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完形填空
A crowd gathered recently to hear a popular jazz band. The music was good, and the _______ were very talented. But everyone had come to see one player _______，the 9yearold boy, Jose Andre Montano.
Why were so many musiclovers interested in _______ this young man perform? It is because he is a jazz _______， and he is blind.
Jose's life began in Totora, Bolivia, ________ he was born blind. Yet _______ his lack of sight, the boy began playing the drums at the age of 4. He showed a(n) _______ ability, and before long, he was playing the _______， too. By the age of 5 he had formed his own jazz trio (三重奏). His parents, along with everyone else, are _______ surprised by his wonderful talent. “I didn't know ________ before; he got me into it，” said his father, Roberto. “I don't know how to explain how it _______. It's like jazz was _______ inside him.”
Many professional musicians are equally ________ and welcome the chance to ________ with Jose. They have noticed his deep understanding of this unique form of music. Singer Vero Perez says the exceptional thing about Jose isn't his age or even his _______. According to Perez, “He shows other musicians how jazz music really is to be played.”
As Jose's fame _______， he has more chances to tour and perform. He has traveled throughout Bolivia and into Brazil and Peru.
When Jose is at home with his family, he is a _______ little boy. He goes to school and does his homework. _______ when he begins playing the piano or drums, his musical genius becomes obvious. Jose has proved that nothing will keep him from doing what he loves best. His positive _______ towards life encourages others to look past their own obstacles and _______ their dreams.
1.A.singers B．actors C．musicians D．dancers
2.A.in person B．in particular C．by mistake D．by chance
3.A.celebrating B．encouraging C．noticing D．watching
4.A.genius B．fool C．inventor D．conductor
5.A.what B．where C．when D．which
6.A.through B．for C．although D．despite
7.A.amusing B．frightening C．amazing D．interesting
8.A.drum B．computer C．song D．piano
9.A.continuously B．normally C．strangely D．suddenly
10.A.rock B．folk C．jazz D．blues
11.A.came about B．came back C．turned up D．turned off
12.A.only B．already C．never D．hardly
13.A.depressed B．confused C．impressed D．worried
14.A.live B．chat C．fight D．perform
15.A.carelessness B．blindness C．deafness D．loneliness
16.A.promises B．appears C．lifts D．spreads
17.A.lazy B．happy C．normal D．funny
18.A.But B．So C．Because D．Since
19.．A.success B．attitude C．dream D．performance
20.A.reach for B．call for C．ask for D．send for
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With the night falling, the crowd gathering around the accident scene began to_________.
A. break up B. break down
C. break out D. break away
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TODAY, Friday, November 12
JAZZ with the Mike Thomas Jazz Band at The Derby Arms. Upper Richmond Road West, Sheen.
DISCO Satin Sounds Disco. Free at The Lord Napier, Mort lake High St., from 8 a.m. to 8 p.m. Tel: 682—1158.
SATURDAY, November 13
JAZZ Lysis at The Bull’s Head, Barnes. Admission 60p.
MUSICAL HALL at The Star and Garter, Lower Richmond Road, Putney, provided by the Aba Daba Music Hall company. Good food and entertainment fair price. Tel: 789—6749.
FAMILY night out? Join the sing-along at The Black Horse. Sheen Road. Richmond.
JAZZ The John Bennett Big Band at The Bull’s Head, Barnes. Admission 80p.
THE DERBY ARMS, Upper Richmond Road West, give you Joe on the electric accordion (手风琴). Tel: 789—4536
SUNDAY, November 14
DISCO Satin Sounds Disco, free at The Lord Napier, Mort Lake High Street, from 8 a.m. to 8 p.m.
FOLK MUSIC at The Derby. Arms. The Short Stuff and residents the Norman Chop Trio. Non-remembers 70p. Tel: 688—4626.
HEAVY MUSIC with Tony Simon at The Bull, Upper Richmond Road West, East Sheen.
THE DERBY ARMS, Upper Richmond Road West, give you Joe on the electric accordion.
1.Where and when can you hear the Norman Chop Trio?
A. At the Bull’s Head on Sunday. B. At the Derby Arms on Sunday.
C. At the Bull on Saturday. D. At the Black Horse on Saturday.
2.Where and when can you hear the Mike Thomas Jazz Band?
A. At the Derby Arms on Friday. B. At the Black Horse on Friday.
C. At the Star and Garter on Saturday. D. At the Derby Arms on Sunday.
3.You want to enjoy the electric accordion on Saturday. Which telephone number do you have to ring to find out what time it starts?
