【#考研# #2020考研英語閱讀沖刺模擬題及答案（4）#】鍥而舍之，朽木不折；鍥而不舍，金石可鏤。備考也需要這樣持之以恒的精神。©無憂考網(wǎng)為您提供2020考研英語閱讀沖刺模擬題及答案，通過做題，能夠鞏固所學(xué)知識(shí)并靈活運(yùn)用，考試時(shí)會(huì)更得心應(yīng)手，快來練習(xí)吧！

　　Proponents of different jazz styles have always argued that their predecessor''s musical style did not include essential characteristics that define jazz as jazz. Thus, 1940''s swing was belittled by beboppers of the 1950''s who were themselves attacked by free jazzes of the 1960''s. The neoboppers of the 1980''s and 1990''s attacked almost everybody else. The titanic figure of Black saxophonist John Coltrane has complicated the arguments made by proponents of styles from bebop through neobop because in his own musical journey he drew from all those styles. His influence on all types of jazz was immeasurable. At the height of his popularity, Coltrane largely abandoned playing bebop, the style that had brought him fame, to explore the outer reaches of jazz.

　　Coltrane himself probably believed that the only essential characteristic of jazz was improvisation, the one constant in his journey from bebop to open-ended improvisations on modal, Indian, and African melodies. On the other hand, this dogged student and prodigious technician &mdash who insisted on spending hours each day practicing scales from theory books &mdash was never able to jettison completely 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, pile-driving 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 &mdash an organizing principle unlike that of free jazz saxophone player Ornette Coleman, who modulated or altered melodies in his solos. On Giant Steps, Coltrane debuted as leader, introducing his own compositions. 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 JimiHendrix, the rock guitarist, who, following Coltrane, raised the extended guitar solo using repeated motifs to a kind of rock art form.

　　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.

　　Which of the following best describes the organization 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.

　　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.

　　According to the text a major difference between Coltrane and other jazz musicians was the

　　[A] degree to which Coltrane''s music encompassed all of jazz.

　　[B] repetition of motifs that Coltrane used in his solos.

　　[C] number of his own compositions that Coltrane recorded.

　　[D] indifference Coltrane maintained to musical technique.

　　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]

　　「答案」A

　　「考點(diǎn)解析」本題是一道中心主旨題。第一段的倒數(shù)第一、二句是全文的中心主旨句，全文就是根據(jù)這兩句話展開論述的。抓住這兩句話就可以找出本題的正確選項(xiàng)A.考生在解題時(shí)，尤其是*中心主旨題時(shí)，一定要先找出全文的中心主旨句。

　　「答案」C

　　「考點(diǎn)解析」 這是一道例(舉)證與細(xì)節(jié)理解題。第四段第一句明確指出“三張唱片為科爾特蘭尼富有活力的探索提供了證明”。這說明第四段將講述三個(gè)例子用來說明在前一段即第三段所提出的論點(diǎn)。另外這三個(gè)例子是按著先后順序給出的，因此本題的正確選項(xiàng)是C.考生在解題時(shí)要注意段落之間的相互關(guān)系，更要注意句子之間的相互關(guān)系。

　　「答案」D

　　「考點(diǎn)解析」這是一道細(xì)節(jié)理解題型。本題屬于比較難的題型，因?yàn)楸绢}的涉及面比較廣。本題A、B、C選項(xiàng)的內(nèi)容分別在第二段第一句、第四段第三四句和第二段第二句提到過。故本題的正確選項(xiàng)應(yīng)該是D.其實(shí)這道題表面上非常難，但是對于善于捕捉全文中心主旨句的同學(xué)來講確比較容易，因?yàn)閺牡谝欢蔚谒木涞脑�因狀語從句中就可以推導(dǎo)出本題的正確答案D.考生在解題時(shí)應(yīng)時(shí)時(shí)牢記全文的中心主旨句。

　　「答案」A

　　「考點(diǎn)解析」本題是一道審題定位題型。根據(jù)本題題干中的“other jazz musicians”可將本題的答案信息來源定位在第一段的第一至四句，因?yàn)樵谶@四句話中提到了其它的爵士音樂家。第一段第四句的狀語從句明確指出了“Coltrane”與其它音樂家的不同在于他吸收了各種風(fēng)格的爵士音樂。故本題的正確答案應(yīng)該是A.考生在解題時(shí)應(yīng)重視審題定位。

　　「答案」C

　　「考點(diǎn)解析」本題是一道歸納推導(dǎo)題型。細(xì)心的同學(xué)可從本文作者在論述時(shí)使用的詞語中推導(dǎo)出本題的正確答案C.例如作者在第一段第四句的主語上使用了“titanic figure”在第五句使用了“his influence…was immeasurable”在最后一段的第三句使用了“his influence… was enormous”，這都反映了作者的“enthusiastic praise”�？忌�在解題時(shí)要重視原文作者在表達(dá)觀點(diǎn)時(shí)的遣詞造句。