gmat考试机经复习资料(编辑修改稿)

gmat考试机经复习资料(编辑修改稿)内容摘要：

物 ]摆布或控制 . While it is being carried around, it cannot feed to sustain its energy 问题 Q1：主旨题 A1：解释了一种 phenomenon/categoryQ2：问 H动物这种行为 会产生什么后果。 A2： A: it will be more subject to predation. E: it will not move as quickly as it 了。 Q3：有个 infer 题：就是通过 HA不是 1 或 2 种寄生你能得出什么结论。 A3：反正就不是一起去的利益也不是一个会损害另一个的利益， Lz选的是一个得利另一个不受伤害 Q4：高亮题，全段高亮，解释第三段的作用 A4：第三段就是解释这种现象的，说了这个现象跟之前发现的 3 种理论都不符合。 然后给出 一个新的解释 Q5：框架 A5：提出现象，解释现象，总结新 category 6 即兴演奏与华彩乐段 Improvisation amp。 Cadenza 考古 The art of embellishment—improvising cadenzas, adding ornaments, taking other opportunities for creativity in performance—is a hot topic in classical music these days. For generations, conservatories preached absolute fidelity to the score: do what the poser wrote and nothing more. The problem is that the scores of prior eras can leave quite a bit to the performer’s imagination, and the earlier the piece the sparser the notation. Modern musicians specializing in the Renaissance and the Baroque have led the way in looking beyond the printed page: the great viol player Jordi Savall improvises heavily in his appearances with Hesp232。 rion XXI, and Richard Egarr, in a new recording of Handel’s an concertos, responds imaginatively to passages marked ―ad libitum.‖ The notion of adding unwritten material to Classical and Romantic works is more outr233。 , especially in instrumental music, but it is gaining ground. At this summer’s Mostly Mozart Festival, both the pianist Robert Levin and the violinist Joshua Bell presented their own cadenzas, giving spark to what might have been routine events. Cadenzas sprang up突然开始或存在 in the early eighteenth century, when posers began indicating brief episodes where the performer should play freely, delaying a final cadence. They appeared not only in opera but also in instrumental pieces, especially in the closing sections of concerto协奏曲 movements乐章 . Musicians had been embellishing the score乐谱 for centuries, and perhaps the cadenza华彩乐章 was a way of bringing improvisation即兴演出 under control, corralling控制，占有 it. Mozart, as poser and pianist, brought the practice to its peak。 one of his contemporaries stated that cadenzas should be dreamlike in their logic, expressing ―ordered disorder,‖ and Mozart’s playing evidently had that quality. (He wrote out cadenzas for many of his concertos, so his performances may not always have been spontaneous.) Beethoven carried on the tradition—the darkly rumbling cadenza that he devised for Mozart’s Dminor Piano Concerto is a fascinating case of one poser meditating on深思，沉思 another—but he also helped to kill it. In the first movement of the ―Emperor‖ Concerto, the soloist is told not to make a cadenza but to play ―the following‖—a fully notated solo. Performers gradually stopped working out their own cadenzas, instead turning to a repertory of writtenout versions. Opera singers retained more freedom, especially when it came to interpolating插入 bravura大胜的尝试 ,勇气的举动 (显示演奏家技艺的壮丽的 乐段 ) high notes 音调 , but they, too, grew more cautious. Improvisation became the province of church anists and avantgardists, the latter often taking inspiration from jazz. Classical advocates of the practice believe that it is not only historically valid but intellectually enlivening 使（某人 [某事物 ]）更活跃或更愉快 . For a recent paper in NeuroImage, Aaron Berkowitz and Daniel Ansari studied what happens cognitively when someone improvises。 they observed increased activity in two zones of the brain, one connected to decisionmaking and the other to language. Even if a soloist extemporizes即席演奏 for only a minute, the remainder of the performance may gain something intangible. Levin, the Harvardbased musician who for decades has been the chief guru宗师 of classical improvisation, believes that performances need to cultivate risk and surprise. Otherwise, he says, music bees ―gymnastics体操 with the affectation装模作样，故弄玄虚 of emotional content‖—a phrase that sums up unfortably large tracts of modern musicmaking. 问题 Q1： Beethoven对 Cadenza的发展起到什么作用 Q2：哪些人用了 Cadenza的方式 Q3：最后一段第一句话中提到的那种人可能赞成什么观点 Q4：问第二段中提到的 C什么的那个人（我也没搞清楚是不是个人 … ）是为了什么 … Q5：传统的 Candeza的支持者的观点 Q6：问那个科学家还是历史学家会同意哪种关于 cadenza以下那种说法 7 存货的生产平滑模型 Production Smoothing Model of Inventory 考古 V1 第一段： inventorysmoothing理论 /model的 思想是，用库存 (inventory)作为 buffer,应付可能出现的产品需求的突然增长。 这样公司就不用改变当前的生产， production level就会保持稳定 (这里有题 ) 第二段：根据这个理论， production的 variance会下降。 而且如果需求增加， sales的 variance会增加。 但是经过科学家调查，发现 production 比 sales 的 variance 要高，而且他们（或者是 sales和 inventory，不影响整体阅读）的 variance是 ，要么还有其他因素影响了调查结果。 第三段：第一句话是，科学家所做的调查是基于 aggregate level的（后面有问这句话的作用，我选：提供了 possibility that masks对单个企业的应用）。 这样一些 seasonality的数据可能被忽略。 但是有科学家对单个企业做调查，也不能证实这个 model V2 第一段：inventorysmoothing理论 /model的思想是，用库存 (inventory)作为 buffer,应付可能出现的产品需求的突然增长或减少。 这样公司就不用改变当前的生产， production level就会保持稳定 第二段：根据这个理论， production的 variance会下降。 而且如果需求增加， sales的 variance会增加。 但是经过科学家调查，发现 production比 sales的 variance要高，而且他们是 correlated.这说明要么这个理论有问题，要么还有其他因素影响了调查结果。 第三段：第一句话是，科学家所做的调查是基于 aggregate level的，这样一些 seasonality的数据可能被忽略，所以不能反映 individual firm的情况（后 面有问这句话的作用，我选：提供了 possibility that masks对单个企业的应用）。 有科学家专门对 individual firm做调查，但也与 inventorysmoothing理论不符。 问题 Q1：主旨 A1：讨论一个模型并研究其不可靠性 Q2： Inventorysmoothing里面问 inventory primarily concerned with。 A2： JJ里那道类似的选的是使生产保持恒定，但是我考的时候感觉 peaks and valleys of sales 那个选项好像更 好，意思大概就是消除销售峰谷的影响，因为有另外两个选项都是说恒速生产这同一个意思。 Q3：最后一段提到 aggregate data说明什么 A3： suggest the possibility that aggregate data masked the applicability of the model to individual pany 8 文艺复兴时期画家与赞助人的关系 the PatronArtist Relations in the Renaissance Periord 考古 V1 关于文艺复兴时期的画家和他们的赞助人（也就是花钱让他们画画的人）之间的故事先是 A的观点（名字不记得了，代号吧） 说不太清楚这两类人是不是有很明确的关系，即赞助人本身不太懂艺术吧，然后是 B 的观点（两者是并列的）说很少有证据表明赞助人干预艺术家作画吧。 然后是 C 的观点（应该是作者要肯定的观点）说举了很多例子说赞助人对画家指手画脚，要求很多，甚至一些细节，然后举了个例子。 第二段又进一步说了 C 的观点。