第二部分 阅读判断5
注释：
1．be rooted in：扎根于；深深地存在于
2．It was a clunky old teletype machine and it could barely do anything compared to the computers
we have today.那是一台笨重的旧式电传打字机，跟我们今天的电脑相比几乎干不了什么事。本句中，barely意为almost not；compare to在美国英语中也可以等同于compare with（与……相比）。
3．They’re helping us build communities around the things we care about and to stay close to the
people who are important to us, no matter where they are.电脑帮助我们就我们所关心的事情建立一个交流的场所，并且与那些我们认为对我们有重要意义的人密切相处，不管他们身在何处。care about指不管喜欢或不喜欢的事情都很关心、介意、在乎、计较。 4．“tap-dancing to work”：“跳着踢踏舞工作”。tap原意是“叩击、轻敲”；tap dance是“踢踏
舞”。这里实际意思是“（手指）轻轻敲击键盘的工作”。 5．PC (personal computer)：个人计算机
6．But for all the cool things that a person can do with a PC, there are lots of other ways we can put our creativity and intelligence to work to improve our world.除了我们能用计算机做的所有神奇的事情，还有很多其他方式发挥我们的创造力和智慧，从而使世界更加美好。 7．go unmet：得不到满足。在这里go是系动词，unmet是过去分词作表语。 8．commit to此处意为承诺，保证做某事。 9．no less... than：和 一样，不亚于……
10. and that it doesn’t take much to make an immense difference in these children’s lives.而且要改
善这些孩子们的命运，其实不难。此处it是形式主语，真正的主语是不定式短语to make an immense difference in these children’s lives。 练习：
1．A computer was as big as an icebox when Bill Gates was a high school student. A Right B Wrong C Not mentioned 2．Bill Gates has been dreaming of the popularity of computers for his lifetime. A Right B Wrong C Not mentioned 3．Bill Gates compares his hard work on a PC to “tap-dancing to work”. A Right B Wrong C Not mentioned 4．To Bill Gates’ mind, there is a big difference between the death of the poor’s children and the death of the rich’s children. A Right B Wrong C Not mentioned 5．So far Bill Gates has contributed several dozen billion dollars to the charities. A Right B Wrong C Not mentioned
6．Bill Gates and his wife consider it their duty to help the poor better their health and education as much as possible. A Right B Wrong C Not mentioned 7．Bill Gates will leave only a small portion of his wealth for his children.
A Right B Wrong C Not mentioned 答案与题解：
1．A文章第三段中比尔?盖茨说，当他念七年级时，电脑就是冰箱那么大小。
2．A文章第三段比尔?盖茨说，他30年前与Paul Allen一起创办微软公司时就梦想一桌一机、
一户一机，而且从其他各段也可以看到他对电脑有很多的期待。
3．B从第七段第二句可以看到作这样比较的是他的朋友Warren Buffett，而不是他自己。 4．B在倒数第三段，比尔?盖茨已经明确说，所有这些儿童的死亡都一样令人伤心和悲痛，没
有什么区别。
5．C文章没有提到他给慈善机构捐款的事。
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第二部分 阅读判断6
6．A倒数第四段比尔?盖茨认为他一生好运，就理应回报社会，所以他和他的妻子做出了承诺，
要帮助尽可能多的人改善医疗和教育条件。 7．C文章没有提到。
+第十四篇
Stage Fright1
Fall down as you come onstage. That’s an odd trick. Not recommended. But it saved the pianist Vladimir Feltsman when he was a teenager back in Moscow. The veteran cellist Mstislav Rostropovich tripped him purposely to cure him of pre-performance panic,2 Mr. Feltsman said, “ All my fright was gone. I already fell. What else could happen?”
Today, music schools are addressing the problem of anxiety in classes that deal with performance techniques and career preparation. There are a variety of strategies that musicians can learn to fight stage fright and its symptoms: icy fingers, shaky limbs, racing heart, blank mind.3
Teachers and psychologists offer wide-ranging advice, from basics like learning pieces inside 4
out, to mental discipline, such as visualizing a performance and taking steps to relax. Don’t deny that you’re jittery，they urge; some excitement is natural, even necessary for dynamic playing. And play in public often, simply for the experience.
Psychotherapist Diane Nichols suggests some strategies for the moments before performance, “Take two deep abdominal breaths, open up your shoulders, then smile,’’ she says. “And not one of these ‘please don’t kill me’ smiles. Then choose three friendly faces in the audience, people you would communicate with and make music to, and make eye contact with them.” She doesn’t want performers to think of the audience as a judge.
Extreme demands by mentors or parents are often at the root of stage fright，says Dorothy Delay, a well-known violin teacher. She tells other teachers to demand only what their students are able to achieve.
