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

打卡内容：
一周打卡五篇，科目不限。
每天上午管理员群内发布题目，群成员做完提交打卡，第二天发布解析

打卡内容建议：
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。】
打卡方式：
可以在论坛留言区打卡，截图到群内
也可以在小红书/微博打卡，需写明任务内容是哪篇，并带上#揽瓜阁 #LGG #lgg 的 tag，截图到群内。



考试群：
GMAT入群／揽瓜阁入群方式：https://forum.chasedream.com/thread-1382779-1-1.html

公众号：1.考什么试
2.商校百科

申请群

1. ChaseDream 2023 MBA 申请／校友答疑／面试群：

https://forum.chasedream.com/thread-863011-1-1.html
2.英国，新加坡，美国，香港，德国商科申请群：
请加小白斩鸡进群（killgmat）
3. 行业分享交流／职业规划群：
https://forum.chasedream.com/thread-1388171-1-1.html

小红书：
1.留学+考试 最新消息 关注妥妥妥了 （小红书号：323014154）
2.求职+MBA 最新消息 关注元（小红书号：89540433000)


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

vassy

Mark一下！               

jeilham

0000000000000

Hihihi0024

RC 🌟🌟
1.        背景介绍，介绍雕像->引出验证程序
2.        Test1验证石头来源->石头源自岛屿T采石场
3.        Test2化学元素对比->排除仿造可能，结论： calcite on the kouros is that it developed through centuries of weathering.
4.        Test3thickness of the calcite crust ：雕像年龄超过几个世纪

Putative
Dedolomitization
Precipitate
Quarry
forgery

答案：BCBBCCAB

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

2. According to the passage, which of the following is most likely to be the first step in authenticating a sculpture?
定位句： Usually the first step in authenticating a work of sculpture is to identify  the quarry from which the stone came->C
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:定位第二段This can often be done with great precision, because the isotopic makeup of marble varies significantly from one site to another. ->答案应该有关验证

A. Suggest that the Getty kouros may be a composite of marble from multiple sources不是
B. Emphasize the importance of identifying the specific quarry of origin 有关联
C. Explain why isotopic analysis alone may not be sufficient for authentication 不是重点
D. Imply that the Getty kouros is likely a modern forgery不是
E. Highlight the complexity of the authentication process不是

4. The passage suggests that the Cape Vathy quarries on the island of Thasos were:
定位： 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.

A. The primary source of marble for archaic Greek kouroi not primry but olderst
B. The oldest known source of dolomitic marble in the region正确
C. The only quarries capable of producing marble suitable for large kouroi错误，only
D. The most likely source of the marble used in the Getty kouros不是，是确定的
E. Active only during the seventh and sixth centuries B.C.不是

5. The research group's comparison of carbon and oxygen isotope ratios in the calcite crust and fresh dolomite was most likely intended to:细节
定位句： 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.

A. Determine the exact age of the Getty kouros错误，定位句是有关怎么制作
B. Identify the specific quarry from which the marble originated不是
C. Assess whether the calcite crust was artificially replicated or naturally formed正确
D. Establish a timeline for the dedolomitization process不是
E. Confirm that the kouros was carved from a single block of marble不是

6. The passage suggests that the calcite crust on the Getty kouros is most likely the result of:定位句： The most reasonable explanation for the calcite on the kouros is that it developed through centuries of weathering.
A. Artificial replication by a forger错误，前文已经排除了这个可能
B. Precipitation from groundwater错误，前文已经排除了这个可能
C. Centuries of natural weathering正确
D. Deliberate chemical treatment to enhance the sculpture's 没提
E. Exposure to extreme temperatures during burial没提

7. The author's statement about the rate of dedolomitization depending on many unknown variables serves to:推理题（目的）定位最后一段，只能得出大致的年份
A. Emphasize the difficulty in determining the exact age of the Getty kouros正确
B. Suggest that the kouros may be significantly older than initially believed不是
C. Imply that the thickness of the calcite crust is not a reliable indicator of age不是
D. Propose that additional research is needed to fully understand the dedolomitization process没提
E. Argue that the Getty kouros should not have been purchased without further testing不是

8. Based on the information in the passage, which of the following can be reasonably inferred about the Getty kouros?推理题
A. It is almost certainly a modern forgery不是，最后一句话提到至少有几百年的历史
B. It is likely between several centuries and a few millennia old正确
C. It is undoubtedly more than 2,500 years old错误
D. Its authenticity cannot be determined without additional scientific tests没提
E. Its purchase price was not justified given the uncertainty surrounding its origins文中没给出判断

