问题 单项选择题

变动成本法的优点是能反映出()。

A、产量越小,利润越低

B、产量越小,利润越高

C、销售量越小,利润越高

D、销售量越小,利润越低

答案

参考答案:D

问答题


[材料一]:2009年全国“两会”前的民调显示,“ * * 败”远超过预想中的“经济危机”,居民众关注热点榜首。在今年已过的六个月里,中央政府以及部分地方政府挥下的 * * 利剑撼动整个官场。随着郑少东、米凤君、陈绍基、王华元、刘友君、许宗衡、皮黔生等一批(副)省部级官员被查处、十余件千万元以上的特大贪腐案被披露、数十名腐败官员被处以重刑、近百万县级基层官员接受中央的“跨级直训”,深入市县基层 * * 的 * * 大网正在张开。
                                     ——摘自《上半年近百名官员落马中央大规模 * * 力度空前》
[材料二]:1951年,中 * * 和中央人民政府决定在国家机关和企业中开展“反贪污”、“反浪费”、“反官僚主义”的“三反”运动,……在国家机关中查出一批贪污犯。中共天津地委前任书记刘青山和当时担任书记的张子善,堕落成为大贪污犯,被法院判处死刑。“三反”运动教育了干部的大多数,……纯洁了干部队伍,抵制了资产阶级的腐蚀。
                                     ——摘自《中国近代现代史》(试验修订本)
[材料三]:毛 * * 说,正因为他们两人的地位高、功劳大、影响大,所以才要下决心处决他们。只有处决他们,才可能挽救20个、200个、2000个、20000个犯有不同程度错误的干部。
                                     ——摘自薄一波《若干重大决策与事件的回顾》
请回答下列问题:

以东汉初期和后期的历史论证“倡廉则兴,腐败则亡”的道理。

问答题

Ragtime is a musical form that synthesizes folk melodies and musical techniques into a brief quadrille-like structure, designed to be played—exactly as written—on the piano. (46) A p analogy exists between European composers like Ralph Vaughan Williams and Edward Grieg, who combined folk tunes and their own original materials in larger compositions and the pioneer composers in the United States. Composers like Scott Joplin and James Scott were in a sense collectors or musicologists, collecting dance and folk music in Black communities and consciously shaping it into brief suites or anthologies called piano rags.

It has sometimes been charged that ragtime is mechanical. For instance, Wilfred Mellers comments, "rags were transferred to the pianola roll and, even if not played by a machine, should be played like a machine, with meticulous precision." (47)However, there is no reason to assume that ragtime is inherently mechanical simply because commercial manufacturers applied a mechanical recording method to it, the only way to record pianos at that date. Ragtime’s is not a mechanical precision, and it is not precision limited to the style of performance. It arises from ragtime’s following a well-defined form and obeying simple rules within that form.

The classic formula for the piano rag disposes three to five themes in sixteen-bar strains, often organized with repeats. (48)The rag opens with a bright, memorable strain or theme, followed by a similar theme, leading to a melody of marked lyrical character, with the structure concluded by a lyrical strain that parallels the rhythmic developments of the earlier themes. The aim of the structure is to rise from one theme to another in a stair-step manner, ending on a note of triumph or exhilaration. Typically, each strain is divided into two 8-bar segments that are essentially alike, so the rhythmic-melodic unit of ragtime is only eight bars of 2/4 measure. (49) Therefore, not concerned with development of musical themes, the ragtime composer instead sets a theme down intact, in finished form, and links it to various related themes that are brief with clear melodic figures. Tension in ragtime compositions arises from a polarity between two basic ingredients: a continuous bass—called by jazz musicians a boom-chick bass--in the pianist’s left hand, and its melodic, syncopated counterpart in the right hand.

Ragtime remains distinct from jazz both as an instrumental style and as a genre. Ragtime style stresses a pattern of repeated rhythms, not the constant inventions and variations of jazz. (50)As a genre, ragtime requires strict attention to structure, not inventiveness or virtuosity, existing as a tradition, a set of conventions, a body of written scores, separate from the individual players associated with it. In this sense ragtime is more akin to folk music of the nineteenth century than to jazz.

(49) Therefore, not concerned with development of musical themes, the ragtime composer instead sets a theme down intact, in finished form, and links it to various related themes that are brief with clear melodic figures.