When Lynn Harrell was 20，he became the principal cellist of the Cleverland Orchestra, and he suffered extreme stage fright. “There were times when I got so nervous I was sure the audience could see my chest responding to the throbbing. It was just total panic. I came to a point where I thought,‘ If I have to go through this to play music, I think I’m going to look for another job.”5 Recovery, he said, involved developing humility-recognizing that whatever his talent, he was fallible，and that an imperfect concert was not a disaster.6 It is not only young artists who suffer, of course. The legendary pianist Vladimir Horowitz’s nerves were famous. The great tenor Franco Corelli is another example. “They had to push him on stage,” Soprano Renata Scotto recalled. Actually，success can make things worse. “In the beginning of your career, when you’re scared to death, nobody knows who you are, and they don’t have any expectations,” Soprano June Anderson said. “There’s less to lose. Later on, when you’re known, people are coming to see you, and they have certain expectations. You have a lot to lose.” Anderson added，“I never stop being nervous until I’ve sung my last note.” 词汇：
veteran / ?vet?r?n / adj．经验丰富的 jittery / ?d??t?ri / adj．紧张不安的 mentor / ?men?t?: / n．指导者
soprano / s??prprɑ:n?? / n．女高音；女高音歌
手
cellist/ ?t?el?st / n．大提琴演奏家
abdominal / ?b?dɑm?n?l / adj．腹部的 fallible/ ?f?l?b?l / adj．易犯错误的 tenor /'ten?/ n．男高音
注释：
1．Stage Fright：舞台恐惧
2．The veteran cellist Mstislav Rostropovich tripped him purposely to cure him of pre-performance
panic…资深大提琴家Mstislav Rostropovich故意把Vladimir Feltsman绊倒，因而治愈了他的上台前的恐惧症。cure somebody of something (illness, problem)：医治好病（解决问题）
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第四部分 阅读理解7
3．… its symptoms：icy fingers, shaky limbs, racing heart, blank mind：舞台恐惧的症状有手冰凉、
身体颤抖、心跳加快和大脑一片空白。
4．Teachers and psychologists offer wide-ranging advice, from basics like learning pieces inside
out ：老师和心理学家提出了方方面面的建议，一些基础知识，比如将演奏曲目烂熟于心…… inside out： in great detail详细地，从里到外地 5．I came to a point where I thought，“If I have to go through this to play music, I think I’m going to
look for another job. ”我曾经一度认为，如果搞音乐就必须经过克服舞台恐惧这一关的话，这项工作不能做。
6．Recovery, he said, involved developing humility-recognizing that whatever his talent, he was
fallible, and that an imperfect concert was not a disaster.不舞台恐惧意味着提高谦卑感，即认识到不管你多有才，你也会出错，一个有瑕疵的音乐会也绝对不是世界末日。
练习：
1．Falling down onstage was not a good way for Vladimir Feltsman to deal with his stage fright. A Right B Wrong C Not mentioned 2．There are many signs of stage fright.
A Right B Wrong C Not mentioned 3．Teachers and psychologists cannot help people with extreme -stage fright. A Right B Wrong C Not mentioned 4．To perform well on stage, you need to have some feelings of excitement. A Right B Wrong C Not mentioned 5．If you have stage fright, it's helpful to have friendly audience. A Right B Wrong C Not mentioned 6．Often people have stage fright because parents or teachers expect too much of them. A Right B Wrong C Not mentioned 7．Famous musicians never suffer from stage fright. A Right B Wrong C Not mentioned 答案与题解：
1．B 本文第一段讲的是钢琴家Vladimir Feltsman被Mstislav Rostropovich绊倒后，他的舞台
恐惧被治愈了的故事。 2．A 第二段的最后一句点出舞台恐惧的诸多症状为手冰凉、身体颤抖、心跳加快和大脑一片空白。
3．B 本文的第三、四、五、六段都在讲老师和心理学家为舞台恐惧者提供全方位的建议。 4．A 依据第三段的倒数第二句：some excitement is natural, even necessary for dynamic
playing.(表演中激情是自然甚至是必要的）
5．C 第四段提到克服舞台恐惧的方法之一是：在观众中选择三位友好的面孔，与他们用眼光交流。所以克服舞台恐惧要靠自己而不是指望所有的观众都友好。
6．A 第五段讲了舞台恐惧的根源在于指导者或父母对表演者要求太高。extreme demands就
是expect too much of them的意思。 7．B 第七段讲的是：不只年轻艺术家有舞台恐惧症，钢琴家Vladimir Horowitz和男高音Franco
Corelli亦不能幸免。Never一词不恰当。
第四部分 阅读理解
第二十九篇
I’ll Be Bach
Composer David Cope is the inventor of a computer program that writes original works of classical music. It took Cope 30 years to develop the software. Now most people can’t tell the
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difference between music by the famous German composer J. S. Bach (1685-1750) and the Bach-like compositions from Cope’s computer.
It all started in 1980 in the United States, when Cope was trying to write an opera. He was having trouble thinking of new melodies, so he wrote a computer program to create the melodies. At first this music was not easy to listen to. What did Cope do? He began to rethink how human beings compose music. He realized that composers，brains work like big databases. First, they take in all the music that they have ever heard. Then they take out the music that they dislike. Finally, they make new music from what is left. According to Cope, only the great composers are able to create the database accurately, remember it, and form new musical patterns from it.
