TEXT TWELVE

Imagine how much sleep future musicologists will lose over Philip Glass. Throughout his career he has changed his scores to suit the circumstances, trimming them for recordings, for example, because he believes that nonvisual performances benefit from (relative) concision. The notion of an immutable, sacrosanct urtext -- the very thing musicologists sift historical evidence hoping to establish -- is entirely alien to him.

Still, you would think that if Mr. Glass held anything sacred, it would be the structure and format of ''Einstein on the Beach.'' At that opera's premiere in 1976, and in its 1984 and 1992 revivals, ''Einstein'' played for five hours with no intermission. Free of narrative but rich in associations and imagery -- Einstein as a madly ecstatic violinist but also as the father of nuclear power -- the work unfolded inexorably, its repeated musical phrases creating rhythmic wheels within wheels. The libretto, mostly numbers, solfege syllables and quirky, stream-of-consciousness spoken texts, works its own hypnotic spell. Listeners were free to come and go as they pleased, but some of the work's power came from its relentlessness, to say nothing of the quirkiness of Robert Wilson's staging.

The version that Mr. Glass and his ensemble presented at Carnegie Hall on Thursday evening swept away the elements that made the work a happening and transformed it into a concert piece: three hours long, with an intermission and with formal seating rules in force. The breadth of the work was presented, if not its full sweep. The two-hour trim was accomplished by deleting sections from all but a few scenes. Some trims were noticeable: Lucinda Childs's tale of the multicolored bathing cap was intact, as were the quotations from Carole King's ''I Feel the Earth Move,'' but Mr. Bojangles was evicted from this version.

Musically, the score survived the trims and might even have benefited from them: The brisker movement from one section to the next highlighted the degree of inventiveness that drives this piece and pointed up passages of real beauty. In ''Knee Play 3,'' for example, the unaccompanied chorus sings streams of numbers, yet the music has the grandeur of a sacred setting much of the time and, at others, the energy of a symphonic presto. And Tim Fain, the violinist, gave the solo passages in the second, fourth and fifth ''Knee Plays'' and in the climactic, swirling ''Spaceship Interior'' scene an electrifying, virtuosic workout.

Some of the work's magic is in the way its elements pull in opposite directions. The repetition of short phrases, on one hand, can be soporific; yet the wheezing keyboard and woodwind textures and the bursts of choral counting, with sibilants creating their own rhythmic patterns, are invigorating. And because the performance is heavily amplified, timbres seem to melt together: Is that repeating fragment a voice, a violin or the top notes of the organ figure? The ensemble, which included musicians who have been with Mr. Glass from the early days as well as newcomers, gave the score a tight, high-energy readi1锛�

1. Future musicologists will lose much sleep over Philip Glass because_____.

[A] Philip Glass鈥� works are consistently changing based on the different context and various external conditions.

[B] Philip Glass鈥檚 music is characterized by its unintelligibility.

[C] Philip Glass is ignorant of establishing an immutable, sacrosanct urtext.

[D] Philip Glass鈥檚 works are totally alien to modern and even future audience.

2. To make the opera become a concert, Mr. Glass trimmed _____.

[A] the tale of the multicolored bathing cap

[B] the quotations form Carole King

[C] Mr. Bojangles鈥� scene

[D] Lucinda Childe鈥檚 adventure

3. Which one of the following is NOT true of the new version of 鈥淓instein on the Beach鈥� ?

[A] The former structure and format was kept constantly for the majority part.

[B] The version was changed into a concert with a more formal procedure and a more fixed setting.

[C] The version was a success partly because of the advantages brought by the trims.

[D] The version was tighter than its ancestor.

4锛� The contrary elements which added charm to the new version were_____.

[A] the soporific repetition of phrases and invigorating music

[B] the streams numbers and symphonic energy

[C] the classical violin solo passage and electrifying workout

[D] its innovative nature and authenticity

5锛嶵he passage is mainly _____.

