GRE最新练习题5Word下载.docx
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GRE最新练习题5Word下载.docx
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combustion(D)flower:
horticulture(E)generator:
electricity9.COMMAND:
REQUEST(A)presume:
inquire(B)recommend:
propose(C)summon:
invite(D)refuse:
rebel(E)authorize:
permit10.PESTLE:
GRIND:
(A)whetstone:
sharpen(B)balloon:
float(C)mill:
turn(D)hinge:
fasten(E)switch:
conduct11.ILLITERACY:
EDUCATION(A)bureaucracy:
clarification(B)oppression:
agreement(C)vagrancy:
travel(D)inequity:
redistribution(E)inclemency:
evasion12.REVERENCE:
RESPECT:
(A)resiliency:
vitality(B)appreciation:
dependency(C)avidity:
enthusiasm(D)imagination:
creativity(E)audacity:
sentiment13.APOSTROPHES:
WORD(A)letters:
alphabet(B)verbs:
syntax(C)ellipses:
sentence(D)commas:
punctuation(E)paragraphs:
essay14.EXAGGERATION:
CARICATURE:
(A)craft:
art(B)detail:
sketch(C)illusion:
story(D)brevity:
epigram(E)sophistication:
farce15.MALLEABLE:
SHAPE(A)apathetic:
emotion(B)irresolute:
opinion(C)demonstrable:
evidence(D)irredeemable:
value(E)gustatory:
taste16.BOLSTER:
SUPPORT:
(A)axis:
revolve(B)spackle:
paint(C)leakage:
caulk(D)heat:
insulate(E)tackle:
hoistGeologistsHarrisandGasshypothesizedthattheRedSeariftdevelopedalongthelineofasuture(aspliceintheEarthscrust)formedduringthelateProterozoicera,andthatsignificantobservabledifferencesinthecompositionof(5)theupperlayersofrocksdepositedoneithersideofthesuturegivecluestothedifferentnaturesoftheunderlyingigneousrocks.Othergeologistsarguedthatneithertheupperrocklayernortheunderlyingigneousrocksontheonesideoftherift(10)differfundamentallyfromthecorrespondinglayersontheotherside.Thesegeologistsbelieve,therefore,thatthereisinadequateevidencetoconcludethatasutureunderliestherift.Inresponse,HarrisandGassassertedthattheupperrock(15)layersonthetwosidesoftherifthadnotbeenshowntobeofsimilarage,structure,orgeochemicalcontent.Further-more,theycitednewevidencethattheunderlyingigneousrocksoneithersideoftheriftcontainsignificantlydifferentkindsofraremetals.17.PartoftheHarrisandGasshypothesisabouttheRedSeariftwouldbeweakenedifitcouldbedemonstratedthatthecompositionofupperrocklayers(A)cannotcauseasuturetodevelop(B)hasnoeffectonwhereasuturewilloccur(C)cannotprovideinformationaboutthenatureofunderlyingrocks(D)issimilaronthetwosidesofariftunlessasuturedividesthetwosides(E)isusuallydifferentfromthecompositionofunderlyingrocks18.ItcanbeinferredfromthepassagethattheOthergeologists(line8)wouldbemostlikelytoagreewithwhichofthefollowingstatements?
(A)Similargeologicalfeaturesalongbothsidesofapossiblesutureimplytheexistenceofthatsuture(B)Suturescanbediscoveredonlywheretheyarenotobscuredbysuperimposedgeologicalfeatures.(C)Thecompositionofigneousrockspermitspre-dictionofthelikelihoodofariftdevelopingthroughthem.(D)Itispossibletodateigneousrocksbycarefullystudyingthedifferentkindsofraremetalscontainedinthemandbyobservingtheirsimi-laritytothelayerofrockthatliesabovethem.(E)Theexistenceofrocklayersononesideofariftthataresimilarincompositiontorocklayersontheothersidesuggeststhatnosutureexistsbetweenthetwosides.19.ItcanbeinferredfromthepassagethatHarrisandGasshavedonewhichofthefollowing?
