Text 1 The decision of the New York Philharmonic to hire Alan Gilbert as its next music director has been the talk of the classical-music world ever since the sudden announcement of his appointment in 2009.For the most part,the response has been favorable,to say the least.“Hooray!At last!”wrote Anthony Tommasini,a sober-sided classical-music critic.One of the reasons why the appointment came as such a surprise,however,is that Gilbert is comparatively little known.Even Tommasini,who had advocated Gilbert’s appointment in the Times,calls him“an unpretentious musician with no air of the formidable conductor about him.”As a description of the next music director of an orchestra that has hitherto been led by musicians like Gustav Mahler and Pierre Boulez,that seems likely to have struck at least some Times readers as faint praise.For my part,I have no idea whether Gilbert is a great conductor or even a good one.To be sure,he performs an impressive variety of interesting compositions,but it is not necessary for me to visit Avery Fisher Hall,or anywhere else,to hear interesting orchestral music.All I have to do is to go to my CD shelf,or boot up my computer and download still more recorded music from iTunes.Devoted concertgoers who reply that recordings are no substitute for live performance are missing the point.For the time,attention,and money of the art-loving public,classical instrumentalists must compete not only with opera houses,dance troupes,theater companies,and museums,but also with the recorded performances of the great classical musicians of the 20th century.There recordings are cheap,available everywhere,and very often much higher in artistic quality than today’s live performances;moreover,they can be“consumed”at a time and place of the listener’s choosing.The widespread availability of such recordings has thus brought about a crisis in the institution of the traditional classical concert.One possible response is for classical performers to program attractive new music that is not yet available on record.Gilbert’s own interest in new music has been widely noted:Alex Ross,a classical-music critic,has described him as a man who is capable of turning the Philharmonic into“a markedly different,more vibrant organization.”But what will be the nature of that difference?Merely expanding the orchestra’s repertoire will not be enough.If Gilbert and the Philharmonic are to succeed,they must first change the relationship between America’s oldest orchestra and the new audience it hops to attract.24.According to the text,which of the following is true of recordings?A.They are often inferior to live concerts in quality.B.They are easily accessible to the general public.C.They help improve the quality of music.D.They have only covered masterpieces.
Text 1 The decision of the New York Philharmonic to hire Alan Gilbert as its next music director has been the talk of the classical-music world ever since the sudden announcement of his appointment in 2009.For the most part,the response has been favorable,to say the least.“Hooray!At last!”wrote Anthony Tommasini,a sober-sided classical-music critic.One of the reasons why the appointment came as such a surprise,however,is that Gilbert is comparatively little known.Even Tommasini,who had advocated Gilbert’s appointment in the Times,calls him“an unpretentious musician with no air of the formidable conductor about him.”As a description of the next music director of an orchestra that has hitherto been led by musicians like Gustav Mahler and Pierre Boulez,that seems likely to have struck at least some Times readers as faint praise.For my part,I have no idea whether Gilbert is a great conductor or even a good one.To be sure,he performs an impressive variety of interesting compositions,but it is not necessary for me to visit Avery Fisher Hall,or anywhere else,to hear interesting orchestral music.All I have to do is to go to my CD shelf,or boot up my computer and download still more recorded music from iTunes.Devoted concertgoers who reply that recordings are no substitute for live performance are missing the point.For the time,attention,and money of the art-loving public,classical instrumentalists must compete not only with opera houses,dance troupes,theater companies,and museums,but also with the recorded performances of the great classical musicians of the 20th century.There recordings are cheap,available everywhere,and very often much higher in artistic quality than today’s live performances;moreover,they can be“consumed”at a time and place of the listener’s choosing.The widespread availability of such recordings has thus brought about a crisis in the institution of the traditional classical concert.One possible response is for classical performers to program attractive new music that is not yet available on record.Gilbert’s own interest in new music has been widely noted:Alex Ross,a classical-music critic,has described him as a man who is capable of turning the Philharmonic into“a markedly different,more vibrant organization.”But what will be the nature of that difference?Merely expanding the orchestra’s repertoire will not be enough.If Gilbert and the Philharmonic are to succeed,they must first change the relationship between America’s oldest orchestra and the new audience it hops to attract.24.According to the text,which of the following is true of recordings?
