合奏好生活的乐章，心中要有他人。下列没有做到心中有他人的是（ ） A．小明刚从外校转来，班长小刚主

1.对
2.错
3.对
4.错

简直成了人间绝响。

这段文字描写了“秋虫的合奏”，末句“哪有不成人间绝响的呢？”用反问句作小结，要求将它改为陈述句，一般说来你可以改为“成了人间绝响”。但是考虑到作者的情感因素，应在前面加一个副词，将答案写在“简直成了人间绝响”，这便与语境协调一致了。

解题思路：音调是指声音的高低，响度是指人耳感觉的声音的强弱（大小），音色是指声音的品质与特色．它与发声物体的材料有关，不同物体发声的音色是不同的．

两种乐器演奏的同一首曲子，振动物体的材料不同，所以发出声音的音色也就不同．
故选B．

点评：
本题考点： 音色．

考点点评： 通过音色来辨别声音的题，常有两个：一个是辨别不同的乐器声，另一个是辨别不同的人说话声，做题中注意积累经验．

D

齐宣王
东晋,
孟光,字德曜
小偷,或窃贼
将相和

A、我们能区分出小提琴和二胡的声音，是因为它们发出声音的音色不同，故本选项错误；
B、因为蝴蝶翅膀振动发出的声音，小于20赫兹，是次声波，人耳听不到，而不是因为它发出声音的响度太小，故本选项错误；
C、敲锣时用力越大，振幅大，所以它发出声音的响度越大，故本选项错误；
D、骨导式助听器的作用是把声音传递给头骨和颌骨，故本选项正确．
故选D．

每一种乐器的音色不同所以才能分辨出来

D A B B B B A A B A

1. Please enjoy the music (Dance).2. Please enjoy the zheng solo.3. Please enjoy the mouth organ ensemble.4. Please enjoy the choir.5. Please enjoy the flower show.6. Please enjoy folk music.7. Please...

解题思路：本题要明确音色是区别声音的重要标志，我们区别声音靠的就是音色．

笛子、单簧管、小号和拉小提琴发出的声音，我们就是靠音色区分的．
故答案为B．

点评：
本题考点： 音色．

考点点评： 本题考查了乐音的特征，辨别声音我们靠音色．

解题思路：（1）声音的特征：音调、响度和音色；（2）音色是由发声体的材料和结构所决定的，不同物体发出声音的音色不同．

不同的乐器的材料、结构的不同，造成振动时发出的声音的音色不同，我们可以根据音色来判断发声体；
故选D

点评：
本题考点： 音色．

考点点评： 考查的是对音色的认识和运用，音色是我们根据声音判断发声体的依据，这是一道基础题．

解题思路：解决此题要知道音色反映的是声音的品质与特色，它跟发声体的材料和结构有关．

不同乐器的材料和结构不同，演奏同一首乐曲能分辨出声音的不同，即音色不同．
故选C．

点评：
本题考点： 音色．

考点点评： 本题考查学生的声音中概念的全面掌握情况，包括音色的定义要熟练掌握．

解题思路：声音的三个特征：音调、音色、响度．音调指声音的高低；响度指声音的大小；通过音色能分辨物体．

小花能从音乐会的乐器合奏中分辨出演奏的各种乐器，其分辨的依据是这些乐器发出的声音的音色不同．
故答案为：音色．

点评：
本题考点： 音色．

考点点评： 掌握声音的三个特征及其影响的因素．

解题思路：音色是指声音的品质与特色．它与发声物体的材料有关，不同物体发声的音色是不同的．

钢琴和小提琴发声时，振动物体的材料不同，所以发出声音的音色也就不同．和其他选项内容没有关系．
故选C．

点评：
本题考点： 音色．

考点点评： 本题考查学生对音色定义的理解情况．

A 整体
B 指挥者
C 自己
D 指挥者
其实无论是“发挥作用”还是“倾听地位”,抓住“合奏”的关键字“合”就好做了
选A

要褒要贬?
e.g精忠,不朽,……

解题思路：音色是指声音的品质与特色．它与发声物体的材料有关，不同物体发声的音色是不同的．

二胡与笛子发声时，振动物体的材料不同，所以发出声音的音色也就不同，但它们发出声间的音调或响度是有可能相同的，故只有选项C符合题意．
故选C．

点评：
本题考点： 音色．

考点点评： 本题考查学生对音色定义的理解以及对音色、音调、响度的区分，属基本内容．

二胡与笛子发声时，振动物体的材料不同，所以发出声音的音色也就不同，但它们发出声间的音调或响度是有可能相同的，故只有选项C符合题意．
故选C．

C

音色是声音的感觉特性，我们仍能辨别出钢琴和小提琴的声音，这是因为它们有不同的音色，选C

解题思路：

音色反映的是声音的品质与特色，与发声体的材料和结构有关。不同乐器的材料和结构不同，演奏同一首乐曲发出声音的音色不同，据此分辨是何种乐器发声，选填C。

C

①古筝是一种弦乐器，演奏者用手拨弦，使弦振动发出声音；
②在演奏同一首乐曲时，不同乐器的频率和响度可能相同，但音色不同，人们能分辨出古筝和琵琶演奏的声音，主要是依据声音的音色．
故答案为：振动；音色．

