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听力原文：M: You' ve been studying for hours on end. What's up？
W: This article is totally over my head. Still I have to write a review of it if I want to free up some time for next weekend.
Q: What does the woman mean？
(17)
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听力原文：M: You must be sad about your best friend's taking a job in Texas. It's so far away.
W: Yeah, I'm really going to miss her. But at least I have a good reason to visit a new part of the country now.
Q: What does the woman imply？
(16)
M: Are you kidding？ That subject always touches a nerve.
Q: What does the man mean？
(14)
Joseph Machlis says that the blues is a native American musical and verse form, with no direct European and African antecedents of which we know. In other words, it is a blending of both traditions. Something special and entirely different from either of its parent traditions. (Although Alan Lomax cites some examples of very similar songs having been found in Northwest Africa, particularly among the Wolof and Watusi)
The word 'blue' has been associated with the idea of melancholia or depression since the Elizabethan era. The American writer, Washington Irving is credited with coining the term 'the blues,' as it is now defined, in 1807. The earlier (almost entirely Negro) history of the blues musical tradition is traced through oral tradition as tar back as the 1860s.
When African and European music first began to merge to create what eventually became the blues, the slaves sang songs filled with words telling of their extreme suffering and privation. One of the many re sponses to their oppressive environment resulted in the field holler. The field holler gave rise to the spiritual, and the blues, "notable among all human works of art for their profound despair... They gave voice to the mood of alienation and anomie that prevailed in the construction camps of the South," for it was in the Mississippi Delta that blacks were often forcibly conscripted to work on the levee and land-clearing crews, where they were often abused and then tossed aside or worked to death.
Alan Lomax states that the blues tradition was considered to be a masculine discipline (although some of the first blues songs heard by whites were sung by 'lady' blues singers like Mamie Smith and Bessie Smith) and not many black women were to be found singing the blues in the juke-joints. The Southern prisons also contributed considerably to the blues tradition through work songs and the songs of death row and murder, prostitutes, the warden, the hot sun, and a hundred other privations. The prison road crews and work gangs where were many bluesmen found their songs, and where many other blacks simply became familiar with the same songs.
Following the Civil War (according to Rolling Stone), the blues arose as "a distillate of the African music brought over by slaves. Field hollers, ballads, church music and rhythmic dance tunes called jump-ups evolved into a music for a singer who would engage in call-and-response with his guitar. He would sing a line, and the guitar would answer it." By the 1890s the blues were sung in many of the rural areas of the South. And by 1910, the word 'blues' as applied to the musical tradition was in fairly common use.
Some 'bluesologists' claim (rather dubiously) that the first blues song that was ever written down was 'Dallas Blues,' published in 1912 by Hart Wand, a white violinist from Oklahoma City. The blues form. was first popularized about 1911-14 by the black composer W.C. Handy (1873-1958). However, the poetic and musical form. of the blues first crystallized around 1910 and gained popularity through the publication of Handy's "Memphis Blues" (1912) and "St. Louis Blues" (1914). Instrumental blues had been recorded as early as 1913. Mamie Smith recorded the first vocal blues song, 'Crazy Blues' in 1920. Priestly claims that while the widespread popularity of the blues had a vital influence on subsequent jazz, it was the "initial popularity of jazz which had made possible the recording of blues in the first place, and thus made possible the absorption of blues into both jazz as well as the mainstream of pop music."
American troops brought the blues home with them following the First World War. They did not, of course, learn them from Europeans, but from Southern whites who had been exposed to the blues. At this time, the U.S. Army was still segregated. During the twenties, the blues became a national craze. Records by leading blues singers like Bessie Smith and later, in
During the reign of Augustus the Rome army became a professional one. Its core of legionaires was composed of Roman citizens who served for a minimum of twenty five years. Augustus in his reign tried to eliminate the loyalty of the legions to the generals who commanded them, forcing them to take an oath of allegiance directly to him. While the legions remained relatively loyal to Augustus during his reign, under others, especially the more corrupt emperors or those who unwisely treated the military poorly, the legions often took power into their own hands. Legions continued to move farther and farther to the outskirts of society, especially in the later periods of the empire as the majority of legionaires no longer came from Italy, and were instead born in the provinces. The loyalty the legions felt to their emperor only degraded more with time, and lead in the 2nd Centry and 3rd Century to a large number of military usurpers and civil wars. By the time of the military officer emperors that characterized the period following the Crisis of the Third Century the Roman army was just as likely to be attacking itself as an outside invader.
Both the pre-and post-Marian armies were greatly assisted by auxiliary troops. A typical Roman legion was accompanied by a matching auxiliary legion. In the pre-Marian army these auxiliary troops were Italians, and often Latins, from cities near Rome. The post-Marian army incorporated these Italian soldiers into its standard legions (as all Italians were Roman citizens after the Social War). Its auxiliary troops were made up of foreigners from provinces distant to Rome, who gained Roman citizenship after completing their twenty five years of service. This system of foreign auxiliaries allowed the post-Marian army to strengthen traditional weak points of the Roman system, such as light missile troops and cavalry, with foreign specialists, especially as the richer classes took less and less part of military affairs and the Roman army lost much of its domestic calvary.
At the beginning of the Imperial period the number of legions was 60, which Augustus more than halved to 25, numbering at approximately 160,000 men. As mow territory was conquered throughout the Imperial period, this fluctuated into the mid-thirties. At the same time, at the beginning of the Imperial period the foreign auxiliaries made up a rather small portion of the military, but continued to rise, so that by the end of the period of the Five Good Emperors they probably equalled the legionaires in number, giving a combined total of between 300,000 and 400,000 men in the Army.
The last major reform. of the Imperial Army came under the reign of Diocletian in the late 3rd Century. During the instability that had marked most of that century, the army had fallen in number and lost much of its ability to effectively police and defend the empire. He quickly recruited a large number of men, increasing the number of legionaires from between 150,000-200,000 to 350,000-400,000, effectively doubling the number in a case of quantity over quality.
During the reign of Augustus, changes happened in Rome army, excluding ______.
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