【正文】 ns on modal, Indian, and African melodies. On the other hand, this dogged student and prodigious technician — who insisted on spending hours each day practicing scales from theory books — was never able to jettison pletely the influence of bebop, with its fast and elaborate chains of notes and ornaments on melody. Two stylistic characteristics shaped the way Coltrane played the tenor saxophone: he favored playing fast runs of notes built on a melody and depended on heavy, regularly accented beats. The first led Coltrane to “sheets of sound” where he raced faster and faster, piledriving notes into each other to suggest stacked harmonies. The second meant that his sense of rhythm was almost as close to rock as to bebop. Three recordings illustrate Coltrane’s energizing explorations. Recording Kind of Blue with Miles Davis, Coltrane found himself outside bop, exploring modal melodies. Here he played surging, lengthy solos built largely around repeated motifs — an anizing principle unlike that of free jazz saxophone player Orte Coleman, who 6 modulated or altered melodies in his solos. On Giant Steps, Coltrane debuted as leader, introducing his own positions. Here the sheets of sound, downbeat accents, repetitions, and great speed are part of each solo, and the variety of the shapes of his phrases is unique. Coltrane’s searching explorations produced solid achievement. My Favorite Things was another kind of watershed. Here Coltrane played the soprano saxophone, an instrument seldom used by jazz musicians. Musically, the results were astounding. With the soprano’s piping sound, ideas that had sounded dark and brooding acquired a feeling of giddy fantasy. When Coltrane began recording for the Impulse! Label, he was still searching. His music became raucous, physical. His influence on rockers was enormous, including Jimi Hendrix, the rock guitarist, who, following Coltrane, raised the extended guitar solo using repeated motifs to a kind of rock art form. 1. The primary purpose of the text is to [A] discuss the place of Coltrane in the world of jazz and describe his musical explorations. [B] examine the nature of bebop and contrast it with improvisational jazz. [C] analyze the musical sources of Coltrane’s style and their influence on his work. [D] acknowledge the influence of Coltrane’s music on rock music and rock musicians. 2. Which of the following best describes the anization of the fourth paragraph? [A] A thesis referred to earlier in the text is mentioned and illustrated with three specific examples. [B] A thesis is stated and three examples are given each suggesting that a correction needs to be made to a thesis referred to earlier in the text. [C] A thesis referred to earlier in the text is mentioned, and three examples are presented and ranked in order of their support of the thesis. [D] A thesis is stated, three seemingly opposing examples are presented, and their underlying correspondence is explained. 3. According to the text, John Coltrane did all of the following during his career EXCEPT [A] improvise on melodies from a number of different cultures. [B] perform as leader as well as soloist. [C] spend time improving his technical skills. [D] eliminate the influence of bebop on his own music. 4. According to the text a major difference between Coltrane and other jazz musicians was the 7 [A] degree to which Coltrane’s music enpassed all of jazz. [B] repetition of motifs that Coltrane used in his solos. [C] number of his own positions that Coltrane recorded. [D] indifference Coltrane maintained to musical technique. 5. In terms of its tone and form, the text can best be characterized as [A] dogmatic explanation. [B] indignant denial. [C] enthusiastic praise. [D] speculative study. [答案與考點(diǎn)解析 ] 1. 【答案】 A 【考點(diǎn)解析】本題是一道中心主旨題。《黑人小說》考察了廣泛的小 說，在此過程中我們的注意力被吸引到一些引人入勝但鮮為人知的作品上，如詹姆士 《黑人小說》確實(shí)對(duì)一些美學(xué)的問題沒有給予回答，羅森布萊特的主題分析允許相當(dāng)?shù)目陀^性；他甚至直言，對(duì)各個(gè) 作品的優(yōu)劣判定不是他工作的意圖 ——然而他的猶豫看起來是不合時(shí)宜的，尤其是因?yàn)閲L試評(píng)定可能會(huì)導(dǎo)致一些有趣的結(jié)果。首先，除了這些作家的種族身份外，是否有充分的理由可將黑人作家的作品歸于一類？其次， 黑人小說如何將自己和其他現(xiàn)代小說分開？它們大半屬于同一時(shí)代的作品。 雖然小說確實(shí)是源于政治環(huán)境，但作者反映這些環(huán)境的方法是非意識(shí)形態(tài)的，如把小說和故事的討論作為意識(shí)形態(tài)的工具，則會(huì)忽視了許多小說的成就。羅森布萊特的著作《黑人小說》，試圖運(yùn)用文學(xué)的而不是社會(huì)政治的標(biāo)準(zhǔn)來研究黑人小說，這成功地改變了大多數(shù)早先研究的方法。 4 5. 【答案】 D 【考點(diǎn)解析】 這是一道例（舉）證題。本題 A、 B、 C所涉及的內(nèi)容可分別在第三段的第二、三句、第四段的第三句以及第一段的第三句里找到。考生在解題時(shí)一定要 抓住中心主旨句，并且對(duì)它們所表達(dá)的內(nèi)容要進(jìn)行分析和歸納。 3. 【答案】 B 【考點(diǎn)解析】 這是一道歸納推導(dǎo)題。尾段首句的“ such omissions”（這樣的忽略）暗示本題的答案 信息來源應(yīng)該在倒數(shù)第二段。通過閱讀本文各段尤其是首段第一句和尾段第一句，我們可以推斷出本題的正確選項(xiàng)應(yīng)該是突出“ evaluating”（評(píng)價(jià)）一詞的選項(xiàng) A。 1 1. 關(guān)鍵詞語模板分析 Model 1 [文學(xué)類 ] 題目序號(hào) 題型歸類 第 1題 中心主旨題型 第 2題 審題定位與 反推 題型 第 3題 全文歸納推導(dǎo)題型 第 4題 寫作手法題型 第 5題 例（舉）證題型 Roger Rosenblatt’s book Black Fiction, in attempting to apply literary rather than sociopolitical criteria to its subject, successfully alters the approach taken by most previous studies. As Rosenblatt notes, criticism of Black writing has often served as a pretext for expounding on Black history. Addison Gayle’s recent work, for example, judges the value of Black fiction by overtly political standards, rating each work according to the notions of Black identity which it propounds. Although fiction assuredly springs from political circumstances, its authors react to those circumstances in ways other than ideological, and talking about novels and stories primarily as instruments of ideology circumvents much of the fictional enterprise. Rosenblatt’s literary analysis discloses affinities and connections among works of Black fiction which solely political studies have overlooked or ignored. Writing acceptable criticism of Black fiction, however, presupposes giving satisfactory answers to a number of questions. First of all, is there a sufficient reason, other than the facial identity of the authors, to group together works by Black authors? Second, how does Black fictio