＊閱讀文章請在方框內繼續往下滑動
From One Sense to Another
Great composers have often found inspiration not only in the works of other composers but in the creations of other artists as well. In the early 1900s, the French composer Claude Debussy was inspired by a remarkable wood-block print from Japan. Titled “The Great Wave,” it was the work of Katsushika Hokusai, a Japanese artist who flourished during the first half of the nineteenth century. His print depicts a towering wave which is about to overwhelm three fishing boats and their cowering crews. Framed within the curving trough and magnificent crest of the wave is Mt. Fuji, which appears unnaturally small in the distance.
Debussy was attracted to Hokusai’s print for several reasons. On one hand, he was struck by the remarkable way it captured the power and beauty of the sea. He also approved of Hokusai’s approach to the work. Like a French impressionist painter, Hokusai aimed to capture the essence of the scene rather than to portray it realistically. This is clear from the giant wave, the edges of which look more like claws than bits of foam, and from the boats, which appear ridiculously small and fragile beneath the wave.
Debussy was also drawn by the print’s subject matter. His father had been a sailor, and during Debussy’s youth, had entertained the boy with stories of the sea. Debussy himself loved to sail, particularly in stormy weather, when he could feel the ocean’s powerful rhythms and sounds.
The print’s influence on Debussy is particularly clear in La Mer (The Sea), a symphonic work in three movements which he finished composing in 1905. The first two movements of La Mer are mysterious and atmospheric. Complex layers of rhythm and harmony ebb and flow, much like the swelling waves on a vast sea. The final movement, titled “Dialogue of the Wind and the Sea,” evokes the sea’s elemental power. Like a rising storm, the music slowly builds to a powerful climax that seems to linger long after the orchestra finishes playing. When the score for La Mer was published, Debussy paid tribute to his inspiration by having a print of Hokusai’s “The Great Wave” on the cover.
題目1
What is clear about the fishermen in “The Great Wave”?
（Review）
From One Sense to Another
Great composers have often found inspiration not only in the works of other composers but in the creations of other artists as well. In the early 1900s, the French composer Claude Debussy was inspired by a remarkable wood-block print from Japan. Titled “The Great Wave,” it was the work of Katsushika Hokusai, a Japanese artist who flourished during the first half of the nineteenth century. His print depicts a towering wave which is about to overwhelm three fishing boats and their cowering crews. Framed within the curving trough and magnificent crest of the wave is Mt. Fuji, which appears unnaturally small in the distance.
Debussy was attracted to Hokusai’s print for several reasons. On one hand, he was struck by the remarkable way it captured the power and beauty of the sea. He also approved of Hokusai’s approach to the work. Like a French impressionist painter, Hokusai aimed to capture the essence of the scene rather than to portray it realistically. This is clear from the giant wave, the edges of which look more like claws than bits of foam, and from the boats, which appear ridiculously small and fragile beneath the wave.
Debussy was also drawn by the print’s subject matter. His father had been a sailor, and during Debussy’s youth, had entertained the boy with stories of the sea. Debussy himself loved to sail, particularly in stormy weather, when he could feel the ocean’s powerful rhythms and sounds.
The print’s influence on Debussy is particularly clear in La Mer (The Sea), a symphonic work in three movements which he finished composing in 1905. The first two movements of La Mer are mysterious and atmospheric. Complex layers of rhythm and harmony ebb and flow, much like the swelling waves on a vast sea. The final movement, titled “Dialogue of the Wind and the Sea,” evokes the sea’s elemental power. Like a rising storm, the music slowly builds to a powerful climax that seems to linger long after the orchestra finishes playing. When the score for La Mer was published, Debussy paid tribute to his inspiration by having a print of Hokusai’s “The Great Wave” on the cover.
題目2
What impact did “The Great Wave” mainly have on Debussy?
（Review）
From One Sense to Another
Great composers have often found inspiration not only in the works of other composers but in the creations of other artists as well. In the early 1900s, the French composer Claude Debussy was inspired by a remarkable wood-block print from Japan. Titled “The Great Wave,” it was the work of Katsushika Hokusai, a Japanese artist who flourished during the first half of the nineteenth century. His print depicts a towering wave which is about to overwhelm three fishing boats and their cowering crews. Framed within the curving trough and magnificent crest of the wave is Mt. Fuji, which appears unnaturally small in the distance.
