职称英语新增内容

2014年职称英语理工类新增内容及总结
第十四篇：Stage Fright
Fall down as you come onstage. That's an odd trick. Not recommended. But it saved the pianist Vladimir Feltsma n when he was a teenager back in Moscow. The veteran cellist Mstislav
Rostropovich tripped him purposely to cure 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 anxiety in classes that deal with
performance techniques and career preparation. There are a variety of strategies that musicians can learn to fight s tage fright and its symptoms:icy fingers, shaky limbs ,racing heart,blank mind.
Teachers and psychologists offer wide-ranging advice, from basics like learning pieces inside out, to mental discipl ine, such as visualizing a performance and taking steps to relax. Don't deny that you're jittery ,they urge; some excite ment 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 abd ominal breaths, open up your shoulders, then smile," she says. "And not one of these 'please don't kill me' smiles. Th en choose three friendly faces in the audience, people you would communicate with and make music to, and make ey e 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 achiev e
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. 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, p.eople 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. "
注释：
1．Stage Fright：怯场
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)。

3．…its symptoms：icy fingers，shaky limbs，racing heart，blank mind：怯场的症状有：手指冰凉、四肢发抖、心跳加速、大脑一片空白。

4．Teachers and psychologists offer wide ranging advice，f rom basics like learning pieces inside out…：老师和心理学家提出了方方面面的建议，从基础的做法，比如，将演奏曲目烂熟于
心……inside out：in great detail(详细的，从里到外的)
5．I came to a point where I thought，…If I have to go through this to play music，I think l‟m goingto look for anotherjob．‟
我曾经一度认为，如果演出要经历这种慌乱，我宁可另找一份工作。

6．Recovery，he said，involved developing humility——recognizing that whatever his talent，he wasfallible，and that an imperfect concert was not a disaster．要克服怯场，就要学会谦虚，即认识到不论自己有多大的才能，都可能犯错误；一场音乐会即使有不完美的地方，也不是要命的事情。

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 stag
e 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
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 too k Cope 30 years to develop the software. Now most people can't tell the difference between music by the famous Ge rman 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 think ing of new melodies, so he wrote a computer program to create the melodies. At first this music was not easy to list en 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 th at they dislike. Finally, they make
new music from what is left. According to Cope, only the great composers are able to create the database accura tely, 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 todo-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 databas e.,
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 us ed 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!
注释：
1.J.S.Bach：约翰帠巴斯蒂安巴赫(德语：Johann Sebastian Bach，1685年3月31日--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：
l.. 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
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。

第十篇：How Deafness Makes It Easier to Hear
Most people think of Beethoven's hearing loss as an obstacle to composing music.
However, he produced his most powerful works in the last decade of his life when he was
completely deaf.
This is one of the most glorious cases of the triumph of will over adversity, but his
biographer, Maynard Solomon, takes a different view. l . In his deaf world Beethoven
could experiment, free from the sounds of the outside world, free to create new forms and
harmonies.
Hearing loss does not seem to affect the musical ability of musicians who become deaf. They continue to "hear" music with as much, or greater, accuracy than if they were actually hearing it being played.
2 . He described a fascinating phenomenon that happened within three months:"my former musical experiences be gan to play back to me. I couldn't differentiate between what I heard and real hearing. After many years, it is still re warding to listen to these playbacks, to 'hear' music which is new to me and to find many quiet accompaniments for ali of my moods. "
How is it that the world we see, touch, hear, and smell is both "out there" and at the same time within us? The re is no better example of this connection between external stimulus and internal perception than the cochlear implant.
3 . However,it might be possible to use the brain's remarkable power to make sense of the electrical signals the impl ant produces.
When Michael Edgar first "switched on" his cochlear implant, the sounds he heard were not at all Clear. Gradual ly, with much hard work, he began to identify everyday sounds. For example," The insistent ringing of the telephone became clear almost at once. "
The primary purpose of the implant is to allow communication with others. When people
spoke to Eagar, he heard their voices "coming through like a long-distance telephone call on
a poor connection. " B
But when it came to his beloved music, the implant was of no help.
4 . He said, "I play the piano as I used to and hear it in my head at the same time.
The movement of my fingers and the feel of the keys give added ' clarity' to hearing in my
head. "
Cochlear implants allow the deaf to hear again in a way that is not perfect, but which can
change their lives. 5 . Even the most amazing cochlear implants would have been useless to Beethoven as he co mposed his Ninth Symphony at the end of his life.
注释：
1. the triumph of will over adversity:the successful overcoming of difficulty through determination用意志力战胜不幸
2. I couldn't differentiate between what/heard and real hearing:
我无法区别真正听到的和曾经听过的声音。

3. cochlear implant:a device, surgically placed in the ear, that changes sounds into electric signals
人工耳蜗;耳蜗植入
4. But when it came to his beloved mumble,flag, implant was of no help.
但是，当听到钟爱的音乐时，人工耳蜗就毫无用处(我不用人工耳蜗就能听出来)。

