GRE最新练习题5.docx
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GRE最新练习题5.docx
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GRE最新练习题5
SECTION1
Time–30minutes
38Questions
1.Wefirstbecameawarethathersupportforthenew
programwaslessthan----whenshedeclinedto
makeaspeechinitsfavor.
(A)qualified
(B)haphazard
(C)fleeting
(D)unwarranted
(E)wholehearted
2.Whenapersonsuddenlylosesconsciousness,a
bystanderisnotexpectedto----theproblembutto
attemptto----itseffectsbystartingvitalfunctions
iftheyareabsent
(A)cure..precipitate
(B)minimize..predict
(C)determine..detect
(D)diagnose..counter
(E)magnify..evaluate
3.Theremarkwasonlyslightly----,invitinga
chuckle,perhaps,butcertainlynota----.
(A)audible..reward
(B)hostile..shrug
(C)amusing..rebuke
(D)coherent..reaction
(E)humorous..guffaw
4.Doorswereclosingonourpast,andsoonthevalues
wehadlivedbywouldbecomesoobsoletethatwe
wouldseemtopeopleofthenewageas----as
travelersfromanancientland.
(A)elegant
(B)ambitious
(C)interesting
(D)comfortable
(E)quaint
5.Abilityto----isthetestoftheperceptivehistorian,
ahistory,afterall,consistsnotonlyofwhatthe
historianhasincluded,butalso,insomesense,of
whathasbeenleftout.
(A)defer
(B)select
(C)confer
(D)devise
(E)reflect
6.Someartistsimmodestlyidealizeorexaggeratethe
significanceoftheirwork;yetothers,----toexalt
theroleoftheartist,rejectatranscendentviewofart
(A)appearing
(B)disdaining
(C)seeking
(D)failing
(E)tending
7.Estimatingtherisksofradiationescapingfroma
nuclearpowerplantis----question,butonewhose
answerthenbecomespartofavalue-laden,
emotionallychargedpolicydebateaboutwhetherto
constructsuchaplant.
(A)anincomprehensible
(B)anundefined
(C)anirresponsible
(D)adivisive
(E)atechnical
8.TREE:
FORESTRY:
:
(A)tractor:
agriculture
(B)experiment:
laboratory
(C)fuel:
combustion
(D)flower:
horticulture
(E)generator:
electricity
9.COMMAND:
REQUEST
(A)presume:
inquire
(B)recommend:
propose
(C)summon:
invite
(D)refuse:
rebel
(E)authorize:
permit
10.PESTLE:
GRIND:
:
(A)whetstone:
sharpen
(B)balloon:
float
(C)mill:
turn
(D)hinge:
fasten
(E)switch:
conduct
11.ILLITERACY:
EDUCATION
(A)bureaucracy:
clarification
(B)oppression:
agreement
(C)vagrancy:
travel
(D)inequity:
redistribution
(E)inclemency:
evasion
12.REVERENCE:
RESPECT:
:
(A)resiliency:
vitality
(B)appreciation:
dependency
(C)avidity:
enthusiasm
(D)imagination:
creativity
(E)audacity:
sentiment
13.APOSTROPHES:
WORD
(A)letters:
alphabet
(B)verbs:
syntax
(C)ellipses:
sentence
(D)commas:
punctuation
(E)paragraphs:
essay
14.EXAGGERATION:
CARICATURE:
:
(A)craft:
art
(B)detail:
sketch
(C)illusion:
story
(D)brevity:
epigram
(E)sophistication:
farce
15.MALLEABLE:
SHAPE
(A)apathetic:
emotion
(B)irresolute:
opinion
(C)demonstrable:
evidence
(D)irredeemable:
value
(E)gustatory:
taste
16.BOLSTER:
SUPPORT:
:
(A)axis:
revolve
(B)spackle:
paint
(C)leakage:
caulk
(D)heat:
insulate
(E)tackle:
hoist
GeologistsHarrisandGasshypothesizedthattheRed
Seariftdevelopedalongthelineofasuture(aspliceinthe
Earth'scrust)formedduringthelateProterozoicera,and
thatsignificantobservabledifferencesinthecompositionof
(5)theupperlayersofrocksdepositedoneithersideofthe
suturegivecluestothedifferentnaturesoftheunderlying
igneousrocks.
Othergeologistsarguedthatneithertheupperrocklayer
northeunderlyingigneousrocksontheonesideoftherift
(10)differfundamentallyfromthecorrespondinglayersonthe
otherside.Thesegeologistsbelieve,therefore,thatthereis
inadequateevidencetoconcludethatasutureunderliesthe
rift.
Inresponse,HarrisandGassassertedthattheupperrock
(15)layersonthetwosidesoftherifthadnotbeenshowntobe
ofsimilarage,structure,orgeochemicalcontent.Further-
more,theycitednewevidencethattheunderlyingigneous
rocksoneithersideoftheriftcontainsignificantlydifferent
kindsofraremetals.
17.PartoftheHarrisandGasshypothesisabouttheRed
Seariftwouldbeweakenedifitcouldbedemonstrated
thatthecompositionofupperrocklayers
(A)cannotcauseasuturetodevelop
(B)hasnoeffectonwhereasuturewilloccur
(C)cannotprovideinformationaboutthenatureof
underlyingrocks
(D)issimilaronthetwosidesofariftunlessasuture
dividesthetwosides
(E)isusuallydifferentfromthecompositionof
underlyingrocks
18.Itcanbeinferredfromthepassagethatthe"Other
geologists"(line8)wouldbemostlikelytoagreewith
whichofthefollowingstatements?
