2010考研英語(yǔ)閱讀精讀100篇(高分版)TEXT  TEN
　　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.

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

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

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

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

　　[D] Philip Glass’s 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’ scene.

　　[D] Lucinda Childe’s adventure.

　　3. Which one of the following is NOT true of the new version of “Einstein on the Beach” ?

　　[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. 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.The passage is mainly _____

　　[A] a comparison of two versions of “Einstein on the Beach”.

　　[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’ works.

　　文章剖析：

　　這篇文章主要介紹了音樂(lè)家Philip Glass的作品。文章第一段提到Glass作品多變的風(fēng)格;第二段講述其作品“愛(ài)因斯坦在海灘”的特點(diǎn);第三段講述卡內(nèi)基大廳演出的“愛(ài)因斯坦在海灘”版本的刪節(jié);第四段第五段講述新版本音樂(lè)特色。

　　詞匯注釋：

　　immutable adj. 不變的, 永恒的

　　sacrosanct adj. 極神圣的

　　urtext n. 原始文本(如樂(lè)譜等)

　　sift v. 選拔，精選

　　libretto n. 歌詞

　　solege n.視唱練習(xí)

　　quirky adj 詭詐的，離奇的

　　hypnotic adj. 催眠的

　　brisker adj. 輕快的，活潑的

　　presto n. 急板樂(lè)段或樂(lè)章

　　virtuosic adj. 藝術(shù)的

　　soporific adj. 催眠的

　　wheeze v. 喘息

　　timbre n. 音色，音質(zhì)

　　難句突破：

　　(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.

　　[主體句式] The work unfolded.

　　[結(jié)構(gòu)分析] 這是一個(gè)簡(jiǎn)單句，前面的現(xiàn)在分詞短語(yǔ)是作為句子的伴隨狀語(yǔ)(分詞被省略)，而比較后面的是一個(gè)帶有主語(yǔ)的分詞獨(dú)立結(jié)構(gòu)，也是句子的伴隨狀語(yǔ);而破折號(hào)之間的句子是一個(gè)獨(dú)立的結(jié)構(gòu)，用來(lái)說(shuō)明前面的伴隨狀語(yǔ)。

　　[句子譯文] 愛(ài)因斯坦不僅是一個(gè)瘋狂著迷的小提琴家，也是核能之父，而這部作品沒(méi)有多少敘述，卻充滿了聯(lián)想和想象，它冷酷地展現(xiàn)在大家面前，不停重復(fù)的音樂(lè)措辭在圓圈里又創(chuàng)造出有節(jié)奏感的圓圈。

　　(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.

　　[主體句式] The version swept away the elements and transformed it…

　　[結(jié)構(gòu)分析]這是一個(gè)復(fù)合句，緊跟著主語(yǔ)后面的是以that引導(dǎo)的定語(yǔ)從句，句子賓語(yǔ)the elements后面也是一個(gè)用來(lái)修飾它的定語(yǔ)從句，該定語(yǔ)從句比較復(fù)雜，冒號(hào)后面的是一個(gè)獨(dú)立成分，用來(lái)解釋前面a concert piece。

　　[句子譯文] 周四晚上Glass先生和他的演出團(tuán)隊(duì)在卡內(nèi)基大廳進(jìn)行了演出，這次演出刪除了這部劇作事件劇的一些因素，將其轉(zhuǎn)變?yōu)橐徊繀f(xié)奏曲。這次演出歷時(shí)三個(gè)小時(shí)，有幕間休息，也有正式的座位規(guī)則。

　　題目分析：

　　[答案]A

　　[難度系數(shù)] ☆☆☆

　　[分析] 推理題。文章剛開(kāi)始就提到未來(lái)的音樂(lè)學(xué)家會(huì)在Glass身上耗費(fèi)掉許多睡眠，引申來(lái)看就是Glass的作品會(huì)很耗費(fèi)人的精力。接下來(lái)文章就介紹了Glass作品的特點(diǎn)，格拉斯的作品會(huì)因環(huán)境、時(shí)代的變化作出許多變動(dòng)，他不相信那種永恒不變的文本，這也就可能是未來(lái)音樂(lè)學(xué)家要耗費(fèi)許多精力在他身上的原因。文章下面還舉了具體的例子說(shuō)明了他如何把自己的歌劇改編成協(xié)奏曲，因此，A比較為符合原文。

