Pourquoi il part pour Paris un jour ？

A．Parce qu’il va voir ses amis．

B．Parce qu’il va à l’université．

C．Parce qu’il va visiter des monuments de Paris．

D．Parce qu’il ne veut pas devenir paysan．

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更多“Pourquoi il part pour Paris un…”相关的问题

第1题

Tu （）________________ un jour que ta mère avait raison.

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第2题

Until Josquin des Prez, 1440-1521, Western music was liturgical, designed as an accompaniment to worship. Like the intricately carved gargoyles perched atop medieval cathedrals beyond sight of any human, music was composed to please God before anybody else; its dominant theme was reverence. Emotion was there, but it was the grief of Mary standing at the foot of the Cross, the joy of the faithful hailing Christ's resurrection. Even the secular music of the Middle Ages was tied to predetermined patterns that sometimes seemed to stand in the way of individual expression.

While keeping one foot firmly planted in the divine world, Josquin stepped with the other into the human. He scored magnificent masses, but also newly expressive motets such as the lament of David over his son Absalom or the "Deploration d'Ockeghem," a dirge on the death of Ockeghem, the greatest master before Josquin, a motet written all in black notes, and one of the most profoundly moving scores of the Renaissance. Josquin was the first composer to set psalms to music. But alongside Benedicite omnia opera Domini Domino ("Bless the Lord, all ye works of the Lord") he put El Grillo ("The cricket is a good singer who manages long poems") and Allegez moy ("Solace me, sweet pleasant brunette"). Josquin was praised by Martin Luther, for his music blends respect for tradition with a rebel’s willingness to risk the horizon. What Galileo was to science, Josquin was to music. While preserving their allegiance to God, both asserted a new importance for man.

Why then should Josquin languish in relative obscurity? The answer has to do with the separation of concept from performance in music. In fine art, concept and performance are one both the art lover and the art historian have thousands of years of paintings, drawings and sculptures to study and enjoy. Similarly with literature: Poetry, fiction, drama, and criticism survive on the printed page or in manuscript. for judgment and admiration by succeeding generations. But musical notation on a page is not art, no matter how lofty or excellent the composer% conception it is, crudely put, a set of directions for producing art. Being highly symbolic, musical notation requires training before it can even be read, let alone performed. Moreover, because the musical conventions of other days are not ours, translation of a Renaissance score into modem notation brings difficulties of its own. For example, the Renaissance notation of Josquin's day did not designate the tempo at which the music should be played or sung. It did not indicate all flats or sharps; these were sounded ill accordance with musicianly rules, which were capable of transforming major to minor, minor to major, diatonic to chromatic sound, and thus affect melody, harmony, and musical expression, a Renaissance composition might include several parts--but it did not indicate which were to be sung, which to be played, nor even whether instruments were to be used at all.

Thus, Renaissance notation permits of several interpretations and an imaginative musician may give an interpretation that is a revelation. But no matter how imaginative, few modern musicians can offer any interpretation of Renaissance music. The public for it is small, limiting the number of musicians who can afford to learn, rehearse, and perform. it. Most of those who attempt it at all are students organized in colegia musica whose memberships have a distressing habit of changing every semester, thus preventing directors from maintaining the year-in, year-out continuity required to achieve excellence of performance. Finally, the instruments used in Renaissance times--drummhorns, recorders, rauschpfeifen, shawms, sackbuts, organetto-must be specially procured.

The primary purpose of the passage is to______.

A．introduce the reader to Josquin and account for his relative obscurity

B．describe the main features of medieval music and show how Josquin changed them

C．place Josquin's music in a historical context and show its influence on later composers

D．enumerate the features of Josquin’s music and supply critical commentary

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第3题

听力原文： Marcheline Bertrand, actress and mother of Angelina Jolle, died on Saturday at Cedars-Sinai Medical Center in Los Angeles, Jolie said in a statement to the Associated Press.

The 56-year-old Bertrand, who battled cancer for over seven-and-a-half years, was surrounded by her children, Angelina and son James Haven, as well as Jolie's partner, Brad Pitt.

"Marcheline was beautiful, caring and totally devoted to her children. I never saw her upset or sad, even after she was diagnosed with cancer," Lea Hunter, who once dated Haven, tells people. "She always treated me like a member of her family."

Bertrand, who had small roles in movies including 1983's The Man Who Loved Women, raised Jolie and brother Haven by herself after divorcing their father, Oscar-winning actor Jon Vuight, when Jolie was a toddler.

A private funeral is planned, and the family requests that in lieu of flowers or gifts, donations be made to the Women's Cancer Research Institute at Cedars-Sinai.

According to a friend, which of the following is TRUE about Marcheline Bertrand?

A．She was an Oscar winner.

B．She was devoted to hex children.

C．She suffered from depression after she was diagnosed with cancer.

D．She had been on poor terms with Brad Pitt.

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第4题

A.To make the railway operation safer.

B.To offer passengers more comfortable journeys.

C.To meet the demand of shipping larger loads.

D.To connect the railway network with the highways.

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第5题

A.To make the railway operation safer.

B.To offer passengers more comfortable journeys.

C.To meet the demand of shipping larger loads.

D.To connect the railway network with the highways.

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