Debussy was attracted to Hokusai’s print for several reasons. On one hand, he was struck by the remarkable way it captured the power and beauty of the sea. He also approved of Hokusai’s approach to the work. Like a French impressionist painter, Hokusai aimed to capture the essence of the scene rather than to portray it realistically. This is clear from the giant wave, the edges of which look more like claws than bits of foam, and from the boats, which appear ridiculously small and fragile beneath the wave.
Debussy was also drawn by the print’s subject matter. His father had been a sailor, and during Debussy’s youth, had entertained the boy with stories of the sea. Debussy himself loved to sail, particularly in stormy weather, when he could feel the ocean’s powerful rhythms and sounds.
The print’s influence on Debussy is particularly clear in La Mer (The Sea), a symphonic work in three movements which he finished composing in 1905. The first two movements of La Mer are mysterious and atmospheric. Complex layers of rhythm and harmony ebb and flow, much like the swelling waves on a vast sea. The final movement, titled “Dialogue of the Wind and the Sea,” evokes the sea’s elemental power. Like a rising storm, the music slowly builds to a powerful climax that seems to linger long after the orchestra finishes playing. When the score for La Mer was published, Debussy paid tribute to his inspiration by having a print of Hokusai’s “The Great Wave” on the cover.
題目3
What does this article imply about the boats in Hokusai’s print?
（Review）
From One Sense to Another
Great composers have often found inspiration not only in the works of other composers but in the creations of other artists as well. In the early 1900s, the French composer Claude Debussy was inspired by a remarkable wood-block print from Japan. Titled “The Great Wave,” it was the work of Katsushika Hokusai, a Japanese artist who flourished during the first half of the nineteenth century. His print depicts a towering wave which is about to overwhelm three fishing boats and their cowering crews. Framed within the curving trough and magnificent crest of the wave is Mt. Fuji, which appears unnaturally small in the distance.
Debussy was attracted to Hokusai’s print for several reasons. On one hand, he was struck by the remarkable way it captured the power and beauty of the sea. He also approved of Hokusai’s approach to the work. Like a French impressionist painter, Hokusai aimed to capture the essence of the scene rather than to portray it realistically. This is clear from the giant wave, the edges of which look more like claws than bits of foam, and from the boats, which appear ridiculously small and fragile beneath the wave.
Debussy was also drawn by the print’s subject matter. His father had been a sailor, and during Debussy’s youth, had entertained the boy with stories of the sea. Debussy himself loved to sail, particularly in stormy weather, when he could feel the ocean’s powerful rhythms and sounds.
The print’s influence on Debussy is particularly clear in La Mer (The Sea), a symphonic work in three movements which he finished composing in 1905. The first two movements of La Mer are mysterious and atmospheric. Complex layers of rhythm and harmony ebb and flow, much like the swelling waves on a vast sea. The final movement, titled “Dialogue of the Wind and the Sea,” evokes the sea’s elemental power. Like a rising storm, the music slowly builds to a powerful climax that seems to linger long after the orchestra finishes playing. When the score for La Mer was published, Debussy paid tribute to his inspiration by having a print of Hokusai’s “The Great Wave” on the cover.
題目4
（Review）
From One Sense to Another
Great composers have often found inspiration not only in the works of other composers but in the creations of other artists as well. In the early 1900s, the French composer Claude Debussy was inspired by a remarkable wood-block print from Japan. Titled “The Great Wave,” it was the work of Katsushika Hokusai, a Japanese artist who flourished during the first half of the nineteenth century. His print depicts a towering wave which is about to overwhelm three fishing boats and their cowering crews. Framed within the curving trough and magnificent crest of the wave is Mt.Fuji, which appears unnaturally small in the distance.
Debussy was attracted to Hokusai’s print for several reasons. On one hand, he was struck by the remarkable way it captured the power and beauty of the sea. He also approved of Hokusai’s approach to the work. Like a French impressionist painter, Hokusai aimed to capture the essence of the scene rather than to portray it realistically. This is clear from the giant wave, the edges of which look more like claws than bits of foam, and from the boats, which appear ridiculously small and fragile beneath the wave.
Debussy was also drawn by the print’s subject matter. His father had been a sailor, and during Debussy’s youth, had entertained the boy with stories of the sea. Debussy himself loved to sail, particularly in stormy weather, when he could feel the ocean’s powerful rhythms and sounds.
