公共英語(yǔ)二級(jí)閱讀理解文章
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公共英語(yǔ)二級(jí)閱讀理解文章一
If by "suburb" is meant an urban margin that grows more rapidly than its already developed interior, the process of suburbanization began during the emergence of the industrial city in the second quarter of the nineteenth century. Before that period the city was a small highly compact cluster in which people moved about on foot and goods were conveyed by horse and cart. But the early factories built in the 1830's and 1840's were located along waterways and near railheads at the edges of cities, and housing was needed for the thousands of people drawn by the prospect of employment. In time, the factories were surrounded by proliferating mill towns of apartments and row houses that abutted the older, main cities. As a defense against this encroachment and to enlarge their tax bases, the cities appropriated their industrial neighbors. In 1854, for example, the city of Philadelphia annexed most of Philadelphia County. Similar municipal maneuvers took place in Chicago and in New York. Indeed, most great cities of the United States achieved such status only by incorporating the communities along their borders.
With the acceleration of industrial growth came acute urban crowding and accompanying social stress —— conditions that began to approach disastrous proportions when, in 1888, the first commercially successful electric traction line was developed. Within a few years the horse-drawn trolleys were retired and electric streetcar networks crisscrossed and connected every major urban area, fostering a wave of suburbanization that transformed the compact industrial city into a dispersed metropolis.This first phase of mass-scale suburbanization was reinforced by the simultaneous emergence of the urban Middle Class, whose desires for homeownership in neighborhoods far from the aging inner city were satisfied by the developers of single-family housing tracts.
如果"郊區(qū)"指的是比已建好的城市內(nèi)部發(fā)展更為迅速的城市邊緣地帶，那么郊區(qū)化可以說(shuō)始于1825 年至1850年工業(yè)化城市出現(xiàn)期間。在這之前，城市只是高度密集的小聚居群。在其中，人們步行走動(dòng)，商品靠馬車(chē)來(lái)運(yùn)送。但是建于18 世紀(jì)三四十年代的早期工廠位于城邊的航道和鐵路附近，被工作機(jī)會(huì)吸引到這里的成千上萬(wàn)的人們需要住房。漸漸地，在與舊有的主要城區(qū)相毗鄰的地方，不斷涌現(xiàn)出由排房和公寓樓組成的工人聚居區(qū)，包圍了工廠。作為對(duì)這種侵蝕的自衛(wèi)，也為了擴(kuò)大它們收稅的.地域范圍，城市吞并了工業(yè)化的臨近地帶，比如1854 年費(fèi)城的城區(qū)就兼并了費(fèi)縣的絕大部分地區(qū)。相似的城市化也發(fā)生在芝加哥和紐約。今天很多美國(guó)的大城市其實(shí)就是靠吞并它們附近的邊緣地區(qū)而變成大都會(huì)的。
隨著工業(yè)化的加速發(fā)展，城市里出現(xiàn)了嚴(yán)重?fù)頂D和相伴而來(lái)的社會(huì)壓力。當(dāng)1888 年第一條商業(yè)上成功的電氣化鐵軌被制造出來(lái)時(shí)，壓力開(kāi)始接近危機(jī)的程度。幾年之內(nèi)，馬車(chē)就被廢棄了，電車(chē)網(wǎng)相互交織連接著各個(gè)重要的城區(qū)，從而形成了一種郊區(qū)化的潮流，即密集的工業(yè)城市轉(zhuǎn)變成了分散的都市。此時(shí)城市中產(chǎn)階級(jí)的出現(xiàn)進(jìn)一步加強(qiáng)了第一波大規(guī)模郊區(qū)化。這些中產(chǎn)階級(jí)希望在遠(yuǎn)離老舊城市的地區(qū)擁有住宅，單一家庭住宅地區(qū)的開(kāi)發(fā)者滿(mǎn)足了他們的愿望。單一家庭住宅地區(qū)的開(kāi)發(fā)者滿(mǎn)足了他們的愿望。
公共英語(yǔ)二級(jí)閱讀理解文章二
A painter hangs his or her finished picture on a wall, and everyone can see it. A composer writes a work, but no one can hear it until it is performed. Professional singers and players have great responsibilities, for the composer is utterly dependent on them. A student of music needs as long and as arduous a training to become a performer as a medical student needs to become a doctor. Most training is concerned with technique, for musicians have to have the muscular proficiency of an athlete or a ballet dancer. Singers practice breathing every day, as their vocal chords would be inadequate without controlled muscular support. String players practice moving the fingers of the left hand up and down, while drawing the bow to and fro with the right arm —— two entirely different movements.
