揽瓜阁训练营 第171天（含CR，RC和DI题目）

小白斩鸡

之前大家对揽瓜阁精读的反馈很好，就想着自己的时间开始把一些精读的文章根据JJ出题目～ 然后focus上线，IR需求 大家也大。就想着 把揽瓜阁的阅读 逻辑 IR 都放在这贴里打卡

每日的解析在揽瓜阁2024群更新

RC题源：揽瓜阁精读的文章+机经的题目
CR题源：本月中文JJ改编
IR题源： 往届鸡精改编

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阅读：写文章结构、笔记
逻辑：写逻辑链分析
IR：写做题思路和选项分析

【现在你的笔记越全，越能帮助你捋清思路，之后回顾总结。】
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1.CR
Some people argue that the increasing availability of online resources has led to a decrease in the number of people visiting libraries. However, a recent study found that the number of library visitors has actually doubled in the past decade. This finding most strongly supports which of the following conclusions?
A. The availability of online resources has had no significant impact on library attendance.
B. The study's methodology was flawed, and its findings should not be considered reliable.
C. Libraries have successfully adapted to the digital age by offering services that cannot be replicated online.
D. The increasing number of library visitors is primarily due to factors unrelated to the availability of online resources.
E. People who frequently use online resources are more likely to visit libraries than those who do not use online resources.

A recent study of the Neanderthal language revealed that Neanderthals could only produce one type of vowel sound but could produce multiple types of consonant sounds. However, human languages typically require the ability to produce a wide variety of both vowel and consonant sounds. Which of the following conclusions can be most reasonably drawn from this information?
A. Neanderthals had a more limited capacity for language compared to modern humans.
B. The study's findings are inconclusive and require further research to validate.
C. Neanderthals communicated primarily through non-verbal means, such as gestures.
D. The Neanderthal language was more complex than previously thought.
E. Neanderthals were capable of producing a wider range of vowel sounds than the study suggests.

答案:
CA

2.RC
In 1984 the J. Paul Getty Museum in Malibu, Calif., was offered a chance to buy an archaic Greek kouros: a larger-than-life marble figure of a youth. The two-meter-tall statue, said to be more than 2,500 years old, was superbly preserved but had been unknown to art historians; it was said to have resided in a private Swiss collection for many decades. Based on the putative importance of the piece, the owner was asking a higher price than had ever been paid for an ancient statue; several major newspapers reported that the sum was somewhere between eight and 12 million dollars.

Usually the first step in authenticating a work of sculpture is to identify  the quarry from which the stone came. This can often be done with great precision, because the isotopic makeup of marble varies significantly from one site to another. When isotope values overlap from one quarry to another, further chemical tests can tell the quarries apart. The kouros marble was  analyzed by our research group, which  included William S. Showers of North Carolina State University at Raleigh and Norman Herz of the University of Georgia, the latter an expert in the provenance of ancient marble. According to Herz, the kouros marble probably came from the ancient Cape Vathy quarries on the island of Thasos. These quarries were the oldest source  of dolomitic marble in the area, and  large kouroi were produced in Thasos  in the seventh and sixth centuries B.C.

In the most crucial test we compared the ratio of oxygen 16 to oxygen 18 and that of carbon 12 to carbon 13 found in the calcite crust with the ratios found in the fresh dolomite from the interior. The ratios were similar and also resembled the ratios measured in dedolomitized dolomite found in nature. This finding ruled out the possibility that the calcite crust of the kouros had been artificially replicated or had precipitated out of  groundwater. In either case the oxygen and carbon isotope values of the crust would have been very different from those of fresh dolomite. The most reasonable explanation for the calcite on the kouros is that it developed through centuries of weathering.

The thickness of the calcite crust by itself does not indicate an exact age for the sculpted surface, because the  rate of dedolomitization depends on  many unknown variables: the length of burial, the composition of the burial soil and the chemistry of groundwater and rainfall at the burial site. From  what is known about dedolomitization, the surface features of the Getty  kouros are consistent with an age of  no less than several centuries and no  more than several millennia.

