Questão Q1206323 - Língua Inglesa

Question

READ TEXT I AND ANSWER QUESTIONS 21 TO 30: TEXT I How music is the real language of political diplomacy Forget guns and bombs, it is the power of melody that has changed the world Marie Zawisza Saturday 31 October 2015 10.00 GMT Last modified on Tuesday 10 November 201513.19 GMT An old man plays his cello at the foot of a crumbling wall. The notes of the sarabande of Bach’s Suite No 2 rise in the cold air, praising God for the “miracle” of the fall of the Berlin Wall, as Mstislav Rostropovich later put it. The photograph is seen around the world. The date is 11 November 1989, and the Russian virtuoso is marching to the beat of history. Publicity stunt or political act? No doubt a bit of both – and proof, in any case, that music can have a political dimension. Yo-Yo Ma showed as much in September when the cellist opened the new season of the Philharmonie de Paris with the Boston Symphony Orchestra. As a “messenger of peace” for the United Nations, the Chinese American is the founder of Silk Road Project, which trains young musicians from a variety of cultures to listen to and improvise with each other and develop a common repertoire. “In this way, musicians create a dialogue and arrive at common policies,” says analyst Frédéric Ramel, a professor at the Institut d’Études Politiques in Paris. By having music take the place of speeches and peace talks, the hope is that it will succeed where diplomacy has failed.[…] Curiously, the study of the role of music in international relations is still in its infancy. “Historians must have long seen it as something fanciful, because history has long been dominated by interpretations that stress economic, social and political factors,” says Anaïs Fléchet, a lecturer in contemporary history at the Université de Versailles-St-Quentin and co-editor of a book about music and globalisation. “As for musicologists,” she adds, “until quite recently they were more interested in analysing musical scores than the actual context in which these were produced and how they were received.” In the 1990s came a cultural shift. Scholars were no longer interested solely in “hard power” – that is, in the balance of powers and in geopolitics – but also in “soft power”, where political issues are resolved by mutual support rather than force. […] Since then, every embassy has a cultural attaché. The US engages in “audio diplomacy” by financing hip-hop festivals in the Middle East. China promotes opera in neighbouring states to project an image of harmony. Brazil has invested in culture to assert itself as a leader in Latin America, notably by establishing close collaboration between its ministries of foreign affairs and culture; musician Gilberto Gil was culture minister during Luiz Inácio Lula da Silva?s presidency from 2003 to 2008. He was involved in France’s Year of Brazil. As Fléchet recalls, “the free concert he gave on 13 July, 2005 at the Place de la Bastille was the pinnacle. That day, he sang La Marseillaise in the presence of presidents Lula and Jacques Chirac.” Two years earlier, in September 2003, Gil sang at the UN in honour of the victims of the 19 August bombing of the UN headquartes in Baghdad. He was delivering a message of peace, criticising the war on Iraq by the US: “There is no point in preaching security without giving a thought to respecting others,” he told his audience. Closing the concert, he invited then UN secretary general Kofi Annan on stage for a surprise appearance as a percussionist. “This highly symbolic image, which highlighted the conviction that culture can play a role in bringing people together, shows how music can become a political language,” Fléchet says.(adapted from http://www.theguardian.com/music/2015/oct/31 /music-language-human-rights-political- diplomacy) READ 
TEXT I AND ANSWER QUESTIONS 21 TO 30:
TEXT I
How music is 
the real language of political 
diplomacy
Forget guns and bombs, it is the power of 
melody that has changed the world 
Marie Zawisza Saturday 31 October 2015 
10.00 GMT
Last modified on 
Tuesday 10 November 201513.19 GMT

