Conductor: Good morning,, please？Passenger: Here you are. A． can I have your ti

A.good mor /o

B.good morn/o

C.good morn/m

D.good mor/ o

A.good mor /o

B.good morn/o

C.good morn/m

D.good mor/ o

A.good mor /o

B.good morn/o

C.good morn/m

D.good mor/ o

A. is a good conductor

B. is a good insulator

C. are good conductors

D. are good insulators

A.is a good conductor B. is a good insulator

C. are good conductors D. are good insulators

A.is a good conductor

B.is a good insulator

C.are good conductor

D.are good insulators

rip recently, but my trip took me longer than I expecteD.

"I'm going to Woodford Green," I said to the conductor as I got on the bus, "but I don't know where it is."

"I'll tell you where to get off," answered the conductor.

I sat in the front of the bus to get a good view of the countryside. After some time, the bus stoppeD.Looking around, I realized with a shock that I was the only passenger left on the bus.

"You'll have to get off here," the conductor saiD."This is as far as we go."

"Is this Woodford Green？" I askeD.

"Oh, dear," said the conductor suddenly. "I forgot to put you off."

"It doesn't matter," I saiD."I'll get off here."

"We are going back now," said the conductor.

"Well, in that case, I would prefer to stay on the bus," I answereD.

1. The conductor ________.

：A.got angry when he found out the author was still on the bus

B.wanted to make a joke with the author

C.was rude to the author at first

D.forgot to tell the author where to get off the bus

阅读材料，回答题。

Some psychologists(心理专家) maintain that mental acts such as thinking are not performedin the brain alone, but that one&39; s muscles also participate. It may be said that we think with ourmuscles in somewhat the same way that we listen to music with our bodies.

You surely are not surprised to be told that you usually listen to music not only with your ears butwith your whole body. Few people can listen to music without moving their body or, more specifically,some part of their body. Often when one listens to a symphonic concert on the radio, he is attracted todirect the orchestra (乐队) even though he knows there is a good conductor on the job.Strange as this behavior. may be, there is a very good reason for it. One cannot derive all pos-sible enjoyment from music unless he participates, so to speak, in its performance. The listener"feels" himself into the music with more or less noticeable motions of his body. The muscles of the body actually participate in the mental process of thinking in the same

way, but this participation is less obvious because it is less noticeable.

Some psychologists think that thinking is__________ 查看材料

A.not a mental process

B.more of a physical process than a mental action

C.a process that involves our entire bodies

D.a process that involves the muscles as well as the brain

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 20' century. There recordings are cheap, a-vailable 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 hopes to attract.