[A] a comparison of two versions of 鈥淓instein on the Beach鈥�

[B] an introduction of a new art form

[C] a study on the influence of trims on musical works

[D] an analysis of Mr. Glass鈥� works

鏂囩珷鍓栨瀽锛�

閫欑瘒鏂囩珷涓昏浠嬬垂浜嗛煶妯�(l猫)瀹惰彶鍒╂櫘·鏍兼媺鏂殑浣滃搧銆傛枃绔犵涓€娈垫彁鍒版牸鎷夋柉浣滃搧澶氳畩鐨勯ⅷ(f膿ng)鏍�锛涚浜屾璎涜堪鍏朵綔鍝佲€滄剾(脿i)鍥犳柉鍧﹀湪娴风仒鈥濈殑鐗归粸(di菐n)锛涚涓夋璎涜堪鍗″収(n猫i)鍩哄ぇ寤虫紨鍑虹殑鈥滄剾(脿i)鍥犳柉鍧﹀湪娴风仒鈥濈増鏈殑鍒瘈(ji茅)锛涚鍥涙绗簲娈佃瑳杩版柊鐗堟湰闊虫▊(l猫)鐗硅壊銆�

瑭炲尟娉ㄩ噵锛�

immutable adj. 涓嶈畩鐨�, 姘告亽鐨� sacrosanct adj. 妤电鍦ｇ殑

urtext n. 鍘熷鏂囨湰(濡傛▊(l猫)璀滅瓑) sift v. 閬告嫈锛岀簿閬�

libretto n. 姝岃 solege n.瑕栧敱绶寸繏(x铆)

quirky adj 瑭⿶鐨�锛岄洟濂囩殑 hypnotic adj. 鍌湢鐨�

brisker adj. 杓曞揩鐨�锛屾椿娼戠殑 virtuosic adj. 钘濊(sh霉)鐨�

presto n. 鎬ユ澘妯�(l猫)娈垫垨妯�(l猫)绔� timbre n. 闊宠壊锛岄煶璩�(zh矛)

soporific adj. 鍌湢鐨� wheeze v. 鍠樻伅

inexorably adv. 鐒�(w煤)鎯呭湴, 鍐烽叿鍦�

闆ｅ彞绐佺牬锛�

(1) Free of narrative but rich in associations and imagery -- Einstein as a madly ecstatic violinist but also as the father of nuclear power -- the work unfolded inexorably, its repeated musical phrases creating rhythmic wheels within wheels.

[涓婚珨鍙ュ紡] The work unfolded.

[绲�(ji茅)妲�(g貌u)鍒嗘瀽] 閫欐槸涓€鍊�(g猫)绨�(ji菐n)鍠彞锛屽墠闈㈢殑鐝�(xi脿n)鍦ㄥ垎瑭炵煭瑾�(y菙)鏄綔鐐哄彞瀛愮殑浼撮毃鐙€瑾�(y菙)锛堢矇鍒鸿鐪佺暐锛�锛岃€屾渶鍚庨潰鐨勬槸涓€鍊�(g猫)甯舵湁涓昏獮(y菙)鐨勫垎瑭炵崹(d煤)绔嬬祼(ji茅)妲�(g貌u)锛屼篃鏄彞瀛愮殑浼撮毃鐙€瑾�(y菙)锛涜€岀牬鎶樿櫉(h脿o)涔嬮枔鐨勫彞瀛愭槸涓€鍊�(g猫)鐛�(d煤)绔嬬殑绲�(ji茅)妲�(g貌u)锛岀敤渚�(l谩i)瑾�(shu艒)鏄庡墠闈㈢殑浼撮毃鐙€瑾�(y菙)銆�

[鍙ュ瓙璀枃] 鎰�(脿i)鍥犳柉鍧︿笉鍍呮槸涓€鍊�(g猫)鐦嬬媯钁楄糠鐨勫皬鎻愮惔瀹�锛屼篃鏄牳鑳戒箣鐖讹紝鑰岄€欓儴浣滃搧娌�(m茅i)鏈夊灏戞晿杩�锛屽嵒鍏呮豢浜嗚伅(li谩n)鎯冲拰鎯宠薄锛屽畠鍐烽叿鍦板睍鐝�(xi脿n)鍦ㄥぇ瀹堕潰鍓嶏紝涓嶅仠閲嶅京(f霉)鐨勯煶妯�(l猫)鎺经鍦ㄥ湏鍦堥噷鍙堝壍(chu脿ng)閫犲嚭鏈夌瘈(ji茅)濂忔劅鐨勫湏鍦�銆�

(2) The version that Mr. Glass and his ensemble presented at Carnegie Hall on Thursday evening swept away the elements that made the work a happening and transformed it into a concert piece: three hours long, with an intermission and with formal seating rules in force.