A. 789—749. B. 789—4536.
C. 682—1158. D. 688—4626.
4.You want to spend the Saturday by joining the entertainment with your family. Where should you go?
A. Disco at The Lord Napier.
B. The sing-along at The Black Horse.
C. The electric accordion at The Derby Arms.
D. Jazz at The Bull’s Head.
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TODAY, Friday, November 12
JAZZ with the Mike Thomas Jazz Band at The Derby Arms. Upper Richmond Road West, Sheen.
DISCO Satin Sounds Disco. Free at The Lord Napier, Mort lake High St., from 8a. m. to 8p. m. Tel: 682—1158.
SATURDAY, November 13
JAZZ Lysis at The Bull’s Head, Barnes. Admission 60p.
MUSICAL HALL at The Star and Garter, Lower Richmond Road, Putney, provided by the Aba Daba Music Hall company. Good food and entertainment fair price. Tel: 789—6749.
FAMILY night out? Join the sing-along at The Black Horse. Sheen Road, Richmond.
JAZZ The John Bennett Big Band at The Bull’s Head, Barnes. Admission 80p.
THE DERBY ARMS, Upper Richmond Road West, give you Joe on the electric accordion(手风琴). Tel: 789—4536
SUNDAY, November 14
DISCO Satin Sounds Disco, free at The Lord Napier, Mort Lake High Street, from 8 a. m. to 8 p. m.
FOLK MUSIC at The Derby Arms. The Short Stuff and residents the Norman Chop Trio. Non-remembers 70p. Tel: 688—4626.
HEAVY MUSIC with Tony Simon at The Bull, Upper Richmond Road West, East Sheen.
THE DERBY ARMS, Upper Richmond Road West, give you Joe on the electric accordion.
1.Where and when can you hear the Norman Chop Trio?
A. At the Bull’s Head on Sunday.
B. At the Derby Arms on Sunday.
C. At the Bull on Saturday.
D. At the Black Horse on Saturday.
2.Where and when can you hear the Mike Thomas Jazz Band?
A. At the Derby Arms on Friday.
B. At the Black Horse on Friday.
C. At the Star and Garter on Saturday.
D. At the Derby Arms on Sunday.
3.You want to enjoy the electric accordion on Saturday. Which telephone number do you have to ring to find out what time it starts?
A. 789—6749. B. 789—4536. C. 682—1158. D. 688—4626.
4.You want to spend the Saturday by joining the entertainment with your family. Where should you go?
A. Disco at The Lord Napier.
B. The sing-along at The Black Horse.
C. The electric accordion at The Derby Arms.
D. Jazz at The Bull’s Head.
5.You want to spend the same day at two different places and don’t want to cross any street. Which of the following is your best choice?
A. The sing-along at the Black Horse and Jazz at The Bull’s Head.
B. The sing-along at The Black Horse and Folk Music at The Derby Arms.
C. Folk Music at The Derby Arms and Heavy Music with Tony Simon at The Bull.
D. Musical Hal lat The Star ＆Garter and Disco at The Lord Napier.
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TODAY, Friday, November 12
JAZZ with the Mike Thomas Jazz Band at The Derby Arms. Upper Richmond Road West, Sheen.
DISCO Satin Sounds Disco. Free at The Lord Napier, Mort lake High St., from 8 a.m. to 8 p.m. Tel: 682-1158.
SATURDAY, November 13
JAZZ Lysis at The Bull’s Head, Barnes. Admission 60p.
MUSICAL HALL at The Star and Garter, Lower Richmond Road, Putney, provided by the Aba Daba Music Hall company. Good food and entertainment fair price. Tel: 789-6749.
FAMILY night out? Join the sing-along at The Black Horse. Sheen Road, Richmond.
JAZZ The John Bennett Big Band at The Bull’s Head, Barnes. Admission 80p.
THE DERBY ARMS, Upper Richmond Road West, give you Joe on the electric accordion(手风琴). Tel: 789-4536
SUNDAY, November 14
DISCO Satin Sounds Disco, free at The Lord Napier, Mort Lake High Street, from 8 a.m. to 8 p.m.
FOLK MUSIC at The Derby Arms. The Short Stuff and residents the Norman Chop Trio. Non-members 70p. Tel: 688-4626.
HEAVY MUSIC with Tony Simon at The Bull, Upper Richmond Road West, East Sheen.
