Turkish government has also played a supportive role in the spice industry's growth, implementing policies and initiatives aimed at promoting exports, attracting foreign investment, and enhancing the country's culinary tourism sector. The creation of the Turkish Spice Council (TSC) in 2005 has been instrumental in raising the international profile of Turkish spices, through marketing campaigns, trade fairs, and educational programs.
Despite its impressive growth and success, the Turkish spice industry faces several challenges. Climate change, particularly the increasing frequency of droughts and extreme temperature fluctuations, poses a threat to spice cultivation and production. Additionally, economic instability, inflation, and currency fluctuations have made it difficult for producers to plan for the long term and invest in new technologies and infrastructure.
According to recent estimates, Turkey's spice exports have witnessed a remarkable 75% increase over the past decade, with an annual export value surpassing $500 million. The country now ranks among the top five global exporters of cumin, paprika, and mint. The Turkish Spice Council projects that the industry will continue to grow at a steady rate of 6-8% annually, driven by the increasing demand for natural and organic spices in both domestic and international markets.
The Turkish government has set ambitious targets for the spice industry, aiming to double the country's spice exports by 2030. To achieve this goal, the government has allocated substantial funds for research and development, focusing on sustainable farming practices, varietal improvement, and value-added product development. Additionally, efforts are being made to strengthen the supply chain, enhance traceability, and promote Turkish spices as premium, high-quality products in the global market.
As the Turkish spice industry continues to evolve and expand, it is poised to play an increasingly significant role in the global culinary landscape. With its rich heritage, favorable growing conditions, and commitment to quality and innovation, Turkey is well-positioned to capitalize on the growing demand for authentic and flavorful spices, while contributing to the country's economic growth and cultural identity.
Questions:
According to the passage, which of the following factors has NOT contributed to the growth and success of the Turkish spice industry?
A. Favorable climatic conditions
B. Technological advancements
C. Government subsidies for spice farmers
D. Renewed focus on quality and innovation
The passage suggests that Turkey's strategic location at the crossroads of Europe and Asia has:
A. Hindered the spice industry's access to global markets
B. Played a crucial role in shaping the country's spice identity
C. Limited the variety of spices that can be cultivated in the country
D. Increased competition from neighboring countries in the spice trade
The Turkish Spice Council (TSC) was established in:
A. 2003
B. 2005
C. 2007
D. 2010
According to the passage, which of the following spices is Turkey NOT among the top five global exporters of?
A. Cumin
B. Paprika
C. Mint
D. Saffron
The Turkish government has set a target to increase the country's spice exports by what percentage by 2030?
A. 50%
B. 75%
C. 100%
D. 150%
The passage mentions that the Turkish spice industry faces challenges related to climate change, such as:
A. Increasing frequency of droughts
B. Extreme temperature fluctuations
C. Both A and B
D. Neither A nor B
According to recent estimates, Turkey's annual spice export value has surpassed:
A. $250 million
B. $500 million
C. $750 million
D. $1 billion
The Turkish government has allocated funds for research and development in the spice industry, focusing on all of the following EXCEPT:
A. Sustainable farming practices
B. Varietal improvement
C. Value-added product development
D. Increasing the use of artificial flavoring
The passage suggests that traditional farming techniques passed down through generations have:
A. Hindered the adoption of modern technologies in the spice industry
B. Contributed to the distinct flavors and aromas of Turkish spices
C. Limited the variety of spices cultivated in Turkey
D. Increased the industry's reliance on government subsidies
The Turkish Spice Council projects that the spice industry will continue to grow at an annual rate of:
A. 2-4%
B. 4-6%
C. 6-8%
D. 8-10%
Answers:
C
B
B
D
C
C
B
D
B
C
[/md]作者: Stella-Zhongli 时间: 2024-9-26 02:01
[md]DAY223
CR-1
P: require all climbers to carry 能够很快被定位的 device
C：this law would significantly reduce casualties and dangerous situations.
削弱à不能减少危险情况甚至增加
D：带上device有更多危险情况出现：embolden more unprepared and inexperienced people to attempt dangerous climbs they otherwise would have avoided.
CR-2
P:居民饮酒量是销售额的一半 the total consumption reported by survey respondents accounts for less than half of the island's actual alcohol sales.