[涓婚珨鍙ュ紡] The version swept away the elements and transformed it鈥�

[绲�(ji茅)妲�(g貌u)鍒嗘瀽]閫欐槸涓€鍊�(g猫)寰�(f霉)鍚堝彞锛岀穵璺熻憲涓昏獮(y菙)鍚庨潰鐨勬槸浠hat寮曞皫(d菐o)鐨勫畾瑾�(y菙)寰炲彞锛屽彞瀛愯硴瑾�(y菙)the elements鍚庨潰涔熸槸涓€鍊�(g猫)鐢ㄤ締(l谩i)淇＞瀹冪殑瀹氳獮(y菙)寰炲彞锛岃┎瀹氳獮(y菙)寰炲彞姣旇純寰�(f霉)闆滐紝鍐掕櫉(h脿o)鍚庨潰鐨勬槸涓€鍊�(g猫)鐛�(d煤)绔嬫垚鍒�锛屾槸鐢ㄤ締(l谩i)瑙ｉ噵鍓嶉潰a concert piece鐨�銆�

[鍙ュ瓙璀枃] 鍛ㄥ洓鏅氫笂鏍兼媺鏂厛鐢熷拰浠栫殑婕斿嚭鍦�(tu谩n)闅�(du矛)鍦ㄥ崱鍏�(n猫i)鍩哄ぇ寤抽€�(j矛n)琛屼簡婕斿嚭锛岄€欐婕斿嚭鎺冮櫎浜嗛€欓儴鍔囦綔浜嬩欢鍔囩殑涓€浜涘洜绱�锛岃綁(zhu菐n)璁�?y艒u)姗愬緤鎭抽?l猫)鏈�(hu矛)銆傞€欐婕斿嚭姝锋檪(sh铆)涓夊€�(g猫)灏忔檪(sh铆)锛屾湁骞曢枔浼戞伅锛屼篃鏈夋寮忕殑灏卞骇瑕�(gu墨)鍓�銆�

椤岀洰鍒嗘瀽锛�

1锛嶧uture musicologists will lose much sleep over Philip Glass because_____.

1锛庢湭渚�(l谩i)鐨勯煶妯�(l猫)瀛�(xu茅)瀹舵渻(hu矛)鍦ㄨ彶鍒╂櫘·鏍兼媺鏂韩涓婅€楄不(f猫i)瑷卞涓嶇湢涔嬪锛屽洜?y脿n)闁�(k膩i)____銆�

[A] Philip Glass鈥� works are consistently changing based on the different context and various external conditions.

[A] 鑿插埄鏅�·鏍兼媺鏂殑浣滃搧鍦ㄤ笉鍚岀殑鎯呮櫙鍜屽悇绋閮ㄤ笅涓嶆柗鍦扮櫦(f膩)鐢熻畩鍖�銆�

[B] Philip Glass鈥檚 music is characterized by its unintelligibility.

[B]鑿插埄鏅�·鏍兼媺鏂綔鍝佺殑閲嶈鐗归粸(di菐n)灏辨槸闈炲父闆ｄ互鐞嗚В銆�

[C] Philip Glass is ignorant of establishing an immutable, sacrosanct urtext.

[C] 鑿插埄鏅�·鏍兼媺鏂笉灞戜簬鍓�(chu脿ng)绔嬩笉璁婄殑銆佺鍦ｇ殑鍘熷鏂囨湰銆�

[D] Philip Glass鈥檚 works are totally alien to modern and even future audience.