The print’s influence on Debussy is particularly clear in La Mer (The Sea), a symphonic work in three movements which he finished composing in 1905. The first two movements of La Mer are mysterious and atmospheric. Complex layers of rhythm and harmony ebb and flow, much like the swelling waves on a vast sea. The final movement, titled “Dialogue of the Wind and the Sea,” evokes the sea’s elemental power. Like a rising storm, the music slowly builds to a powerful climax that seems to linger long after the orchestra finishes playing. When the score for La Mer was published, Debussy paid tribute to his inspiration by having a print of Hokusai’s “The Great Wave” on the cover.
題目5
According to this article, what happens before the third movement of La Mer ends?
（Review）
From One Sense to Another
Great composers have often found inspiration not only in the works of other composers but in the creations of other artists as well. In the early 1900s, the French composer Claude Debussy was inspired by a remarkable wood-block print from Japan. Titled “The Great Wave,” it was the work of Katsushika Hokusai, a Japanese artist who flourished during the first half of the nineteenth century. His print depicts a towering wave which is about to overwhelm three fishing boats and their cowering crews. Framed within the curving trough and magnificent crest of the wave is Mt. Fuji, which appears unnaturally small in the distance.
Debussy was attracted to Hokusai’s print for several reasons. On one hand, he was struck by the remarkable way it captured the power and beauty of the sea. He also approved of Hokusai’s approach to the work. Like a French impressionist painter, Hokusai aimed to capture the essence of the scene rather than to portray it realistically. This is clear from the giant wave, the edges of which look more like claws than bits of foam, and from the boats, which appear ridiculously small and fragile beneath the wave.
Debussy was also drawn by the print’s subject matter. His father had been a sailor, and during Debussy’s youth, had entertained the boy with stories of the sea. Debussy himself loved to sail, particularly in stormy weather, when he could feel the ocean’s powerful rhythms and sounds.
The print’s influence on Debussy is particularly clear in La Mer (The Sea), a symphonic work in three movements which he finished composing in 1905. The first two movements of La Mer are mysterious and atmospheric. Complex layers of rhythm and harmony ebb and flow, much like the swelling waves on a vast sea. The final movement, titled “Dialogue of the Wind and the Sea,” evokes the sea’s elemental power. Like a rising storm, the music slowly builds to a powerful climax that seems to linger long after the orchestra finishes playing. When the score for La Mer was published, Debussy paid tribute to his inspiration by having a print of Hokusai’s “The Great Wave” on the cover.
題目5
引導學生反思生活經驗，將文中資訊與自己既有的知識連結，產生通則性的理解。
＊閱讀文章請在方框內繼續往下滑動
From One Sense to Another
Great composers have often found inspiration not only in the works of other composers but in the creations of other artists as well. In the early 1900s, the French composer Claude Debussy was inspired by a remarkable wood-block print from Japan. Titled “The Great Wave,” it was the work of Katsushika Hokusai, a Japanese artist who flourished during the first half of the nineteenth century. His print depicts a towering wave which is about to overwhelm three fishing boats and their cowering crews. Framed within the curving trough and magnificent crest of the wave is Mt. Fuji, which appears unnaturally small in the distance.
Debussy was attracted to Hokusai’s print for several reasons. On one hand, he was struck by the remarkable way it captured the power and beauty of the sea. He also approved of Hokusai’s approach to the work. Like a French impressionist painter, Hokusai aimed to capture the essence of the scene rather than to portray it realistically. This is clear from the giant wave, the edges of which look more like claws than bits of foam, and from the boats, which appear ridiculously small and fragile beneath the wave.
Debussy was also drawn by the print’s subject matter. His father had been a sailor, and during Debussy’s youth, had entertained the boy with stories of the sea. Debussy himself loved to sail, particularly in stormy weather, when he could feel the ocean’s powerful rhythms and sounds.
The print’s influence on Debussy is particularly clear in La Mer (The Sea), a symphonic work in three movements which he finished composing in 1905. The first two movements of La Mer are mysterious and atmospheric. Complex layers of rhythm and harmony ebb and flow, much like the swelling waves on a vast sea. The final movement, titled “Dialogue of the Wind and the Sea,” evokes the sea’s elemental power. Like a rising storm, the music slowly builds to a powerful climax that seems to linger long after the orchestra finishes playing. When the score for La Mer was published, Debussy paid tribute to his inspiration by having a print of Hokusai’s “The Great Wave” on the cover.
題目1
What is clear about the fishermen in “The Great Wave”?
（Review）
From One Sense to Another
Great composers have often found inspiration not only in the works of other composers but in the creations of other artists as well. In the early 1900s, the French composer Claude Debussy was inspired by a remarkable wood-block print from Japan. Titled “The Great Wave,” it was the work of Katsushika Hokusai, a Japanese artist who flourished during the first half of the nineteenth century. His print depicts a towering wave which is about to overwhelm three fishing boats and their cowering crews. Framed within the curving trough and magnificent crest of the wave is Mt. Fuji, which appears unnaturally small in the distance.
