The French word renaissance means rebirth. It was first used in 1855 by the historian Jules Michelet in his History of France, then adopted by historians of culture, by art historians, and eventually by music historians, all of whom applied it to European culture during the 150 years spanning 1450-1600. The concept of rebirth was appropriate to this period of European history because of the renewed interest in ancient Greek and Roman culture that began in Italy and then spread throughout Europe. Scholars and artists of the fifteenth and sixteenth centuries wanted to restore the learning and ideals of the classical civilizations of Greece and Rome. To these scholars this meant a return to human as opposed to spiritual-values. Fulfillment in life—as opposed to concern about an afterlife—became a desirable goal, and expressing the entire range of human emotions and enjoying the pleasures of the senses were no longer frowned on.
Artists and writers now turned to secular as well as religious subject matter and sought to make their works understandable and appealing. These changes in outlook deeply affected the musical culture of the Renaissance period—how people thought about music as well as the way music was composed, experienced, discussed, and disseminateD.They could see the architectural monuments, sculptures, plays, and poems that were being rediscovered, but they could not actually hear ancient music—although they could read the writings of classical philosophers, poets, essayists, and music theorists that were becoming available in translation. They learned about the power of ancient music to move the listener and wondered why modern music did not have the same effect. For example, the influential religious leader Bernardino Cirillo expressed disappointment with the learned music of his time. He urged musicians to follow the example of the sculptors, painters, architects, and scholars who had rediscovered ancient art and literature.
The musical Renaissance in Europe was more a general cultural movement and state of mind than a specific set of musical techniques. Furthermore, music changed so rapidly during this century and a half-though at different rates in different countries—that we cannot define a single Renaissance style.
1. What is the passage mainly about?
2. What does the author mean by using the word eventually in Para.1?
3. It can be inferred from the passage that thinkers of the Renaissance were seeking a rebirth of ___.
4. According to the passage, Renaissance artists and writers had all of the following intentions EXCEPT ___.
5. Which of the following is mentioned in the passage as a reason for the absence of a single Renaissance musical style?
问题1选项
A.The musical compositions that best illustrate the developments during the European Renaissance
B.The musical techniques that were in use during the European Renaissance
C.The European Renaissance as a cultural development that included changes in musical style
D.The ancient Greek and Roman musical practices used during the European Renaissance
问题2选项
A.That music historians used the term “Renaissance” after the other historians did
B.That most music historians used the term “Renaissance”
C.The term “Renaissance” became widely used by art historians but not by music historians
D.That music historians used the term “Renaissance” very differently than it had been used by Jules Michelet
问题3选项
A.communication among artists across Europe
B.spirituality in everyday life
C.a cultural emphasis on human values
D.religious themes in art that would accompany the traditional secular themes
问题4选项
A.to use religious themes
B.to portray only the pleasant parts of human experience
C.to produce art that people would find attractive
D.to create works that were easily understood
问题5选项
A.The musical Renaissance was defined by technique rather than style
B.The musical Renaissance was too short to give rise to a new musical style
C.Renaissance musicians adopted the styles of both Greek and Roman musicians
D.During the Renaissance, music never remained the same for very long
第1题:C
第2题:A
第3题:C
第4题:B
第5题:D
1.主旨大意题。根据题干，通读全文，以及定位到文章尾段第一句 “The musical Renaissance in Europe was more a general cultural movement and state of mind than a specific set of musical techniques.”，中文翻译为：欧洲音乐复兴与其说是一套特定的音乐技巧，不如说是一场普遍的文化运动和一种精神状态。可以判断C选项“欧洲文艺复兴是一种包括音乐风格变化在内的文化发展。”正确。
2.推理判断题。由题干关键字 “eventually”可以定位到原文第一段 “It was first used in 1855 by the historian Jules Michelet in his History of France, then adopted by historians of culture, by art historians, and eventually by music historians, all of whom applied it to European culture during the 150 years spanning 1450-1600.”，中文翻译为：1855年，历史学家朱尔斯•米歇莱(Jules Michelet)在他的《法国历史》中首次使用了这个词，随后被文化历史学家、艺术历史学家和音乐历史学家采用，所有这些历史学家都在1450-1600年的150年间将其应用于欧洲文化。关键词 “eventually”意为“最后；终于”因此可知A选项：音乐历史学家在其他历史学家之后才使用“文艺复兴”这个词正确。
3.细节事实题。由题干关键词“that thinkers of the Renaissance” 可定位到原文第一段“To these scholars this meant a return to human as opposed to spiritual-values.”，中文翻译为：对这些学者来说，这意味着回归人类，而不是灵魂价值。判断C选项“对人类价值的文化强调”正确。
4.细节事实题。A选项“使用宗教主题”，C选项“创作出人们会觉得有吸引力的艺术作品”以及D选项“创作容易理解的作品”可定位到原文第二段“Artists and writers now turned to secular as well as religious subject matter and sought to make their works understandable and appealing. ”，中文翻译为：艺术家和作家现在转向世俗和宗教题材，力求使他们的作品易于理解和吸引人。可知B选项“只描绘人类经历中令人愉快的部分”未提及，符合题意。
5.推理判断题。由题干可以定位到原文尾段 “Furthermore, music changed so rapidly during this century and a half-though at different rates in different countries—that we cannot define a single Renaissance style.”，中文翻译为：此外，音乐在这一个半世纪里变化如此之快，尽管在不同的国家以不同的速度变化——我们不能定义一个单一的文艺复兴风格。判断出D选项“在文艺复兴时期，音乐从未长时间保持不变。”正确。