1. The primary focus of the passage is on:
A. The historical significance of the Getty kouros
B. The process of authenticating an ancient Greek sculpture
C. The role of isotopic analysis in determining the provenance of marble
D. The various methods used to date ancient sculptures
E. The controversy surrounding the acquisition of the Getty kouros

2. According to the passage, which of the following is most likely to be the first step in authenticating a sculpture?
A. Assessing the sculpture's state of preservation
B. Determining the sculpture's dimensions and weight
C. Identifying the source of the stone used in the sculpture
D. Comparing the sculpture's style with other known works
E. Researching the sculpture's ownership history

3. The author mentions the variation in isotopic composition of marble from different quarries to:
A. Suggest that the Getty kouros may be a composite of marble from multiple sources
B. Emphasize the importance of identifying the specific quarry of origin
C. Explain why isotopic analysis alone may not be sufficient for authentication
D. Imply that the Getty kouros is likely a modern forgery
E. Highlight the complexity of the authentication process

4. The passage suggests that the Cape Vathy quarries on the island of Thasos were:
A. The primary source of marble for archaic Greek kouroi
B. The oldest known source of dolomitic marble in the region
C. The only quarries capable of producing marble suitable for large kouroi
D. The most likely source of the marble used in the Getty kouros
E. Active only during the seventh and sixth centuries B.C.

5. The research group's comparison of carbon and oxygen isotope ratios in the calcite crust and fresh dolomite was most likely intended to:
A. Determine the exact age of the Getty kouros
B. Identify the specific quarry from which the marble originated
C. Assess whether the calcite crust was artificially replicated or naturally formed
D. Establish a timeline for the dedolomitization process
E. Confirm that the kouros was carved from a single block of marble

6. The passage suggests that the calcite crust on the Getty kouros is most likely the result of:
A. Artificial replication by a forger
B. Precipitation from groundwater
C. Centuries of natural weathering
D. Deliberate chemical treatment to enhance the sculpture's appearance
E. Exposure to extreme temperatures during burial

7. The author's statement about the rate of dedolomitization depending on many unknown variables serves to:
A. Emphasize the difficulty in determining the exact age of the Getty kouros
B. Suggest that the kouros may be significantly older than initially believed
C. Imply that the thickness of the calcite crust is not a reliable indicator of age
D. Propose that additional research is needed to fully understand the dedolomitization process
E. Argue that the Getty kouros should not have been purchased without further testing

8. Based on the information in the passage, which of the following can be reasonably inferred about the Getty kouros?
A. It is almost certainly a modern forgery
B. It is likely between several centuries and a few millennia old
C. It is undoubtedly more than 2,500 years old
D. Its authenticity cannot be determined without additional scientific tests
E. Its purchase price was not justified given the uncertainty surrounding its origins

1. B
2. C
3. B
4. B
5. C
6. C
7. A
8. B


3.DI
The Baroque period, spanning from approximately 1600 to 1750, was a golden age for classical music, giving rise to some of the most iconic compositions and composers in history. Originating in Italy, Baroque music quickly spread throughout Europe, captivating audiences with its grandeur, complexity, and emotional depth. The style was characterized by its use of intricate ornamentation, harmonic innovations, and the emergence of new musical forms such as the concerto, suite, and opera. The concept of the "doctrine of the affections," which held that music should evoke specific emotions in the listener, was a defining feature of the Baroque era. Composers sought to achieve this through the use of contrasting dynamics, tempos, and tonalities, as well as through the development of musical motifs and themes associated with particular feelings or ideas.

One of the most significant innovations of the Baroque period was the development of the basso continuo, a type of continuous bass line played by a keyboard instrument and a low melodic instrument, typically a cello or bassoon. This provided a harmonic foundation for the music and allowed for greater flexibility and improvisation by the performers. The basso continuo became a staple of Baroque music and was used in a wide range of compositions, from solo sonatas to large-scale orchestral works. Another important feature of Baroque music was the rise of the virtuoso performer, with composers writing increasingly complex and technically demanding music to showcase the skills of the most talented musicians. Violinists such as Arcangelo Corelli and Antonio Vivaldi became celebrities in their own right, dazzling audiences with their mastery of the instrument.

Interestingly, the Baroque period shares some similarities with the development of jazz music in the early 20th century. Both styles emphasized improvisation, virtuosity, and emotional expression, although jazz drew from a different set of musical traditions, including African-American folk music and European classical music. Like Baroque composers, jazz musicians often used complex harmonies, syncopated rhythms, and extended instrumental techniques to create a unique and expressive sound. However, while Baroque music was often composed for religious or courtly settings, jazz emerged in the context of popular entertainment and social dance.

One of the key figures in the development of jazz was Louis Armstrong, a trumpeter and vocalist who rose to prominence in the 1920s. Armstrong's innovative playing style, which included the use of extended solos and scat singing, had a profound influence on the direction of jazz music and helped to establish it as a serious art form. Other notable jazz musicians of the era included Duke Ellington, Charlie Parker, and Miles Davis, each of whom made significant contributions to the growth and evolution of the genre. Ellington, in particular, was known for his sophisticated compositions and arrangements, which often incorporated elements of classical music and showcased the virtuosity of his band members.