5. The movement of my fingers and the feel of the keys give added clarity to hearing in my head:我手指的移动以及对琴键的感觉使我听到的声音在脑海里更加清晰
练习：
A No man-made device could replace the ability to hear.
B When he wanted to appreciate music,Eagar played the piano.
C Still, as Michael Eagar discovered, when it comes to musical harmonies,hearing is irrelevant.
D Michael Eagar, who died in 2003,became deaf at the age of 21.
E Beethoven produced his most wonderful works after he became deaf.
F Solomon argues that Beethoven's deafness "heightened" his achievement as a composer.
答案与题解：
1.F本段的开头讲：贝多芬的例子是一个意志力战胜失聪的极好的例子。

但是，他的传记作家Maynard Solomon却持不同的意见。

贝多芬的失聪不是一种灾难;相反，对他成为作曲家起到了促进作用。

后一句解释了失聪是如何使贝多芬更好地创作。

2.D该句是本段的开头，根据后一句：他描述了在3个月之内发生的奇妙的现象：我之前的音乐经历开始在脑中回放。

再有后一句的what I heard and real hearing可以判定D是恰当的。

3.A依据前一句：只有人工耳蜗才能使外部刺激和内心感知联系起来(失聪的人通过人工耳
蜗听到外部的声音)。

人工耳蜗就是一种man-made device，后一句也是在讲人工耳蜗的功能。

所以A是对的。

4.B依据后一句的play the piano呼应When he wanted to appreciate music.Eagar played the piano，可以断定答案为B。

5.C前一句讲人工耳蜗的作用：它能使失聪的人听到声音，尽管不完美，但改变了他们的生活;Still表示转折，该句承上启下，虽然人工耳蜗能帮助失聪的人，但谈到音乐的和声时听力就无关紧要了(听力不起作用)。

所以后一句讲贝多芬在他生命的最后时刻创作第九交响曲时，无论多么完美的人工耳蜗对他来说都没有用。

第十篇：The Biology of Music
Humans use music as a powerful way to communicate. It may also play an important role in
love. But what is music, and how does it work its magic? Science does not yet have all the
answers.
What are two things that make humans different from animals? One is language, and the other is music. It is tru e that some animals can sing ( and many birds sing .better than a lot of people). However,the songs of animals, such as birds and whales, are very limited. It is also true that humans, not animals ,have developed musical instruments.
Music is strange stuff. It is clearly different from language. However, people can use music to communicate thing s -- especially their emotions. When music is combined with speech in a song, it is a very powerful form of commun ication. But, biologically speaking, what is music?
If music is truly different from speech, then we should process music and language in different parts of the brain. The scientific evidence suggests that this is true.
Sometimes people who suffer brain damage lose their ability to process language. However, they don't automatical ly lose their musical abilities. For example, Vissarion Shebalin, a Russian
composer, had a stroke in 1953. It injured the left side of his brain. He could no longer speak or
understand speech. He could, however, still compose music until his death ten years later. On the
other hand, sometimes strokes cause people to lose their musical ability, but they can still speak and understand s peech. This shows that the brain processes music and language separately.
By studying the physical effects of music on the body, scientists have also learned a lot about how music influen ces the emotions. But why does music have such a strong effect on us? That is a harder question to answer. Geoffre y Miller, a researcher at University College, London, thinks that music and love have a strong connection. Music requ ires special tale
ent, practice, and physical ability. That's why it may be a way of showing your fitness to be someone's.mate. For exa mple, singing in tune or playing a musical instrument requires fine muscular control. You also need a good memory t o remember the notes. And playing or singing those notes correctly suggests that your hearing is in excellent conditio n. Finally ,when a man sings to the woman he loves (or vice versa), it may be a way of showing off.
However ,Miller's theory still doesn't explain why certain combinations of sounds influence our emotions so deepl y. For scientists, this is clearly an area that needs further research.
注释：
1．It is also true that humans，not animals，have developed musical instruments：人研制出了乐器，而动物则不能。

develop：研制，例如：Scientists are developing new drugs to treat cancer．科学家们正在研发新药用以治疗癌症。

练习：
1. Humans,but not animals, can sing.
A Right
B Wrong
C Not mentioned
2. People can use music to communicate their emotions.
A Right
B Wrong
C Not mentioned.
3. We use the same part of the brain for music and language.
A Right
B Wrong
C Not mentioned
4. Geoffery Miler has done research on music and emotions.
A Right
B Wrong
C Not mentioned
5. It's hard for humans to compose music.
A Right
B Wrong
C Not mentioned
6. Memory is not an important part in singing in tune.
A Right
B Wrong
C Not mentioned
7. Scientists does not know all the answers about the effects of music on humans.
A Right
B Wrong
C Not mentioned
答案与题解：
1．B 第二段的第三句：It is true that some animals can sing(and many birds sing better than a lot of people)．可以看出有些动物会唱歌，而不只人类会唱歌。

2．A第三段的第三句：However，people can use music to communicate things—especially their
emotions．这句清楚表明，人们可以用音乐来表达情感。

3．B第四段说明：科学证明人们用大脑的不同区域处理语言和音乐。

在第五段，作者用Vissarion Shebalin的例子进一步说明人脑处理语言和音乐的位置不同，Shebalin中风以后不能讲话也听不懂别人的话，但他却能创作乐曲。

