4月语文JJ太太乐wjy_slq(佳佳)RC49CR100.更新停止

wjy_slq

以下是引用steviori在2009-4-9 14:10:00的发言：

注意身体：身体是革命的本钱，这话到啥时候都嗷嗷对的。

呵呵 谢谢  这个月你是不是也要考试？？？ 加油！！！ 最近看书晚了点 结果白天上课脑袋特别大    其实逻辑和语法的JJ很少的  整理阅读的时候旧可以顺便整理了。

加油！！！

wjy_slq

以下是引用waitinfall在2009-4-9 14:19:00的发言：

Some background on Bebop from wikipedia. 大家可以看看。

The 1939 recording of "Body and Soul" by Coleman Hawkins is an important antecedent of bebop. Hawkins' willingness to stray — even briefly — from the ordinary resolution of musical themes and his playful jumps to double-time signaled a departure from existing jazz. The recording was popular; but more importantly, from a historical perspective, Hawkins became an inspiration to a younger generation of jazz musicians, most notably Charlie Parker, in Kansas City.

In the 1940s, the younger generation of jazz musicians forged a new style out of the swing music of the 1930s. Mavericks like Dizzy Gillespie, Charlie Parker, Bud Powell and Thelonious Monk were influenced by the preceding generation's adventurous soloists, such as pianists Art Tatum and Earl Hines, tenor saxophonists Coleman Hawkins and Lester Young and trumpeter Roy Eldridge. Gillespie and Parker, both out of the Earl Hines Band in Chicago had traveled with some of the pre-bop masters, including Jack Teagarden, Earl Hines and Jay McShann. These forerunners of bebop began exploring advanced harmonies, complex syncopation, altered chords, and chord substitutions and the bop generation advanced these techniques with a more freewheeling and often arcane approach.

Minton's Playhouse in New York served as a workout room and experimental theater for early bebop players, including Charlie Christian, who had already hinted at the bop style in innovative solos with Benny Goodman's band.

Christian's major influence was in the realm of rhythmic phrasing. Christian commonly emphasized weak beats and off beats, and often ended his phrases on the second half of the fourth beat. Christian experimented with asymmetrical phrasing, which was to become a core element of the new bop style. Swing improvisation was commonly constructed in two or four bar phrases that corresponded to the harmonic cadences of the underlying song form. Bop improvisers would often deploy phrases over an odd number of bars, and overlap their phrases across bar lines and across major harmonic cadences. Christian and the other early boppers would also begin stating a harmony in their improvised line before it appeared in the song form being outlined by the rhythm section. This momentary dissonance creates a strong sense of forward motion in the improvisation. Swing improvisers commonly emphasized the first and third beats of a measure. But in a bebop composition such as Dizzy Gillespie's "Salt Peanuts", the rhythmic emphasis switches to the second and fourth beats of the measure. Such new rhythmic phrasing techniques give the typical bop solo a feeling of floating free over the underlying song form, rather than being tied into the song form.

Swing drummers had kept up a steady four-to-the-bar pulse on the bass drum. Bop drummers, led by Kenny Clarke, moved the drumset's time-keeping function to the ride or hi-hat cymbal, reserving the bass drum for accents. Bass drum accents were colloquially termed "dropping bombs." Notable bop drummers such as Max Roach, Philly Joe Jones, Roy Haynes, and Kenny Clarke began to support and respond to soloists, almost like a shifting call and response.

This change increased the importance of the string bass. Now, the bass not only maintained the music's harmonic foundation, but also became responsible for establishing a metronomic rhythmic foundation by playing a "walking" bass line of four quarter notes to the bar. While small swing ensembles commonly functioned without a bassist, the new bop style required a bass in every small ensemble.

By 1950, a second wave of bebop musicians — such as Clifford Brown, Sonny Stitt, and Fats Navarro — began to smooth out the rhythmic eccentricities of early bebop. Instead of using jagged phrasing to create rhythmic interest, as the early boppers had, these musicians constructed their improvised lines out of long strings of eighth notes, and simply accented certain notes in the line to create rhythmic variety.

