疾转如飞的（），是西域康国人的拿手好戏。表演者在一块小圆毯上，飞速旋转到衣带飞扬，但绝不能转出小圆毯之外。
A、双人舞
B、胡旋舞
C、独舞
D、领舞
相关标签： 双人舞 表演者
相关问题推荐
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“阿拉木汗什么样？身段不肥也不瘦，她的眉毛像弯月，她的腰身像绵柳，她对小嘴很多情，眼晴能使人发抖。阿拉木汗住在哪里？吐鲁番西三百六。”这是一首经过王洛宾改编后广为流传的双人舞歌曲。
由歌词内容判断，阿拉木汗是()
A.藏族姑娘
B.回族姑娘
C.维吾尔族姑娘
D.蒙古族姑娘
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In 1915 Einstein made a trip to G ttingen to give some lectures at the invitation of the mathematical physicist David Hilbert. He was particularly eager—too eager, it would turn (62)—to explain all the intricacies of relativity to him. The visit was a triumph, and he said to a friend excitedly, “I was able to (63) Hilbert of the general theory of relativity. ”
(64) all of Einstein’s personal turmoil（焦躁）at the time, a new scientific anxiety was about to (65). He was struggling to find the right equations that would (66) his new concept of gravity, (67) that would define how objects move (68) space and how space is curved by objects. By the end of the summer, he (69) the mathematical approach he had been (70) for almost three years was flawed. And now there was a (71) pressure. Einstein discovered to his (72) that Hilbert had taken what he had learned from Einstein’s lectures and was racing to come up (73) the correct equations first.
It was an enormously complex task. Although Einstein was the better physicist, Hilbert was the better mathematician. So in October 1915 Einstein (74) himself into a month-long frantic endeavor in (75) he returned to an earlier mathematical strategy and wrestled with equations, proofs, corrections and updates that he (76) to give as lectures to Berlin’s Prussian Academy of Sciences on four (77) Thursdays.
His first lecture was delivered on Nov. 4. 1915, and it explained his new approach, (78) he admitted he did not yet have the precise mathematical formulation of it. Einstein also took time off from (79) revising his equations to engage in an awkward fandango (方丹戈双人舞)with his competitor Hilbert. Worried (80) being scooped（抢先），he sent Hilbert a copy of his Nov. 4 lecture. “I am (81) to know whether you will take kindly to this new solution, ”Einstein noted with a touch of defensiveness.
62. A) up B) over C) out D) off
63. A) convince B) counsel C) persuade D) preach
64. A)Above B)Around C)Amid D)Along
65. A) emit B) emerge C) submit D) submerge
66. A) imitate B) ignite C) describe D) ascribe
67. A) ones B) those C) all D) none
68. A) into B) beyond C) among D) through
69. A) resolved B) realized C) accepted D) assured
70. A) pursuing B) protecting C) contesting D) contending
71. A) complex B) compatible C) comparative D) competitive
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二、考题解析【教学过程】(一)创设情境，导入新课1.提问学生都喜欢什么乐器?学生自由回答2.请几位学生介绍一下自己喜欢的乐器。学生自由回答，从而引入新课。(二)学唱歌曲、感受体验1.欣赏歌曲(1)聆听乐曲，老师设置问题：这首乐曲是由什么乐器演奏的?简单说一下自己对这个乐器的了解。学生自由回答，教师进行总结。这首乐曲是由小提琴演奏的，小提琴是一种弦乐器，总共有四根弦。小提琴广泛流传于世界各国，是现代管弦乐队弦乐组中最主要的乐器。它在器乐中占非常重要的地位，是现代交响乐队的支柱，也是具有高难度演奏技巧的独奏乐器，与钢琴、古典吉他并称为世界三大乐器。(2)再次提问学生，对这首乐曲的了解有多少?学生自由回答，教师进行总结。《查尔达什舞曲》是意大利小提琴家、作曲家维托里奥·蒙蒂最著名的两首小提琴曲之一，“查尔达什”是出现于19世纪中叶的一种匈牙利的民间舞蹈，其音乐由两部分组成：第一部分称“拉绍”，速度徐缓而富于歌唱性，2/4或4/8拍子，这是男子独舞者出场时的音乐;第二部分称“弗里斯”，2/4，这段舞曲节奏鲜明，速度迅急而情绪热烈，用来伴奏男女双人舞。《查尔达什舞曲》这首曲子即以这一舞曲的典型特点写成，听到它，就好像在我们的面前展现出一幅匈牙利人民生活的民俗画面。2.分段聆听(1)聆听乐曲第一段提问学生：乐曲第一段的速度是什么样的?给你什么样的感受及画面?学生自由回答，教师进行总结。第一段的速度是慢板，一开始是d小调，先由小提琴在低音区演奏出节奏自由、充满激情的引子，然后奏出深沉而略含忧愁的主题，并且这一主题组成了查尔达什舞曲特有的“拉绍”段落。在这一小调色彩的抒情旋律发展之后，又出现另一只流畅而华丽的小调旋律。这两支旋律都具有鲜明的匈牙利及吉普赛音乐的特点。这一段乐曲就像一个男子独奏者出场。(2)聆听乐曲第二段提问学生：乐曲第二段的速度是什么样的?又给你什么样的感受及画面?学生自由回答，教师进行总结。第二段的速度是快板，乐曲转入查尔达什舞曲快速而活泼的“弗里斯”段落，形成欢快而奔放的气氛。这段舞曲音乐由
A、B两段频繁出现的16分音符组成的乐句组成，并用切分节奏来进行处理，使乐曲十分活泼。3.完整聆听教师给学生播放完整的查尔达什舞曲，请学生来说一说乐曲整体发生了什么样的变化?学生自由回答，教师进行总结。乐曲先由小提琴在低音区演奏出节奏自由、充满激情的引子，然后奏出深沉而略含忧愁的主题;接着是流畅而华丽的小调旋律，这两支旋律都具有鲜明的匈牙利及吉普赛音乐的特点;最后乐曲在重现B段16分音符组成的乐句之后，音乐又转入从A段演变过来的、以大调来演奏的明朗的曲调，反复一遍又将乐曲推向热烈的高潮后将全曲结束在明朗的大调上。(三)拓展延伸请学生欣赏二胡版的《查尔达什舞曲》，说一说和小提琴版有什么区别。(四)课堂小结，点题升华请同学们一同来回顾本节课的重要知识点，并对同学们活跃的课堂表现做积极地点评。同时布置一个开放性的小作业，回家后欣赏别的版本的《查尔达什舞曲》。【答辩题目解析】1.你能举出相关的姊妹艺术有哪些吗?2.作为班主任的你同时也担任音乐课程的教学，教师节未收到学生礼物而在课堂发脾气，你怎么看? -
根据著作权法及相关规定，表演者对其表演享有下列哪些权利？（）
A、表明表演者身份
B、保护表演形象不受歪曲
C、许可他人复制、发行录有其表演的录音录像制品，并获得报酬
D、许可他人从现场直播和公开传送其现场表演，并获得报酬
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《雀之灵》是我国白族舞蹈家杨丽萍创作的___________。()
A．独舞B．双人舞C．三人舞D．群舞