2006年9月中级口译听力录音文本六
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Questions 23 to 26 are based on the following talk.

We may engage ourselves with music as a creator, that is a composer, or as a recreator, that is a performer, but most of us engaged ourselves with music as a receiver(Question 23). That is a listener. As a listener, we respond to music with different levels of receptivity. We may be very causal and careless about the way we hear music, paying almost no attention to it. Elevator or telephone music, for example, is not meant to be listened to intently. We have all used music as background sound to create a pleasant atmosphere for our own quiet thought. On the other hand, especially when we are on the road, an easy listening station can create a dream-like haze1 and we may deliberately2 turn out the music so as to concentrate on the driving(Question 24). However, there are other times when music is the center of our focus. And we give it our full attention. This could be in a church, at a special event or at a concert(Question 25). But how are we supposed to listen and what are we supposed to listen for. Basically, there are two ways to experience music. Some people let the sounds wash over them like a sauna bath and a emotional flood. This is the sensuous3 level. Over listeners respond on a perceptive4 or analytical5 level, paying attention to various aspects of the music as they unfold. They listen for musical events. The first level of attending to music is purely6 emotive. The second analytical. Ideally, we learn to listen more perceptively7 in order to increase the emotional impact. As a result, the second way of perceptive or analytical listening reveals the expressive8 power of the music composition so that we can enjoy it more fully9 (Question 26).

Question 23: What role do most of us play when we engage ourselves in listening to music?

Question 24: Why do we sometimes deliberately turn out the music when we are on the road?

Question 25: According to the talk, where is music likely to become the center of our focus?

Question 26: How can we enjoy the music composition more fully?

大意:本文主要介绍了音乐欣赏。有的音乐会认真听,有的只是随意听,有的人听音乐停留在感官的层面,有些会分析感受。本文稍有难度。



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1 haze O5wyb     
n.霾,烟雾;懵懂,迷糊;vi.(over)变模糊
参考例句:
  • I couldn't see her through the haze of smoke.在烟雾弥漫中,我看不见她。
  • He often lives in a haze of whisky.他常常是在威士忌的懵懂醉意中度过的。
2 deliberately Gulzvq     
adv.审慎地;蓄意地;故意地
参考例句:
  • The girl gave the show away deliberately.女孩故意泄露秘密。
  • They deliberately shifted off the argument.他们故意回避这个论点。
3 sensuous pzcwc     
adj.激发美感的;感官的,感觉上的
参考例句:
  • Don't get the idea that value of music is commensurate with its sensuous appeal.不要以为音乐的价值与其美的感染力相等。
  • The flowers that wreathed his parlor stifled him with their sensuous perfume.包围著客厅的花以其刺激人的香味使他窒息。
4 perceptive muuyq     
adj.知觉的,有洞察力的,感知的
参考例句:
  • This is a very perceptive assessment of the situation.这是一个对该情况的极富洞察力的评价。
  • He is very perceptive and nothing can be hidden from him.他耳聪目明,什么事都很难瞒住他。
5 analytical lLMyS     
adj.分析的;用分析法的
参考例句:
  • I have an analytical approach to every survey.对每项调查我都采用分析方法。
  • As a result,analytical data obtained by analysts were often in disagreement.结果各个分析家所得的分析数据常常不一致。
6 purely 8Sqxf     
adv.纯粹地,完全地
参考例句:
  • I helped him purely and simply out of friendship.我帮他纯粹是出于友情。
  • This disproves the theory that children are purely imitative.这证明认为儿童只会单纯地模仿的理论是站不住脚的。
7 perceptively b5f265053226925b8b29b88dd72cd548     
adv.洞察力强地,敏锐地
参考例句:
  • Perceptively, Keynes anticipated the development of a paradox. 凯恩斯敏锐地预见到了一个悖论的演变。 来自互联网
8 expressive shwz4     
adj.表现的,表达…的,富于表情的
参考例句:
  • Black English can be more expressive than standard English.黑人所使用的英语可能比正式英语更有表现力。
  • He had a mobile,expressive,animated face.他有一张多变的,富于表情的,生动活泼的脸。
9 fully Gfuzd     
adv.完全地,全部地,彻底地;充分地
参考例句:
  • The doctor asked me to breathe in,then to breathe out fully.医生让我先吸气,然后全部呼出。
  • They soon became fully integrated into the local community.他们很快就完全融入了当地人的圈子。
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