Despite the differences in time period and cultural context, Baroque music and jazz share a common spirit of creativity, experimentation, and passion. Both styles have had a lasting impact on the world of music and continue to inspire and influence musicians and listeners alike. Today, many classical musicians have begun to incorporate elements of jazz into their performances, while jazz musicians frequently draw on the rich harmonic and melodic traditions of Baroque music in their improvisations. Some scholars have even argued that the improvisatory nature of jazz has its roots in the ornamental practices of Baroque music, such as the use of trills, mordents, and other embellishments.

In recent years, there has been a growing interest in exploring the connections between Baroque music and jazz. Musicologists have begun to study the ways in which the two styles intersect and influence each other, while performers have experimented with combining elements of both genres in their work. For example, the French jazz pianist Jacques Loussier has gained international acclaim for his jazz interpretations of the works of Bach, while the American composer and saxophonist John Zorn has incorporated Baroque themes and structures into his avant-garde jazz compositions.

One area of particular interest has been the use of counterpoint, a compositional technique that was highly developed during the Baroque period and involves the simultaneous combination of two or more independent melodic lines. In jazz, counterpoint often takes the form of collective improvisation, where multiple musicians improvise simultaneously, creating a complex web of interlocking melodies and rhythms.

Another example of the intersection between Baroque music and jazz can be found in the work of the French composer and pianist Claude Bolling. In the 1970s, Bolling composed a series of suites for classical instruments and jazz trio, including the famous "Suite for Flute and Jazz Piano Trio." These works blend elements of Baroque counterpoint and jazz improvisation, creating a unique and compelling sound that has captivated audiences around the world.

The influence of Baroque music on jazz is not limited to compositional techniques, however. Many jazz musicians have also drawn inspiration from the melodic and harmonic language of Baroque music, particularly the works of Johann Sebastian Bach. The intricate melodies, complex harmonies, and contrapuntal textures of Bach's music have proved to be a rich source of material for jazz improvisers, who have adapted and transformed these elements in countless ways.

One notable example of this is the jazz pianist and composer Bill Evans, who was known for his lyrical, introspective style and his use of impressionistic harmonies. Evans often cited Bach as a major influence on his playing, and his famous recording of "Conversations with Myself" features a contrapuntal improvisation on the melody of Bach's "Siciliano" from the Flute Sonata in E-flat major.

The influence of Baroque music on jazz is not a one-way street, however. Just as jazz musicians have drawn inspiration from Baroque music, classical musicians have also been influenced by jazz. In the early 20th century, composers such as George Gershwin and Aaron Copland began to incorporate elements of jazz into their classical compositions, creating a new style known as "symphonic jazz." This style blended the rhythmic vitality and improvisational spirit of jazz with the formal structures and orchestral textures of classical music, creating a unique and exciting new sound.

In more recent years, classical musicians have continued to explore the connections between Baroque music and jazz. The Australian composer and violist Brett Dean has written a series of works that combine Baroque and jazz elements, including his "Electric Preludes" for electric violin and orchestra. Similarly, the American composer and bassist Edgar Meyer has collaborated with jazz musicians such as Chris Thile and Stuart Duncan to create genre-defying works that blend elements of classical, jazz, and bluegrass music.

As the boundaries between musical genres continue to blur and dissolve, it is clear that the relationship between Baroque music and jazz will only continue to evolve and deepen. By exploring the rich traditions of both styles, musicians and scholars can gain new insights into the creative process and the enduring power of music to connect and inspire us all. Whether through the intricate counterpoint of a Bach fugue or the soulful improvisation of a John Coltrane solo, the legacy of the Baroque period and jazz will continue to shape the course of music history for generations to come.

Questions:
1. The passage suggests that the use of counterpoint in jazz is most closely associated with:
A. The work of Claude Bolling
B. The influence of Johann Sebastian Bach
C. The development of "symphonic jazz"
D. Collective improvisation
E. The compositions of George Gershwin

2. According to the passage, which of the following musicians is known for incorporating elements of Baroque music into his jazz compositions?
A. Louis Armstrong
B. Duke Ellington
C. Bill Evans
D. John Coltrane
E. Charlie Parker

3. The term "symphonic jazz," as described in the passage, refers to:
A. A style that blends elements of jazz and bluegrass music
B. A type of jazz that features extended solo improvisations
C. A compositional technique that involves the simultaneous combination of two or more independent melodic lines
D. A style that incorporates elements of jazz into classical compositions
E. A form of collective improvisation in which multiple musicians improvise simultaneously