Cope built a huge database of existing music. He began with hundreds of works by Bach. The software analyzed the data：it broke it down into smaller pieces and looked for patterns. It then combined the pieces into new patterns. Before long, the program could compose short Bach-like works. They weren’t good, but it was a start.
Cope knew he had more work to do-he had a whole opera to write. He continued to improve the software. Soon it could analyze more complex music. He also added many other composers, including his own work, to the database.
A few years later，Cope’s computer program, called “Emmy”，was ready to help him with his opera. The process required a lot of collaboration between the composer and Emmy. Cope listened to the computer’s musical ideas and used the ones that he liked. With Emmy, the opera took only two weeks to finish. It was called Cradle Falling, and it was a great success! Cope received some of the best reviews of his career, but no one knew exactly how he had composed the work. Since that first opera, Emmy has written thousands of compositions. Cope still gives Emmy feedback on what he likes and doesn’t like of her music, but she is doing most of the hard work of composing these days!
词汇：
original/??r?d??n?l / adj．有独创性的 collaboration / k??l?b??re???n / n．合作
review/ r?'vju:/ n．评论
feedback /'fi:db?k / n．反馈
注释
J. S. Bach约翰?塞巴斯蒂安?巴赫（德语：Johann Sebastian Bach，1685年3月31日一1750年7月28日），巴洛克时期的德国作曲家，杰出的管风琴、小提琴、大键琴演奏家，同作曲家亨德尔和泰勒曼齐名。巴赫被普遍认为是音乐史上最重要的作曲家之一，并被尊称为“西方‘现代音乐’之父”，也是西方文化史上最重要的人物之一。 练习：
1．The music composed by David cope is about ______. A Classical music B pop music C drama D country music 2．By developing a computer software，David cope aimed ______.
A to be like Bach B to study Bach C to write an opera
D to create a musical database
3．What did cope realize about a great composer’s brain?
A It forms new musical patterns all by itself B It writes a computer program
C It can recognize any music patterns D It creates an accurate database 4．Who is Emmy?
A a database
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第五部分 补全短文9
B a computer software
C a composer who helped David D an opera
5．We can infer from the passage that ______.
A David Cope is a computer programmer. B David Cope loves music.
C Bach’s music helped him a lot.
D Emmy did much more work than a composer.
答案与题解：
1．A 第一段的第一句：David Cope发明了一个可以编写出古典音乐的电脑软件。
2．C 从第二段的第一句可以看出，David编写电脑软件的目的是写歌剧。A、B和D都属于
创作歌剧的一部分。
3．D 第二段的后半部分讲的是伟大的歌剧作者与一般的歌剧作者的不同之处是通过对数据进行准确的构建、记忆而后创作出新的音乐形式。 4．B 从第五段第一句可知Emmy是一计算机软件。
5．D 从本文第一句可知David是一个作曲家，不是计算机程序员，所以排除A;B、C内容
没有提及；从本文的第五段和第六段可知，Emmy大大提高了David的创作速度，最后一句，大部分困难的工作都由Emmy来做，所以作曲家只干一小部分工作。
第五部分 补全短文 第四篇
The Bilingual Brain When Karl Kim immigrated to the United States from Korea’s a teenager, he had a hard time learning English. Now he speaks it fluently, and he had a unique opportunity to see how our brains adapt to a second language.1 As a graduate student, Kim worked in the lab of Joy Hirsch, a neuroscientist in New York. ____1____ They found evidence that children and adults don’t use the same parts of the brain when they learn a second language. The researchers used an instrument called an MRI2 (magnetic resonance imaging) scanner to study the brains of two groups of bilingual people. ____2____. The other consisted of people who， like Kim，learned their second language later in life. People from both groups were placed inside the MRI scanner. This allowed Kim and Hirsch to see which parts of the brain were getting more blood and were more active. They asked people from both groups to think about what they had done the day before, first in one language and then the other. They couldn’t speak out loud because any movement would disrupt the scanning. Kim and Hirsch looked specifically at two language centers in the brain - Broca's area3, which is believed to control speech production, and Wernicke’s area3, which is thought to process meaning. Kim and Hirsch found that both groups of people used the same part of Wernicke's area no matter what language they were speaking. ____3____
People who learned a second language as children used the same region in Broca’s area for both their first and second languages. People who learned a second language later in life used a different part of Broca’s area for their second language. ____4____ Hirsch believes that when language is first being programmed in young children, their brains may mix the sounds and structures of all languages in the same area. Once that programming is complete, the processing of a new language must be taken over by a different part of the brain.
A second possibility is simply that we may acquire languages differently as children than we do as adults. Hirsch thinks that mothers teach a baby to speak by using different methods involving touch, sound, and sight. ____5____ 词汇：
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