A.They are often inferior to live concerts in quality.
B.They are easily accessible to the general public.
C.They help improve the quality of music.
D.They have only covered masterpieces.
B.They are easily accessible to the general public.
C.They help improve the quality of music.
D.They have only covered masterpieces.
参考解析
解析：根据题干，可以定位到文章第四段。从第四段第三句“These recordings are cheap，available everywhere…”和第四段最后一句“the widespread availability of such recordings has thus brought….”很容易推断出选项[B]They are easily accessible to the general public（大众很容易就能得到这些唱片）为正确答案。由第四段第三句“These recordings
相关考题：
DLiverpool, my hometown, is a unique city. It is so unique that in 2004 it became a World Heritage (遗产) Site.I recently returned to my home city and my first stop was at a museum on the River Mersey. Blanketed in mist (薄雾), Victorian architecture rose from the banks of the river, responded to the sounds of sea-birds, and appeared unbelievably charming. When I headed toward the centre, I found myself surrounded by buildings that mirror the best palaces of Europe. It is not hard to imagine why, on first seeing the city, most visitors would be overpowered by the beauty of the noble buildings, which are solid signs of Liverpool’s history.As if stress its cultural role, Liverpool has more museums and galleries (美术馆) than most cities in Britain. At Walker Art Gallery, I was told that it has best collections of Victorian paintings in the world, and is the home of modern art in the north of England. However, culture is more than galleries. Liverpool offers many music events. As Britain’s No.1 music city, it has the biggest city music festival in Europe, and its musicians are famous all over the world. Liverpool is also well-known for its football and other sports events. Every year, the Mersey River Festival attracts thousands of visitors, madding the city a place of wonder.As you would expect from such a city, there are restaurants serving food from around the world. When my trip was about to complete, I chose to rest my legs in Liverpool’s famous Philharmonic pub (酒馆). It is a monument to perfection, and a heritage attraction itself.Being a World Heritage Site, my home city is certainly a place of “outstanding universal value”. It is a treasure house with plenty of secrets for the world to explore.68. Visitors who see the city for the first time would be deeply impressed by __________.A. its charming banksB. its famous museumsC. its wonderful palacesD. its attractive buildings
听力原文：M: Did you talk with our new manager? He is looking for you these days. I think he has something important.W: I have been out of town for 2 days. And until this morning I come back.Q: What does the woman mean?(17)A．She hasn't talked with the new manager yet.B．The new manager was not in the office.C．She has been at home.D．She didn't want to talk with the new manager.
His sister left home in 1998, and _______since.A. has not been heard of B. has not been heard ofC. had not heard of D. has not heard of
His sister left home in 1998, and_________ since.A．had not been heard ofB．has not been heard ofC．had not heard ofD．has not heard of
To advertise his new movie, the director rode a Camel at Cannes, which was, so to speak, the most outrageous _______ I have ever seen. A、free sampleB、publicity stuntC、banner adD、hoarding
Tom () since he lost his job three weeks ago. A、has employedB、was unemployedC、had been unemployedD、has been unemployed
Next month I _______a meeting with an organization in New York. A、would haveB、am havingC、was having
The boy has been taking piano lessons from my neighbor ( ) he was 12. A、ever sinceB、ever whenC、from whenD、from since
The most appropriate title for this text is.［A］Differences between Two Webs［B］The Humanization of Computer Software［C］A New Solution to World Problems［D］The Creator and His Next Creation
It has been proposed that we ______ our decision until the next meeting.A.delayeDB.delayC.can delayD.are to delay
