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 a necessary accompaniment（伴奏）；when the Lumiere films were shown at the first public film exhibition in the United States in February 1896，they were accompanied by piano on popular tunes． At first，the music played bore no special relationship to the films；an accompaniment of any kind was sufficient．Within a very short time, however the incongruity of playing lively music to a serious film became apparent，and film pianists began to take some care in matching their pieces to the mood of the film．

As movie theaters grew in number and importance．a(chǎn) violinist would be added to the pianist in certain cases，and in the larger movie theaters small orchestras（管弦樂隊(duì)）were formed．For a number of years the selection of music for each film program rested entirely in the hands of the conductor or leader of the orchestra，and very often the qualification 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 （if indeed，the conductor was lucky enough to see them then），the musical arrangement was normally improvised （臨時準(zhǔn)備） in the greatest hurry．

To help meet this difficulty，film distributing companies started the practice of publishing suggestions for musical accompaniments．In 1909，for example，the Edison Company began issuing（發(fā)行）with their films such suggestions of mood as “pleasant”，“sad”，“l(fā)ively”．The suggestions became clearer，and so appeared the musical sheet containing indications of mood，the titles of suitable pieces of music，and precise directions to show where one piece led into the next．

Certain films had music especially composed for them．The most famous of these early special scores（樂譜）was that composed and arranged for D．W Griffith’s film Birth of a Nation．which was shown in 1915．

 

66．Who did the most in the development of movie music?

A．Conductors．           B．Pianists．

C．D．W Griffith          D．Film companies．

67．It can be inferred from the passage that          ．

A．there were no movie music composers at the very beginning．

B．the Edison Company had its own orchestras．

C．movie music is a kind of music with a history of one hundred years．

D．conductors paid much attention to the mood of a film．

68．The underlined word “incongruity” in Paragraph l most probably means“         ”．

A．being different              B．being inharmonious

C．being dull                     D．being unwise

69．In the writer’s opinion

A．the skill at playing music is more important than the taste in the mood of a film

B．the taste in the mood of a film should be basically important

C．a(chǎn) pianist is more important than a violinist when accompanying

D．a(chǎn) conductor is more important than a pianist when accompanying

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【寫作內(nèi)容】

以約30個詞概括這段短文的內(nèi)容。

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讀寫任務(wù)(共l小題，滿分25分)
閱讀下面的短文，然后按照要求寫一篇150詞左右的英語短文。
The following story took place long ago in Israel. One day when government officials were using smoke to force the mice inside a hole to come out, they saw two mice, after all the others escaped, squeezing slowly out at the exit of the hole. The strange thing was that after they came out, they did not run away immediately. Instead, one chased after the other near the exit of the hole. It seemed that one was trying to bite the tail of the other.
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【寫作內(nèi)容】
1、以約30個詞概括這段短文的內(nèi)容。
2、然后以約120詞就這個主題發(fā)表看法，并包括以下要點(diǎn)：
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你可以使用實(shí)例或其他論述方法支持你的論點(diǎn)，也可以參照閱讀材料中的內(nèi)容，但不得直接引用原文的句子；
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