[edit]
  Musical style

Bebop differed drastically from the straightforward compositions of the swing era, and was instead characterized by fast tempos, asymmetrical phrasing, intricate melodies, and rhythm sections that expanded on their role as tempo-keepers. The music itself seemed jarringly different to the ears of the public, who were used to the bouncy, organized, danceable tunes of Benny Goodman and Glenn Miller during the swing era. Instead, bebop appeared to sound racing, nervous, and often fragmented. But to jazz musicians and jazz music lovers, bebop was an exciting and beautiful revolution in the art of jazz.

While swing music tended to feature orchestrated big band arrangements, bebop music was much more free in its structure. Typically, a theme (a "head," often the main melody of a pop or jazz standard of the swing era) would be presented together at the beginning and the end of each piece, with improvisational solos based on the chords of the tune. Thus, the majority of a song in bebop style would be improvisation, the only threads holding the work together being the underlying harmonies played by the rhythm section. Sometimes improvisation included references to the original melody or to other well-known melodic lines ("allusions," or "riffs"). Sometimes they were entirely original, spontaneous melodies from start to finish.

Chord progressions for bebop tunes were often taken directly from popular swing-era songs and reused with a new and more complex melody, forming new compositions. This practice was already well-established in earlier jazz, but it came to be central to the bebop style.

Bebop musicians also employed several harmonic devices not typical of the jazz music that had come before. Complicated harmonic substitutions for more basic chords became commonplace. These substitutions often emphasized certain dissonant intervals such as the flat ninth, sharp ninth and the sharp eleventh (or tri-tone).

[edit]
  Instrumentation

The classic bebop combo consisted of saxophone, trumpet, bass, drums, and piano. This was a format used (and popularized) by both Charlie Parker (alto sax) and Dizzy Gillespie (trumpet) in their 1940s groups and recordings, sometimes augmented by an extra saxophonist or guitar (electric or acoustic), occasionally adding other horns (often a trombone), or other strings (usually fiddle or violin) or dropping an instrument and leaving only a quartet.

Although only one part of a rich jazz tradition, bebop music continues to be played regularly throughout the world. Trends in improvisation since its era have changed from its harmonically-tethered style, but the capacity to improvise over a complex sequence of altered chords is a fundamental part of any jazz education.

[edit]
  Etymology

The word "bebop" is usually stated to be nonsense syllables (vocables) which were generated in scat singing, and is supposed to have been first attested in 1928.^[1] One speculation is that it was a term used by Charlie Christian, because it sounded like something he hummed along with his playing.^[2] However, possibly the most plausible theory is that it derives from the cry of "Arriba ! Arriba !" used by Latin American bandleaders of the period to encourage their bands.^[3] This squares with the fact that, originally, the terms "bebop" and "rebop" were used interchangeably. By 1945, the use of "bebop"/"rebop" as nonsense syllables was widespread in R&B music, for instance Lionel Hampton's "Hey Ba-Ba-Re-Bop", and a few years later in rock and roll, for instance Gene Vincent's "Be-Bop-A-Lula" (1956).

Alternatively, but following the logic of Gammond, the term could be derived from the shout of "Hey, vaya arriba", used by audiences to exhort a band to "Take it up". When pronounced in Caribbean Spanish, the "V" of vaya - to some ears - has a "B" sound and the terminal "A" of vaya continues into the initial "A" of arriba. The resulting sound, to an American ear, would be quite similar to the phrase "Hey, Ba-Ba Re-Bop". Also, a five note phrase, played variably melodically but always rhythmically invoking the phrase "Hey, Ba-Ba Re-Bop", is the most repeated phrase in all jazz improvisation from the 40's through the late 60s, thus implying that the term might, indeed, have phraseological origins in music and not in language.^{[original research?]}

[edit]
  Bebop's influence

By the mid-1950s musicians (Miles Davis and John Coltrane among others) began to explore directions beyond the standard bebop vocabulary. Simultaneously, other players expanded on the bold steps of bebop: "cool jazz" or "West Coast jazz", modal jazz, as well as free jazz and avant-garde forms of development from the likes of George Russell.

Bebop style also influenced the Beat Generation whose spoken-word style drew on jazz rhythms, and whose poets often employed jazz musicians to accompany them. The bebop influence also shows in rock and roll, which contains solos employing a form similar to bop solos, and "hippies" of the 60s and 70s, who, like the boppers had a unique, non-conformist style of dress, a vocabulary incoherent to outsiders, and a communion through music. Fans of bebop were not restricted to the USA; the music gained cult status in France and Japan.