钢琴和小提琴发声时，振动物体的材料不同，所以发出声音的音色也就不同．和其他选项内容没有关系．
故选C．

音色
因为音色是由物体的材料和结构的不同决定,钢琴与小提琴的材料不同、结构不同,所以它们的音色就不同,就因为音色不同,所以我们才能分辨出.

What is a Dulcimer?
Background
The origin of the dulcimer is as elusive as its haunting sound. Two types of instrument stake claim to the name—both have different shapes, different methods of being played, and diverse origins. The fretted dulcimer resembles an elongated violin with a limited number of strings (usually three to five) that can be plucked or bowed. In the United States, the fretted dulcimer is better known as the Appalachian or Mountain dulcimer.
The hammered dulcimer is rectangular or trapezoidal in shape and has sets of multiple strings with a range of up to three octaves. The instrument is played with two light-weight beaters called hammers that are shaped like long-handled spoons and are used to strike the strings.
History
The history of both dulcimers is confused because they were developed to play folk music and sprang up independently in a number of locations in Europe and the Middle East. It is not known how or if varieties of dulcimers crossed cultural or topographic barriers.
The hammered dulcimer is considered a member of the zither family and may have origins in Iran as the citar or santir, an instrument used to produce the ancient classical music of Persia. The spice and silk trades that criscrossed the Middle East during the Middle Ages and the Renaissance may have been responsible for the instrument's presence in Spain by the twelfth century and its appearance in China. In China, it is called the yangqin, yang ch 'in, or foreign zither.
The French version of the hammered zither was called the tympanon, and it's strings were struck with leather-covered hammers. The instrument experienced great popularity from about 1697-1770 due to an inventor named Pantaleon Hebestreit, who constructed a version with 186 strings and named it a pantaleon. The instrument appeared to fade in popularity with the rise of the piano.
By unknown paths of immigration, hammered dulcimers arrived in the United States. The instrument was sufficiently popular to have been carried by both the Montgomery Ward and Sears Roebuck catalogues in the 1800s and early 1900s. The hammered dulcimer was also reportedly the favorite instrument of Henry Ford and enjoyed a mild revival thanks to his admirers. The harpsichord and pianoforte (or piano) are hammered dulcimers to which keyboards have been attached.
The Appalachian dulcimer or dulcimore is generally hourglass-shaped with three to five strings and frets (low ridges against which the strings are pressed). Its strings are plucked with the fingers, a pick, or a quill, and the player's left hand holds a stick or plectrum on the strings as a stop. Nordic settlers claim to have brought the dulcimer to the New World. The Swedes brought their version called a humle, Icelanders imported the langspil, and Norwegian immigrants brought the langleik. The Germans and Dutch had developed two instruments, the scheitholt and the hummel, which became the folk instrument of Pennsylvania where so many Germans settled. To this mix of variants, the French added their Epinette des Vosges, which is less box-like and more similar in shape to a violin.
Many of the Scotch-Irish who left Ireland in the early 1700s settled first in Pennsylvania before following the frontiersmen to the Appalachian mountains and along the Ohio River. While in Pennsylvania, they may well have heard the scheitholt or humle played by the Pennsylvania Dutch. The German instruments were elongated boxes with frets and a limited number of strings; these either merged with British versions or were developed by the Scotch-Irish settlers to form the hourglass-shaped instrument now known as the Appalachian dulcimer.
Design
As the history of the dulcimer suggests, almost anything goes in selecting the shape of an Appalachian dulcimer. The size and depth of the soundbox must be chosen for the desired sound of the instrument. The deeper and larger boxes produce both louder and lower tones. Perhaps the most eye-catching and apparently ornamental feature of the dulcimer is the sound holes. Some of these are both beautiful and elaborate. The actual shape of the hole does not affect the sound, but the length of slots or elongated holes is important. Like the f holes in a violin, they free longer pieces of the sound-board from the constraining effects of the rigid sides so that the soundboard vibrates more responsively to the strings.
Design of a dulcimer begins with making a pattern and selecting the size of the instrument. Size is determined from the outside in. Strings are available from manufacturers in standard lengths between 25-30 in (63.5-76.2 cm). The soundbar is as long as the strings, but because it is fixed to the sound-box with a nut several inches down from the top of the solid end of the box, the soundbox must be longer than the soundboard. The soundbox is usually 6-8 in (15.2-20.3 cm) wide and up to 2 in (5.08 cm) deep. The maximum measurements have proven to produce the best sound character, including loudness and timbre, or quality of sound.
After the basic dimensions are chosen, a pattern is made on paper or cardboard. One half of the dulcimer is outlined on the paper, which is folded on the axis and cut to produce the mirror image. A form will be made to shape the upper and lower curves of the dulcimer, so before the pattern is cut, a partial pattern is made of this shape so that top and bottom match.
