The French word renaissance means rebirth. It was first used in 1855 by the historian Jules ichelet in his History of France, then adopted by historians of culture, by art historians, and eventu-ally by music historians, all of whom applied it to European culture during the 150 years spanning 450-1600. The concept of rebirth was appropriate to this period of European history because of the ewed interest in ancient Greek and Roman culture that began in Italy and then spread throughout urope. Scholars and artists of the fifteenth and sixteenth centuries wanted to restore the learning and deals of the classical civilizations of Greece and Rome. To these scholars this meant a return to hu-man —as opposed to spiritual — values. Fulfillment in life — as opposed to concern about an after-life —became a desirable goal, and expressing the entire range of human emotions and enjoying the leasures of the senses were no longer frowned on. Artists and writers now turned to secular as well as eligious subject matter and sought to make their works understandable and appealing. These changes in outlook deeply affected the musical culture of the Renaissance period — how people thought about music as well as the way music was composed，experienced, discussed, and dis- seminated. They could see the architectural monuments, sculptures, plays, and poems that were be- ing rediscovered, but they could not actually hear ancient music — although they could read the writ- ings of classical philosophers, poets, essayists, and music theorists that were becoming available in translation. They learned about the power of ancient music to move the listener and wondered why modern music did not have the same effect. For example, the influential religious leader Bernardino Cirillo expressed disappointment with the learned music of his time. He urged musicians to follow the example of the sculptors, painters, architects, and scholars who had rediscovered ancient art and lit- erature.

The musical Renaissance in Europe was more a general cultural movement and state of mind than a specific set of musical techniques. Furthermore, music changed so rapidly during this century and a half — though at different rates in different countries — that we cannot define a single Renaissance style.

1.What is the passage mainly about?2.It can be inferred from the passage that thinkers of the Renaissance were seeking a rebirth of( ).3.According to the passage, Renaissance artists and writers had all of the following intentions EX-CEPT( ).4.The word “disseminated” in line 16 is closest in meaning to( ) 5.Which of the following is mentioned in the passage as a reason for the absence of a single Renais-sance musical style?

A.The musical compositions that best illustrate the developments during the European Renais-sance. B.The musical techniques that were in use during the European Renaissance. C.The European Renaissance as a cultural development that included changes in musical style. D.The ancient Greek and Roman musical practices used during the European Renaissance.问题2： A.communication among artists across Europe B.spirituality in everyday life C.a cultural emphasis on human values D.religious themes in art that would accompany the traditional secular themes问题3： A.using religious themes B.portraying only the pleasant parts of human experience C.producing art that people would find attractive D.creating works that were easily understood问题4： A.played B.documented C.spread D.analyzed问题5： A.The musical Renaissance was defined by technique rather than style. B.The musical Renaissance was too short to give rise to a new musical style. C.Renaissance musicians adopted the styles of both Greek and Roman musicians. D.During the Renaissance, music never remained the same for very long.