More recently, Hip-hop artists (A Tribe Called Quest, Guru) have cited bebop as an influence on their rapping and rhythmic style. Bassist Ron Carter even collaborated with A Tribe Called Quest on 1991's The Low End Theory, and vibraphonist Roy Ayers and trumpeter Donald Byrd were featured on Jazzmatazz, by Guru, in the same year. Bebop samples, especially bass lines, ride cymbal swing clips, and horn and piano riffs are found throughout the hip-hop compendium.

谢谢  已经收入！！！ 考试加油！！！

wjy_slq

以下是引用祈祷为你在2009-4-9 15:26:00的发言：
为啥有人占了那么多位置啊。。

0.0我占地··为了粘贴阅读JJ·

wjy_slq

····整理JJ真是体力活···尤其找考古JJ····但是相信考古JJ会给大家带来很多好处 一起加油！！

wjy_slq

````整理了三个小时``今天的阅读JJ好多袄````终于可以看书了

55555 都10点半了 明天作业还要写````

MissZiona

以下是引用wjy_slq在2009-4-9 22:13:00的发言：
····整理JJ真是体力活···尤其找考古JJ····但是相信考古JJ会给大家带来很多好处 一起加油！！

佳佳mm 很是感谢你呢 好人有好报呢 rp高那

对了 我在一位童鞋的帖中看到 还有一篇RC呢 还是原题（证实了）链接是：http://forum.chasedream.com/dispbbs.asp?boardID=22&ID=382067&page=1 

"中国故乡的云"童鞋发的：恐龙飞行的是不是这篇呢？
    

1.        GWD-27-Q3-Q6 鸟为什么会飞的两种理论
                

Two opposing scenarios,        两种解释鸟飞的假设：树栖和疾走。
            

the “arboreal” hypothesis and

the “cursorial” hypothesis, have

Line traditionally been put forward con-

(5)  cerning the origins of bird flight.

The “arboreal” hypothesis holds      树栖论说鸟祖先爬上树滑行下来，随
            

that bird ancestors began to fly       着羽毛越来越大，最终飞了起来。
            

by climbing frees and gliding

down from branches with the

(10) help of incipient feathers: the

height of trees provides a good

starting place for launching flight,

especially through gliding. As

feathers became larger over time,

(15) flapping flight evolved and birds

finally became fully air-borne.

This hypothesis makes intuitive       树栖论的问题：始祖鸟和M恐龙没有
            

Sense, but certain aspects are         明显的栖树适应性，如合适的脚。
            

Troubling. Archaeopteryx (the

(20) earliest known bird) and its

maniraptoran dinosaur cousins

have no obviously arboreal

adaptations, such as feet fully

adapted for perching. Perhaps        没分析显示始祖鸟曾用前肢爬树和飞，
            

(25) some of them could climb trees,

but no convincing analysis has

demonstrated how Archaeopteryx

would have both climbed and

flown with its forelimbs, and there

(30) were no plants taller than a few       始祖鸟化石发现的地方也没有发现高
            

meters in the environments where      树。
            

Archaeopteryx fossils have been

found. Even if the animals could       即使它会爬树也不表明会滑翔。
            

climb trees, this ability is not

(35) synonymous with gliding ability.

(Many small animals, and even

some goats and kangaroos,

are capable of climbing trees

but are not gliders.) Besides,

(40) Archaeopteryx shows no obvi-

ous features of gliders, such as        它没明显的滑翔特征。
            

a broad membrane connecting

forelimbs and hind limbs.

   The “cursorial”(running)

(45) hypothesis holds that small           疾走论认为鸟为了躲避猎食者，奔跑
            

dinosaurs ran along the ground        并张开双臂平行
            

and stretched out their arms for

balance as they leaped into the

air after insect prey or, perhaps,

(50) to avoid predators. Even rudi-         前肢的原始特征能帮助身体稍微升高
            

mentary feathers on forelimbs

could have expanded the arm’s

surface area to enhance lift

slightly. Larger feathers could         然后鸟慢慢就飞起来了。
            

(55) have increased lift incrementally,

until sustained flight was gradu-

ally achieved. Of course, a leap

into the air does not provide the

acceleration produced by drop-

(60) ping out of a tree; an animal

would have to run quite fast

to take off. Still, some small

terrestrial animals can achieve

high speeds. The cursorial

(65) hypothesis is strengthened by

the fact that the immediate the-         兽脚亚目恐龙祖先拥有各种疾走的
            

ropod dinosaur ancestors of            特点。
            

birds were terrestrial, and they

had the traits needed for high

(70) lift off speeds: they were small,

agile, lightly built, long-legged,         另外，
            

and good runners. And because         它们用两足走，双臂有空用来拍打。
            

they were bipedal, their arms

were free to evolve flapping flight,

