1 定期試験問題次の英文A～Cを読んで、設問に答えなさい。設問の順番に答えを書くこと。英文A You might define music as humanly generated sounds that are good to listen to, and that are so for themselves and not merely for the message they convey. ((1)The first part of that formulation excludes the sighing of the wind or the singing of birds, while (2)the second is meant to eliminate speech -- though, to be sure, we do sometimes speak of the 'musical' qualities of oratory or poetry.) But the Prudential commercial makes it obvious just (3)how much more, or maybe it would be better to say 'other', music is than good things to listen to. You only need to hear (4)a second or two of music in a commercial to know what kind of music it is, what genre (classical, trad jazz, heavy metal, house) is being referenced, what sort of associations and connotations it brings with it. (I don't mean that everyone can say that the music is heavy metal or house or whatever, but that you somehow know that the music goes with fast food or financial institutions or (5)whatever the commercial is about -- or, if it doesn't, that (6)it is being used ironically.) (7)Of course, this requires the kind of familiarity that comes from growing up in a particular culture. A Japanese businessman watching a commercial in his London or New York hotel room will miss out on some of these associations, as will a British or American visitor to Tokyo. They will hear the same music in the commercials, but they will hear it as little more than good things to listen to. And (8)that is only half of what music is. 英文Aについての設問１下線(1)が指すものを日本語で述べなさい。２下線(2)が指すものを日本語で述べなさい。３下線(3)を日本語に訳しなさい。４下線(4)を日本語に訳しなさい。５下線(5)を日本語に訳しなさい。６下線(6)が意味する内容を日本語で説明しなさい。７下線(7)のように述べられるのはなぜか、日本語で説明しなさい。８下線(8)のように述べられるなら、では、残りの「半分」はどのようなものか、日本語で答えなさい。 2 英文B This idea has taken many shapes in American popular culture. （ア）And so Ry Cooder gives him a lesson in playing from the heart, in letting it come naturally -- in real music, that is to say, rather than the exercise of (1)artifice. （イ）How, Piginini asks, is he to satisfy his audience, who demand that instead of scales he plays all the "little black notes" in different orders – "all piggley-higgley", as he puts it; who, in a word, demand (2)music? （ウ）(3)All this has not surprisingly brought on a sudden crisis of confidence, and it is at this point that Cooder, playing the part of a (4)janitor, discovers Piginini cowering in a broom-cupboard. （エ）A representative example, which (5)you could almost believe to have been based on Rousseau, is an episode of "The Ghost of Faffner Hall" (a feature-length spin-off from Jim Henson's "The Muppet Show") that included an encounter between Ry Cooder, the legendary blues-rock guitarist and singer, and a virtuoso violinist of the European tradition, Piginini. （オ）Despite his prodigious technique, (6)the porcine celebrity has a fatal flaw: he can only play scales, and besides, he cannot play without a score in front of him. 英文Bについての設問９（ア）～（オ）を並び替えて、This idea has taken many shapes in American popular culture.で始まる、論の流れが最も適切なパラグラフをつくりなさい。答えは記号で答えること。１０下線(1)がパラグラフにおいて指すものは何か、日本語で述べなさい。１１ Pigininiの観客が要求する、下線(2)の"music"とは何か、日本語で説明しなさい。１２下線(3)を日本語に訳しなさい。１３ Ry Cooderが下線(4)の"janitor"役で登場するのはなぜか、その理由を二つ日本語で述べなさい。１４下線(5)を日本語に訳しなさい。１５下線(6)を日本語に訳しなさい。 3 英文C But as that curious word 'works' suggests, this reflected something deeper than just the Eurocentricism of Western culture in the century preceding the First World War. It reflected what underlay that culture: the classic industrial economy, based on the production of goods which were subsequently distributed and finally consumed by the public who purchased them. (This is a very different type of economy from the late twentieth-century service economy, based not on manufactured goods but on such 'products' as the pension plans in the Prudential commercial.) In the same way, music was thought of as being based on the production of compositions which were subsequently performed and finally experienced (enjoyed, appreciated) by the listening public. Musical culture, in short, was seen as a process of creating, distributing, and consuming what became known around the beginning of the nineteenth century as 'works' of music. The term is a revealing one because it creates a direct link with the world of economics. One of the basic principles of capitalism is that you can in effect stockpile labour -- either by accumulating the products of labour, or by accumulating something else (most obviously money) that you can exchange for labour. In the same way, the musical 'work' gave a permanent form to music; music was no longer to be thought of as purely evanescent, an activity or experience that fades into the past as soon as it is over. For while performances of musical works take place in time, the work itself endures. (As Jean-Paul Sartre once put it, if the concert hall burns down during a performance of Beethoven's Seventh Symphony, that is not the end of the symphony.) And in this way music becomes something you can stockpile or accumulate, a form of what might be termed 'aesthetic capital'. We don't normally call it that, however; we call it 'the repertory', of which more In Chapter 2. 英文Cについての設問１６英文Cの要点を二つのポイントに分け、簡潔に日本語でまとめなさい。