Cadenzas sprang up in the early eighteenth century, when composers began indicating brief episodes where the performer should play freely, delaying a final cadence[拍子，节奏]. They appeared not only in opera but also in instrumental pieces, especially in the closing sections of concerto movements. Musicians had been embellishing the score for centuries, and perhaps the cadenza was a way of bringing improvisation[即兴创作，即兴演奏] under control, corralling it. Mozart, as composer and pianist, brought the practice to its peak; one of his contemporaries stated that cadenzas should be dreamlike in their logic, expressing “ordered disorder,” and Mozart’s playing evidently had that quality. (He wrote out cadenzas for many of his concertos, so his performances may not always have been spontaneous.) Beethoven carried on the tradition—the darkly rumbling cadenza that he devised[设计] for Mozart’s D-minor Piano Concerto is a fascinating case of one composer meditating on another—but he also helped to kill it. In the first movement of the “Emperor” Concerto, the soloist is told not to make a cadenza but to play “the following”—a fully notated solo. Performers gradually stopped working out their own cadenzas, instead turning to a repertory of written-out versions. Opera singers retained more freedom, especially when it came to interpolating bravura high notes, but they, too, grew more cautious. Improvisation became the province of church organists and avant-gardists[先锋派], the latter often taking inspiration from jazz.Classical advocates of the practice believe that it is not only historically valid but intellectually enlivening[有生气，有活力的]. For a recent paper in NeuroImage, Aaron Berkowitz and Daniel Ansari studied what happens cognitively when someone improvises; they observed increased activity in two zones of the brain, one connected to decision-making and the other to language. Even if a soloist extemporizes for only a minute, the remainder of the performance may gain something intangible. Levin, the Harvard-based musician who for decades has been the chief guru of classical improvisation, believes that performances need to cultivate risk and surprise. Otherwise, he says, music becomes “gymnastics with the affectation of emotional content”—a phrase that sums up uncomfortably large tracts [约束]of modern music-making.
Q1：有一题是让选下面两个人，我其实没看懂题目什么意思,寂静说是下面哪两人玩过cadenzas 我就按照寂静选了 选的是Mozart和Caruza (Caruza我其实很不确定啊，总觉得他是扼杀了啊；不过有两个选项是有Cxxxtti,就是那个研究者啊，果断排除；还有选项有最后一段出现的那个Levin，这个我也不确定啊，他是这种音乐形式的提倡者，不知道自己会不会啊.) Q2：问第二段中提到的Caruza那个人是为了什么… 我选的是 大概意思 为了说明 Cadenzas发展还是消亡的程度之类的 有个to the degree ,选项位置大概是C左右 Q3：Cadenzas的支持者会赞成以下哪个观点：我选了Cadenzas can cultivate risk and surprise. 貌似是E
第一段是说平时的地震是震源30米以下的。貌似没什么考点 第二段说了其实还有种地震是发生在130米~400米。接下来解释原因。都是一个科学家提出的。我感觉是两种模式。都定义了名字。第一个是 P transformation;第二种貌似是M transformation.刚开始解释完第一种后，说P is too slow to.引起fracture ?.. 然后又说了第二种。解释两种模式的时候都有说什么pressure and temperature的change 会引起什么fracture.额..这个不重要 没有考点。
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发表于 2012-4-24 00:20:23