(75) which cannot be said for other

reptiles of their time.

 ---------------------------------------------------------

Q 3:

The primary purpose of the passage is to

A.    present counterevidence to two hypotheses concerning the origins of  bird flight

B.     propose and alternative to two hypotheses concerning the origins of bird flight

correct certain misconceptions about hypotheses concerning the  origins of bird flight

C.     (missing)

D.    refute a challenge to a hypothesis concerning the origins of bird flight

E.     evaluate competing hypotheses concerning the origins of bird flight

---------------------------------------------------

Q 4:

The passage presents which of the following facts as evidence that tends to undermine the arboreal hypothesis?

A.    Feathers tend to become larger over time

B.     Flapping flight is thought to have evolved gradually over time

C.     Many small animals are capable of climbing trees.

D.    Plants in Archaeopteryx’s known habitats were relatively small

E.     Leaping into the air does not provide as much acceleration as gliding out of a tree

------------------------------------------------

Q 5:

Which of the following is included in the discussion of the cursorial hypothesis but not in the discussion of the arboreal hypothesis?

A.    A discussion of some of the features of Archaeopteryx

B.     A description of the environment known to have been inhabited by bird ancestors

C.    A possible reason why bird ancestors might have been engaging in activities that eventually evolved into flight

D.    A description of the obvious features of animals with gliding ability

E.     An estimate of the amount of time it took for bird ancestors to evolve the kind of flapping flight that allowed them to become completely airborne

-------------------------------------------------

Q 6:

The passage suggests which of the following regarding the climbing ability of Archaeopteryx?

A.    Its ability to climb trees was likely hindered by the presence of incipient feathers on its forelimbs.

B.     It was probably better at climbing trees than were its maniraptoran dinosaur cousins.

C.     It had certain physical adaptations that suggest it was skilled at climbing trees.

D.    Scientists have recently discovered fossil evidence suggesting it could not climb trees.

E.     Scientists are uncertain whether it was capable of climbing trees

wjy_slq

以下是引用MissZiona在2009-4-9 22:45:00的发言：

佳佳mm 很是感谢你呢 好人有好报呢 rp高那

对了 我在一位童鞋的帖中看到 还有一篇RC呢 还是原题（证实了）链接是：http://forum.chasedream.com/dispbbs.asp?boardID=22&ID=382067&page=1 

"中国故乡的云"童鞋发的：恐龙飞行的是不是这篇呢？
 

1.        GWD-27-Q3-Q6 鸟为什么会飞的两种理论
    

Two opposing scenarios,        两种解释鸟飞的假设：树栖和疾走。
   

the “arboreal” hypothesis and

the “cursorial” hypothesis, have

Line traditionally been put forward con-

(5)  cerning the origins of bird flight.

The “arboreal” hypothesis holds      树栖论说鸟祖先爬上树滑行下来，随
   

that bird ancestors began to fly       着羽毛越来越大，最终飞了起来。
   

by climbing frees and gliding

down from branches with the

(10) help of incipient feathers: the

height of trees provides a good

starting place for launching flight,

especially through gliding. As

feathers became larger over time,

(15) flapping flight evolved and birds

finally became fully air-borne.

This hypothesis makes intuitive       树栖论的问题：始祖鸟和M恐龙没有
   

Sense, but certain aspects are         明显的栖树适应性，如合适的脚。
   

Troubling. Archaeopteryx (the

(20) earliest known bird) and its

maniraptoran dinosaur cousins

have no obviously arboreal

adaptations, such as feet fully

adapted for perching. Perhaps        没分析显示始祖鸟曾用前肢爬树和飞，
   

(25) some of them could climb trees,

but no convincing analysis has

demonstrated how Archaeopteryx

would have both climbed and

flown with its forelimbs, and there

(30) were no plants taller than a few       始祖鸟化石发现的地方也没有发现高
   

meters in the environments where      树。
   

Archaeopteryx fossils have been

found. Even if the animals could       即使它会爬树也不表明会滑翔。
   

climb trees, this ability is not