Singers and instrumentalists have to be able to get every note perfectly in tune. Pianists are spared this particular anxiety, for the notes are already there, waiting for them, and it is the piano tuner's responsibility to tune the instrument for them. But they have their own difficulties: the hammers that hit the strings have to be coaxed not to sound like percussion, and each overlapping tone has to sound clear.
This problem of getting clear texture is one that confronts student conductors: they have to learn to know every note of the music and how it should sound, and they have to aim at controlling these sounds with fanatical but selfless authority.
Technique is of no use unless it is combined with musical knowledge and understanding. Great artists are those who are so thoroughly at home in the language of music that they can enjoy performing works written in any century.
畫(huà)家將已完成的作品掛在墻上，每個(gè)人都可以觀賞到。作曲家寫(xiě)完了一部作品，得由 演奏者將其演奏出來(lái)，其他人才能得以欣賞。因?yàn)樽髑沂侨绱送耆匾蕾?lài)于職業(yè)歌手和職 業(yè)演奏者，所以職業(yè)歌手和職業(yè)演奏者肩上的擔(dān)子可謂不輕。一名學(xué)音樂(lè)的學(xué)生要想成為一名演奏者，需要經(jīng)受長(zhǎng)期的、嚴(yán)格的訓(xùn)練，就象一名醫(yī)科的學(xué)生要成為一名醫(yī)生一樣。絕大多數(shù)的訓(xùn)練是技巧性的。音樂(lè)家們控制肌肉的熟練程度，必須達(dá)到與運(yùn)動(dòng)員或巴蕾舞演員相當(dāng)?shù)乃健８枋謧兠刻於季毩?xí)吊嗓子，因?yàn)槿绻荒苡行У乜刂萍∪獾脑?huà)，他們的聲帶將不能滿(mǎn)足演唱的要求。弦樂(lè)器的演奏者練習(xí)的則是在左手的手指上下滑動(dòng)的同時(shí)，用右手前后拉動(dòng)琴弓——兩個(gè)截然不同的動(dòng)作。
歌手和樂(lè)器演奏者必須使所有的音符完全相同協(xié)調(diào)。鋼琴家們則不用操這份心，因?yàn)槊總�(gè)音符都已在那里等待著他們了。給鋼琴調(diào)音是調(diào) 音師的職責(zé)。但調(diào)音師們也有他們的難處：他們必須耐心地調(diào)理敲擊琴弦的.音錘，不能讓音錘發(fā)出的聲音象是打擊樂(lè)器，而且每個(gè)交疊的音都必須要清晰。
如何得到樂(lè)章清晰的紋理是學(xué)生指揮們所面臨的難題：他們必須學(xué)會(huì)了解音樂(lè)中的每一個(gè)音及其發(fā)音之道。 他們還 必須致力于以熱忱而又客觀的權(quán)威去控制這些音符。除非是和音樂(lè)方面的知識(shí)和悟性結(jié)合起來(lái)，單純的技巧沒(méi)有任何用處。藝術(shù)家之所以偉大在于他們對(duì)音樂(lè)語(yǔ)言駕輕就熟，以致于可以滿(mǎn)懷喜悅地演出寫(xiě)于任何時(shí)代的作品。
音樂(lè)方面的知識(shí)和悟性結(jié)合起來(lái)，單純的技巧沒(méi)有任何用處。藝術(shù)家之所以偉大在于他們對(duì)音樂(lè)語(yǔ)言駕輕就熟，以致于可以滿(mǎn)懷喜悅地演出寫(xiě)于任何時(shí)代的作品。
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