4．A 第六段的第四句：Geoffrey Miller，a researcher at University College，London，thinks that
music and love have a strong connection．这句说明Miller对音乐和爱(情感)的关系进行了研究，他得出的结论是：音乐和爱有密切的关联。

5．C文中没有提及创作乐曲是否困难。

6．B第六段有一句：You also need a good memory to remember the notes．此句说明必须具备好的记忆力记音符才能唱得符合调子。

7．A最后一段讲的是：科学家们需要做更多的研究才能解释为什么有些声音影响我们的情感会如此之深。

也就是说，科学家不能全部解释音乐对人类的影响。

What Is a Dream?
For centuries, people have wondered about the strange things that they dream about. Some
psychologists say that this nighttime activity of the mind has no special meaning. Others, however, think that drea
ms are an important part of our lives. In fact, many experts believe that dreams can tell us about a person's mind an d emotions.
Before modem times, many people thought that dreams contained messages from God. It was only in the twentiet h century that people started to study dreams in a scientific way.
The Austrian psychologist, Sigmund Freud, was probably the first person to study dreams
scientifically. In his famous book, The interpretation of Dreams ( 1900 ), Freud wrote that dreams
are an expressions of a person's wishes. He believed that dreams allow people to express the
feelings, thoughts, and fears that they are afraid to express in real life.
The Swiss psychiatrist Carl Jung was once a student of Freud' s. Jung, however, had a different idea about dream s. Jung believed that the purpose of a dream was to communicate a message to the dreamer. He thought people could learn more about themselves by thinking about their dreams. For example, people who dream about falling may learn that they have too high an opinion of themselves. On the other hand, people who dream about being heroes may lea rn that they think too little of themselves.
Modem-day psychologists continue to develop theories about dreams. For example,
psychologist William Domhoff from the University of California, Santa Cruz, believes that dreams
are tightly linked to a person's daily life, thoughts, and behavior. A criminal, for example, might
dream about crime.
Dornhoff believes that there is a connection between dreams and age. His research shows that children do not dre am as much as adults. According to Domhoff, dreaming is a mental skill that needs time to develop.
He has also found a link between dreams andgender. His studies show that the dreams of men and women are di fferent. For example, the people in men's dreams are often other men, and the dreams often involve fighting. This is not true of women's dreams. 3 Domhoff found this gender difference in the dreams of people from 11 cultures around the world, including both modem and traditional ones.
Can dreams help us understand ourselves? Psychologists continue to try to answer this question in different ways. However, one thing they agree on this: If you dream that something terrible is going to occur,you shouldn't panic. T he dream may have meaning, but it does not mean that some terrible event will actually take place. It's important to remember that the world of dreams is not the real world.
注释：
1.SigmundFreud西格蒙德.费洛伊德（1856-1939），犹太人，奥地利精神病医生及精神分析学家。

精神分析学派的创始人。

他认为被压抑的欲望绝大部分是属于性的，性的扰乱是精神病的根本原因。

著有《性学三论》《梦的释义》《图腾与禁忌》《日常生活的心理病理学》《精神分析引论》《精神分析引论新编》等
2.Carl Jung:卡尔.荣格，瑞士著名精神分析专家，分析心理学的创始人
3.For example．the people in men‟s dreams are often other men，and the dreams often involve fighting．This is not true of women‟s dreams．例如，男人做梦会梦到男人，并且常与打斗有关；女人做梦与男人则不同。

练习：
1. Not everyone agrees that dreams are meaningful.
ARight
BWrong
CNot mentioned
2. According to Freud,people dream about things that they cannot talk about.
ARight
BWrong
CNot mentioned
3. Jung believed that dreams did not help one to understand oneself.
ARight
BWrong
CNot mentioned
4. In the past,people believed that dreams involved emotions.
ARight
BWrong
CNot mentioned
5. According to Dornhoff,babies do not have the same ability to dream as adults do.
ARight
BWrong
CNot mentioned
6. Men and women dream about different things.
ARight
BWrong
CNot mentioned
7. Scientists agree that dreams predict the future.
ARight
BWrong
CNot mentioned
1．A这句话恰好表达了本文第一段的意思。

即有些心理学家认为，人脑睡眠中的活动没有特别意义；而有些人则认为，梦可以揭示人的思维和情感。

．
2．A第三段的最后一句讲的是弗洛伊德认为梦反映了人们在现实情况下害怕表达的情感、想法或恐惧。

此句与本叙述一致。

3．B第四段的第二句和第三句：Jung believed that the purpose of a dream was to communicate a message to the dreamer．(荣格认为梦的用途是向做梦者传递一个信息)He thought people could learn more about themselves by thinki ng about their dreams．(他认为人们通过思考所做的梦能够更好地了解自己)。

他给出了两个例子来说明他的论点。

4．C文中没有提及。

5．A依据第六段，Domhoff研究得出：婴儿不像成人做那么多的梦，做梦是一种需要时间提高的技能。

这就说明了婴儿不具备成人做梦的能力。

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。