　　[答案]C

　　[難度系數(shù)] ☆☆☆

　　[分析] 細(xì)節(jié)題。文章第二段中提到演出的版本刪去了兩個(gè)小時(shí)，而且刪節(jié)比較明顯。在說(shuō)明刪節(jié)的內(nèi)容時(shí)，作者卻指出了一些完整的情節(jié)，這一點(diǎn)容易讓考生混淆，所以就需要從中挑出那些哪些是刪節(jié)了的。原文提到，Lucirda Childe彩色游泳帽的故事是完整的，引用Carole King的話“我感到了地動(dòng)，”也是的，而B(niǎo)ojangles先生卻被逐出了，因此，答案為C選項(xiàng)。D選項(xiàng)有一定的迷惑性，Lucirda Childe的故事實(shí)際上就是彩色游泳帽的故事，但是選項(xiàng)中用了adventure這個(gè)詞是無(wú)中生有，因此可以排除該選項(xiàng)。

　　[答案]A

　　[難度系數(shù)] ☆☆☆

　　[分析] 細(xì)節(jié)題。題干要求找出關(guān)于“愛(ài)因斯坦在海灘”這部作品描述錯(cuò)誤的選項(xiàng)。選項(xiàng)A，文章第二段提到Glass先生將這部劇作的結(jié)構(gòu)和形式視為神圣，表演了5個(gè)小時(shí)，可是在新版本中刪去了2個(gè)小時(shí)，其結(jié)構(gòu)和形式應(yīng)該發(fā)生了變化。因此，這個(gè)選項(xiàng)有可能是錯(cuò)誤的。B在文章第三段提到;C在文章第四段中提到，這部作品可能還因?yàn)閯h節(jié)而獲益，因?yàn)檎鹿?jié)之間的變化更快了，凸現(xiàn)了主要的美。D，文章第四段提到章節(jié)之間的變化更快，還有比較后一段的比較后一句，Glass先生的演奏團(tuán)隊(duì)給了這個(gè)版本一個(gè)緊湊的解讀，這兩處都可以反映出這個(gè)版本更為緊湊了。比較而言，A陳述是錯(cuò)誤的。

　　[答案]D

　　[難度系數(shù)] ☆☆☆☆

　　[分析] 細(xì)節(jié)題。文章的比較后一段指出，這部作品的魔力部分就在于里面有相異、相沖突的元素，一面是短語(yǔ)不停重復(fù)讓人催眠的效果，但是發(fā)出喘息聲的鍵盤樂(lè)器、木管樂(lè)器以及突然爆發(fā)的讀數(shù)合唱，還有那些獨(dú)創(chuàng)的咝音節(jié)奏，聽(tīng)起來(lái)都那么令人振奮。而因?yàn)檠莩龃蟠笤鰪?qiáng)，音質(zhì)仿佛也融合在了一起。那重復(fù)的片斷是人的聲音，是小提琴還是管風(fēng)琴的高音?而不管是跟隨Glass先生一直演出的團(tuán)隊(duì)還是新來(lái)的人員，都把樂(lè)譜唱的緊實(shí)而高昂。前三項(xiàng)都是這些特點(diǎn)的一方面，而D以精練的語(yǔ)言比較好地概括了這些特點(diǎn)。

　　[答案] D

　　[難度系數(shù)] ☆

　　[分析] 主旨題。這篇文章主要介紹了Glass先生作品“愛(ài)因斯坦在海邊”，突出表現(xiàn)了其作品的一些獨(dú)特之處。選項(xiàng)A，文章雖然兩個(gè)版本都提到，但并不是對(duì)這兩個(gè)版本的比較;B不符合原文;C關(guān)于原文提到了，但只是文章的一小部分內(nèi)容而已;D選項(xiàng)，可以看出全文都是對(duì)其作品的分析，相對(duì)來(lái)說(shuō)比較切合題意。因此，正確答案為D選項(xiàng)。