[D] 鑿插埄鏅�·鏍兼媺鏂殑浣滃搧灏�(du矛)浜庣従(xi脿n)浠ｇ敋鑷虫槸鏈締(l谩i)鐨勮鐪句締(l谩i)瑾�(shu艒)鏄畬鍏ㄩ檶鐢�銆�

[绛旀]A

[闆ｅ害绯绘暩(sh霉)] 鈽嗏槅鈽�

[鍒嗘瀽] 鎺ㄧ悊椤屻€傛枃绔犲墰闁�(k膩i)濮嬪氨鎻愬埌鏈締(l谩i)鐨勯煶妯�(l猫)瀛�(xu茅)瀹舵渻(hu矛)鍦ㄦ牸鎷夋柉韬笂鑰楄不(f猫i)鎺夎ū澶氱潯鐪狅紝寮曠敵渚�(l谩i)鐪嬪氨鏄牸鎷夋柉鐨勪綔鍝佹渻(hu矛)寰堣€楄不(f猫i)浜虹殑绮惧姏銆傛帴涓嬩締(l谩i)鏂囩珷灏变粙绱逛簡鏍兼媺鏂綔鍝佺殑鐗归粸(di菐n)锛屾牸鎷夋柉鐨勪綔鍝佹渻(hu矛)鍥犵挵(hu谩n)澧�銆佹檪(sh铆)浠ｇ殑璁婂寲浣滃嚭瑷卞璁婂嫊(d貌ng)锛屼粬涓嶇浉淇￠偅绋案鎭掍笉璁婄殑鏂囨湰锛岄€欎篃灏卞彲鑳芥槸鏈締(l谩i)闊虫▊(l猫)瀛�(xu茅)瀹惰鑰楄不(f猫i)瑷卞绮惧姏鍦ㄤ粬韬笂鐨勫師鍥犮€傛枃绔犱笅闈㈤倓鑸変簡鍏烽珨鐨勪緥瀛愯(shu艒)鏄庝簡浠栧浣曟妸鑷繁鐨勬瓕鍔囨敼绶ㄦ垚鍗�(xi茅)濂忔洸锛屽洜姝わ紝A鏈€鐐虹鍚堝師鏂�銆�

2. To make the opera become a concert, Mr. Glass trimmed _____.

2. 鐐轰簡璁撻€欓儴姝屽妵璁�?y艒u)闁癴(xi茅)濂忔洸锛屾牸鎷夋柉鍏堢敓鍒瘈(ji茅)浜哶____銆�

[A] the tale of the multicolored bathing cap

[A] 褰╄壊娓告吵甯界殑鏁呬簨

[B] the quotations form Carole King

[B] 寮曠敤Carole King鐨勮┍

[C] Mr. Bojangles鈥� scene

[C] Bojangles鍏堢敓鐨勫牬(ch菐ng)鏅�

[D] Lucirda Childe鈥檚 adventure

[D] Lucirda Childe鐨勫啋闅�(xi菐n)缍�(j墨ng)姝�

[绛旀]C

[闆ｅ害绯绘暩(sh霉)] 鈽嗏槅鈽�

[鍒嗘瀽] 绱�(x矛)绡€(ji茅)椤�銆傛枃绔犵浜屾涓彁鍒版紨鍑虹殑鐗堟湰鍒幓浜嗗叐鍊�(g猫)灏忔檪(sh铆)锛岃€屼笖鍒瘈(ji茅)姣旇純鏄庨’銆傚湪瑾�(shu艒)鏄庡埅绡€(ji茅)鐨勫収(n猫i)瀹规檪(sh铆)锛屼綔鑰呭嵒鎸囧嚭浜嗕竴浜涘畬鏁寸殑鎯呯瘈(ji茅)锛岄€欎竴榛�(di菐n)瀹规槗璁撹€冪敓娣锋穯锛屾墍浠ュ氨闇€瑕佸緸涓寫鍑洪偅浜涘摢浜涙槸鍒瘈(ji茅)浜嗙殑銆傚師鏂囨彁鍒�锛岄湶杈涢仈(d谩)·鎭版礇鑼插僵鑹叉父娉冲附鐨勬晠浜嬫槸瀹屾暣鐨勶紝寮曠敤Carole King鐨勮┍鈥滄垜鎰熷埌浜嗗湴鍕�(d貌ng)锛屸€濅篃鏄殑锛岃€孊(ni菐o)ojangles鍏堢敓鍗昏閫愬嚭浜�锛屽洜姝�锛岀瓟妗堢偤C銆侱閬搁爡(xi脿ng)鏈変竴瀹氱殑杩锋儜鎬э紝Lucirda Childe鐨勬晠浜嬪(sh铆)闅涗笂灏辨槸褰╄壊娓告吵甯界殑鏁呬簨锛屼絾鏄伕闋�(xi脿ng)涓敤浜哸dventure閫欏€�(g猫)瑭炴槸鐒�(w煤)涓敓鏈�锛屽洜姝ゅ彲浠ユ帓闄よ┎閬搁爡(xi脿ng)銆�

3. Which one of the following is NOT true of the new version of 鈥淓instein on the Beach鈥� ?

3. 闂�(gu膩n)浜庘€滄剾(脿i)鍥犳柉鍧﹀湪娴风仒鈥濅笅鍒楀摢鍊�(g猫)闄宠堪鏄尟(cu貌)瑾ょ殑锛�

[A] The former structure and format was kept constantly for the majority part.

