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【单选题】

The development of jazz can be seen as part of the larger continuum of American popular music, especially dance music. In the twenties, jazz became the hottest new thing in dance music, much as ragtime had at the turn of the century, and as rhythm and blues in the forties, rock in the fifties, and disco in the sies. But two characteristics distinguish jazz from other dance music. The first is improvisation, the changing of a musical phrase according to the player’’s inspiration. Like all artists, jazz musicians strive for an individual style, and the improvised or paraphrased solo is a jazz musician’’s main opportunity to display his or her individuality. In early jazz, musicians often improvised melodies collectively, thus creating a kind of polyphony. There was little soloing as such, although some New Orleans players, particularly cornet player Buddy Bolden, achieved local fame for their ability to improvise a solo. Later the idea of the chorus-long or multi-chorus solo took hold. Louis Armstrong’’s instrumental brilliance, demonstrated through extended solos, was a major influence in this development. Even in the early twenties, however, some jazz bands had featured soloists. Similarly, show orchestras and carnival bands often included one or two such "get-off" musicians. Unimprovised, completely structured jazz does exist, but the ability of the best jazz musicians to create music of great cohesion and beauty during a performance has been a hallmark of the music and its major source of inspiration and change. The second distinguishing characteristic of jazz is a rhythmic drive that was initially called "hot" and later "swing". In playing hot, a musician consciously departs from strict meter to create a relaxed sense of phrasing that also emphasizes the underlying rhythms. ("Rough" tone and use of moderate vibrato also contributes to a hot sound.) Not all jazz is hot, however, many early bands played unadorned published arrangements of popular songs. Still, the proclivity (倾向) to play hot distinguished the jazz musician from other instrumentalists. The word "get-off (Line 2, Para. 3) could be replaced by________.

A.
famous
B.
primary
C.
special
D.
smart
题目标签:倾向
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【多选题】边际消费倾向与边际储蓄倾向的关系?

A.
MPC+MPS=1
B.
MPS=1-MPC
C.
APC+APS=1
D.
MPC=1-MPS
E.
APC=1-APS

【单选题】边际消费倾向递减规律是()理论的假设前提之一。

A.
凯恩斯消费理论
B.
持久收入理论
C.
生命周期理论
D.
弗里德曼消费理论

【单选题】平均消费倾向与边际消费倾向相比( )

A.
平均消费倾向大于边际消费倾向
B.
平均消费倾向等于边际消费倾向
C.
平均消费倾向小于边际消费倾向
D.
无法确定

【单选题】健康教育的倾向因素是( )

A.
技能、态度、知识
B.
知识、态度、信念
C.
行为、愿望、态度
D.
行为、信念、知识
E.
技能、行为、知识

【单选题】“实现倾向”的概念属于( )

A.
精神分析
B.
行为主义
C.
人本主义
D.
认知疗法
E.
完形疗法

【单选题】疑病症倾向病人的心理特点不包括

A.
自我控制力下降
B.
攻击行为
C.
求治心理
D.
埋怨、不满
E.
紧张、焦虑

【单选题】认知、情感和行为倾向是 的组成要素。

A.
态度
B.
EVLN模型
C.
组织承诺
D.
情绪
E.
心理契约

【单选题】《新月》月刊的举办者,大都倾向( )。

A.
马克思主义
B.
“象征主义”
C.
“现代主义”
D.
自由主义”

【单选题】30,关于倾向的描述, ()是正确的。

A.
与走向垂直,指向标高低的地方
B.
与走向平行,指向倾斜方向
C.
与走向垂直,指向标高高的方向
D.
和等高线的方向相同
相关题目:
【多选题】边际消费倾向与边际储蓄倾向的关系?
A.
MPC+MPS=1
B.
MPS=1-MPC
C.
APC+APS=1
D.
MPC=1-MPS
E.
APC=1-APS
【单选题】边际消费倾向递减规律是()理论的假设前提之一。
A.
凯恩斯消费理论
B.
持久收入理论
C.
生命周期理论
D.
弗里德曼消费理论
【单选题】平均消费倾向与边际消费倾向相比( )
A.
平均消费倾向大于边际消费倾向
B.
平均消费倾向等于边际消费倾向
C.
平均消费倾向小于边际消费倾向
D.
无法确定
【单选题】健康教育的倾向因素是( )
A.
技能、态度、知识
B.
知识、态度、信念
C.
行为、愿望、态度
D.
行为、信念、知识
E.
技能、行为、知识
【单选题】“实现倾向”的概念属于( )
A.
精神分析
B.
行为主义
C.
人本主义
D.
认知疗法
E.
完形疗法
【单选题】疑病症倾向病人的心理特点不包括
A.
自我控制力下降
B.
攻击行为
C.
求治心理
D.
埋怨、不满
E.
紧张、焦虑
【单选题】认知、情感和行为倾向是 的组成要素。
A.
态度
B.
EVLN模型
C.
组织承诺
D.
情绪
E.
心理契约
【单选题】以下属于行为的倾向因素(predisposingfactors)有( )
A.
领导重视
B.
法律
C.
政策
D.
奖励
E.
态度及自信心
【单选题】《新月》月刊的举办者,大都倾向( )。
A.
马克思主义
B.
“象征主义”
C.
“现代主义”
D.
自由主义”
【单选题】30,关于倾向的描述, ()是正确的。
A.
与走向垂直,指向标高低的地方
B.
与走向平行,指向倾斜方向
C.
与走向垂直,指向标高高的方向
D.
和等高线的方向相同