Raw Matericals
Many types of fine wood can be used to make a dulcimer. The outer wood forms the finish and should be selected for its beauty and grain, while the inner wood (usually oak) does not have to be attractive, although the material must respond to steam used to soften and shape the sides. The outer or finish wood used for the soundboard may be walnut, spruce, pine, or yellow poplar and should produce a bright sound due to the presence of hard and soft streaks in the wood. Such striations will give the finished dulcimer visual as well as aural beauty. The body of the dulcimer is usually made of harder wood like cherry, black walnut, or mahogany. The tuning pegs are Brazilian rosewood, although old dulcimers have ebony, rosewood, metal, or crude wooden pegs.
Frets on old dulcimers were also made of a variety of materials including silver, steel, brass, staghorn, ivory, bone, and various woods. Today, commercially-made fretting material is manufactured by specialists in a tee-shaped cross section that is convenient to fit to an instrument. These frets are made of nickel silver or brass. Also made by specialty manufacturers, dulcimer strings are standard, using the same strings as are manufactured for 12-string guitars.
The Manufacturing
Process
Master jig assembly
After the design is selected and the pattern is made, dies must be constructed to form the sides of the dulcimer. Only two shapes are involved—the curves of the upper and lower sections of the instrument called bouts and the center violin-like cutout called a waist, which may be any simple curve including a circle. Heavy blocks of wood are used to make the dies. The curves are cut with a band saw and sanded to match exactly.
A master jig assembly is also an important preliminary. The jig is a piece of plywood that is used to mount and form the dulcimer. Typically, a piece of 0.75 in (1.9 cm) thick plywood that is about 10 in (25.4 cm) longer than the dulcimer and 4 or 5 in (10.2-13 cm) wider is selected. The pattern is mounted on the center of the board, and fourpenny finishing nails are driven into the board at 2 in (5.1 cm) spacings around the pattern's edge with extra room at the ends. The nails support the inside of the sides of the instrument while it is being shaped.
Sides and internal bracing
To shape the sides, 0.125 in (0.32 cm) thick wood is cut in pieces that are as deep as the dulcimer and longer than the curves forming the soundbox. One piece of finish wood backed by a piece of oak is placed in a steam cooker for about 20 minutes to soften the wood. The wood is carefully removed, placed in between the halves of the die, and clamped together. The form with the wood pieces enclosed is then dried in an oven. All the sections are formed this way. Then the outer finish wood piece is glued to the oak backing with polyester or epoxy resin glue. The glued sections are returned to the forming dies and clamped until the glue hardens.
When all the curved side sections are formed, the center curves are placed in the master jig assembly. They must be adjusted by eye to be symmetrical. Then, finish nails are driven along the outsides of the sections to hold them in place. The end sections should be fitted to the centerpieces, however all sections were cut long. After the ends are properly fitted, the center sections are removed, cut to their proper lengths, and rasped or sanded for smoothness. The end sections are then refitted. They will overlap the center sections and must be trimmed to mate with the ends of the center sections. Also, the inner oak pieces are trimmed back so they are not exposed on the finished surface. Visual symmetry and tightly fitting joints will produce the most beautiful instrument in sound and appearance.
Internal braces are required to make the instrument structurally strong but also to provide the best resonance. Braces are fit to the junctions of the curved sections and also across the centers of the upper and lower curved sections. The braces fit against the back of the dulcimer and the front (sound-board), but they do not extend to the full depth of the instrument. The braces are seated on notches in the side sections. The back braces are glued and clamped into place first. Placement of the front braces offers the final chance to adjust the shape of the instrument.
Tuning head and pegs
Dulcimers often have elaborately scrolled tuning heads at the tops of the instruments. The tuning head has to be large enough to allow 1 in (2.54 cm) spacings between the pegs. Care is also taken to arrange the pegs so the string from one does not ride on the peg for another. Corresponding peg holes on the head are cut and tapered to match.
The head consists of three pieces of finish wood that will be sandwiched together. The overall dimension is about 7 in (18 cm) in length and 4 in (10.2 cm) in width. The pieces are clamped or lightly glued together and cut with a band saw to shape the scroll. The pieces are taken apart, a string slot is cut in the bottom of the center section, and the pieces are then permanently glued together. After the glue has hardened, the peg holes are drilled. The instrumentend of the tuning head must then be mortised to fit the instrument and the taper of the tuning head is shaped by careful wood-working and smooth sanding.