Text 1 The decision of the New York Philharmonic to hire Alan Gilbert as its next music director has been the talk of the classical-music world ever since the sudden announcement of his appointment in 2009.For the most part,the response has been favorable,to say the least.“Hooray!At last!”wrote Anthony Tommasini,a sober-sided classical-music critic.One of the reasons why the appointment came as such a surprise,however,is that Gilbert is comparatively little known.Even Tommasini,who had advocated Gilbert’s appointment in the Times,calls him“an unpretentious musician with no air of the formidable conductor about him.”As a description of the next music director of an orchestra that has hitherto been led by musicians like Gustav Mahler and Pierre Boulez,that seems likely to have struck at least some Times readers as faint praise.For my part,I have no idea whether Gilbert is a great conductor or even a good one.To be sure,he performs an impressive variety of interesting compositions,but it is not necessary for me to visit Avery Fisher Hall,or anywhere else,to hear interesting orchestral music.All I have to do is to go to my CD shelf,or boot up my computer and download still more recorded music from iTunes.Devoted concertgoers who reply that recordings are no substitute for live performance are missing the point.For the time,attention,and money of the art-loving public,classical instrumentalists must compete not only with opera houses,dance troupes,theater companies,and museums,but also with the recorded performances of the great classical musicians of the 20th century.There recordings are cheap,available everywhere,and very often much higher in artistic quality than today’s live performances;moreover,they can be“consumed”at a time and place of the listener’s choosing.The widespread availability of such recordings has thus brought about a crisis in the institution of the traditional classical concert.One possible response is for classical performers to program attractive new music that is not yet available on record.Gilbert’s own interest in new music has been widely noted:Alex Ross,a classical-music critic,has described him as a man who is capable of turning the Philharmonic into“a markedly different,more vibrant organization.”But what will be the nature of that difference?Merely expanding the orchestra’s repertoire will not be enough.If Gilbert and the Philharmonic are to succeed,they must first change the relationship between America’s oldest orchestra and the new audience it hops to attract.25.Regarding Gilbert’s role in revitalizing the Philharmonic,the author feelsA.doubtful.B.enthusiastic.C.confident.D.puzzled.
Text 1 The decision of the New York Philharmonic to hire Alan Gilbert as its next music director has been the talk of the classical-music world ever since the sudden announcement of his appointment in 2009.For the most part,the response has been favorable,to say the least.“Hooray!At last!”wrote Anthony Tommasini,a sober-sided classical-music critic.One of the reasons why the appointment came as such a surprise,however,is that Gilbert is comparatively little known.Even Tommasini,who had advocated Gilbert’s appointment in the Times,calls him“an unpretentious musician with no air of the formidable conductor about him.”As a description of the next music director of an orchestra that has hitherto been led by musicians like Gustav Mahler and Pierre Boulez,that seems likely to have struck at least some Times readers as faint praise.For my part,I have no idea whether Gilbert is a great conductor or even a good one.To be sure,he performs an impressive variety of interesting compositions,but it is not necessary for me to visit Avery Fisher Hall,or anywhere else,to hear interesting orchestral music.All I have to do is to go to my CD shelf,or boot up my computer and download still more recorded music from iTunes.Devoted concertgoers who reply that recordings are no substitute for live performance are missing the point.For the time,attention,and money of the art-loving public,classical instrumentalists must compete not only with opera houses,dance troupes,theater companies,and museums,but also with the recorded performances of the great classical musicians of the 20th century.There recordings are cheap,available everywhere,and very often much higher in artistic quality than today’s live performances;moreover,they can be“consumed”at a time and place of the listener’s choosing.The widespread availability of such recordings has thus brought about a crisis in the institution of the traditional classical concert.One possible response is for classical performers to program attractive new music that is not yet available on record.Gilbert’s own interest in new music has been widely noted:Alex Ross,a classical-music critic,has described him as a man who is capable of turning the Philharmonic into“a markedly different,more vibrant organization.”But what will be the nature of that difference?Merely expanding the orchestra’s repertoire will not be enough.If Gilbert and the Philharmonic are to succeed,they must first change the relationship between America’s oldest orchestra and the new audience it hops to attract.21.We learn from Para.1 that Gilbert’s appointment hasA.incurred criticism.B.raised suspicion.C.received acclaim.D.aroused curiosity.