(A)DrawndetaileddiagramsoftheRedSearift.(B)BasedtheirconclusionsonthewayinwhichsuturesdevelopintheEarthscrust.(C)RejectedothergeologistsobjectionstotheirhypothesisabouttheRedSearift.(D)Suggestedthatthepresenceofraremetalsinrocksindicatesanunderlyingsuture.(E)Assertedthatriftsusuallyoccuralongthelinesofsutures20.Accordingtothepassage,HarrisandGasshavementionedallofthefollowingpropertiesofrocksalongtheRedSeariftEXCEPT(A)ageoftheupperlayersofrock(B)structureoftheupperlayersofrocks(C)geochemicalcontentoftheupperlayersofrocks(D)metalliccontentoftheunderlyingigneousrocks(E)ageoftheunderlyingigneousrocksProponentsofdifferentjazzstyleshavealwaysarguedthattheirpredecessors,musicalstyledidnotincludeessentialcharacteristicsthatdefinejazzasjazz.Thus,1940sswingwasbelittledbybeboppersofthe1950s,(5)whowerethemselvesattackedbyfreejazzersofthe1960s.Theneoboppersofthe1980sand1990sattackedalmosteverybodyelse.ThetitanicfigureofBlacksaxo-phonistJohnColtranehascomplicatedtheargumentsmadebyproponentsofstylesfrombebopthroughneobop(10)becauseinhisownmusicaljourneyhedrewfromallthosestyles.Hisinfluenceonalltypesofjazzwasimmeasurable.Attheheightofhispopularity,Coltranelargelyabandonedplayingbebop,thestylethathadbroughthimfame,toexploretheouterreachesofjazz.(15)Coltranehimselfprobablybelievedthattheonlyessentialcharacteristicofjazzwasimprovisation,theoneconstantinhisjourneyfrombeboptoopen-endedimprovisationsonmodal,Indian,andAfricanmelodies.Ontheotherhand,thisdoggedstudentandprodigioustechnicianwho(20)insistedonspendinghourseachdaypracticingscalesfromtheorybooks-wasneverabletojettisoncompletelytheinfluenceofbebop,withitsfastandelaboratechainsofnotesandornamentsonmelody.TwostylisticcharacteristicsshapedthewayColtrane(25)playedthetenorsaxophone,hefavoredplayingfastrunsofnotesbuiltonamelodyanddependedonheavy,regu-larlyaccentedbeats.ThefirstledColtranetosheetsofsound.whereheracedfasterandfaster,pile-drivingnotesintoeachothertosuggeststackedharmonies.Thesecond(30)meantthathissenseofrhythmwasalmostasclosetorockastobebop.ThreerecordingsillustrateColtranesenergizingexplor-ations.RecordingKindofBluewithMilesDavis,Coltranefoundhimselfoutsidebop,exploringmodalmelodies.Here(35)heplayedsurging,lengthysolosbuiltlargelyaroundrepeatedmotifs-anorganizingprincipleunlikethatoffreejazzsaxophoneplayerOrnetteColeman,whomodu-latedoralteredmelodiesinhissolos.OnGiantSteps,Coltranedebutedasleader,introducinghisowncomposi-(40)tions.Herethesheetsofsound,downbeataccents,repe-titions,andgreatspeedarepartofeachsolo,andthevarietyoftheshapesofhisphrasesisunique.Coltranessearchingexplorationsproducedsolidachievement.MyFavoriteThingswasanotherkindofwatershed.Here(45)Coltraneplayedthesopranosaxophone,aninstrumentseldomusedbyjazzmusicians.Musically,theresultswereastounding.Withthesopranospipingsound,ideasthathadsoundeddarkandbroodingacquiredafeelingofgiddyfantasy.(50)WhenColtranebeganrecordingfortheImpulse!
label,hewasstillsearching.Hismusicbecameraucous,physical.Hisinfluenceonrockerswasenormous,includingJimiHendrix,therockguitarist,whofollowingColtrane,raisedtheextendedguitarsolousingrepeatedmotifstoakindofrockartform.21.Theprimarypurposeofthepassageisto(A)discusstheplaceofColtraneintheworldofjazzanddescribehismusicalexplorations(B)examinethenatureofbebopandcontrastitwithimprovisationaljazz(C)analyzethemusicalsourcesofColtranesstyleandtheirinfluenceonhiswork(D)acknowledgetheinfluenceofColtranesmusiconrockmusicandrockmusicians(E)discusstheargumentsthatdividetheproponentsofdifferentjazzstyles22.TheauthorimpliesthatwhichofthefollowingwouldhavebeenaneffectofColtraneshavingchosentoplaythetenorratherthanthesopranosaxophoneonMyFavoriteThings?
(A)Thetoneoftherecordingwouldhavebeenmoresomber.(B)Theinfluenceofbebopontherecordingwouldhavebeenmoreobvious(C)Themusicontherecordingwouldhavesoundedlessraucousandphysical(D)Hisinfluenceonrockmusicmighthavebeenlesspervasive.(E)ThestyleoftherecordingwouldhavebeenindistinguishablefromthatonKindofBlue23.Whichofthefollowingbestdescribestheorganizationofthefourthparagraph?
(A)Athesisreferredtoearlierinthepassageismentionedandillustratedwiththreespecificexamples(B)Athesisisstatedandthreeexamplesaregiveneachsuggestingthatacorrectionneedstobemadetoathesisreferredto
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