An old man plays his cello at the foot of a 
crumbling wall. The notes of the sarabande 
of Bach’s Suite No 2 rise in the cold air, 
praising God for the “miracle” of the fall 
of the Berlin Wall, as Mstislav Rostropovich 
later put it. The photograph is seen around 
the world. The date is 11 November 1989, and 
the Russian virtuoso is marching to the beat 
of history.
Publicity stunt or 
political act? No doubt a bit of both – and 
proof, in any case, that music can have a 
political dimension. Yo-Yo Ma showed as much 
in September when the cellist opened the new 
season of the Philharmonie de Paris with the 
Boston Symphony Orchestra. As a “messenger 
of peace” for the United Nations, the 
Chinese American is the founder of Silk Road 
Project, which trains young musicians from a 
variety of cultures to listen to and 
improvise with each other and develop a 
common repertoire. “In this way, musicians 
create a dialogue and arrive at common 
policies,” says analyst Frédéric Ramel, a 
professor at the Institut d’Études 
Politiques in Paris. By having music take 
the place of speeches and peace talks, the 
hope is that it will succeed where diplomacy 
has failed.[…]
Curiously, the study 
of the role of music in international 
relations is still in its infancy. 
“Historians must have long seen it as 
something fanciful, because history has long 
been dominated by interpretations that 
stress economic, social and political 
factors,” says Anaïs Fléchet, a lecturer in 
contemporary history at the Université de 
Versailles-St-Quentin and co-editor of a 
book about music and globalisation.

“As for musicologists,” she adds, “until 
quite recently they were more interested in 
analysing musical scores than the actual 
context in which these were produced and how 
they were received.” In the 1990s came a 
cultural shift. Scholars were no longer 
interested solely in “hard power” – that is, 
in the balance of powers and in geopolitics 
– but also in “soft power”, where political 
issues are resolved by mutual support rather 
than force. […]

Since then, every embassy has a cultural 
attaché. The US engages in “audio diplomacy” 
by financing hip-hop festivals in the Middle 
East. China promotes opera in neighbouring 
states to project an image of harmony. 
Brazil has invested in culture to assert 
itself as a leader in Latin America, notably 
by establishing close collaboration between 
its ministries of foreign affairs and 
culture; musician Gilberto Gil was culture 
minister during Luiz Inácio Lula da Silva?s 
presidency from 2003 to 2008. He was 
involved in France’s Year of Brazil. As 
Fléchet recalls, “the free concert he gave 
on 13 July, 2005 at the Place de la Bastille 
was the pinnacle. That day, he sang La 
Marseillaise in the presence of presidents 
Lula and Jacques Chirac.” Two years earlier, 
in September 2003, Gil sang at the UN in 
honour of the victims of the 19 August 
bombing of the UN headquartes in Baghdad. He 
was delivering a message of peace, 
criticising the war on Iraq by the US: 
“There is no point in preaching security 
without giving a thought to respecting 
others,” he told his audience. Closing the 
concert, he invited then UN secretary 
general Kofi Annan on stage for a surprise 
appearance as a percussionist. “This highly 
symbolic image, which highlighted the 
conviction that culture can play a role in 
bringing people together, shows how music 
can become a political language,” Fléchet 
says.(adapted from 
http://www.theguardian.com/music/2015/oct/31
&#47;music-language-human-rights-political-
diplomacy) The correct form of reporting the sentence “‘…musicians create a dialogue and arrive at common policies,’ says analyst Frédéric Ramel” is:

Gran Questões · Accepted Answer

Analyst Frédéric Ramel said that musicians created a dialogue and arrived at common policies;

Gran Questões · Answer

Analyst Frédéric Ramel says that musicians created a dialogue and would arrive at common policies;

Gran Questões · Answer

Analyst Frédéric Ramel would say that musicians created a dialogue and would arrive at common policies;

Gran Questões · Answer

Analyst Frédéric Ramel had said that musicians had created a dialogue and arrived at common policies;

Gran Questões · Answer

Analyst Frédéric Ramel has said that musicians are creating a dialogue and arriving at common policies.

The correct form of reporting the sentence “‘…musicians...