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The Concept of Style Style may be defined as the characteristic manner of presentation of any art form. We distinguish between the style of a novel and that of an essay, between the style of a cathedral and that of a palace. The word may also indicate the creator’s personal manner of expression—the distinctive flavor that sets one artist apart from all others. Thus we speak of the literary style of Dickens or Shakespeare, the painting style of Picasso or Michelangelo, the musical style of Bach or Mozart. We often identify style with nationality, as when we refer to French, Italian, or German style; or with an entire culture, as when we contrast a Western musical style with one of China, India, or some other region. It is the difference in the treatment of the elements of music that makes one musical work sound similar to or different from another. We have seen that western music is largely a melody-oriented art based on a particular musical system from which the underlying harmonies are also built. Relatively speaking, rhythm and meter in western music are based on simpler principles than are melody and harmony. Music of other cultures may sound foreign to our ears and sometimes out of tune because they are based on entirely different musical systems from which they derive their melodic material and many do not involve harmony to any great extent. One important factor in these differing languages of music is the way in which the octave is divided and scales are produced. Complex rhythmic procedures and textures set some world music apart from western styles, while basic formal considerations—such as repetition, contrast, and variation—bring music of disparate cultures closer. In short, a style is made up of all the factors relating to pitch, time, timbre, and expression, creating a sound that each culture recognizes as its own. Since all art changes from one age to the next, one very important use of the word "style" is in connecting the various historical periods. The music of each world culture has its own style periods. Focusing on the development of western music we will find that the concept of style enables us to draw connections between musicians and their time, so that the musical work is placed in its socio-historical frame. No matter how greatly the artists, writers, and composers of a particular era may vary in personality and outlook, when seen in the perspective of time, they turn out to have certain qualities in common. Because of this, we can tell at once that a work of art—whether music, poetry, painting, sculpture, or architecture—dates from the Middle Ages or the Renaissance, from the eighteenth century or the nineteenth. The style of a period, then, is the total art language of all its artists as they react to the artistic, political, economic, religious, and philosophical forces that shape their environment.A.[■] Scholars will always disagree as to precisely when one style period ends and the next begins.B.[■] Each period leads by imperceptible degrees into the following one, dates and labels being merely convenient signposts.C.[■] The following outline shows the generally accepted style periods in the history of western music.D.[■] Each represents a concept of form and technique, an ideal of beauty, a manner of expression and performance attuned to the cultural climate of the period—in a word, a style! 350～600: Period of the Church Fathers 600～850: Early Middle Ages—Gregorian chant 850～1150: Romanesque period—development of the staff in musical notation, about 1000 1150～1450: Late Middle Ages (Gothic period. 1450～1600: Renaissance period 1600～1750: Baroque period 1725～1775: Rococo period 1750～1825: Classical period 1820～1900: Romantic period 1890～1915: Post-Romantic and Impressionist period 1910～20th century: All of the following are mentioned in Paragraph 2 as contributing to the commonness of all the music varieties EXCEPT______.
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The Concept of Style Style may be defined as the characteristic manner of presentation of any art form. We distinguish between the style of a novel and that of an essay, between the style of a cathedral and that of a palace. The word may also indicate the creator’s personal manner of expression—the distinctive flavor that sets one artist apart from all others. Thus we speak of the literary style of Dickens or Shakespeare, the painting style of Picasso or Michelangelo, the musical style of Bach or Mozart. We often identify style with nationality, as when we refer to French, Italian, or German style; or with an entire culture, as when we contrast a Western musical style with one of China, India, or some other region. It is the difference in the treatment of the elements of music that makes one musical work sound similar to or different from another. We have seen that western music is largely a melody-oriented art based on a particular musical system from which the underlying harmonies are also built. Relatively speaking, rhythm and meter in western music are based on simpler principles than are melody and harmony. Music of other cultures may sound foreign to our ears and sometimes out of tune because they are based on entirely different musical systems from which they derive their melodic material and many do not involve harmony to any great extent. One important factor in these differing languages of music is the way in which the octave is divided and scales are produced. Complex rhythmic procedures and textures set some world music apart from western styles, while basic formal considerations—such as repetition, contrast, and variation—bring music of disparate cultures closer. In short, a style is made up of all the factors relating to pitch, time, timbre, and expression, creating a sound that each culture recognizes as its own. Since all art changes from one age to the next, one very important use of the word "style" is in connecting the various historical periods. The music of each world culture has its own style periods. Focusing on the development of western music we will find that the concept of style enables us to draw connections between musicians and their time, so that the musical work is placed in its socio-historical frame. No matter how greatly the artists, writers, and composers of a particular era may vary in personality and outlook, when seen in the perspective of time, they turn out to have certain qualities in common. Because of this, we can tell at once that a work of art—whether music, poetry, painting, sculpture, or architecture—dates from the Middle Ages or the Renaissance, from the eighteenth century or the nineteenth. The style of a period, then, is the total art language of all its artists as they react to the artistic, political, economic, religious, and philosophical forces that shape their environment.A.