41-55 BDABC DBBAD CDCCA 2020浦东一模

The networked computer is an amazing device. It is the first media machine that serves as the mode of production (you can make stuff), means of distribution (you can upload stuff to the network), site of 41 (you can download stuff and interact with it), and place of praise and criticism (you can comment on the stuff you have downloaded or uploaded). 42 , the computer is the 21st century’s culture machine.

But for all the reasons there are to 43 the computer, we must also act with caution. This is because the networked computer has started a secret war between downloading and uploading—between passive consumption and active 44 —whose outcome will shape our collective future in ways we can only begin to imagine.

All animals download, but only a few upload anything besides faces and their own bodies. Humans are 45 in their capacity to not only make tools but then turn around and use them to create superfluous( 过 剩 的 ) material goods (paintings, sculpture and architecture) and superfluous experiences (music, literature, religion and philosophy). 46 , it is precisely these superfluous things that define human culture and ultimately what it is to be human. Downloading and consuming culture requires great skills, but 47 to move beyond downloading is to rob oneself of a defining ingredient of humanity.

Despite the possibilities of our new culture machines, most people are still 48 download mode, brought about by television watching. Even after the 49 of widespread social media, a pyramid of production remains, with a small number of people uploading material, a slightly larger group commenting on or modifying that content, and a huge percentage remaining satisfied to just 50 . The networked computer offers the first chance in 50 years to 51 the flow caused by TV viewing, to encourage thoughtful downloading and, even more importantly,

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meaningful uploading. The computer offers the opportunity to bring about a complete 52 from the culture of television and a shift from a consumption model to a production model. This is a historic opportunity. Fifty years of television dominance has given birth to an unhealthy culture. The 53 is now in our collective grasp. It involves controlling our intake, or downloading, and 54 our levels of activity—uploading.

Of course people will still download. Nobody uploads more than a tiny percentage of the culture they consume. But using the networked computer as a download-only device, or even a download-mainly device, is a 55 opportunity that history affords us. Therefore, the goal must be to establish a balance between consumption and production.

41. A. celebration 42. A. Without doubt 43. A. liberate 44. A. request 45. A. unique 46. A. In addition 47. A. striving

48. A. optimistic about B. unfamiliar with 49. A. transformation 50. A. consume 51. A. enhance 52. A. outcome 53. A. puzzle 54. A. analysing 55. A. wasted

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B. conversations B. In return B. celebrate B. support B. familiar

B. In fact B. comparing

C. reception C. In particular C. concern C. defense C. efficient

C. For instance C. failing

D. ceremonies D. By contrast D. reject D. creation D. loyal

D. By the way D. attempting

C. stuck in C. encounter C. combine C. reverse C. break C. regret C. featuring C. multiplied

D. ashamed of D. maintenance D. innovate D. extend D. evolution D. favor D. increasing D. revised

B. emergence B. neglect B. quicken B. exposure B. cure B. maintaining B. treasured

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2020普陀一模 Stage Fright

Fall down as you come onstage. That’s an odd trick. Not recommended. But it saved the pianist Feltsman when he was a teenager back in Moscow. The experienced cellist Rostropovich tripped him purposely to __41__ him of pre-performance panic. Mr. Feltsman said, “All my fright was gone. I already fell. What else could happen?”

Today, music schools are addressing the problem of __42__ 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, __43__ mind.

Teachers and psychologists offer wide-ranging __44__, from basics like learning pieces inside out, to mental discipline, __45__ visualizing a performance and taking steps to relax. Don’t deny that you’re tense, they urge; some excitement is __46__, even necessary for dynamic playing. And play in public often, simply for the experience.

Psychotherapist Diane Nichols suggests some strategies for the moments before __47__, “Take two deep abdominal(腹部) 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 __48__, 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 conductors or parents are often __49__ 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 heartbeat, which was just total __50__. I came to a point

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where I thought, ‘If I have to go through this to play music, I think I’ m going to look for another job.’” Recovery, he said, involved developing humbleness—recognizing that whatever his talent, he was likely to make mistakes, and that an __51__ concert was not a disaster.

It is not only __52__ artists who suffer, of course. The legendary pianist Vladimir Horowitz’s nerves were famous. The great singer Franco Corelli is another example. “We had to push him on stage,” his partners recalled.

__53__, 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 __54__,” Singer 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 __55__. ” He added, “I never stop being nervous until I’ve sung my last note.” 41. A. assure 42. A. anxiety 43. A. absent 44. A. advice 45. A. instead of 46. A. definite 47. A. ceremony 48. A. audience

B. cure

C. remind

D. rob D. psychology D. narrow D. education D. with regard to D. precious D. rehearsal D. choir

D. in contrast with D. panic D. unpopular D. experienced D. Similarly D. satisfaction D. lose

B. adolescence

B. blank

C. principle

C. keen

B. choices

C. services C. such as

B. along with

B. neutral

C. natural

C. lecture C. staff

B. performance B. orchestra

49. A. at the face of 50. A. craze 51. A. unusual 52. A. talented 53. A. Actually

B. at the root of C. in favour of B. fault

C. failure

B. imperfect B. unknown

C. invalid C. young

B. Certainly

C. Luckily

54. A. appreciation 55. A. learn

B. contribution

B. offer

C. expectation

C. say

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