Text 1 The decision of the New York Philharmonic to hire Alan Gilbert as its next music director has been the talk of the classical-music world ever since the sudden announcement of his appointment in 2009.For the most part,the response has been favorable,to say the least.“Hooray!At last!”wrote Anthony Tommasini,a sober-sided classical-music critic.One of the reasons why the appointment came as such a surprise,however,is that Gilbert is comparatively little known.Even Tommasini,who had advocated Gilbert’s appointment in the Times,calls him“an unpretentious musician with no air of the formidable conductor about him.”As a description of the next music director of an orchestra that has hitherto been led by musicians like Gustav Mahler and Pierre Boulez,that seems likely to have struck at least some Times readers as faint praise.For my part,I have no idea whether Gilbert is a great conductor or even a good one.To be sure,he performs an impressive variety of interesting compositions,but it is not necessary for me to visit Avery Fisher Hall,or anywhere else,to hear interesting orchestral music.All I have to do is to go to my CD shelf,or boot up my computer and download still more recorded music from iTunes.Devoted concertgoers who reply that recordings are no substitute for live performance are missing the point.For the time,attention,and money of the art-loving public,classical instrumentalists must compete not only with opera houses,dance troupes,theater companies,and museums,but also with the recorded performances of the great classical musicians of the 20th century.There recordings are cheap,available everywhere,and very often much higher in artistic quality than today’s live performances;moreover,they can be“consumed”at a time and place of the listener’s choosing.The widespread availability of such recordings has thus brought about a crisis in the institution of the traditional classical concert.One possible response is for classical performers to program attractive new music that is not yet available on record.Gilbert’s own interest in new music has been widely noted:Alex Ross,a classical-music critic,has described him as a man who is capable of turning the Philharmonic into“a markedly different,more vibrant organization.”But what will be the nature of that difference?Merely expanding the orchestra’s repertoire will not be enough.If Gilbert and the Philharmonic are to succeed,they must first change the relationship between America’s oldest orchestra and the new audience it hops to attract.23.The author believes that the devoted concertgoersA.ignore the expenses of live performances.B.reject most kinds of recorded performances.C.exaggerate the variety of live performances.D.overestimate the value of live performances.
Text 1 The decision of the New York Philharmonic to hire Alan Gilbert as its next music director has been the talk of the classical-music world ever since the sudden announcement of his appointment in 2009.For the most part,the response has been favorable,to say the least.“Hooray!At last!”wrote Anthony Tommasini,a sober-sided classical-music critic.One of the reasons why the appointment came as such a surprise,however,is that Gilbert is comparatively little known.Even Tommasini,who had advocated Gilbert’s appointment in the Times,calls him“an unpretentious musician with no air of the formidable conductor about him.”As a description of the next music director of an orchestra that has hitherto been led by musicians like Gustav Mahler and Pierre Boulez,that seems likely to have struck at least some Times readers as faint praise.For my part,I have no idea whether Gilbert is a great conductor or even a good one.To be sure,he performs an impressive variety of interesting compositions,but it is not necessary for me to visit Avery Fisher Hall,or anywhere else,to hear interesting orchestral music.All I have to do is to go to my CD shelf,or boot up my computer and download still more recorded music from iTunes.Devoted concertgoers who reply that recordings are no substitute for live performance are missing the point.For the time,attention,and money of the art-loving public,classical instrumentalists must compete not only with opera houses,dance troupes,theater companies,and museums,but also with the recorded performances of the great classical musicians of the 20th century.There recordings are cheap,available everywhere,and very often much higher in artistic quality than today’s live performances;moreover,they can be“consumed”at a time and place of the listener’s choosing.The widespread availability of such recordings has thus brought about a crisis in the institution of the traditional classical concert.One possible response is for classical performers to program attractive new music that is not yet available on record.Gilbert’s own interest in new music has been widely noted:Alex Ross,a classical-music critic,has described him as a man who is capable of turning the Philharmonic into“a markedly different,more vibrant organization.”But what will be the nature of that difference?Merely expanding the orchestra’s repertoire will not be enough.If Gilbert and the Philharmonic are to succeed,they must first change the relationship between America’s oldest orchestra and the new audience it hops to attract.22.Tommasini regards Gilbert as an artist who isA.influential.B.modest.C.respectable.D.talented.