[■] Scholars will always disagree as to precisely when one style period ends and the next begins.B.[■] Each period leads by imperceptible degrees into the following one, dates and labels being merely convenient signposts.C.[■] The following outline shows the generally accepted style periods in the history of western music.D.[■] Each represents a concept of form and technique, an ideal of beauty, a manner of expression and performance attuned to the cultural climate of the period—in a word, a style! 350～600: Period of the Church Fathers 600～850: Early Middle Ages—Gregorian chant 850～1150: Romanesque period—development of the staff in musical notation, about 1000 1150～1450: Late Middle Ages (Gothic period. 1450～1600: Renaissance period 1600～1750: Baroque period 1725～1775: Rococo period 1750～1825: Classical period 1820～1900: Romantic period 1890～1915: Post-Romantic and Impressionist period 1910～20th century: Based on the information in Paragraph 1, what can be inferred about style
The Concept of Style Style may be defined as the characteristic manner of presentation of any art form. We distinguish between the style of a novel and that of an essay, between the style of a cathedral and that of a palace. The word may also indicate the creator’s personal manner of expression—the distinctive flavor that sets one artist apart from all others. Thus we speak of the literary style of Dickens or Shakespeare, the painting style of Picasso or Michelangelo, the musical style of Bach or Mozart. We often identify style with nationality, as when we refer to French, Italian, or German style; or with an entire culture, as when we contrast a Western musical style with one of China, India, or some other region. It is the difference in the treatment of the elements of music that makes one musical work sound similar to or different from another. We have seen that western music is largely a melody-oriented art based on a particular musical system from which the underlying harmonies are also built. Relatively speaking, rhythm and meter in western music are based on simpler principles than are melody and harmony. Music of other cultures may sound foreign to our ears and sometimes out of tune because they are based on entirely different musical systems from which they derive their melodic material and many do not involve harmony to any great extent. One important factor in these differing languages of music is the way in which the octave is divided and scales are produced. Complex rhythmic procedures and textures set some world music apart from western styles, while basic formal considerations—such as repetition, contrast, and variation—bring music of disparate cultures closer. In short, a style is made up of all the factors relating to pitch, time, timbre, and expression, creating a sound that each culture recognizes as its own. Since all art changes from one age to the next, one very important use of the word "style" is in connecting the various historical periods. The music of each world culture has its own style periods. Focusing on the development of western music we will find that the concept of style enables us to draw connections between musicians and their time, so that the musical work is placed in its socio-historical frame. No matter how greatly the artists, writers, and composers of a particular era may vary in personality and outlook, when seen in the perspective of time, they turn out to have certain qualities in common. Because of this, we can tell at once that a work of art—whether music, poetry, painting, sculpture, or architecture—dates from the Middle Ages or the Renaissance, from the eighteenth century or the nineteenth. The style of a period, then, is the total art language of all its artists as they react to the artistic, political, economic, religious, and philosophical forces that shape their environment.A.[■] Scholars will always disagree as to precisely when one style period ends and the next begins.B.[■] Each period leads by imperceptible degrees into the following one, dates and labels being merely convenient signposts.C.[■] The following outline shows the generally accepted style periods in the history of western music.D.[■] Each represents a concept of form and technique, an ideal of beauty, a manner of expression and performance attuned to the cultural climate of the period—in a word, a style! 350～600: Period of the Church Fathers 600～850: Early Middle Ages—Gregorian chant 850～1150: Romanesque period—development of the staff in musical notation, about 1000 1150～1450: Late Middle Ages (Gothic period. 1450～1600: Renaissance period 1600～1750: Baroque period 1725～1775: Rococo period 1750～1825: Classical period 1820～1900: Romantic period 1890～1915: Post-Romantic and Impressionist period 1910～20th century: In Paragraph 4, why does the author mention the outline
The Concept of Style Style may be defined as the characteristic manner of presentation of any art form. We distinguish between the style of a novel and that of an essay, between the style of a cathedral and that of a palace. The word may also indicate the creator’s personal manner of expression—the distinctive flavor that sets one artist apart from all others. Thus we speak of the literary style of Dickens or Shakespeare, the painting style of Picasso or Michelangelo, the musical style of Bach or Mozart. We often identify style with nationality, as when we refer to French, Italian, or German style; or with an entire culture, as when we contrast a Western musical style with one of China, India, or some other region. It is the difference in the treatment of the elements of music that makes one musical work sound similar to or different from another. We have seen that western music is largely a melody-oriented art based on a particular musical system from which the underlying harmonies are also built. Relatively speaking, rhythm and meter in western music are based on simpler principles than are melody and harmony. Music of other cultures may sound foreign to our ears and sometimes out of tune because they are based on entirely different musical systems from which they derive their melodic