4. The passage suggests that the influence of jazz on classical music is exemplified by:
A. The use of counterpoint in Baroque music
B. The development of the basso continuo in the Baroque period
C. The compositions of George Gershwin and Aaron Copland
D. The improvisational style of Louis Armstrong
E. The virtuosic playing of Arcangelo Corelli and Antonio Vivaldi

5. Which of the following best describes the main idea of the final paragraph of the passage?
A. The relationship between Baroque music and jazz is unlikely to continue evolving in the future.
B. The boundaries between musical genres are becoming increasingly rigid and well-defined.
C. The influence of Baroque music on jazz is more significant than the influence of jazz on classical music.
D. The legacy of the Baroque period and jazz will continue to shape the development of music in the future.
E. The creative process in music is unrelated to the exploration of different musical styles and genres.

6. The author's tone throughout the passage can best be described as:
A. Critical and dismissive
B. Nostalgic and sentimental
C. Objective and impartial
D. Enthusiastic and celebratory
E. Skeptical and questioning

7. According to the passage, which of the following is true of the relationship between Baroque music and jazz?
A. The influence of Baroque music on jazz has been largely superficial and insignificant.
B. Jazz has had a more profound influence on classical music than Baroque music has had on jazz.
C. The improvisational nature of jazz is fundamentally incompatible with the compositional techniques of Baroque music.
D. The intersection between Baroque music and jazz has been a subject of growing interest among musicians and scholars in recent years.
E. The use of counterpoint is the only significant connection between Baroque music and jazz.

8. The passage mentions all of the following composers as examples of the intersection between Baroque music and jazz EXCEPT:
A. Claude Bolling
B. Johann Sebastian Bach
C. Bill Evans
D. Edgar Meyer
E. Miles Davis

9. Which of the following can be inferred from the passage about the relationship between musical genres?
A. Musical genres are becoming increasingly isolated and disconnected from one another.
B. The boundaries between musical genres are becoming increasingly fluid and permeable.
C. The intersection between different musical genres is a new phenomenon that has only emerged in recent years.
D. The exploration of different musical genres is unrelated to the creative process in music.
E. The influence of one musical genre on another is always unidirectional and hierarchical.

10. The passage suggests that the exploration of the connections between Baroque music and jazz is important because:
A. It helps to elevate jazz to the same level of cultural prestige as classical music.
B. It provides new opportunities for musicians to showcase their technical virtuosity.
C. It offers insights into the creative process and the enduring power of music to connect and inspire.
D. It demonstrates the superiority of Baroque music over other musical styles and genres.
E. It highlights the importance of strict adherence to traditional musical forms and techniques.

答案:
1. D
2. C
3. D
4. C
5. D
6. D
7. D
8. E
9. B
10. C

Dean1211

11

anonysakura

看一下！               

蒸鱼

看一下！               

杨翠花

CR，我的选项CA，答案：CA
1. P: 有人说线上资料导致去图书馆人数减少，但是过去几十年图书馆人数翻倍
C：结论题
我选C：表明图书馆很好的运用了数字手段提供了网络无法复制的服务
D选项错在：并不能推断出这就是主要原因


2. P：研究表明荷兰语只能发出一种V音，但是可以发好多种C声调。现代人类的语言要求V和C都要很广
C：结论题
我选A：荷兰语对于现代人类语言来说有限制
B选项错在：无法得出结论是否要进一步研究，题干没有说
C选项错在：无法果断认为荷兰人就没法用语言交流
D想想错在：无法体现荷兰语的复杂程度的差异

杨翠花

Mark一下！               

Josephkiki

Day171
CR
1. 演绎推理
P1：online resource 增加会导致 图书馆访客减少
however P2: 图书馆访客 doubled
P1+P2=C （不加入自己想法）
A：没讲到online resource对library的影响
B：flawed？不加入自己想法！
C：到底有没有successfully adapted呢？或许人数增加是因为别的原因
D：online resource增加了 图书馆人也增加了 所以图书馆增加的这些人与online resource unrelated  √
E：没提到 别胡思乱想！

2. 演绎推理
P1：1 vowel but many consonant sounds
However P2: human language need many vowels and many consonant sounds
P1+P2=C
A: 相对于现代人类，Neanderthal语言局限性更大，因为只会一个vowel √
B: 完全无关
C：P只说了language，没说别的
D：哪里说more complex了？哪里说previously thought了？
E：超出了P，不要加入自己想法！

Shkahska

1

Vera985

1

hjyuan1986

我来看看答案