THE DERBY ARMS, Upper Richmond Road West, give you Joe on the electric accordion.
1.Where and when can you hear the Norman Chop Trio?
A． At the Bull’s Head on Sunday.
B． At the Derby Arms on Sunday.
C． At the Bull on Saturday.
D． At the Black Horse on Saturday.
2.You want to enjoy the electric accordion on Saturday. Which telephone number do you have to ring to find out what time it starts?
A． 789-4536.
B． 682-1158.
C． 688-4626.
D． 789-6749.
3.You want to spend the Saturday by joining the entertainment with your family. Where should you go?
A． Jazz at The Bull’s Head.
B． Disco at The Lord Napier.
C． The sing-along at The Black Horse.
D． The electric accordion at The Derby Arms.
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Recently, a coalition of business and advocacy groups from around Washington gathered to kick off a campaign to enact a carbon pricing program in the capital. Known as the Climate and Community Reinvestment Act of D.C., the plan would place a new tax on all fossil fuels bought or sold, with the hope of ultimately discouraging the use of these polluting energy sources.
The big-picture goal of this campaign is admirable: to address the ever-deepening crisis of humanity-driven climate chaos by dissuading the continued use of coal, oil and gas, the filthy substances rapidly warming our planet. But unfortunately, the approach — one based in a world of financial markets, trading schemes and enticing new public revenue streams — is deeply and inherently flawed. Simply put, carbon pricing is a false solution to climate change and a distraction from real, effective climate solutions we must urgently pursue.
To date, there is scant(不足的) evidence to indicate that carbon taxes lower greenhouse gas emissions. In fact, the opposite is true. Recently Food & Water Watch reviewed the British Columbia carbon tax program, often cited by advocates as an example of success. From 2009 (the first full year of the tax) to 2014, emissions from taxed sources grew by 4.3 percent. And in the seven years after the carbon tax took effect, total gasoline sales increased by 7.37 percent.
Supporters of such plans like to focus on a deceivingly simple notion that increasing the price of a consumer good will automatically reduce its use. But this just isn’t the case when it comes to the purchase of necessities. People must heat their homes in winter, and they must commute to work, regardless of the cost.
Those backing the D.C. carbon pricing plan like to note that revenue from the new tax would go toward investment in clean energy sources. But only 20 percent of the generated funds would be allocated in this manner. The rest would be divvied(分摊) up in tax breaks for businesses and rebates(回扣) for consumers, another factor undercutting the notion that increased costs up front would change consumer behavior in the long run.
Meanwhile, fossil fuel giants such as ExxonMobil are increasingly coming out in support of carbon pricing. This should be cause for alarm for anyone concerned with stamping out the use of the dirty energy sources these corporations profit from. Exxon knows that carbon taxes will do little to change the business-as-usual dependence on oil and gas that it relies on to continue operating and enriching shareholders. Furthermore, corporations such as Exxon rightly view carbon pricing schemes as a means of diverting energy and interest from tougher regulations that might actually encroach on(侵犯) their business plans and bottom lines.
Despite what many well-intentioned activists and community leaders want to believe, there is no convenient, market-friendly solution to our dire climate condition. There is only the hard truth that we must tackle the problem at its source: We must stop using fossil fuels, and soon. The latest science indicates that in order to avoid the worst effects of deepening climate chaos, society must transition completely to clean, renewable energy by 2035.
1.Food &Water Watch found that _______ .
A.carbon taxes could limit greenhouse gas emissions
B.taxing carbon emissions did not reduce pollution
C.carbon emissions grew at a lower rate than gasoline sales
D.British Columbia carbon tax program achieved lasting effect
2.Which of the following is true, according to Paragraphs 4 and 5?
A.Consumers will use less of a good when its price increases.
B.Carbon taxes will benefit the development of clean energy.
C.Increased cost will do little to change the use of necessities.
D.The dependence on fossil fuels will decrease automatically.
3.Fossil fuel giants _________.
A.are expressing dissatisfaction with carbon pricing schemes
B.are reducing their dependence on dirty energy sources
C.view clean renewable energy as their future source of profits
D.see carbon pricing as distraction from tough rules against them
4.The most suitable title for this text would be __________.
A.The Carbon Tax Fallacy(谬论) B.The Climate Change Myth
C.The Call for Clean Energy D.The Causes of Climate Chaos
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Some of the world’s most famous musicians recently gathered in Paris and New Orleans to celebrate the first annual International Jazz Day. UNESCO( United Nations Educational, Scientific and Cultural Organization) recently set April 30 as a day to raise awareness of jazz music, its significance, and its potential as a unifying(联合) voice across cultures.