Debussy was attracted to Hokusai’s print for several reasons. On one hand, he was struck by the remarkable way it captured the power and beauty of the sea. He also approved of Hokusai’s approach to the work. Like a French impressionist painter, Hokusai aimed to capture the essence of the scene rather than to portray it realistically. This is clear from the giant wave, the edges of which look more like claws than bits of foam, and from the boats, which appear ridiculously small and fragile beneath the wave.
Debussy was also drawn by the print’s subject matter. His father had been a sailor, and during Debussy’s youth, had entertained the boy with stories of the sea. Debussy himself loved to sail, particularly in stormy weather, when he could feel the ocean’s powerful rhythms and sounds.
The print’s influence on Debussy is particularly clear in La Mer (The Sea), a symphonic work in three movements which he finished composing in 1905. The first two movements of La Mer are mysterious and atmospheric. Complex layers of rhythm and harmony ebb and flow, much like the swelling waves on a vast sea. The final movement, titled “Dialogue of the Wind and the Sea,” evokes the sea’s elemental power. Like a rising storm, the music slowly builds to a powerful climax that seems to linger long after the orchestra finishes playing. When the score for La Mer was published, Debussy paid tribute to his inspiration by having a print of Hokusai’s “The Great Wave” on the cover.
題目2
What impact did “The Great Wave” mainly have on Debussy?
（Review）
From One Sense to Another
Great composers have often found inspiration not only in the works of other composers but in the creations of other artists as well. In the early 1900s, the French composer Claude Debussy was inspired by a remarkable wood-block print from Japan. Titled “The Great Wave,” it was the work of Katsushika Hokusai, a Japanese artist who flourished during the first half of the nineteenth century. His print depicts a towering wave which is about to overwhelm three fishing boats and their cowering crews. Framed within the curving trough and magnificent crest of the wave is Mt. Fuji, which appears unnaturally small in the distance.
Debussy was attracted to Hokusai’s print for several reasons. On one hand, he was struck by the remarkable way it captured the power and beauty of the sea. He also approved of Hokusai’s approach to the work. Like a French impressionist painter, Hokusai aimed to capture the essence of the scene rather than to portray it realistically. This is clear from the giant wave, the edges of which look more like claws than bits of foam, and from the boats, which appear ridiculously small and fragile beneath the wave.
Debussy was also drawn by the print’s subject matter. His father had been a sailor, and during Debussy’s youth, had entertained the boy with stories of the sea. Debussy himself loved to sail, particularly in stormy weather, when he could feel the ocean’s powerful rhythms and sounds.
The print’s influence on Debussy is particularly clear in La Mer (The Sea), a symphonic work in three movements which he finished composing in 1905. The first two movements of La Mer are mysterious and atmospheric. Complex layers of rhythm and harmony ebb and flow, much like the swelling waves on a vast sea. The final movement, titled “Dialogue of the Wind and the Sea,” evokes the sea’s elemental power. Like a rising storm, the music slowly builds to a powerful climax that seems to linger long after the orchestra finishes playing. When the score for La Mer was published, Debussy paid tribute to his inspiration by having a print of Hokusai’s “The Great Wave” on the cover.
題目3
What does this article imply about the boats in Hokusai’s print?
（Review）
From One Sense to Another
Great composers have often found inspiration not only in the works of other composers but in the creations of other artists as well. In the early 1900s, the French composer Claude Debussy was inspired by a remarkable wood-block print from Japan. Titled “The Great Wave,” it was the work of Katsushika Hokusai, a Japanese artist who flourished during the first half of the nineteenth century. His print depicts a towering wave which is about to overwhelm three fishing boats and their cowering crews. Framed within the curving trough and magnificent crest of the wave is Mt. Fuji, which appears unnaturally small in the distance.
Debussy was attracted to Hokusai’s print for several reasons. On one hand, he was struck by the remarkable way it captured the power and beauty of the sea. He also approved of Hokusai’s approach to the work. Like a French impressionist painter, Hokusai aimed to capture the essence of the scene rather than to portray it realistically. This is clear from the giant wave, the edges of which look more like claws than bits of foam, and from the boats, which appear ridiculously small and fragile beneath the wave.
