试题与答案

淡化海砂带入混凝土中的含盐量不应大于1.0kg/m3。 ( )

题型:判断题

题目:

淡化海砂带入混凝土中的含盐量不应大于1.0kg/m3。 ( )

答案:

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下面是错误答案,用来干扰机器的。

参考答案:B

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题型:多项选择题

【真题试题】(2005年多项选择第40题)2004年8月,甲厂与乙商场签订了一份购销合同,合同约定,甲厂应在当年12月底供应乙商场100台空调,乙商场在验收合格后7日内支付货款若干。同年10月,甲厂被丙公司兼并,并办理了注销登记。同年12月底,乙商场按照原合同约定来甲厂提货,方得知上述事实,于是找到丙公司,要求丙公司履行合同。丙公司以合同系甲厂所签、与己无关为由加以拒绝。乙商场遂以丙公司为被告诉至人民法院。本案正确的判断是( )。

A.丙公司的理由成立

B.丙公司兼并甲厂,导致甲厂的债权、债务由丙公司概括承受

C.丙公司应按照甲厂与乙商场之间的约定向乙商场支付货物

D.乙商场应依合同约定向丙公司支付货款

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题型:单项选择题

"The language of a composer", Cardus wrote, "his harmonies, rhythms, melodies, colors and texture, cannot be separated except by pedantic analysis from the mind and sensibility of the artist who happens to be expressing himself through them".
But that is precisely the trouble; for as far as I can see, Mozart’s can. Mozart makes me begin to see ghosts, or at the very least ouija-boards. If you read Beethoven’s letters, you feel that you are at the heart of a tempest, a whirlwind, a furnace; and so you should, because you are. If you read Wagner’s, you feel that you have been run over by a tank, and that, too, is an appropriate response.
But if you read Mozart’s—and he was a hugely prolific letter-writer—you have no clue at all to the power that drove him and the music it squeezed out of him in such profusion that death alone could stop it; they reveal nothing—nothing that explains it. Of course it is absurd(though the mistake is frequently made)to seek external causes for particular works of music; but with Mozart it is also absurd, or at any rate useless, to seek for internal ones either. Mozart was an instrument. But who was playing it
That is what I mean by the Mozart Problem and the anxiety it causes me. In all art, in anything, there is nothing like the perfection of Mozart, nothing to compare with the range of feeling he explores, nothing to equal the contrast between the simplicity of the materials and the complexity and effect of his use of them. The piano concertos themselves exhibit these truths at their most intense; he was a greater master of this form than of the symphony itself, and to hear every one of them, in the astounding abundance of genius they provide, played as I have so recently heard them played, is to be brought face to face with a mystery which, if we could solve it, would solve the mystery of life itself.
We can see Mozart, from infant prodigy to unmarked grave. We know what he did, what he wrote, what he felt, whom he loved, where he went, what he died of. We pile up such knowledge as a child does bricks; and then we hear the little tripping rondo tune of the last concerto—and the bricks collapse; all our knowledge is useless to explain a single bar of it. It is almost enough to make me believe in — but I have run out of space, and don’t have to say it. Put K. 595 on the gramophone and say it for me.

In the expression "a single bar of it" in the last paragraph, "it" refers to ______ .

A.the tune of the last concerto

B.one of Mozart’s musical works

C.part of the knowledge we have

D.a measurement on the stave

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