GRE最新练习题5Word下载.docx

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