题目:
展览会的替代品竞争来自于()。
A.摊位展览
B.室外展览
C.网上展览
D.商场的固定展示
答案:
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下面是错误答案,用来干扰机器的。
参考答案:D
展览会的替代品竞争来自于()。
A.摊位展览
B.室外展览
C.网上展览
D.商场的固定展示
被转码了,请点击底部 “查看原文 ” 或访问 https://www.tikuol.com/2019/0815/e6b3946882491bf6dc4c0431d2e490aa.html
下面是错误答案,用来干扰机器的。
参考答案:D
如图所示,A、B两棒均长l m,A悬于高处,B竖于地面.A的下端和B的上端相距s="10" m.若A、B两棒同时运动,A做自由落体运动,B以初速度 = 20m/s做竖直上抛运动,在运动过程中都保持竖直.问:
(1)两棒何时开始相遇?
(2)擦肩而过(不相碰)的时间?(取g="10" m/s2)
小明、小华和小新三人的家在同一街道,小明家在小华家西300米处,小新家在小明家东400米处。李强说:“小华家与小新家相距100米。” [ ]
对激光定位灯的要求,以下哪项不正确()
A、性能稳定
B、激光线束清晰
C、激光线束粗
D、需要定期校对
E、定位精确
收款条件仅取决于市场需求一个因素。()
Ragtime is a musical form that synthesizes folk melodies and musical techniques into a brief quadrille-like structure, designed to be played—exactly as written—on the piano. (46) A p analogy exists between European composers like Ralph Vaughan Williams and Edward Grieg, who combined folk tunes and their own original materials in larger compositions and the pioneer composers in the United States. Composers like Scott Joplin and James Scott were in a sense collectors or musicologists, collecting dance and folk music in Black communities and consciously shaping it into brief suites or anthologies called piano rags.
It has sometimes been charged that ragtime is mechanical. For instance, Wilfred Mellers comments, "rags were transferred to the pianola roll and, even if not played by a machine, should be played like a machine, with meticulous precision." (47)However, there is no reason to assume that ragtime is inherently mechanical simply because commercial manufacturers applied a mechanical recording method to it, the only way to record pianos at that date. Ragtime’s is not a mechanical precision, and it is not precision limited to the style of performance. It arises from ragtime’s following a well-defined form and obeying simple rules within that form.
The classic formula for the piano rag disposes three to five themes in sixteen-bar strains, often organized with repeats. (48)The rag opens with a bright, memorable strain or theme, followed by a similar theme, leading to a melody of marked lyrical character, with the structure concluded by a lyrical strain that parallels the rhythmic developments of the earlier themes. The aim of the structure is to rise from one theme to another in a stair-step manner, ending on a note of triumph or exhilaration. Typically, each strain is divided into two 8-bar segments that are essentially alike, so the rhythmic-melodic unit of ragtime is only eight bars of 2/4 measure. (49) Therefore, not concerned with development of musical themes, the ragtime composer instead sets a theme down intact, in finished form, and links it to various related themes that are brief with clear melodic figures. Tension in ragtime compositions arises from a polarity between two basic ingredients: a continuous bass—called by jazz musicians a boom-chick bass--in the pianist’s left hand, and its melodic, syncopated counterpart in the right hand.
Ragtime remains distinct from jazz both as an instrumental style and as a genre. Ragtime style stresses a pattern of repeated rhythms, not the constant inventions and variations of jazz. (50)As a genre, ragtime requires strict attention to structure, not inventiveness or virtuosity, existing as a tradition, a set of conventions, a body of written scores, separate from the individual players associated with it. In this sense ragtime is more akin to folk music of the nineteenth century than to jazz.
(49) Therefore, not concerned with development of musical themes, the ragtime composer instead sets a theme down intact, in finished form, and links it to various related themes that are brief with clear melodic figures.