Christalpan770

Mark一下！               

Ninian

Day-171
CR
1. C

2. D原文：N人只能发一种元音，但不能发出持续的声音。然而现代人要求既可以发出原音又可以发出持续的声音。
A：N人发声比现代人有更多的限制 - 直接
D：原文理解错了，理解成了，N人能发出一种元音，也能持续发声 - 因此错选D

RC

第一段：PG博物馆被提供了一个买kouros大理石雕像的机会。2m长，超过2500年，在艺术史上是未知的。此雕像被说是被私藏在瑞士好几十年。基于推断的此雕像的重要性，拥有者要了一个比其他古雕像更高的价格。很多报纸报道说总价在8百万到1千2百万之间。

第二段：鉴定雕塑的第一步是识别雕像所用的石头是来自哪个采石场。鉴定通常需要很高的精准度，因为大理石同位素的组成在每一个采石场的区别都非常大。当几个采石场同位素的值相重合时，进一步的化学实验可以用来区分采石场。Kouros大理石碑研究组分析，包含了xxx人，Herz是一个研究古老大理石起源的专家。根据Herz，kouros大理石大概来自于古老的Cape Vathy石场在Thasos岛上。这些石场是dolomitic（汗白云石的）大理石最早的来源，大的kouroi在Thasos被生产在BC六七世纪的时候。

第三段：最重要的实验是我对比了某两个氧和碳的比率，在calcite壳中，和这个比率在新鲜的dolomite中从大理石内部。这些比率很相似，也和大自然中的dedolomitized dolomite相似。这个发现消除了 calcite壳是人工复制的，或者是水中的沉淀物的可能性。任一种情况，壳的氧碳同位素值都会于新鲜dolomite的氧碳同位素值相差很大。最合理的解释对于kouros的calcite是calcite是从几个世纪的风化作用中形成的。

第四段：calcite壳的厚度并不能指出一个确定的年龄对于这个雕刻般的表面，因为dedolomitization的速率靠很多不知道的变量决定：埋葬地的长度，埋葬地土的成分，和地下水的化学成分，和埋葬地的雨水。已知的delolomitization，Getty kouros的表面特征和一小于几个世纪的和不超过几千年的（雕塑）一致。

1.     D 错：文中提到很多menthod最后提到了时间就错选了。最后一段讲的是雕像的特征，不是年龄！！！ 按文段意思选不是看词选！！！

        正确选项B：第二段主要讲了雕像的鉴定+第三段继续讲鉴定雕像是不是人工复制的

2.     C

3.     B

4.     B D 纠结，错选D – 不确定怎么确定的这个选项，蹲一波解析

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.

5.     C

6.     C

7.     A C纠结，错选C

感觉A C 都有道理，怎么确定的A呢？蹲一波解析

8.     B

615我的分

D171
CR
1、C
2、A

ilms

DAY171
CR
1.C
逻辑链：有人认为online resources会导致library visitors数量下降，但事实是过去十年间library visitors数量翻倍。（问文章最能支持哪个选项）
2.A
逻辑链：N只有一种vowel sound不能产生多种consonant sound，而人类语言能广泛生成多种vowel and consonant sounds。（归纳题）

RC
1：介绍一个雕像，要花大价钱购买
2：鉴定一个雕像首先是鉴定它的石头从哪来，这些marble来自于古老的Cape Vathy quarries
3：最重要的test是对比在calcite crust和fresh dolomite某种氧元素的比率和碳元素的比率。排除了calcite crust来源于人造和地下水的可能性
4：calcite crust的厚度不能反应雕塑表面的年龄，年龄应该在几个世纪到几千年间
BCBAC CCB

DI
主要探究了Baroque music和jazz之间的联系，它们之间的边界是很模糊的，且联系持续进化和加深
DCDCD CDEBC

Hihihi0024

Ninian 发表于 2024-7-15 16:12
Day-171
CR
1. C

4. large kouroi were produced in Thasos  in the seventh and sixth centuries B.C.->说了large kouroi是在公元前6-7年生产的，其他时候有没有生产large kouroi我们通过文中的信息没法知道。文中并没有说only，所以选项里的only太绝对

7.C虽然是定位段第一句（最后一段）的原意，但是我们要根据上下文思考作者写这一句话的用意是什么。如果作者用意是Imply that the thickness of the calcite crust is not a reliable indicator of age，那么下一句的结论应该是跟thinkness相关，比如是说明thickness of the calcite crust无用的总结。我们看文中的下一句话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.，说的是我们并不知道雕像的具体的年份是什么，雕像的年份有一个很大的跨度区间。上下文推理：作者想要说明用the thickness of the calcite 确定雕像的年龄是很困难的，但是绝对不是没用，如果没用的话那么我们可能连年份区间都没法知道。

我的思路不一定是标准思路，希望有用

faye1030

只做了CR
1. C
2. A 差点选了C，但是想想通过非语言的方式是不会有元音也不会有多种辅音的。