LSAT考试全真试题三SECTION4.docx
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LSAT考试全真试题三SECTION4.docx
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LSAT考试全真试题三SECTION4
LSAT考试全真试题三SECTION4
LSAT考试全真试题三SECTION4LSAT考试全真试题三SECTION4sectioniv
time35minutes
27questions
directions:
eachpassageinthissectionisfollowedbyagroupofquestionstobeansweredonthebasisofwhatisstatedorimpliedinthepassage.forsomeofthequestions,morethanoneofthechoicescouldconceivablyanswerthequestion.however,youaretochoosethebestanswer,thatis,theresponsethatmostaccuratelyandcompletelyanswersthequestion,andblackenthecorncondingspaceonyouranswersheet.
musicoiogistsconcernedwiththe"londonpianoforteschool,"thegroupofcomposers,pedagogues,pianists,publishers,andbuilderswhocontributedtothedevelopmentofthepianoinlondon
(5)attheturnofthenineteenthcenturyhavelongencounteredaformidableobstacleinthegeneralunavailabilityofmusicofthis"school"inmodernscholarlyeditions,indeed,muchofthisrepertoryhasmoreorlessvanishedfromourhistorical
(10)consciousness.granted,thesonatasandgradusadparnassumofmuzioclementiandthenocturnesofjohnfieldhaveremainedfarniliarenough(thoughmoreoftenthannotineditionslackingscholarlyrigor),buttheworkofotherleadingrepresentatives,like
(15)johannbaptistcramerandjanladislavdussek,haseludedseriousattemptsatrevival.
nicholastemperleysambitiousnewanthologydecisivelyovercomesthisdeficiency.whatunderscorestheintrinsicvalueoftemperleyseditions
(20)isthattheanthologyreproducesnearlyalloftheoriginalmusicinfacsimile.makingavailablethiscrosssectionofenglishmusicallifesome800worksby49composersshouldencouragenewcriticalperspectivesabouthowpianomusicevolvedin
(25)england,anissueofconsiderablerelevancetoourunderstandingofhowpianomusicdevelopedontheeuropeancontinent,andofhow,finally,theinstrumentwastransformedfromthefortepianotowhatweknowtodayasthepiano.
(30)tobesure,thelondonpianoforteschoolitselfcallsforreview."school"maywellbetoostrongawordforwhatwasarguablyagroupunifiednotsomuchbystylisticprinciplesoraestheticcreedasbythegeographicalcircumstancethattheyworkedat
(35)varioustimesinlondonandproducedpianosandpianomusicforenglishpianosandenglishmarkets.indeed,temperleyconcedesthattheir"varietymaybesogreatastocastdoubtonthenotionofaschool."
thenotionofaschoolwasfirstpropoundedby
(40)alexanderringer,whoarguedthatlawsofartisticsurvivalforcedtheyoung,progressivebeethoventoturnoutsideaustriaforcreativemodels,andthathefoundinspirationinagroupofpianistsconnectedwithclementiinlondon.ringersproposedlondon
(45)pianoforteschooldidsuggestacircumscribedandfairlyunifiedgroupforwantofabetterterm,aschoolofmusicianswhoseinfluencewasfeltprimarilyinthedecadesjustbeforeandafter1800.afterall,beethovendidrespondtotheadvancesofthe
(50)broadwoodpianoitsreinforcedframe,extendedcompass,triplestrining,andpedsals,forexampleanditisreasonabletosupposethatlondonpianistswhocomposedmusicforsuchaninstrumentduringthecriticalphaseofitsdevelopmentexercisednosmall
(55)degreeofinfluenceoncontinentalmusicians.nevertheless,perhapsthemostsensibleapproachtothisissueistodefinetheschoolbytheperiod(c,1766-1873)duringwhichitflourished,astemperleyhasdoneintheanthology.
1.whichoneofthefollowingmostaccuratelystatestheauthorsmainpoint?
(a)temperleyhasrecentlycalledintoquestionthedesignationofagroupofcomposers.pedagogues,pianists,publishers,andbuildersasthelondonpianoforteschool
(b)temperleysanthologyofthemusicofthelondonpianoforteschoolcontributessignificantlytoanunderstandingofaninfluentialperiodinthehistoryofmusic.
(c)themusicofthelondonpianoforteschoolhasbeenrevivedbythepublicationoftemperleysnewanthology.
(d)primarysourcesformusicalmanuserrptsprovidethemostreliablebasisformusicologicalresearch.
(e)thedevelopmentofthemodernpianoinenglandinfluencedcomposersandothermusiciansthroughouteurope.
2.itcanbeinferredthatwhichoneofthefollowingistrueofthepianomusicofthelondonpianoforteschool?
(a)thenocturnesofjohnfieldtypifythelondonpianoforteschoolstyle.
(b)thegradusadparnassumofmuzioclementiisthebest-knownworkofthesecomposers.
(c)nooriginalscoresforthismusicareexant
(d)priortotemperleysedition,noattemptstoissueneweditionsofthismusichadbeenmade.
(e)inmoderntimesmuchofthemusicofthisschoolhasbeenlittleknowneventomusicians.
3.theauthormentionsthesonatasofmuzioclementiandthenocturnesofjohnfieldasexamplesofwhichoneofthefollowing?
