Louis “Satchmo” Armstrong（1900 ～ 1971）, an African-American musician, is one of the most important figures in the history of jazz. In the 1920s, this trumpeter, singer and bandleader began exploring the boundaries （分界）of jazz technique and style. Masters of jazz today admit their debt to this pioneer.

　　Armstrong’s gift was obvious from the start of his career. His earliest recordings—first with a band led by his former teacher, Joe “King” Oliver, and then with his own band-earned Armstrong international fame for technical originality （獨創(chuàng)性）. He freed his playing from the ordinary rhythms of early jazz by creating musical phrases that seemed to oppose the pulse of a song, only to combine them in the place later. His deep and rough voice became as special as his cornet（短號）playing, especially in his scat performances. Scat is a singing style in which meaningless syllables（音節(jié)）are repeated without preparation. Armstrong’s scat was among the earliest ever recorded.

　　By 1930, Armstrong had turned to more commercial, less experimental jazz. Some musicians criticized（批評）him for this. But others insisted that the real power of Armstrong’s art lay in its grace and sensitivity, fine qualities of the heart which remained in his music.

　　In the following years, Armstrong traveled around the world as the leading “goodwill ambassador（大使）”of American jazz music. The gentleness and great attraction of “Satchmo” filled his music and made him one of the world’s most beloved performers for over forty years.

　　1．Which of the following best tells what this passage is about?

　　A．Armstrong’s personal attraction.

　　B．Armstrong’s best work.

　　C．A praise for Armstrong’s contribution to jazz.

　　D．A comparison of Armstrong’s music with that of earlier musicians.

　　2．Why was “Satchmo” criticized by some of his workmates in the 1930s?

　　A．For making fewer recordings.

　　B．For losing interest in music.

　　C．For giving up his scat performances.

　　D．For turning his attention away from making changes

　　3．Which of the following is not mentioned as one of the reasons for Armstrong’s success?

　　A．His technical originality.

　　B．His personality.

　　C．His early experiences in “King” Oliver’s band.

　　D．His recordings were the first ever made.

　　4．According to the author, what made Armstrong the “goodwill ambassador” of American jazz music?

　　A．His world travels.

　　B．His attraction and sensitivity.

　　C．His scat singing.

　　D．His preference for commercial, less experimental jazz.

 

答案：C;D;D;B
解析：

1．C 考查對文章的總體把握能力。文章第一段介紹Armstrong對爵士樂的貢獻(xiàn)，第二段介紹他的音樂天賦及創(chuàng)造能力，后面介紹他的音樂魅力，對世界影響及樂壇輝煌時間之長，可得知C，贊揚(yáng) Armstrong對爵士樂的貢獻(xiàn)；ABD都太片面。

　　2．D 原文：Some musicians criticized him for this而this指前面提到的Armstrong had turned to more commercial，less experimental jazz，experimental與making chances相對應(yīng)，故選擇D。

　　3．D 題目問的是文中提到的他成功的原因，下面哪一項不是：A項His technical originality文中第一段說到this trumpeter，singer and bandleader可知，第二段中第二句話也可體現(xiàn)，B項His personality；C項第二段中都有所體現(xiàn)；而D項內(nèi)容文章中沒說是the first ever made故選D。

　　4．B 原文：The gentleness and great attraction of “satchmo” filled his music對應(yīng)問題，而答案B sensitivity和attraction與gentleness相對應(yīng)，故選擇B。

 


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