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"Popular an" has a number of meanings, impossible to define with any precision, which range from folklore to junk. The poles are clear enough, but the middle tends to blur. The Hollywood Western of the 1930’s for example, has elements of folklore, but is closer to junk than to high art or folk art. There can be great trash, just as there is bad high arc The musicals of George Gershwin are great popular art, never aspiring to high art. Schubert and Brahms, however, used elements of popular music--folk themes--in works clearly intended as high art. The case of Verdi is a different one: he took a popular genre--bourgeois melodrama set to music (an accurate definition of nineteenth-century opera) and, without altering its fundamental nature, transmuted it into high art. This remains one of the greatest achievements in music, and one that cannot be fully appreciated without recognizing the essential trashiness of the genre.As an example of such a transmutation, consider what Verdi made of the typical political elements of nineteenth-century opera. Generally in the plots of these operas, a hero or heroine--usually portrayed only as an individual, unfettered by class--is caught between the immoral corruption of the aristocracy and the doctrinaire rigidity or secret greed of the leaders of the proletariat. Verdi transforms this naive and unlikely formulation with music of extraordinary energy and rhythmic vitality, music more subtle than it seems at first hearing. There are scenes and arias that still sound like calls to arms and were clearly understood as such when they were first performed. Such pieces lend an immediacy to the otherwise veiled political message of these operas and call up feelings beyond those of the opera itself.or consider Verdi’s treatment of character. Before Verdi, there were rarely any characters at all in musical drama, only a series of situations which allowed the singers to express a series of emotional states. Any attempt to find coherent psychological portrayal in these operas is misplaced ingenuity. The only coherence was the singer’s vocal technique: when the cast changed, new arias were almost always substituted, generally adapted from other operas. Verdi’s characters, on the other hand, have genuine consistency and integrity. Even if, in many cases, the consistency is that of pasteboard melodrama, the integrity of the character is achieved through the music: once he had become established. Verdi did not rewrite his music for different singers or countenance alterations or substitutions of somebody else’s arias in one of his operas, as every eighteenth-century composer had done. When he revised an opera, it was only for dramatic economy and effectiveness. According to the passage, the immediacy of the political message in Verdi’s operas stems from the（）
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The housing market has been for two years propping up consumers’ spirits while the rest of the economy lies exhausted on the floor, still trying to struggle to its feet. According to the National Association of Realtors, the national median existing-home price ended the year at $ 164, 000, up 7.1 percent from 2001. That’s the strongest annual increase since 1980.Although residential real estate activity makes up less than 8% of total U. S. GDP, a housing market like this one can make the difference between positive and negative growth. Most significantly, consumer spending is 66% of GDP, and the purchase of a new home tends to have an "umbrella effect" on the homeowner’s spending as he has to stock it with a washer/dryer, a new big-screen TV, and maybe a swing set for the yard.The main factor in housing’s continued strength is a classic economic example of zero-sum boom: the persistent weakness everywhere else. As the 2003 recovery continues to be more forecast than reality. Falling stock prices raised investor appeal for U. S. Treasury Bonds, which in turn, allowed most interest rates to drift even lower. But there are not many signs that there’s a bubble ready to burst.December’s new record in housing starts, for example, was nicely matched by the new record in new home sales. If you build it, they will buy and even if an economic pickup starts to reduce housing’s relative attractiveness, there’s no reason why modest economic growth and improved consumer mood can’t help sustaining housing’s strength. "The momentum gained from low mortgage interest rates will carry strong home sales into 2003, with an improving economy offsetting modestly higher mortgage interest rates as the year progresses," said David Lereah, chief economist at the National Association of Realtors.Just as housing has taken up much of the economic slack for the past two years, both as a comforting investment for fretting consumers and a driver of consumer spending itself, a big bump elsewhere in the economy in 2003 could be housing’s downfall. If stocks roar back this spring, capital inflows could steal from the bond market, pushing up long-term interest rates. or Alan Greenspan and the Fed could do the same to short-term rates, as a way to hit the brakes on a recovery that is heating up too fast. In other words, if everything possible goes wrong for housing, homeowners should have plenty to compensate them in terms of job security and income hikes. The author draws a contrast between the housing market and the rest of the economy to show（）