Despite the celebrations, though, in the U.S. the jazz audience continues to shrink and grow older, and the music has failed to connect with younger generations.
It’s Jason Moran’s job to help change that. As the Kennedy Center’s artistic adviser for jazz, Moran hopes to widen the audience for jazz, make the music more accessible, and preserve its history and culture.
“Jazz seems like it’s not really a part of the American appetite,” Moran tells National Public Radio’s reporter Neal Conan. “What I’m hoping to accomplish is that my generation and younger start to reconsider and understand that jazz is not black and write anymore. It’s actually color, and it’s actually digital.”
Moran says one of the problems with jazz today is that the entertainment aspect of the music has been lost. “The music can’t be presented today the way it was in 1908 or 1958. It has to continue to move, because the way the world works is not the same,” says Moran.
Last year, Moran worked on a project that arranged Fats Waller’s music for a dance party, “Just to kind of put it back in the mind that Waller is dance music as much as it is concert music,” says Moran. “For me, it’s the recontextualization. In music, where does the emotion(情感) lie? Are we, as humans, gaining any insight(感悟) on how to talk about ourselves and how something as abstract as a Charlie Parker record gets us into a dialogue about our emotions and our thoughts? Sometimes we lose sight that the music has a wider context,” says Moran, “so I want to continue those dialogues. Those are the things I want to foster.”
1.Why did UNESCO set April 30 as International Jazz Day?
A.To remember the birth of jazz.
B.To protect cultural diversity.
C.To encourage people to study music.
D.To recognize the value of jazz.
2.What does the underlined word “that” in paragraph 3 refer to?
A.Jazz becoming more accessible.
B.The production of jazz growing faster.
C.Jazz being less popular with the young.
D.The jazz audience becoming larger.
3.What can we infer about Moran’s opinion on jazz?
A.It will disappear gradually.
B.It remains black and white.
C.It should keep up with the times.
D.It changes every 50 years.
4.Which of the following can be the best title for the text?
A.Exploring the Future of Jazz.
B.The Rise and Fall of Jazz.
C.The Story of a Jazz Musician.
D.Celebrating the Jazz Day.
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Some of the world’s most famous musicians recently gathered in Paris and New Orleans to celebrate the first annual International Jazz Day. UNESCO( United Nations Educational, Scientific and Cultural Organization) recently set April 30 as a day to raise awareness of jazz music, its significance, and its potential as a unifying(联合) voice across cultures.
Despite the celebrations, though, in the U.S. the jazz audience continues to shrink and grow older, and the music has failed to connect with younger generations.
It’s Jason Moran’s job to help change that. As the Kennedy Center’s artistic adviser for jazz, Moran hopes to widen the audience for jazz, make the music more accessible, and preserve its history and culture.
“Jazz seems like it’s not really a part of the American appetite,” Moran tells National Public Radio’s reporter Neal Conan. “What I’m hoping to accomplish is that my generation and younger start to reconsider and understand that jazz is not black and write anymore. It’s actually color, and it’s actually digital.”
Moran says one of the problems with jazz today is that the entertainment aspect of the music has been lost. “The music can’t be presented today the way it was in 1908 or 1958. It has to continue to move, because the way the world works is not the same,” says Moran.
Last year, Moran worked on a project that arranged Fats Waller’s music for a dance party, “Just to kind of put it back in the mind that Waller is dance music as much as it is concert music,” says Moran. “For me, it’s the recontextualization. In music, where does the emotion(情感) lie? Are we, as humans, gaining any insight(感悟) on how to talk about ourselves and how something as abstract as a Charlie Parker record gets us into a dialogue about our emotions and our thoughts? Sometimes we lose sight that the music has a wider context,” says Moran, “so I want to continue those dialogues. Those are the things I want to foster.”
1.Why did UNESCO set April 30 as International Jazz Day?
A. To remember the birth of jazz.
B. To protect cultural diversity.
C. To encourage people to study music.
D. To recognize the value of jazz.
2.What does the underlined word “that” in paragraph 3 refer to?
A. Jazz becoming more accessible.
B. The production of jazz growing faster.
C. Jazz being less popular with the young.
D. The jazz audience becoming larger.
3.What can we infer about Moran’s opinion on jazz?
A. It will disappear gradually.
B. It remains black and white.
C. It should keep up with the times.
D. It changes every 50 years.
4.Which of the following can be the best title for the text?
