历年试题:GRE试题(三)
(b) hunger: appetite
(c) void: dearth
(d) pleasure: bliss
(e) pain: ache
10. craven: heroic::
(a) unruly: energetic
(b) listless: attractive
(c) volatile: constant
(d) deft: trifling
(e) awkward: amusing
11. filly: horse::
(a) antennae: butterfly
(b) pullet: chicken
(c) gaggle: goose
(d) duck: drake
(e) wasp: bee
12. pithiness: aphorism::
(a) craft: art
(b) detail: sketch
(c) illusion: story
(d) exaggeration: caricature
(e) sophistication: farce
13. ephemeral: enduring::
(a) infirm: healing
(b) insensitive: cooperating
(c) inanimate: living
(d) interminable: continuing
(e) ineffectual: proceeding
14. posturer: unaffected::
(a) brat: insolent
(b) hypocrite: perceptive
(c) grouch: respected
(d) bigot: tolerant
(e) rogue: empathetic
15. facetious: speech::
(a) precocious: learning
(b) unbing: color
(c) exemplary: conduct
(d) craven: timidity
(e) antic: behavior
16. vagary: predict::
(a) quotation: misdirect
(b) investigation: confirm
(c) stamina: deplete
(d) turbulence: upset
(e) impossibility: execute
this is not to deny that the black gospel music of the
early twentieth century differed in important ways from the
slave spirituals. whereas spirituals were created and dis-
seminated in folk fashion, gospel music wasposed,
(5) published, copyrighted, and sold by professionals. never-
theless, improvisation remained central to gospel music.
one has only to listen to the recorded repertoire of gospel
songs to realize that black gospel singers rarely sang a
song precisely the same way twice and never according to
(10)its exact musical notation. they performed what jazz musi-
cians call "head arrangements" proceeding from their own
feelings and from the way "the spirit" moved them at the
time. this improvisatory element was reflected in the man-
ner in which gospel music was published. black gospel
(15posers scored the music intended for white singing
groups fully, indicating the various vocal parts and the
apaniment, but the music produced for black singers
included only a vocal line and piano apaniment.
17.which of the following best describes "head arrange-
ment" as the term is used in line 11?
(a) a published version of a gospel song produced for
use by black singers
(b) a gospel song based on a slave spiritual
(c) a musical score shared by a gospel singer and a
jazz musician
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(d) an informally writtenposition intended for
use by a gospel singer
(e) an improvised performance inspired by the
singer’s emotions
18.the author mentions "folk fashion" (line 4) most likely
in order to
(a) counter an assertion about the role of improvi-
sation in music created by black people
(b)pare early gospel music with gospel music
written later in the twentieth century
(c) make a distinction between gospel music and
slave spirituals
(d) introduce a discussion about the dissemination of
slave spirituals
(e) describe a similarity between gospel music and
slave spirituals
19.the passage suggests which of the following about
black gospel music and slave spirituals?
(a) both became widely known in the early twentieth
century.
(b) both had an important improvisatory element.
(c) both were frequently performed by jazz
musicians.
(d) both were published with only a vocal line and
piano apaniment.
(e) both were disseminated chiefly by black singing
groups.
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