1、3Astabilizing Bboosting Cimpairing Ddetermining4Atransmit Bsustain Cevaluate Dobserve5Ameasurable Bmanageable Caffordable Drenewable6AIn turn BIn fact CIn addition DIn brief7Aopposite Bimpossible Caverage Dexpected8Ahardens Bweakens Ctightens Drelaxes9Aaggravate Bgenerate Cmoderate Denhance10Aphysic
2、al Bmental Csubconscious Dinternal11AExcept for BAccording to CDue to DAs for12Awith Bon Cin Dat13Aunless Buntil Cif Dbecause14Aexhausts Bfollows Cprecedes Dsuppresses15Ainto Bfrom Ctowards Dbeyond16Afetch Bbite Cpick Dhold17Adisappointed Bexcited Cjoyful Dindifferent18Aadapted Bcatered Cturned Drea
3、cted19Asuggesting Brequiring Cmentioning Dsupposing20AEventually BConsequently CSimilarly DConverselySection II Reading ComprehensionPart ARead the following four texts. Answer the questions below each text by choosing A, B, C or D. Mark your answers on ANSWER SHEET 1. (40 points)Text 1The decision
4、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,
5、 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 Gilberts appointment in the Times, calls him “an unpretentious musician with no air of the formidable conduc
6、tor 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 e
7、ven 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 recor
8、ded 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 mu
9、seums, 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 todays live performances; moreover, they can be “consumed” at a time and place of the listeners c
10、hoosing. 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. Gilberts own interest in new music ha
11、s 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 orchestras repertoire will not be enough. If Gi
12、lbert and the Philharmonic are to succeed, they must first change the relationship between Americas oldest orchestra and the new audience it hops to attract.21. We learn from Para.1 that Gilberts appointment hasAincurred criticism.Braised suspicion.Creceived acclaim.Daroused curiosity.22. Tommasini
13、regards Gilbert as an artist who is Ainfluential.Bmodest.Crespectable.Dtalented.23. The author believes that the devoted concertgoersAignore the expenses of live performances.Breject most kinds of recorded performances.Cexaggerate the variety of live performances.Doverestimate the value of live perf
14、ormances.24. According to the text, which of the following is true of recordings?AThey are often inferior to live concerts in quality.BThey are easily accessible to the general public.CThey help improve the quality of music.DThey have only covered masterpieces.25. Regarding Gilberts role in revitali
15、zing the Philharmonic, the author feelsAdoubtful.Benthusiastic.Cconfident.Dpuzzled.Text 2When Liam McGee departed as president of Bank of America in August, his explanation was surprisingly straight up. Rather than cloaking his exit in the usual vague excuses, he came right out and said he was leavi
16、ng “to pursue my goal of running a company.” Broadcasting his ambition was “very much my decision,” McGee says. Within two weeks, he was talking for the first time with the board of Hartford Financial Services Group, which named him CEO and chairman on September 29.McGee says leaving without a posit
17、ion lined up gave him time to reflect on what kind of company he wanted to run. It also sent a clear message to the outside world about his aspirations. And McGee isnt alone. In recent weeks the No.2 executives at Avon and American Express quit with the explanation that they were looking for a CEO p
18、ost. As boards scrutinize succession plans in response to shareholder pressure, executives who dont get the nod also may wish to move on. A turbulent business environment also has senior managers cautious of letting vague pronouncements cloud their reputations. As the first signs of recovery begin t
19、o take hold, deputy chiefs may be more willing to make the jump without a net. In the third quarter, CEO turnover was down 23% from a year ago as nervous boards stuck with the leaders they had, according to Liberum Research. As the economy picks up, opportunities will abound for aspiring leaders.The
20、 decision to quit a senior position to look for a better one is unconventional. For years executives and headhunters have adhered to the rule that the most attractive CEO candidates are the ones who must be poached. Says Korn/Ferry senior partner Dennis Carey:”I cant think of a single search Ive don
21、e where a board has not instructed me to look at sitting CEOs first.”Those who jumped without a job havent always landed in top positions quickly. Ellen Marram quit as chief of Tropicana a decade age, saying she wanted to be a CEO. It was a year before she became head of a tiny Internet-based commod
22、ities exchange. Robert Willumstad left Citigroup in 2005 with ambitions to be a CEO. He finally took that post at a major financial institution three years later.Many recruiters say the old disgrace is fading for top performers. The financial crisis has made it more acceptable to be between jobs or
23、to leave a bad one. “The traditional rule was its safer to stay where you are, but thats been fundamentally inverted,” says one headhunter. “The people whove been hurt the worst are those whove stayed too long.”26. When McGee announced his departure, his manner can best be described as beingAarrogan
24、t.Bfrank.Cself-centered.Dimpulsive.27. According to Paragraph 2, senior executives quitting may be spurred byAtheir expectation of better financial status.Btheir need to reflect on their private life.Ctheir strained relations with the boards.Dtheir pursuit of new career goals.28. The word “poached”
25、(Line 3, Paragraph 4) most probably meansAapproved of.Battended to.Chunted for.Dguarded against.29. It can be inferred from the last paragraph thatAtop performers used to cling to their posts.Bloyalty of top performers is getting out-dated.Ctop performers care more about reputations.Dits safer to st
26、ick to the traditional rules.30. Which of the following is the best title for the text?ACEOs: Where to Go?BCEOs: All the Way Up?CTop Managers Jump without a NetDThe Only Way Out for Top PerformersText 3The rough guide to marketing success used to be that you got what you paid for. No longer. While traditional “paid” media such as television commercials and print advertisements still play a major role, companies today can exploit many alternative forms of media. Consumers passionate about a product may create “owned” me
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