[A] 鍘熶締(l谩i)鐨勭祼(ji茅)妲�(g貌u)鍜屽舰寮忓ぇ閮ㄥ垎娌�(m茅i)鏈夋敼璁�銆�

[B] The version was changed into a concert with a more formal procedure and a more fixed setting.

[B] 閫欏€�(g猫)鐗堟湰琚敼鎴愪簡涓€鍊�(g猫)鍗�(xi茅)濂忔洸锛屽舰寮忔洿鍔犳寮�銆佸悓鏅�(sh铆)鐠�(hu谩n)澧冧篃鏇村姞鍥哄畾銆�

[C] The version was a success partly because of the advantage brought by trims.

[C] 閫欏€�(g猫)鐗堟湰鐛插緱鎴愭湰閮ㄥ垎鍦ㄤ簬鎵€浣滅殑鍒瘈(ji茅)銆�

[D] The version was tighter than its ancestor.

[D] 閫欏€�(g猫)鐗堟湰姣斿叾鍘熶綔瑕佹洿绶婃箠銆�

[绛旀]A

[闆ｅ害绯绘暩(sh霉)] 鈽嗏槅鈽�

[鍒嗘瀽] 绱�(x矛)绡€(ji茅)椤屻€傞骞茶姹傛壘鍑洪棞(gu膩n)浜庘€滄剾(脿i)鍥犳柉鍧﹀湪娴风仒鈥濋€欓儴浣滃搧鎻忚堪閷�(cu貌)瑾ょ殑閬搁爡(xi脿ng)銆傞伕闋�(xi脿ng)A锛屾枃绔犵浜屾鎻愬埌鏍兼媺鏂厛鐢熷皣閫欓儴鍔囦綔鐨勭祼(ji茅)妲�(g貌u)鍜屽舰寮忚鐐虹鍦�锛岃〃婕斾簡5鍊�(g猫)灏忔檪(sh铆)锛屽彲鏄湪鏂扮増鏈腑鍒幓浜�2鍊�(g猫)灏忔檪(sh铆)锛屽叾绲�(ji茅)妲�(g貌u)鍜屽舰寮忔噳(y墨ng)瑭茬櫦(f膩)鐢熶簡璁婂寲銆傚洜姝わ紝閫欏€�(g猫)閬搁爡(xi脿ng)鏈夊彲鑳芥槸閷�(cu貌)瑾ょ殑銆侭鍦ㄦ枃绔犵涓夋鎻愬埌锛汣鍦ㄦ枃绔犵鍥涙涓彁鍒�锛岄€欓儴浣滃搧鍙兘閭勫洜?y脿n)闁痟绡€(ji茅)鑰岀嵅鐩婏紝鍥�?y脿n)妾庨箍?ji茅)涔嬮枔鐨勮畩鍖栨洿蹇簡锛屽嚫鐝�(xi脿n)浜嗕富瑕佺殑缇庛€侱锛屾枃绔犵鍥涙鎻愬埌绔犵瘈(ji茅)涔嬮枔鐨勮畩鍖栨洿蹇�锛岄倓鏈夋渶鍚庝竴娈电殑鏈€鍚庝竴鍙ワ紝鏍兼媺鏂厛鐢熺殑婕斿鍦�(tu谩n)闅�(du矛)绲︿簡閫欏€�(g猫)鐗堟湰涓€鍊�(g猫)绶婃箠鐨勮В璁€锛岄€欏叐铏曢兘鍙互鍙嶆槧鍑洪€欏€�(g猫)鐗堟湰鏇寸偤绶婃箠浜�銆傛瘮杓冭€岃█锛孉闄宠堪鏄尟(cu貌)瑾ょ殑銆�

4锛� The contrary elements which added charm to the new version were_____.

