英语四级

单项选择题
1、Questionsare based on the following passage.
Accustomed though we are to speaking of the films made before 1927 as “silent”，the film has never been，in the full sense of the word，silent．From the very beginning，music was regarded as an 36 accompaniment；when the Lumiere films were shown at the first public film exhibition in the United States in February 1896，they were 37 by piano improvisations（即兴创作）on popular tunes．At first，the music played 38 no special relationship to the films；an accompaniment of any kind was 39 ．Within a very short time，however，the incongruity（不协调）of playing lively music to a 40 film became apparent，and film pianists began to take some care in4l their pieces to the mood of the film.
As movie theaters grew in number and importance，a violinist，and perhaps a cellist，would be added to the pianist in certain 42 , and in the larger movie theaters small orchestras were formed．For a number of years the selection of music for each film program 43 entirely in the hands of the conductor or leader of the orchestra, and very often the principal 44 for holding such a position was not skill or taste so much as the ownership of a large personal library of musical pieces．Since the conductor seldom saw the films until the night before they were to be shown, the musical arrangement was 45 improvised in the greatest hurry.
A．sufficient
B．incredible
C．accompanied
D．comparatively
E．matching
F．rested
G．normally
H．occasions
I．bore.
J．qualification
K．solemn
L．indispensable
M．severe
N．according
O．cases
第(36)题应填__________

2、听录音,
回答题

A． Go to a place he has visited．
B． Makeherownarrangemenm． 
C． Consult a travel agent． 
D． Join in a package tour．


3、听录音,
回答题

A．Place another order.
B．Call to check on it.
C．Wait patiently.
D．Go and fred the furniture.


4、
Ancient Egyptian Sculpture
A) In order to understand ancient Egyptian art, it is vital to know as much as possible of the elite Egyptians' view of the world and the functions and contexts of the art produced for them. Without this knowledge we can appreciate only the formal content of Egyptian art, and we will fail to understand why it was produced or the concepts that shaped it and caused it to adopt its distinctive forms.
B ) In fact, a lack of understanding concerning the purposes of Egyptian art has often led it to be compared unfavorably with the art of other cultures: Why did the Egyptians not develop sculpture in which the body turned and twisted through space like classical Greek statuary? Why do the artists seem to get left and right confused? And why did they not discover the geometric perspective as European artists did in the Renaissance? The answer to such questions has nothing to do with a lack of skill or imagination on the part of Egyptian artists and everything to do with the purposes for which they were producing their art.
C) The majority of three-dimensional representations, whether standing, seated, or kneeling, exhibit what is called frontality: they face straight ahead, neither twisting nor turning. When such statues are viewed in isolation, out of their original context and without knowledge of their function, it is easy to criticize them for their rigid attitudes that remained unchanged for three thousand years. Frontality is, however, directly related to the functions of Egyptian statuary and the contexts in which the statues were set up. Statues were created not for their decorative effect but to play a primary role in the cults of the gods, the king, and the dead. They were designed to be put in places where these beings could manifest themselves in order to be the recipients of ritual actions. Thus it made sense to show the statue looking ahead at what was happening in front of it, so that the living performer of the ritual could interact with the divine or deceased recipient.
D) Very often such statues were enclosed in rectangular shrines or wall niches whose only opening was at the front, making it natural for the statue to display frontality. Other statues were designed to be placed within an architectural setting, for instance, in front of the monumental entrance gateways to temples known as pylons, or in pillared courts, where they would be placed against or between pillars: their frontality worked perfectly within the architectural context.