2014年职称英语教材新增文章(综合类)(3)

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4.C 文中没有提及。

5.A 依据第六段，Domhoff研究得出：孩子不像成人做那么多的梦，他认为做梦也是一项心智机能，需要随着年龄增长而发展。

6.A 本文第七段讲述了做梦与性别的关系。第二句更指出男人和女人做的梦是不同的。

7.B 最后一段的倒数第二句讲的是：梦可能会有意义，但并不表示一些恐怖事情就一定会发生。因而不能预测未来。

第十一篇 Stage Fright 1（A级）

Fall down as you come onstage. That s an old 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 out，4 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.

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