Debussy was also drawn by the print’s subject matter. His father had been a sailor, and during Debussy’s youth, had entertained the boy with stories of the sea. Debussy himself loved to sail, particularly in stormy weather, when he could feel the ocean’s powerful rhythms and sounds.
The print’s influence on Debussy is particularly clear in La Mer (The Sea), a symphonic work in three movements which he finished composing in 1905. The first two movements of La Mer are mysterious and atmospheric. Complex layers of rhythm and harmony ebb and flow, much like the swelling waves on a vast sea. The final movement, titled “Dialogue of the Wind and the Sea,” evokes the sea’s elemental power. Like a rising storm, the music slowly builds to a powerful climax that seems to linger long after the orchestra finishes playing. When the score for La Mer was published, Debussy paid tribute to his inspiration by having a print of Hokusai’s “The Great Wave” on the cover.
題目4
（Review）
From One Sense to Another
Great composers have often found inspiration not only in the works of other composers but in the creations of other artists as well. In the early 1900s, the French composer Claude Debussy was inspired by a remarkable wood-block print from Japan. Titled “The Great Wave,” it was the work of Katsushika Hokusai, a Japanese artist who flourished during the first half of the nineteenth century. His print depicts a towering wave which is about to overwhelm three fishing boats and their cowering crews. Framed within the curving trough and magnificent crest of the wave is Mt. Fuji, which appears unnaturally small in the distance.
Debussy was attracted to Hokusai’s print for several reasons. On one hand, he was struck by the remarkable way it captured the power and beauty of the sea. He also approved of Hokusai’s approach to the work. Like a French impressionist painter, Hokusai aimed to capture the essence of the scene rather than to portray it realistically. This is clear from the giant wave, the edges of which look more like claws than bits of foam, and from the boats, which appear ridiculously small and fragile beneath the wave.
Debussy was also drawn by the print’s subject matter. His father had been a sailor, and during Debussy’s youth, had entertained the boy with stories of the sea. Debussy himself loved to sail, particularly in stormy weather, when he could feel the ocean’s powerful rhythms and sounds.
The print’s influence on Debussy is particularly clear in La Mer (The Sea), a symphonic work in three movements which he finished composing in 1905. The first two movements of La Mer are mysterious and atmospheric. Complex layers of rhythm and harmony ebb and flow, much like the swelling waves on a vast sea. The final movement, titled “Dialogue of the Wind and the Sea,” evokes the sea’s elemental power. Like a rising storm, the music slowly builds to a powerful climax that seems to linger long after the orchestra finishes playing. When the score for La Mer was published, Debussy paid tribute to his inspiration by having a print of Hokusai’s “The Great Wave” on the cover.
題目5
According to this article, what happens before the third movement of La Mer ends?
（Review）
From One Sense to Another
Great composers have often found inspiration not only in the works of other composers but in the creations of other artists as well. In the early 1900s, the French composer Claude Debussy was inspired by a remarkable wood-block print from Japan. Titled “The Great Wave,” it was the work of Katsushika Hokusai, a Japanese artist who flourished during the first half of the nineteenth century. His print depicts a towering wave which is about to overwhelm three fishing boats and their cowering crews. Framed within the curving trough and magnificent crest of the wave is Mt. Fuji, which appears unnaturally small in the distance.
Debussy was attracted to Hokusai’s print for several reasons. On one hand, he was struck by the remarkable way it captured the power and beauty of the sea. He also approved of Hokusai’s approach to the work. Like a French impressionist painter, Hokusai aimed to capture the essence of the scene rather than to portray it realistically. This is clear from the giant wave, the edges of which look more like claws than bits of foam, and from the boats, which appear ridiculously small and fragile beneath the wave.
Debussy was also drawn by the print’s subject matter. His father had been a sailor, and during Debussy’s youth, had entertained the boy with stories of the sea. Debussy himself loved to sail, particularly in stormy weather, when he could feel the ocean’s powerful rhythms and sounds.
The print’s influence on Debussy is particularly clear in La Mer (The Sea), a symphonic work in three movements which he finished composing in 1905. The first two movements of La Mer are mysterious and atmospheric. Complex layers of rhythm and harmony ebb and flow, much like the swelling waves on a vast sea. The final movement, titled “Dialogue of the Wind and the Sea,” evokes the sea’s elemental power. Like a rising storm, the music slowly builds to a powerful climax that seems to linger long after the orchestra finishes playing. When the score for La Mer was published, Debussy paid tribute to his inspiration by having a print of Hokusai’s “The Great Wave” on the cover.