问题 问答题 论述题

论述音板对钢琴音色的影响。

答案

参考答案:

⑴钢琴发声原理。⑵音板在钢琴中的作用。⑶音板制作的工艺方法、材料的要求。⑷音板对钢琴音色的影响。

阅读理解与欣赏

阅读《大师的“痴”》一文,回答下面题目。(13分)

大师的“痴”

马军

曹雪芹在谈到他的毕生心血之作《红楼梦》时,说了这样几句感言:“满纸荒唐言,一把辛酸泪。都云作者痴,谁解其中味。”堪称是作者的肺腑之言,泣血心声。没有这样的“痴”,没有这样矢志不渝生死与之的“痴”,又怎么能铸就这座世界文学史上的奇峰呢?

其实,何止是他?大凡世间一切不朽之作,无不是这样“痴痴”地完成的。

清代写意画大师朱耷,成就极高,在中国绘画史上占有特别重要的位置,赫赫有名的“八大山人”就是他老先生的文号。他的画,自由、狂放、疏简、怪诞,风格独特,出神入化,对后世影响极大。为人熟知的郑板桥、吴昌硕、潘天寿、张大千、齐白石等画坛巨擘,无不受惠于他。

朱耷平时是绝对不作画的,他没有情绪,他不在状态,任凭你贵为王侯,富比邓通,也休想让他拿起画笔。可是他好酒,只要备此二升,即可让他顷刻间完全换了个人一样,进入到另一世界去。只见他神采飞扬,欣然泼墨,一边狂呼乱叫,一边笔走龙蛇。他作画怪极了,什么都可以做笔,有时拿个笤帚疙瘩猛扫,有时拿块抹布大抹,直弄得个乱七八糟惨不忍睹,就在观者的心脏将要爆裂之际,他却飞快拿起画笔,刷刷几下,一幅或奇崛,或秀美,或枯寂,或惊骇的山水、花鸟、竹石等绝妙无双的伟大杰作便诞生了。

航空动力学大师冯·卡门先生,在科学界享有极高的声望和受到广泛的尊敬。他的《自传》中记录了一件自身的“痴故事”。

夜已经深了,可是,他和助手弗兰克仍在紧张地运算着他的数学方程式。猛然间,弗兰克想起这是他回家的最后一班电车了,便霍地跃起,急匆匆朝车站赶去,冯·卡门脑子还在运算中,糊里糊涂就跟着也一同来到车站。

车站人很多,也很乱,但冯·卡门什么也没有看见,他正在那美丽迷人的数学方程中“游泳”。忽然,他的大脑中一团火花爆亮,灵感来了,他梦寐以求的数学公式仿佛就在他的眼前出现,真是奇迹呀!他兴奋极了,差点就喊了出来。他什么也顾不得了,趴在即将开动的电车车厢上就写起来,好像这车厢就是他的运算本一样。他写呀,写呀,飞快地写,恨不能让公式瀑布一样从他的笔端飞流而下。

时间很快就到了,售票员大声催促他离开,车马上就要开走。然而,沉醉在疾速演算快乐之中的冯·卡门无法停下来,他一面发疯似的继续推导方程,一面请求着:“请再等一会儿!”“请再等一会儿!”售票员修养还真的不错,耐着性子等他,时间飞快地流逝,而他的笔也飞快地在走。终于,一行行论证缜密的数学方程倾泻到车厢上。

冯·卡门先生写在车厢上的公式,就是著名的“紊流的力学相似原理”论文,他的这一理论,对各种飞行器的成功上天做出了巨大的贡献。

艺痴者,技必良。只有痴,才能进入物我两忘,心驰神往,神乎其技,神乎其神的境界。“痴”,是创造之态,因为神来之笔正在每个人绝妙的手中。     

(选自2011年12月31日《河北日报》)

小题1:本文论题是                   ,作者表达的观点是                           ( 4分 )

小题2:第一段文字写曹雪芹的写作感言及作者对此的评价,作用是什么?(3分)

小题3:说说本文的论证的特点,请举例说明(4分)

小题4:本文的结论是                 。(2分)

问答题

Discussion of the assimilation of Puerto Ricans (波多黎各人 ) in the United States has focused on two factors: social standing and the loss of national culture. In general, excessive stress is placed on one factor or the other, depending on whether the commentator is North American or Puerto Rican. Many North American social scientists, such as Oscar Handlin, Joseph Fitzpatrick, and Oscar Lewis, consider Puerto Ricans as the most recent in a long line of ethnic entrants to occupy the lowest rung on the social ladder. (46) Such a " socio demographic" approach tends to regard assimilation as a benign process, taking for granted increased economic advantage and inevitable cultural integration, in a supposedly egalitarian context. However, this approach fails to take into account the colonial nature of the Puerto Rican case, with this group, unlike their European predecessors, coming from a nation politically subordinated to the United States. (47) Even the "radical" critiques of this mainstream research model, such as the critique developed in Divided Society, attach the issue of ethnic assimilation too mechanically to factors of economic and social mobility and are thus unable to illuminate the cultural subordination of Puerto Ricans as a colonial minority.

In contrast, the "colonialist" approach of island based writers such as Eduardo Seda- Bonilla, Manuel Maldonado-Denis, and Luis Nieves-Falcon tends to view assimilation as the forced loss of national culture in an unequal contest with imposed foreign values. There is, of course, a p tradition of cultural accommodation among other Puerto Rican thinkers. The writings of Eugenio Fernandez Mendez clearly exemplify this tradition, and many supporters of Puerto Rico’s commonwealth status share the same universalizing orientation. (48) But the Puerto Rican intellectuals who have written most about the assimilation process in the United States all advance cultural nationalist views, advocating the preservation of minority cultural distinctions and rejecting what they see as the submission of colonial nationalities.

This cultural and political emphasis is appropriate, but the colonialist thinkers misdirect it, overlooking the class relations at work in both Puerto Rican and North American history. They pose the clash of national cultures as an absolute polarity, with each culture understood as static and undifferentiated. (49) Yet both the Puerto Rican and North American traditions have been subject to constant challenge from cultural forces within their own societies, forces that may move toward each other in ways that cannot be written off as mere "assimilation. " Consider, for example, the indigenous and Afro-Caribbean traditions in Puerto Rican culture and how they influence and are influenced by other Caribbean cultures and Black cultures in the United States. (50) The elements of compulsion and inequality, so central to cultural contact according to the colonialist framework play no role in this kind of convergence of racially and ethnically different elements of the same social class.

(48) But the Puerto Rican intellectuals who have written most about the assimilation process in the United States all advance cultural nationalist views, advocating the preservation of minority cultural distinctions and rejecting what they see as the submission of colonial nationalities.