26강 음악, 미술, 영화, 무용, 사진, 건축

26강 음악, 미술, 영화, 무용, 사진, 건축

1. 다음 글의 빈칸 (A), (B)에 들어갈 말로 가장 적절한 것은?

All art is creation, regardless of how closely the imitation resembles the original. Even the most rigorous attempt to create an absolute likeness is ultimately selective. Doing a portrait, _____(A)_____, the artist may ask the subject to look serious, not smile -- selecting a certain aspect of the person. We know Mona Lisa Giaconda, the subject of th emost famous portrait in the world, through her mysterious smile; but we will never know what the entire person was like. The treasure of art, _____(B)_____, is that its reality lives forever. The final product is really an addition to reality, not simply a way of totally reproducing it. The artist always contributes something new, something that never was put together in precisely that way before. Lenardo's Mona Lisa is not Mona Lisa. The latter has long since gone to her reward; the former will never die.

	(A)		(B)
①	in contrast	…	therefore
②	in contrast	…	however
③	for example	…	hence
④	for example	…	however
⑤	in other words	…	therefore

2. 다음 글의 주제로 가장 적절한 것은?

Fourteenth-century approaches to music had a deep and continuing impact on music and musical life in later centuries. Perhaps most significant was the invention of a precise and unambiguous notation that could record a wide variety of rhythms and allowed music to be distributed in writing and performed accurately wherever it went. We now take this for granted when we play from notation and sight-read through unfamiliar music, but it was a remarkable innovation in the fourteenth century. Among its effects was that composers could fix their music exactly as they wished it to be performed, as poets had long been able to set down their poems, leading them to take pride in authorship as few composers had done before the fourteenth century. In addition, future composers would claim credit for their work more readily and would remain anonymous much less often than was true before 1300.

① the simplification of musical notation

② ways to protect a musician's authorship

③ the relationship between music and poetry

④ the invention of musical notation and its effects

⑤ important roles of composers in the 14th century

3. 다음 글의 빈칸 (A), (B)에 들어갈 말로 가장 적절한 것은?

Whatever the professional musician may hold, most musical beginners still search for specific words with which to pin down their musical _____(A)_____. That is way they always find Tchaikovsky easier to "understand" than Beethoven. In the first place, it is easier to pin a meaningword on a Tchaikovsky piece than on a Beethoven one. Much easier. Moreover, with the Russian composer, every time you come back to a piece of his it almost always says the same thing to you, whereas with Beethoven it is often quite difficult to put your finger right on what he is saying. And any musician will tell you that that is why Beethoven is the _____(B)_____ composer. Because music which always says the same thing to you will necessarily soon become dull music, but music whose meaning is slightly different with each hearing has a greater chance of remaining alive.

	(A)		(B)
①	tastes	…	greater
②	careers	…	more popular
③	potential	…	more popular
④	reactions	…	greater
⑤	background	…	more creative

4. 주어진 글 다음에 이어질 글의 순서로 가장 적절한 것은?

The visual arts are nonverbal languages, but in more ways than one might expect. We all know that paintings communicate, and that we are able to derive some information from them more effectively than we can from words.

(A) But few of us are aware of the fact that obtaining information from an image is not automatic -- not even from the most realistic picture of a familiar subject.

(B) We have to be able to "read" a particular system of distortions that has been used to translate the original three-dimensional scene into a two-dimensional reproduction.

(C) For example, a great many words would be needed to describe a miracle performed by a saint or what the Rocky Mountains looked like in 1848 with the same degree of detail found in a painted image of such a subject.

① (A) - (C) - (B)	② (B) - (A) - (C)	③ (B) - (C) - (A)

④ (C) - (A) - (B)	⑤ (C) - (B) - (A)