36. The reason why many production processes were taken over by the marketplace was that .
A) it was a necessary step in the process of industrialization
B) they depended on electricity available only to the market economy
C) it was troublesome to produce such goods in the home
D) the marketplace was more efficient with respect to processes
37. It can be seen from the passage that in the second stage .
A) some traditional goods and services were not successful when provided by the home economy
B) the market economy provided new goods and services never produced by the home economy
C) producing traditional goods at home became socially unacceptable
D) whether new goods and services were produced by the home economy became irrelevant
38. During the second stage, if the family wanted to consume new goods and services, they had to enter the marketplace .
A) as wage earners C) both as workers and purchasers
B) both as manufacturers and consumers D) as customers
39. Economic growth did not make it more flexible for the home economy to obtain the new goods and services because .
A) the family was not efficient in production
B) it was illegal for the home economy to produce them
C) it could not supply them by itself
D) the market for these goods and services was limited
40. The neoclassical model is basically a model of the first stage, because at this stage .
A) the family could rely either on the home economy or on the marketplace for the needed goods and services
B) many production processes were being transferred to the marketplace
C) consumers relied more and more on the market economy
D) the family could decide how to transfer production processes to the marketplace
Unit 8
Part Ⅱ Reading Comprehension
(35 minutes)
Directions: There are 4 passages in this part. Each passage is followed by some questions or unfinished statements. For each of them there are four choices marked A), B), C) and D). You should decide on the best choice and mark the corresponding letter on the Answer Sheet with a single line through the centre.
Passage One
Questions 21 to 25 are based on the following passage:
Material culture refers to the touchable, material “things” — physical objects that can be seen, held, felt, used — that a culture produces. Examining a culture's tools and technology can tell us about the group's history and way of life. Similarly, research into the material culture of music can help us to understand the music-culture. The most vivid body of “things” in it, of course, are musical instruments. We cannot hear for ourselves the actual sound of any musical performance before the 1870s when the phonograph (留聲機) was invented, so we rely on instruments for important information about music-cultures in the remote past and their development. Here we have two kinds of evidence: instruments well preserved and instruments pictured in art. Through the study of instruments, as well as paintings, written documents, and so on, we can explore the movement of music from the Near East to China over a thousand years ago, or we can outline the spread of Near Eastern influence to Europe that resulted in the development of most of the instruments on the symphony orchestra.
Sheet music or printed music, too, is material culture. Scholars once defined folk music cultures as those in which people learn and sing music by ear rather than from print, but research shows mutual influence among oral and written sources during the past few centuries in Europe, Britain, and America. Printed versions limit variety because they tend to standardize any song, yet they stimulate people to create new and different songs. Besides, the ability to read music notation (樂譜) has a far-reaching effect on musicians and, when it becomes widespread, on the music-culture as a whole.