　　參考譯文：

　　設(shè)想一下未來(lái)音樂(lè)學(xué)者得在Philip Glass身上要花掉多少不眠之夜啊。在他的職業(yè)生涯中，Philip為適應(yīng)環(huán)境而改變樂(lè)譜，比如為了錄音而修改樂(lè)譜，因?yàn)?相對(duì)的)簡(jiǎn)潔能使非視覺(jué)表演獲益。音樂(lè)學(xué)者希望通過(guò)搜索歷史證據(jù)可以建立那種永恒的、神圣的原始樂(lè)譜概念，但他在這一點(diǎn)上有完全不同的想法。

　　但是，如果你認(rèn)為Glass先生還是覺(jué)得有神圣的東西的話，那就是“海灘上的愛(ài)因斯坦”的結(jié)構(gòu)和格式。1976年這部歌劇的首次公演，以及1984年和1992年的重演中，“愛(ài)因斯坦”沒(méi)有停歇地表演了五個(gè)小時(shí)。愛(ài)因斯坦不僅是一個(gè)瘋狂著迷的小提琴家，也是核能之父，而這部作品沒(méi)有多少敘述，卻充滿了聯(lián)想和想象，它冷酷地展現(xiàn)在大家面前，不停重復(fù)的音樂(lè)措辭在圓圈里又創(chuàng)造出有節(jié)奏感的圓圈。歌詞大多都是數(shù)字、視唱練習(xí)的音節(jié)和怪異的意識(shí)流口語(yǔ)文本，創(chuàng)造出一種催眠的咒語(yǔ)。聽(tīng)眾可以自由來(lái)去，但是這部作品的力量就來(lái)源于它的冷酷，更不用說(shuō)Robert Wilson離奇的舞臺(tái)布置了。

　　周四晚上Glass先生和他的演出團(tuán)隊(duì)在卡內(nèi)基大廳進(jìn)行了演出，這次演出刪除了這部劇作事件劇的一些因素，將其轉(zhuǎn)變?yōu)橐徊繀f(xié)奏曲。這次演出歷時(shí)三個(gè)小時(shí)，有幕間休息，也有正式的座位規(guī)則。如果說(shuō)這次演出并沒(méi)有將這部劇作的全部?jī)?nèi)容展示出來(lái)的話，至少其雄渾的效果得以展現(xiàn)出來(lái)�？s短的兩個(gè)小時(shí)是通過(guò)刪去幾幕的部分達(dá)到的，有些刪節(jié)非常明顯，比如Lucinda Childs彩色游泳帽的故事是完整的，還有引用Carole King的話“我感到了地動(dòng)”也沒(méi)有刪掉, 但是Bojangles先生卻被逐出了這次劇演。

　　從音樂(lè)上來(lái)講，盡管作了刪節(jié)但樂(lè)譜還是獲得了成功，而且應(yīng)該說(shuō)是得益于刪節(jié)。從一節(jié)到下一節(jié)輕快的移動(dòng)突出了其獨(dú)創(chuàng)性，突出了具有真正美的篇章。比如在“膝蓋戲3”中，沒(méi)有伴奏的合唱隊(duì)唱著流暢的數(shù)字，但是這時(shí)的音樂(lè)卻有一種莊嚴(yán)的色彩，而其他章節(jié)中又體現(xiàn)了和聲急板樂(lè)曲的力量。小提琴手Tim Fain在第二、第四和第五“膝蓋劇”中進(jìn)行了獨(dú)奏，而在高潮的漩渦式的“太空船內(nèi)部”一幕中，進(jìn)行了電子化、藝術(shù)性的加工。

　　這部作品的魅力部分在于里面的元素朝向不同的方向。短語(yǔ)的反復(fù)出現(xiàn)一方面有催眠的效果，但是發(fā)出喘息聲的鍵盤樂(lè)器、木管樂(lè)器以及突然爆發(fā)的讀數(shù)合唱，還有那些獨(dú)創(chuàng)的咝音節(jié)奏，聽(tīng)起來(lái)都那么令人振奮。而因?yàn)檠莩龃蟠笤鰪?qiáng)，音質(zhì)仿佛也融合在了一起。那重復(fù)的片斷是人的聲音，是小提琴還是管風(fēng)琴的高音?而不管是跟隨Glass先生一直演出的團(tuán)隊(duì)還是新來(lái)的人員，都把樂(lè)譜唱的緊實(shí)而高昂。