material and many do not involve harmony to any great extent. One important factor in these differing languages of music is the way in which the octave is divided and scales are produced. Complex rhythmic procedures and textures set some world music apart from western styles, while basic formal considerations—such as repetition, contrast, and variation—bring music of disparate cultures closer. In short, a style is made up of all the factors relating to pitch, time, timbre, and expression, creating a sound that each culture recognizes as its own. Since all art changes from one age to the next, one very important use of the word "style" is in connecting the various historical periods. The music of each world culture has its own style periods. Focusing on the development of western music we will find that the concept of style enables us to draw connections between musicians and their time, so that the musical work is placed in its socio-historical frame. No matter how greatly the artists, writers, and composers of a particular era may vary in personality and outlook, when seen in the perspective of time, they turn out to have certain qualities in common. Because of this, we can tell at once that a work of art—whether music, poetry, painting, sculpture, or architecture—dates from the Middle Ages or the Renaissance, from the eighteenth century or the nineteenth. The style of a period, then, is the total art language of all its artists as they react to the artistic, political, economic, religious, and philosophical forces that shape their environment.A.[■] Scholars will always disagree as to precisely when one style period ends and the next begins.B.[■] Each period leads by imperceptible degrees into the following one, dates and labels being merely convenient signposts.C.[■] The following outline shows the generally accepted style periods in the history of western music.D.[■] Each represents a concept of form and technique, an ideal of beauty, a manner of expression and performance attuned to the cultural climate of the period—in a word, a style! 350～600: Period of the Church Fathers 600～850: Early Middle Ages—Gregorian chant 850～1150: Romanesque period—development of the staff in musical notation, about 1000 1150～1450: Late Middle Ages (Gothic period. 1450～1600: Renaissance period 1600～1750: Baroque period 1725～1775: Rococo period 1750～1825: Classical period 1820～1900: Romantic period 1890～1915: Post-Romantic and Impressionist period 1910～20th century: The word imperceptible in Paragraph 4 is closest in meaning to______.
Whose Grave Is This Anyway There are many legends about the world famous Egyptian Pharaohs’ tombs, which have lain silent for thousands of years along the Nero River. In reality though, this silence has constantly been disturbed by a great variety of people. While considering their different motivations in doing so, we must examine whether disturbing the ancient tombs is justifiable or worthy of condemnation. A. [■] When Howard Carter and his party opened the tomb of the Egyptian king Tutankhamen in 1922, there was rejoicing around the world. B. [■] The tomb was largely intact and not seriously pillaged by ancient grave robbers, so it still contained the wonderful artifacts that had been buried with the young king more than three millennia earlier. C. [■] Over the next several years Carter and his team systematically photographed and catalogued the objects from the tomb, then transported them to the Cairo Museum.D. [■] There is a certain irony in this story that raises complex ethical questions. Why are Carter and his party not called grave robbers Why are their actions in stripping the tomb acceptable—even praiseworthy—when similar behavior by common thieves would be deplored No matter who opens a tomb and takes away its contents, that person is violating the intentions of those who sealed the tomb originally. No matter what the motivation, a human body that was meant to rest in peace for all time has been disturbed. Should this not make us feel uncomfortable From the beginning, some were uneasy about the propriety of unearthing Tutankhamen’s remains. When Lord Carnarvon, Carter’s sponsor, died suddenly from a mosquito bite, and several others connected with the project experienced tragedies, rumors arose about the "curse of King Tut". But Carter himself died peacefully many years later, and the talk subsided. Perhaps it is the passage of time that transforms grave robbing into archaeology. Carter would no doubt have been outraged if, say, his grandmother’s coffin had been dug up to strip the body of its jewelry. But after three thousand years Tutankhamen has no living relatives to protest his disturbance. Perhaps it is a question of the words we use to describe such ancient finds. We speak of Tutankhamen’s "mummy", and mummy is a clean, historical-sounding word. Parents bring their children to museums to see the mummies and mummy cases. We can almost forget that a mummy is the embalmed body of a dead human being, pulled out of its coffin so that we can marvel at the coffin and sometimes the body itself. Or, perhaps the difference between grave robbing and archaeology lies in the motives of the perpetrators. Common thieves are motivated by greed, by their quest for money to be made by selling stolen objects. Carter and his team did not sell the treasures from Tutankhamen’s tomb but stored them safely in the Cairo Museum, where art lovers from around the world can see them. They were, in effect, making a glorious gift to the people of our century and centuries to come (while at the same time, one must point out, acquiring significant glory for themselves). The basic issue is a clash of cultural values. To the Egyptians, it was normal and correct to bury their finest artworks with the exalted dead. To us, the idea of all that beauty being locked away in the dark forever seems an appalling waste. We want to bring it into the light, to have it as part of our precious artistic heritage. Almost no one, having seen these magnificent treasures, would seriously propose they be put back in the tomb and sealed up. In the end, inevitably, our cultural values will prevail simply because we are still here and the ancient Egyptians are not. After three thousand years, Tutankhamen’s grave really isn’t his anymore. Whether right or wrong, it belongs to us. Which of the following can be inferred from Paragraph 4 about the power of the curse of the Pharaoh’s tomb
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