2. 外语
  3. (1)Proponents of different jazz styles have always argued that their predecessors’ musical style did not include essential chara

(1)Proponents of different jazz styles have always argued that their predecessors’ musical style did not include essential chara

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问题     (1)Proponents of different jazz styles have always argued that their predecessors’ 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 jazzers 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.
    (2)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—who insisted on spending hours each day practicing scales from theory books—was never able to jettison completely the influence of bebop, with its fast and elaborate chains of notes and ornaments on melody.
    (3)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.
    (4)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—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.
    (5)When Coltrane began recording for the Impulsel Label, he was still searching. His music became raucous, physical. His influence on rockers was enormous, including Jimi Hendrix, the rock guitarist, who following Coltrane, raised the extended guitar solo using repeated motifs to a kind of rock art form.
According to the passage, the organization of the fourth paragraph is that _____.
选项 A、a topic sentence is mentioned and three examples are presented in certain order
B、a topic sentence is mentioned and illustrated with three specific examples
C、a topic sentence is stated and three dissimilar examples are considered
D、a topic sentence is stated and three seemingly opposing examples are presented
答案B
解析 答题时应考虑文章文体判断，常见的说明文一般发展脉络为“总一分”或“总一分一总”。就第4段的结构而言，应是“总一分”，故选B。A“以某种次序排序三个例子”无原文依据；C“提出三个不相似的例子”与原文不符；D“给出明显相反的例证”也与文中三个例子的逻辑关系不符，故均可排除。
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