A. Exploring the Future of Jazz.
B. The Rise and Fall of Jazz.
C. The Story of a Jazz Musician.
D. Celebrating the Jazz Day.
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C
Some of the world’s most famous musicians recently gathered in Paris and New Orleans to celebrate the first annual International Jazz Day. UNESCO( United Nations Educational, Scientific and Cultural Organization) recently set April 30 as a day to raise awareness of jazz music, its significance, and its potential as a unifying(联合) voice across cultures.
Despite the celebrations, though, in the U.S. the jazz audience continues to shrink and grow older, and the music has failed to connect with younger generations.
It’s Jason Moran’s job to help change that. As the Kennedy Center’s artistic adviser for jazz, Moran hopes to widen the audience for jazz, make the music more accessible, and preserve its history and culture.
“Jazz seems like it’s not really a part of the American appetite,” Moran tells National Public Radio’s reporter Neal Conan. “What I’m hoping to accomplish is that mu generation and younger start to reconsider and understand that jazz is not black and write anymore. It’s actually color, and it’s actually digital.”
Moran says one of the problems with jazz today is that the entertainment aspect of the music has been lost. “The music can’t be presented today the way it was in 1908 or 1958. It has to continue to move, because the way the world works is not the same,” says Moran.
Last year, Moran worked on a project that arranged Fats Waller’s music for a dance party, “Just to kind of put it back in the mind that Waller is dance music as much as it is concert music,” says Moran. “For me, it’s the recontextualization. In music, where does the emotion(情感) lie? Are we, as abstract as a Charlie Parker record gets us into a dialogue about our emotions and our thoughts? Sometimes we lose sight that the music has a wider context,” says Moran, “So I want to continue those dialogue. Those are the things I want to foster.”
1.Why did UNESCO set April 30 as International Jazz Day?
A．To remember the birth of jazz.
B．To protect cultural diversity.
C．To encourage people to study music.
D．To recognize the value of jazz.
2.What does the underlined word “that” in Paragraph 3 refer to?
A．Jazz becoming more accessible.
B．The production of jazz growing faster.
C．Jazz being less popular with the young.
D．The jazz audience becoming larger.
3.What can we infer about Moran’s opinion on jazz?
A．It will disappear gradually.
B．It remains black and white.
C．It should keep up with the times.
D．It changes every 50 years.
4.Which of the following can be the best title for the text?
A．Exploring the Future of jazz.
B．The Rise and Fall of jazz.
C．The Story of a jazz Musician.
D．Celebrating the Jazz Day.
-
Some of the world’s most famous musicians recently gathered in Paris and New Orleans to celebrate the first annual International Jazz Day. UNESCO (United Nations Educational, Scientific and Cultural Organization) recently set April 30 as a day to raise awareness of jazz music, its significance, and its potential as a unifying(联合) voice across cultures.
Despite the celebrations, though, in the U.S. the jazz audience continues to shrink and grow older, and the music has failed to connect with younger generations.
It’s Jason Moran’s job to help change that. As the Kennedy Center’s artistic adviser for jazz, Moran hopes to widen the audience for jazz, make the music more accessible, and preserve its history and culture.
＂Jazz seems like it’s not really a part of the American appetite,＂ Moran tells National Public Radio’s reporter Neal Conan. ＂What I’m hoping to accomplish is that my generation and younger start to reconsider and understand that jazz is not black and write anymore. It’s actually color, and it’s actually digital.＂
Moran says one of the problems with jazz today is that the entertainment aspect of the music has been lost. ＂The music can’t be presented today the way it was in 1908 or 1958. It has to continue to move, because the way the world works is not the same,＂ says Moran.
Last year, Moran worked on a project that arranged Fats Waller’s music for a dance party, ＂just to kind of put it back in the mind that Waller is dance music as much as it is concert music,＂ says Moran. ＂For me, it’s the recontextualization. In music, where does the emotion(情感) lie? Are we, as humans, gaining any insight(感悟) on how talk about ourselves and how something as abstract as a Charlie Parker record gets us into a dialogue about our emotions and our thoughts? Sometimes we lose sight that the music has a wider context,＂ says Moran, ＂so I want to continue those dialogues. Those are the things I want to foster.＂
Which of the following can be the best title for the text?
A. Exploring the Future of Jazz
B. The Rise and Fall of Jazz
C. The Story of a Jazz Musician
D. Celebrating the Jazz Day