历年试题:GRE试题(三)GRE考试

文章作者 100test 发表时间 2009:04:30 00:40:16
来源 100Test.Com百考试题网

Time –30 minutes
38 Questions

1. Because the monkeys under study are ---- the
presence of human beings, they typically ----
human observers and go about their business
(A) ambivalent about .. welcome
(B) habituated to .. disregard
(C) pleased with .. snub
(D) inhibited by .. seek
(E) unaware of .. avoid

2. Give he previously expressed interest and the
ambitious tone of her recent speeches, the senator’s
attempt to convince the public that she is not inter-
ested in running for a second term is ----.
(A) laudable
(B) likely
(C) authentic
(D) futile
(E) sincere

3. Many of her followers remain ---- to her, and
even those who have rejected her leadership are
unconvinced of the ---- of replacing her during
the current turmoil.
(A) opposed.. urgency
(B) friendly.. harm
(C) loyal.. wisdom
(D) cool.. usefulness
(E) sympathetic.. disadvantage

4. Unlike many recent interpretations of Beethoven’s
piano sonatas, the recitalist’s performance was a
delightfully free and introspective one. nevertheless,
it was also, seemingly paradoxically, quite ----.
(A) appealing
(B) exuberant
(C) idiosyncratic
(D) unskilled
(E) controlled

5. Species with relatively ---- metabolic rates, including
hibernators, generally live longer than those whose
metabolic rates are more rapid.

(A) prolific
(B) sedentary
(C) sluggish
(D) measured
(E) restive

6. Belying his earlier reputation for ---- as a negotiator,
Morgan had recently assumed a more ---- stance
for which many of his erstwhile critics praised him.
(A) intransigence.. conciliatory
(B) impropriety.. intolerant
(C) inflexibility.. unreasonable
(D) success.. authoritative
(E) incompetence.. combative

7. Although Irish literature continued to flourish after
the sixteenth century, a ---- tradition is ----
in the visual arts: we think about Irish culture in terms of
the word, not in terms of pictorial images.
(A) rich.. superfluous
(B) lively.. found
(C) comparable.. absent
(D) forgotten.. apparent
(E) lost.. extant

8. SILVER: TARNISH::
(A) gold: burnish
(B) steel: forge
(C) iron: rust
(D) lead: cast
(E) tin: shear

9. DISLIKE: LOATHING::
(A) appreciation: gratification
(B) hunger: appetite
(C) void: dearth
(D) pleasure: bliss
(E) pain: ache

10. CRAVEN: HEROIC::
(A) unruly: energetic
(B) listless: attractive
(C) volatile: constant
(D) deft: trifling
(E) awkward: amusing

11. FILLY: HORSE::
(A) antennae: butterfly
(B) pullet: chicken
(C) gaggle: goose
(D) duck: drake
(E) wasp: bee

12. PITHINESS: APHORISM::
(A) craft: art
(B) detail: sketch
(C) illusion: story
(D) exaggeration: caricature
(E) sophistication: farce

13. EPHEMERAL: ENDURING::
(A) infirm: healing
(B) insensitive: cooperating
(C) inanimate: living
(D) interminable: continuing
(E) ineffectual: proceeding

14. POSTURER: UNAFFECTED::
(A) brat: insolent
(B) hypocrite: perceptive
(C) grouch: respected
(D) bigot: tolerant
(E) rogue: empathetic

15. FACETIOUS: SPEECH::
(A) precocious: learning
(B) unbecoming: color
(C) exemplary: conduct
(D) craven: timidity
(E) antic: behavior

16. VAGARY: PREDICT::
(A) quotation: misdirect
(B) investigation: confirm
(C) stamina: deplete
(D) turbulence: upset
(E) impossibility: execute

This is not to deny that the Black gospel music of the
early twentieth century differed in important ways from the
slave spirituals. Whereas spirituals were created and dis-
seminated in folk fashion, gospel music was composed,
(5) published, copyrighted, and sold by professionals. Never-
theless, improvisation remained central to gospel music.
One has only to listen to the recorded repertoire of gospel
songs to realize that Black gospel singers rarely sang a
song precisely the same way twice and never according to
(10)its exact musical notation. They performed what jazz musi-
cians call "head arrangements" proceeding from their own
feelings and from the way "the spirit" moved them at the
time. This improvisatory element was reflected in the man-
ner in which gospel music was published. Black gospel
(15)composers scored the music intended for White singing
groups fully, indicating the various vocal parts and the
accompaniment, but the music produced for Black singers
included only a vocal line and piano accompaniment.

17.Which of the following best describes "head arrange-
ment" as the term is used in line 11?
(A) A published version of a gospel song produced for
use by Black singers
(B) A gospel song based on a slave spiritual
(C) A musical score shared by a gospel singer and a
jazz musician
(D) An informally written composition intended for
use by a gospel singer
(E) An improvised performance inspired by the
singer’s emotions

18.The author mentions "folk fashion" (line 4) most likely
in order to
(A) counter an assertion about the role of improvi-
sation in music created by Black people
(B) compare early gospel music with gospel music
written later in the twentieth century
(C) make a distinction between gospel music and
slave spirituals
(D) introduce a discussion about the dissemination of
slave spirituals
(E) describe a similarity between gospel music and
slave spirituals

19.The passage suggests which of the following about
Black gospel music and slave spirituals?
(A) Both became widely known in the early twentieth
century.
(B) Both had an important improvisatory element.
(C) Both were frequently performed by jazz
musicians.
(D) Both were published with only a vocal line and
piano accompaniment.
(E) Both were disseminated chiefly by Black singing
groups.