(a)worksbycomposersofthelondonpianoforteschoolthathavebeenpreservedinrigorousscholarlyeditions
(b)worksthatarenolongerrememberedbymostpeople
(c)worksacclaimedbytheleadersofthelondonpianoforteschool
(d)worksbycomposersofthelondonpianoforteschoolthatarerelativelywellknown
(e)worksbycomposersofthelondonpianoforteschoolthathavebeenrevivedbytemperleyinhisanthology
4.whichoneofthefollowing,iftrue,wouldmostclearlyundermineaportionofringersargumentastheargumentisdescribedinthepassage?
(a)musiciansinaustriacomposedinnovativemusicforthebroadwoodpianoassoonastheinstrumentbecameavailable.
(b)clementiandhisfollowersproducedmostoftheircompositionsbetween1790and1810.
(c)theinfluenceofcontinentalmusiciansisapparentinsomeoftheworksofbeethoven.
(d)thepianist-composersofthelondonpianoforteschoolsharedmanyofthesamestylisticprinciples.
(e)mostcomposersofthelondonpianoforteschoolwerebornonthecontinentandweredrawntolondonbytheworkofclementiandhisfollowers.
5.itcanbeinferredthattheauthorusestheword"advances"(line49)toreferto
(a)enticementsofferedmusiciansbyinstrumentmanufacturers
(b)improvementsinthestructureofaparticularinstrument
(c)innovationsintheformsofmusicproducedforaparticularinstrument
(d)stylisticelaborationsmadepossiblebychangesinaparticularinstrument
(e)changesinmusiciansopinionsaboutaparticularinstrument
6.itcanbeinferredfromthepassageasawholethattheauthorspurposeinthethirdparagraphisprimarilyto
(a)castdoubtontheusefulnessoftemperleysstudyofthelondonpianoforteschool
(b)introduceadiscussionofthecoherencyofthelondonpianoforteschool
(c)summarizeringersargumentaboutthelondonpianoforteschool
(d)emphasizethecomplexnatureofthemusicologicalelementssharedbymembersofthelondonpianoforteschool.
(e)identifytheuniquecontributionsmadetomusicbythelondonpianoforteschool
7.theauthorofthepassageisprimarilyconcernedwith
(a)explainingtheinfluenceofthedevelopmentofthepianoforteonthemusicofbeethoven
(b)describingtempetleysviewofthecontrastbetweenthedevelopmentofpianomusicinenglandandthedevelopmentofplanomusicelsewhereineurope
(c)presentingtemperleysevaluationoftheimpactofchangesinpianoconstructiononstylesandformsofmusiccomposedintheeraofthelondonpianoforteschool
(d)consideringanaltermnativetheorytothatproposedbyringerconcerningthelondonpianoforteschool
(e)discussingthecontributionoftemperleysanthologytowhatisknownofthehistoryofthelondonpianoforteschool
8.itcanbeinferredthattemperleysanthologytreatsthelondonpianoforteschoolas
(a)agroupofpianist-composerswhosharedcertainstylisticprinciplesandarusticcreeds
(b)agroupofpeoplewhocontributedtothedevelopmentofpianomusicbetween1766and1873
(c)agroupofcomposerswhoinfluencedthemusicofbeethoveninthedecadesjustbeforeandjustafter1800
(d)aseriesofcompositionsforthepianofortepublishedinthedecadesjustbeforeandjustafter1800
(e)aseriesofcompositionsthathadasignificantinfluenceonthemusicofthecontinentintheeighteenthandnineteenthcenturies
whatis"law"?
bywhatprocessesdojudgesarriveatopinions.thosedocumentsthatjustifytheirbeliefthatthe"law"dictatesaconclusiononewayortheother?
theseareamongtheoldestquestionsin
(5)jurisprudence,debateaboutwhichhastraditionallybeendominatedbyrepresentativesoftwoschoolsofthought:
proponentsofnaturallaw,whoseelawasintertwinedwithamoralorderindependentofsocietysrulesandmores,andlegalpositivists,whoseelaw
(10)solelyasembodyingthecommandsofasocietysrulingauthority
sincetheearly1970s,thesefamiliarquestionshavereceivedsomenewandsurprisinganswersinthelegalacademy.thisnoveltyisinpartaconsequenceofthe
(15)increasinginfluencethereofacademicdisciplinesandintellectualtraditionspreviouslyunconnectedwiththestudyoflaw.perhapsthemostinfluentialhavebeentheanswersgivenbythelawandeconomicsschool.accordingtotheselegaleconomists,lawconsistsand
(20)oughttoconsistofthoserulesthatmaximizeasocietysmaterialwealthandthatabettheefficientoperationofmarketsdesignedtogeneratewealth.morecontroversialhavebeenthevariousanswersprovidedbymembersofthecriticallegalstudiesmovement
(25)accordingtowhomlawisoneamongseveralculturalmechanismsbywhichholdersofpowerseektolegitimatetheirdomination.drawingonrelatedargumentsdevelopedinanthropology,sociology,andhistory,thecriticallegalscholarscontendthatlawisan
(30)expressionofpower,butnot,asheldbythepositivists,thepowerofthelegitimatesovereigngovernment.rat
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- LSAT 考试 试题 SECTION4
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