4. 鐐洪€欏€�(g猫)鏂扮増鏈娣讳簡榄呭姏鐨勭浉鐭涚浘鐨勫厓绱犳槸_____銆�

[A] the soporific repetition of phrases and invigorating music

[A] 鍌汉鍏ョ潯鐨勯噸寰�(f霉)鐨勭煭瑾�(y菙)鍜屼护浜烘尟濂殑闊虫▊(l猫)

[B] the streams numbers and symphonic energy

[B] 鏁�(sh霉)瀛椾覆鍜屼氦闊挎▊(l猫)鍔涢噺

[C] the classical violin solo passage and electrifying workout

[C] 缍�(j墨ng)鍏哥殑灏忔彁鐞寸崹(d煤)濂忓拰闆诲瓙鍖栫殑鍔犲伐

[D] inventiveness and real beauty

[D] 鍓�(chu脿ng)閫犳€у拰鐪熸鐨勭編

[绛旀]D

[闆ｅ害绯绘暩(sh霉)] 鈽嗏槅鈽嗏槅

[鍒嗘瀽] 绱�(x矛)绡€(ji茅)椤屻€傛枃绔犵殑鏈€鍚庝竴娈垫寚鍑�锛岄€欓儴浣滃搧鐨勯瓟鍔涢儴鍒嗗氨鍦ㄤ簬閲岄潰鏈夌浉鐣般€佺浉娌栫獊鐨勫厓绱�锛屼竴闈㈡槸鐭獮(y菙)涓嶅仠閲嶅京(f霉)璁撲汉鍌湢鐨勬晥鏋滐紝浣嗘槸鐧�(f膩)鍑哄枠鎭伈鐨勯嵉鐩�(p谩n)妯�(l猫)鍣�銆佹湪绠℃▊(l猫)鍣ㄤ互鍙婄獊鐒剁垎鐧�(f膩)鐨勮畝鏁�(sh霉)鍚堝敱锛岄倓鏈夐偅浜涜嚜宸卞壍(chu脿ng)閫犲嚭绡€(ji茅)濂忕殑鍜濋煶锛岃伣(t墨ng)璧蜂締(l谩i)閮介偅涔堜护浜烘尟濂�銆傝€屽洜?y脿n)妾犺帺榫冭煚绗ら蔼?qi谩ng)锛岄煶璩�(zh矛)浠夸經涔熻瀺鍚堝湪浜嗕竴璧�銆傞偅閲嶅京(f霉)鐨勭墖鏂锋槸浜虹殑鑱查煶锛屾槸灏忔彁鐞撮倓鏄棰�(f膿ng)鐞寸殑楂橀煶锛熻€屼笉绠℃槸璺熼毃鏍兼媺鏂厛鐢熶竴鐩存紨鍑虹殑鍦�(tu谩n)闅�(du矛)閭勬槸鏂颁締(l谩i)鐨勪汉鍝�锛岄兘鎶婃▊(l猫)璀滃敱鐨勭穵瀵�(sh铆)鑰岄珮鏄�銆傚墠涓夐爡(xi脿ng)閮芥槸閫欎簺鐗归粸(di菐n)鐨勪竴鏂归潰锛岃€孌浠ョ簿绶寸殑瑾�(y菙)瑷€鏈€濂藉湴姒傛嫭浜嗛€欎簺鐗归粸(di菐n)銆�

5锛嶵he passage is mainly _____.

5锛庨€欑瘒鏂囩珷涓昏鏄痏____銆�

[A] a comparison of two versions of 鈥淓instein on the Beach鈥�

[A] 鈥滄剾(脿i)鍥犳柉鍧﹀湪娴风仒鈥濆叐鍊�(g猫)鐗堟湰鐨勬瘮杓�

[B] an introduction of a new art form

[B] 浠嬬垂涓€绋柊鐨勮棟琛�(sh霉)褰㈠紡

[C] a study on the influence of trims on musical works

[C] 灏�(du矛)闊虫▊(l猫)浣滃搧鍒瘈(ji茅)褰遍熆鐨勭爺绌�

[D] an analysis of Mr. Glass鈥� works

[D] 灏�(du矛)鏍兼媺鏂厛鐢熶綔鍝佺殑鍒嗘瀽

[绛旀] D

[闆ｅ害绯绘暩(sh霉)] 鈽�

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鍙冭€冭鏂囷細

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