Four tuning pegs are required. Pieces of 1 in (2.54 cm) square rosewood are cut to 4 in (10.2 cm) lengths. Two inches of the total length are turned to form a tapered peg, and the heads are flattened and shaped so they are easy to grip. The pegs must be individually fitted to the tuning head because the tapers will vary. A tapered reamer is used to ream the holes that were previously drilled through the tuning head. The tuning head can be fitted to the sides of the sound box by carefully matching and fitting the mortises. A fitted block is made to match the base of the tuning head and reinforce the upper end of the sound box. The joints are then glued and clamped securely. For the lower end of the sound box, a tail section is made with mortises to fit the sides of the soundbox. A similar reinforcing block is made for the tail section.
Soundboard and soundbar
The soundboard works as a diaphragm that allows air (and sound) to resonate in the instrument. Grains in the wood should extend the full length of the soundbox. The soundboard is made in two sections with a gap of about 1 in (2.54 cm) between the two halves to allow for the hollow portion of the soundbar. The soundboard is also cut to extend about 0.125 in (0.32 cm) beyond the sides of the dulcimer. The two halves are fitted to the sides with the overhanging lip and glued and clamped in place.
The soundbar is the length of the soundbox plus 0.5 in (1.3 cm), extending up into the tuning head. It is constructed of three pieces of wood to be semihollow. That is, two pieces of finish wood form the sides and the top piece forms the finger-board, leaving a three-sided center tunnel or tube down the middle of the soundboard. Finish pieces are cut to close the top and bottom ends of the soundbar, and the whole assembly is fitted and glued into place. Edges and ends are checked for squareness and are smoothed. The hole for the nut used to fix the soundbar to the soundbox is drilled several inches below the junction of the soundbar with the tuning head so the two are not acoustically connected. The nut is the only connection attaching the soundbar to the soundbox, again allowing for vibration and resonance.
Frets are positioned on the fingerboard of the soundbar based on calculations related to the string length of the instrument. The fret positions are usually tempered by comparing tones with a tuned piano and repositioning the frets before they are permanently placed. Prefabricated metal fret material is hammered into saw cuts at the locations of the frets. The saw cuts are extremely thin and about 0.0625 in 0.16 cm) deep. Overcutting causes the frets to rattle. The edges of the finished frets are filed for smoothness and level. A bridge is also cut from hard maple. It is placed at the tail end of the dulcimer to support the strings and is allowed to float in place, rather than being glued, to permit fine adjustment of the strings and optimal sound.
Soundbox and strings
Finally, the back of the soundbox is cut from the finish wood in a single piece and with a 0.125 in (0.32 cm) overlap around the edge. The back is glued to all the edges and braces on the backside of the instrument.
The strings are fitted to the instrument before the wood is finished. Holes are drilled in the tailpiece and the tuning pegs. Fine, equally spaced notches are cut in the bridge and the nut to support the strings when they are tightened. Three steel strings that are each 0.012 in (0.03 cm) in diameter and one 0.022 in (0.56 cm) wound steel string are typically used on a four-string dulcimer. The strings are threaded individually through the tailpiece, over the bridge and nut, and through the holes in the tuning pegs. Each peg is turned until the string is tight. The clearance of the string at each position is checked and the strings are lowered at the nut by cutting deeper notches. The bridge is also adjusted to correct the string length.
Finishing
The strings, bridge, and tuning pegs are removed before the instrument is finished. The finish that is selected is essentially a part of the design of the instrument because the type of wood, its grain, the desired sound effects, and the final appearance are all considerations. Some dulcimers are left completely unfinished. Rubbing fine wood with linseed oil or applying superb varnish finishes are options. Hand-rubbing and oiling or waxing can take hundreds of hours to fill the wood pores. Application of a sealer followed by wax will produce a similar appearance with less labor.
Quality Control
As with all handmade products, quality control is in the hands of the maker. The end result of the dulcimer maker's craftsmanship is considered from the conception of the instrument forward, and many careful hours are spent in achieving a final product that is as beautiful as intended. Quality control may also be in the ear of the beholder; the craftsman's care will be evident in the sound the instrument produces.
The Future
Renewed interest in folk music has awakened the interest of hobbyists and musicians in dulcimers. The instrument is easier to play than more sophisticated instruments that require long hours of training and practice. Dulcimer-making kits are available from a number of suppliers.

Can you play the piano?Can you play the guita,while singing? Can you play the violin? If you can , please get ready .

不同乐器的材料和结构不同，演奏同一首乐曲能分辨出声音的不同，即音色不同．
故选C．

那“哗哗”的水声竟然成了千万架织布机的大合奏!

比喻+拟人

那坚毅的目光便成了鼓舞他的动力

草原的神秘和柔美

C