"Popular an" has a number of meanings, impossible to define with any precision, which range from folklore to junk. The poles are clear enough, but the middle tends to blur. The Hollywood Western of the 1930’s for example, has elements of folklore, but is closer to junk than to high art or folk art. There can be great trash, just as there is bad high arc The musicals of George Gershwin are great popular art, never aspiring to high art. Schubert and Brahms, however, used elements of popular music--folk themes--in works clearly intended as high art. The case of Verdi is a different one: he took a popular genre--bourgeois melodrama set to music (an accurate definition of nineteenth-century opera) and, without altering its fundamental nature, transmuted it into high art. This remains one of the greatest achievements in music, and one that cannot be fully appreciated without recognizing the essential trashiness of the genre.As an example of such a transmutation, consider what Verdi made of the typical political elements of nineteenth-century opera. Generally in the plots of these operas, a hero or heroine--usually portrayed only as an individual, unfettered by class--is caught between the immoral corruption of the aristocracy and the doctrinaire rigidity or secret greed of the leaders of the proletariat. Verdi transforms this naive and unlikely formulation with music of extraordinary energy and rhythmic vitality, music more subtle than it seems at first hearing. There are scenes and arias that still sound like calls to arms and were clearly understood as such when they were first performed. Such pieces lend an immediacy to the otherwise veiled political message of these operas and call up feelings beyond those of the opera itself.or consider Verdi’s treatment of character. Before Verdi, there were rarely any characters at all in musical drama, only a series of situations which allowed the singers to express a series of emotional states. Any attempt to find coherent psychological portrayal in these operas is misplaced ingenuity. The only coherence was the singer’s vocal technique: when the cast changed, new arias were almost always substituted, generally adapted from other operas. Verdi’s characters, on the other hand, have genuine consistency and integrity. Even if, in many cases, the consistency is that of pasteboard melodrama, the integrity of the character is achieved through the music: once he had become established. Verdi did not rewrite his music for different singers or countenance alterations or substitutions of somebody else’s arias in one of his operas, as every eighteenth-century composer had done. When he revised an opera, it was only for dramatic economy and effectiveness. By referring to Schubert and Brahms, the author suggests that（）
下列各项中，应列入资产负债表“其他应付款”项目的是( )。
下面的短文有15处空白，请根据短文内容为每处空白确定1个最佳选项。 Sending E-mails to Professors One student skipped class and then sent the professor an E-mail (51) for copies of her teaching notes. Another (52) that she was late for a Monday class because she was recovering from drinking too much at a wild weekend party. At colleges and universities in the US, E-mail has made professors more approachable (平易近人). But many say it has made them too accessible, (53) boundaries that traditionally kept students at a healthy distance. These days, professors say, students seem to view them as available (54) the clock, sending a steady stream of informal E-mails. "The tone that they take in E-mails is pretty astounding (令人吃惊的)," said Michael Kessler, an assistant dean at Georgetown University. "They’ll (55) you to help: ’I need to know this.’" "There’s a fine (56) between meeting their needs and at the same time maintaining a level of legitimacy (正统性) as an (57) who is in charge." Christopher Dede, a professor at the Harvard Graduate School of Education, said (58) show that students no longer defer to (听从) their professors, perhaps because they realize that professors’ (59) could rapidly become outdated. "The deference was driven by the (60) that professors were all-knowing sources of deep knowledge," Dede said, and that notion has (61) . For junior faculty members, E-mails bring new tension into their work, some say, as they struggle with how to (62) . Their job prospects, they realize, may rest in part on student evaluations of their accessibility. College students say E-mail makes (63) easier to ask questions and helps them learn. But they seem unaware that what they write in E-mails could have negative effects (64) them, said Alexandra Lahav, an associate professor of Law at the University of Connecticut. She recalled an E-mail message from a student saying that he planned to miss class so he could play with his son. Professor Lahav did not respond. "Such E-mails can have consequences," she said. "Students don’t understand that (65) they say in E-mail can make them seem unprofessional and could result in a bad recommendation."
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