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Birth, growth, decline, death: it is the usual cycle for people, companies and industries. But the story of violin-making in Cre

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问题     Birth, growth, decline, death: it is the usual cycle for people, companies and industries. But the story of violin-making in Cremona in northern Italy, which flourished under such master craftsmen as Andrea Amati, Giuseppe Guarneri and Antonio Stradivari from the mid-16th century to the early 18th, suggests that, for industries at least, there may be life after death.
    Violin-making in Cremona struggled through the 19th century in the hands of a few carpenters who turned out low-quality instruments. By the 1950s it had died out, says Gio Batta Morassi, a 73-year-old maestro liutaio (master violin-maker). Yet today, in workshops overlooking the city’s cobbled streets, more than 100 craftsmen cut and plane maple and spruce to make string instruments—more than in any other European city. Cremona is once again the capital of hand-crafted instruments.
    A new school to train craftsmen in instrument-making opened in Cremona in 1938, though when Mr. Morassi began his studies in 1950 there were just six students on the course, of whom only one other went on to make instruments. But this slight revival was sustained by a growing interest in Baroque music in northern Europe in the 1960s and 1970s, says Hildegard Dodel, a German who studied at the school. It created new demand for instruments made in the traditional Cremonese style.
    Today Italians are a minority among the school’s 150 students; 30 are South Korean, 26 are Japanese, six are from China and three from Taiwan. Some will set up shop in the city: Ms Dodel worked for about ten years restoring and repairing instruments in Germany and the Netherlands before returning to open her own workshop in Cremona in 2003.
    Instrument-making is not an easy life. "I often thought of giving up," says Francesco Toto, who moved to Cremona 17 years ago and specializes in making cellos. Wood is expensive, must be seasoned properly and is at risk from woodworm; the maple for a cello costs around €1,500, for example. Mr. Toto was able to raise his prices after winning a competition, but to maintain quality he makes just four instruments a year. Violin-makers can produce perhaps seven top-quality instruments a year. (Cellos made by Cremona’s craftsmen typically cost €15,000-35,000, and violins €8,000-20,000.) Having come back from the dead, Cremona’s instrument-makers, like many others in Italian industries, hope that an emphasis on quality, tradition and craftsmanship will keep cheaper foreign rivals at bay.
Hildegard Dodel believed that
选项 A、the revival of instrument-making was slight and sustainable.
B、Baroque music stimulated the revival of the instrument-making.
C、people in Europe were fond of traditional Cremonese style.
D、Baroque music increased people’s interests in violins.
答案B
解析 观点态度题。根据题干可以定位在第三段，其中讲述都朵认为“20世纪60和70年代，北欧的人们又重燃了对巴洛克音乐的兴趣，这为传统的克莱蒙娜乐器制作又创造了新一波的需求”，故B项与之相符。A项slightand sustainable“细微而且可持续的”是对原文“对巴洛克音乐的兴趣使乐器制造业有所复苏”的曲解：C项“欧洲人喜欢传统的克莱蒙娜风格”引申过度，与该段最后一句不符；D项“巴洛克音乐增加了人们对小提琴的兴趣”在原文中未提及。
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