5. Accretionary Prismㆍ

6. Basin ㆍ

7. Magnetic dip

8.Fracture Zone ㆍ

(3)請舉例3種海洋地質及地球物理探測方法?說明其基本原理與應用,並簡述這些技術發展對於板塊構造學說發展的影響(10分)。

(4)請說明何謂張裂式及聚合式的大陸邊緣,請說明其主要特徵及二者差異(10分)。

(5)請簡單說明深海濁流以及等深流的特徵與差異(10分)

(6)請列舉並簡單說明常見的海洋微體古生物(10分)

(7)請列舉並簡單說明常見的海洋地質災害與成因(10分)

(8)請簡單說明台灣周圍的海洋地形、地質構造單元以及板塊架構(20分)

一、請仔細閱讀下列段落後,中文分別寫出此段的(1)主旨(愈簡短愈好)(30 %)與(2)段落中的各項論點(20%)。 ※注意此題請務必忠實呈現原文要義,避免添加個人意見。 The view that the late eighteenth century marks the arrival of modernity may be a commonplace among historians of politics, economics, society, culture, literature, and art but, with the significant exception of those influenced by Adorno, it is not widely shared by music historians. Unlike the much narrower notion of early twentieth-century musical modernism, modernity is not a concept that figures often in our vocabulary. On the rare occasions when it does, the birth of modern music is located not around 1750 or 1800 but around 1600. Leo Schrade, for example, called Monteverdi the "creator of modern music" in his 1950 book on the composer, and an important current journal, Early Music History, in delimiting its scope in the subtitle Studies in Medieval and Early Modern Music, suggests that post-medieval music must be "early modern." But these are exceptional cases: in the standard usage of our music history texts, to say nothing of our concert life, twentieth-century modernism is the only "modern" music there is. From Karol Berger, Bach's Cycle, Mozart's Arrow: An Essay on the Origins of Musical Modernoity. (University of California Press, 2007)

110年 - 110 國立臺灣大學_碩士班招生考試_海洋所物理與化學與地物組(3組聯招):海洋地質學#100213