共用题干On May 1,2006,New York's Empire State Building celebrated its 75th birthday.When it was built in 1931 it was over 61 m taller than its nearest rival,the Chrysler Building,and at 381m remained the tallest in the world for 41 years,until the World Trade Center was completed in 1972- 1973.The story of the Empire State Building begins with two men's race to build the highest man-made structure in the world.In 1889 the central feature of the World's Fair in Pairs was Gustav Eiffel's massive tower,constructed with wrought iron,and standing 300m high.Architects in the United States viewed this as something of a challenge,and by the early 20th century the race was on to erect taller buildings than ever before.Soon skyscrapers were springing up along the New York sky-line.In 1928 the founder of the Chrysler Corporation,Walter Chrysler,announced the building of a huge new skyscraper,taller than anything so far constructed in New York.It soon became clear that the new building was part of Chrysler's aim to challenge the motoring giant General Motors.So John Jakob Raskob,of General Motors,decided to race Chrysler to the top.The final height of Chrysler's building was kept secret until it was completed,so Raskob instructed his architects to construct the highest tower they could.Their architectural plans had to be modified as the Chrysler Building grew ever higher,but when it topped 77 stories the Empire State Building team knew that they could beat it.No building project has yet exceeded the Empire State Building's record for speed of construclion.From the beginning of construction in March 1930 it took 410 days and approximately 7 million man-hours to build.It rose at an astonishing speed of 4.5 stories per week,thanks to careful planning and quality of work.The building was officially opened on May 1,1931,by President Hoover. Even the World Trade Center can not compete with the New York's Empire State Building with its height.A:Right B:Wrong C:Not mentioned
His sister left home in 1998，and（）since．A.had not been heard ofB.has not been heard ofC.had not heard ofD.has not heard of
Alan,along with his parents,__________to Toronto.A.have movedB.has movedC.are movingD.have been moving
By next year he（）in New York for five years.Ahas workedBhas been workingCworksDwill have worked
By next year he（）in New York for five years.A、has workedB、has been workingC、worksD、will have worked
Mike has been using RIS (Remote Installation Services), to install all new workstations on his network. A new Service Pack has recently been released from Microsoft and he wants to update his new image. He brings up his test workstation that has Windows 2000 Professional on it and installs the new Service Pack. What is the next step Mike must take?（）A、Slipstream this Service Pack to the CD image on the RIS Server.B、Use xcopy to copy all files to the RIS server.C、Run Riprep.exeD、Run Sysprep.exe
单选题A rogue loose called a hacker could take control of the entire system by implanting his own instructions in the software and then he could program the computer to erase any sign ______ .Aof his being ever thereBhe ever has been thereCof his having ever been thereDof him having ever been there
单选题By next year he（）in New York for five years.Ahas workedBhas been workingCworksDwill have worked
单选题Hannah finished building her new all-purpose projects room last year, and she has been working in the room ever since.Aand she has been working in the room ever sinceBand since that time she has worked thereCwhere always since she worksDshe has been working in that room ever sinceEand since then is working there
单选题Ever since I arrived here, I _____ in the dormitory because it is cheaper.AlivedBwas livingChad been livingDhave been living
单选题Which of the following sentences is INCORRECT?AHis father has been dead for six years.BHis father died six years ago.CIt’s six years since his father had died.DIt has been two years since his father’s death.
单选题Blues musician Paul “Poboy” Smith, born in Tupelo, Mississippi, in 1936, has since 1958 been a fixture on the southern blues scene after the release of his debut album in that year.ABlues musician Paul “Poboy” Smith, born in Tupelo, Mississippi, in 1936, has since 1958 been a fixture on the southern blues scene after the release of his debut album in that year.BBeing born in 1936 in Tupelo, Mississippi, blues musician Paul “Poboy” Smith released his debut album in 1958 and has been a fixture on the southern blues scene since then.CBorn in Tupelo, Mississippi, in 1936, blues musician Paul “Poboy” Smith has been a fixture on the southern blues scene since the release of his debut album in 1958.DHaving been a fixture on the southern blues scene since 1958 when he released his debut album, Paul “Poboy” Smith is a blues musician who was born in 1936 in Tupelo, Mississippi.ESince the release of his debut album in 1958, blues musician Paul “Poboy” Smith has been a fixture on the southern blues scene; he was born in Tupelo, Mississippi in 1936.