考博英语作文背诵经典(带翻译) K-#d1+P+
01 The Language of Music DC*MB:c#U
A painter hangs his or her finished picture on a wall, and everyone can see zQ{bMj<S
it. A composer writes a work, but no one can hear it until it is performed. M.}J SDt
Professional singers and players have great responsibilities, for the *->*p35
composer is utterly dependent on them. A student of music needs as long and p<L{e~{!7f
as arduous a training to become a performer as a medical student needs to [1kQ-Ko`
become a doctor. Most training is concerned with technique, for {TpbUj0
musicians have to have the muscular proficiency of an athlete or a ballet b/
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dancer. Singers practice breathing every day, as their vocal chords would 6P717[
be inadequate without controlled muscular support. String players practice RIXeV*ix
moving the fingers of the left hand up and down, while drawing the bow to -i{_$G8W/c
and fro with the right arm -- two entirely different movements. >wmHCOL:
Singers and instrumentalists have to be able to get every note perfectly in ]-{fr+
tune. Pianists are spared this particular anxiety, for the notes are $ MH;v_'a
already there, waiting for them, and it is the piano tuner's responsibility T%6JVFD
to tune the instrument for them. But they have their own difficulties: the upaP,ik}~
hammers that hit the strings have to be coaxed not to sound *1kFy_Gx
like percussion, and each overlapping tone has to sound clear. qm><}N7f
This problem of getting clear texture is one that confronts student 3\j`
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conductors: they have to learn to know every note of the music and how it '=Zm[P,
should sound, and they have to aim at controlling these sounds with 9AhA"+?
fanatical but selfless authority. k6ry"W3
Technique is of no use unless it is combined with musical knowledge 9|<Li[
and understanding. Great artists are those who are so thoroughly at home in iTAj${ >
the language of music that they can enjoy performing works written in any _d3Z~cH
century. [>a3` 0M
01 音乐的语言 uGC5XX^
画家将已完成的作品挂在墙上,每个人都可以观赏到。 作曲家写完了一部作品,得由 }g-w[w 7p
演奏者将其演奏出来,其他人才能得以欣赏。因为作曲家是如此完全地依赖于职业歌手和职 业演奏者,所以职业歌手和职业演奏者肩上的担子可谓不轻。 |\uj(|
一名学音乐的学生要想成为 一名演奏者,需要经受长期的、严格的训练,就象一名医科的学生要成为一名医生一样。 绝 大多数的训练是技巧性的。 P7=`P
音乐家们控制肌肉的熟练程度,必须达到与运动员或巴蕾舞演 员相当的水平。 歌手们每天都练习吊嗓子,因为如果不能有效地控制肌肉的话,他们的声 X/:V{2
带将不能满足演唱的要求。 弦乐器的演奏者练习的则是在左手的手指上下滑动的同时,用 rD <T
右手前后拉动琴弓--两个截然不同的动作。歌手和乐器演奏者必须使所有的音符完全相同协 调。 钢琴家们则不用操这份心,因为每个音符都已在那里等待着他们了。 &nr{-][
给钢琴调音是调 音师的职责。 但调音师们也有他们的难处: 他们必须耐心地调理敲击琴弦的音锤,不能让 &Hp*A^M
音锤发出的声音象是打击乐器,而且每个交叠的音都必须要清晰。如何得到乐章清晰的纹理 & tT6.@kH
是学生指挥们所面临的难题:他们必须学会了解音乐中的每一个音及其发音之道。 他们还 hO$Gx*e$
必须致力于以热忱而又客观的权威去控制这些音符。除非是和音乐方面的知识和悟性结合起 来,单纯的技巧没有任何用处。 uoE+:,P
艺术家之所以伟大在于他们对音乐语言驾轻就熟,以致于 可以满怀喜悦地演出写于任何时代的作品。
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>02 Schooling and Education &t8,326;
It is commonly believed in the United States that school is where people xS12$ib ~G
go to get an education. Nevertheless, it has been said that today }hg=#*
children interrupt their education to go to school. The distinction Q<AOc\oO
between schooling and education implied by this remark is important. *Oy*
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Education is much more open-ended and all-inclusive than schooling. #N`G2}1J
Education knows no bounds. It can take place anywhere, whether in the !J;Bm,Xn6
shower or in the job, whether in a kitchen or on a tractor. It includes :tO4LEb
both the formal learning that takes place in schools and the whole Q]TZyk
universe of informal learning. The agents of education can range from a q7KHx b
revered grandparent to the "1Hn?4nz5
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people debating politics on the radio, from a child to a distinguished sz270k%[
scientist. PUO7Z2
Whereas schooling has a certain predictability, education quite often Rl cL(HM
produces surprises. A chance conversation with a stranger may lead a person $Q#n'#c
to discover how little is known of other religions. People are engaged in &_