(35) synonymous with gliding ability.

(Many small animals, and even

some goats and kangaroos,

are capable of climbing trees

but are not gliders.) Besides,

(40) Archaeopteryx shows no obvi-

ous features of gliders, such as        它没明显的滑翔特征。
   

a broad membrane connecting

forelimbs and hind limbs.

   The “cursorial”(running)

(45) hypothesis holds that small           疾走论认为鸟为了躲避猎食者，奔跑
   

dinosaurs ran along the ground        并张开双臂平行
   

and stretched out their arms for

balance as they leaped into the

air after insect prey or, perhaps,

(50) to avoid predators. Even rudi-         前肢的原始特征能帮助身体稍微升高
   

mentary feathers on forelimbs

could have expanded the arm’s

surface area to enhance lift

slightly. Larger feathers could         然后鸟慢慢就飞起来了。
   

(55) have increased lift incrementally,

until sustained flight was gradu-

ally achieved. Of course, a leap

into the air does not provide the

acceleration produced by drop-

(60) ping out of a tree; an animal

would have to run quite fast

to take off. Still, some small

terrestrial animals can achieve

high speeds. The cursorial

(65) hypothesis is strengthened by

the fact that the immediate the-         兽脚亚目恐龙祖先拥有各种疾走的
   

ropod dinosaur ancestors of            特点。
   

birds were terrestrial, and they

had the traits needed for high

(70) lift off speeds: they were small,

agile, lightly built, long-legged,         另外，
   

and good runners. And because         它们用两足走，双臂有空用来拍打。
   

they were bipedal, their arms

were free to evolve flapping flight,

(75) which cannot be said for other

reptiles of their time.

 ---------------------------------------------------------

Q 3:

The primary purpose of the passage is to

A.    present counterevidence to two hypotheses concerning the origins of  bird flight

B.     propose and alternative to two hypotheses concerning the origins of bird flight

correct certain misconceptions about hypotheses concerning the  origins of bird flight

C.     (missing)

D.    refute a challenge to a hypothesis concerning the origins of bird flight

E.     evaluate competing hypotheses concerning the origins of bird flight

---------------------------------------------------

Q 4:

The passage presents which of the following facts as evidence that tends to undermine the arboreal hypothesis?

A.    Feathers tend to become larger over time

B.     Flapping flight is thought to have evolved gradually over time

C.     Many small animals are capable of climbing trees.

D.    Plants in Archaeopteryx’s known habitats were relatively small

E.     Leaping into the air does not provide as much acceleration as gliding out of a tree

------------------------------------------------

Q 5:

Which of the following is included in the discussion of the cursorial hypothesis but not in the discussion of the arboreal hypothesis?

A.    A discussion of some of the features of Archaeopteryx

B.     A description of the environment known to have been inhabited by bird ancestors

C.    A possible reason why bird ancestors might have been engaging in activities that eventually evolved into flight

D.    A description of the obvious features of animals with gliding ability

E.     An estimate of the amount of time it took for bird ancestors to evolve the kind of flapping flight that allowed them to become completely airborne

-------------------------------------------------

Q 6:

The passage suggests which of the following regarding the climbing ability of Archaeopteryx?

A.    Its ability to climb trees was likely hindered by the presence of incipient feathers on its forelimbs.

B.     It was probably better at climbing trees than were its maniraptoran dinosaur cousins.

C.     It had certain physical adaptations that suggest it was skilled at climbing trees.

D.    Scientists have recently discovered fossil evidence suggesting it could not climb trees.

E.     Scientists are uncertain whether it was capable of climbing trees

已经收入  非常感谢 嘿嘿·

许晏如

楼主，GWD的那篇原题是哪一篇啊？？

饔牛

LZ辛苦啦，都3战了，这次一定成功的，放心，恩，不过也别因为整理jj而耽误复习。

hoyoto

LZ MM 真是活雷锋啊！多谢