(A)Similargeologicalfeaturesalongbothsidesofa
possiblesutureimplytheexistenceofthatsuture
(B)Suturescanbediscoveredonlywheretheyarenot
obscuredbysuperimposedgeologicalfeatures.
(C)Thecompositionofigneousrockspermitspre-
dictionofthelikelihoodofariftdeveloping
throughthem.
(D)Itispossibletodateigneousrocksbycarefully
studyingthedifferentkindsofraremetals
containedinthemandbyobservingtheirsimi-
laritytothelayerofrockthatliesabovethem.
(E)Theexistenceofrocklayersononesideofarift
thataresimilarincompositiontorocklayerson
theothersidesuggeststhatnosutureexists
betweenthetwosides.
19.ItcanbeinferredfromthepassagethatHarrisand
Gasshavedonewhichofthefollowing?
(A)DrawndetaileddiagramsoftheRedSearift.
(B)Basedtheirconclusionsonthewayinwhich
suturesdevelopintheEarth'scrust.
(C)Rejectedothergeologistsobjectionstotheir
hypothesisabouttheRedSearift.
(D)Suggestedthatthepresenceofraremetalsin
rocksindicatesanunderlyingsuture.
(E)Assertedthatriftsusuallyoccuralongthelines
ofsutures
20.Accordingtothepassage,HarrisandGasshave
mentionedallofthefollowingpropertiesofrocks
alongtheRedSeariftEXCEPT
(A)ageoftheupperlayersofrock
(B)structureoftheupperlayersofrocks
(C)geochemicalcontentoftheupperlayersofrocks
(D)metalliccontentoftheunderlyingigneousrocks
(E)ageoftheunderlyingigneousrocks
Proponentsofdifferentjazzstyleshavealwaysargued
thattheirpredecessors,musicalstyledidnotinclude
essentialcharacteristicsthatdefinejazzasjazz.Thus,
1940'sswingwasbelittledbybeboppersofthe1950's,
(5)whowerethemselvesattackedbyfreejazzersofthe
1960's.Theneoboppersofthe1980'sand1990'sattacked
almosteverybodyelse.ThetitanicfigureofBlacksaxo-
phonistJohnColtranehascomplicatedtheargumentsmade
byproponentsofstylesfrombebopthroughneobop
(10)becauseinhisownmusicaljourneyhedrewfromallthose
styles.Hisinfluenceonalltypesofjazzwasimmeasurable.
Attheheightofhispopularity,Coltranelargelyabandoned
playingbebop,thestylethathadbroughthimfame,to
exploretheouterreachesofjazz.
(15)Coltranehimselfprobablybelievedthattheonlyessential
characteristicofjazzwasimprovisation,theoneconstant
inhisjourneyfrombeboptoopen-endedimprovisationson
modal,Indian,andAfricanmelodies.Ontheotherhand,
thisdoggedstudentandprodigioustechnician—who
(20)insistedonspendinghourseachdaypracticingscalesfrom
theorybooks-wasneverabletojettisoncompletelythe
influenceofbebop,withitsfastandelaboratechainsof
notesandornamentsonmelody.
TwostylisticcharacteristicsshapedthewayColtrane
(25)playedthetenorsaxophone,hefavoredplayingfastruns
ofnotesbuiltonamelodyanddependedonheavy,regu-
larlyaccentedbeats.ThefirstledColtraneto"sheetsof
sound."whereheracedfasterandfaster,pile-drivingnotes
intoeachothertosuggeststackedharmonies.Thesecond
(30)meantthathissenseofrhythmwasalmostasclosetorock
astobebop.
ThreerecordingsillustrateColtrane'senergizingexplor-
ations.RecordingKindofBluewithMilesDavis,Coltrane
foundhimselfoutsidebop,exploringmodalmelodies.Here
(35)heplayedsurging,lengthysolosbuiltlargelyaround
repeatedmotifs-anorganizingprincipleunlikethatof
freejazzsaxophoneplayerOrnetteColeman,whomodu-
latedoralteredmelodiesinhissolos.OnGiantSteps,
Coltranedebutedasleader,introducinghisowncomposi-
(40)tions.Herethesheetsofsound,downbeataccents,repe-
titions,andgreatspeedarepartofeachsolo,andthe
varietyoftheshapesofhisphrasesisunique.Coltrane's
searchingexplorationsproducedsolidachievement.My
FavoriteThingswasanotherkindofwatershed.Here
(45)Coltraneplayedthesopranosaxophone,aninstrument
seldomusedbyjazzmusicians.Musically,theresultswere
astounding.Withthesoprano'spipingsound,ideasthathad
soundeddarkandbroodingacquiredafeelingofgiddy
fantasy.
(50)WhenColtranebeganrecordingfortheImpulse!
label,
hewasstillsearching.Hismusicbecameraucous,physical.
Hisinfluenceonrockerswasenormous,includingJimi
Hendrix,therockguitarist,whofollowingColtrane,raised
theextendedguitarsolousingrepeatedmotifstoakindof
rockartform.
21.Theprimarypurposeofthepassageisto
(A)discusstheplaceofColtraneintheworldofjazz
anddescribehismusicalexplorations
(B)examinethenatureofbebopandcontrastitwith
improvisationaljazz
(C)analyzethemusicalsourcesofColtrane'sstyle
andtheirinfluenceonhiswork
(D)acknowledgetheinfluenceofColtrane'smusicon
rockmusicandrockmusicians
(E)discusstheargumentsthatdividetheproponents
ofdifferentjazzstyl
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