考博英语作文背诵经典(带翻译) qq?>ulu*W
01 The Language of Music PO}Q8Q3
A painter hangs his or her finished picture on a wall, and everyone can see vEgJmHv;
it. A composer writes a work, but no one can hear it until it is performed. k|lxJ^V#
Professional singers and players have great responsibilities, for the {?jdPh
composer is utterly dependent on them. A student of music needs as long and Y^!40XjrD
as arduous a training to become a performer as a medical student needs to L;`
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become a doctor. Most training is concerned with technique, for tL).f:?
musicians have to have the muscular proficiency of an athlete or a ballet NrU-%!Aw
dancer. Singers practice breathing every day, as their vocal chords would K9P"ncMt
be inadequate without controlled muscular support. String players practice
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moving the fingers of the left hand up and down, while drawing the bow to ,Utw!]
and fro with the right arm -- two entirely different movements. ,AD| u_pP
Singers and instrumentalists have to be able to get every note perfectly in $yc,D=*Isi
tune. Pianists are spared this particular anxiety, for the notes are HOD2/
already there, waiting for them, and it is the piano tuner's responsibility HdLkof2i
to tune the instrument for them. But they have their own difficulties: the I^wj7cFo5
hammers that hit the strings have to be coaxed not to sound q+:(@w6
like percussion, and each overlapping tone has to sound clear. Ab"uN
This problem of getting clear texture is one that confronts student |l?ALP_
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conductors: they have to learn to know every note of the music and how it SB'YV#--
should sound, and they have to aim at controlling these sounds with n=SZ8Rj7
fanatical but selfless authority. Pz)QOrrG~
Technique is of no use unless it is combined with musical knowledge 395o[YZx*
and understanding. Great artists are those who are so thoroughly at home in C&st7.
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the language of music that they can enjoy performing works written in any o"FX+17
century. [!
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01 音乐的语言 nSow$6T_
画家将已完成的作品挂在墙上,每个人都可以观赏到。 作曲家写完了一部作品,得由 ^VIUXa
演奏者将其演奏出来,其他人才能得以欣赏。因为作曲家是如此完全地依赖于职业歌手和职 业演奏者,所以职业歌手和职业演奏者肩上的担子可谓不轻。 ^hHeH:@
一名学音乐的学生要想成为 一名演奏者,需要经受长期的、严格的训练,就象一名医科的学生要成为一名医生一样。 绝 大多数的训练是技巧性的。 4GfLS.Ip
音乐家们控制肌肉的熟练程度,必须达到与运动员或巴蕾舞演 员相当的水平。 歌手们每天都练习吊嗓子,因为如果不能有效地控制肌肉的话,他们的声
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带将不能满足演唱的要求。 弦乐器的演奏者练习的则是在左手的手指上下滑动的同时,用 t?
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右手前后拉动琴弓--两个截然不同的动作。歌手和乐器演奏者必须使所有的音符完全相同协 调。 钢琴家们则不用操这份心,因为每个音符都已在那里等待着他们了。 7gMtnwT
给钢琴调音是调 音师的职责。 但调音师们也有他们的难处: 他们必须耐心地调理敲击琴弦的音锤,不能让 Gh|!FRK[$
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 /T(\}Z
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 4d 3Znpf
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。 /C:'qhY,
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。 Q Bw
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>02 Schooling and Education by
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It is commonly believed in the United States that school is where people eE{L>u
go to get an education. Nevertheless, it has been said that today H/3Zdj 9
children interrupt their education to go to school. The distinction mo,l`UL
between schooling and education implied by this remark is important. w&"w"
Education is much more open-ended and all-inclusive than schooling. h*KHEg"+
Education knows no bounds. It can take place anywhere, whether in the w~U`+2a3
shower or in the job, whether in a kitchen or on a tractor. It includes 8T)zB6ng
both the formal learning that takes place in schools and the whole AMd)d^;
universe of informal learning. The agents of education can range from a ij i.3-
revered grandparent to the YU=ZZEVi
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people debating politics on the radio, from a child to a distinguished GeaDaYh#T
scientist. D w=Z_+J
Whereas schooling has a certain predictability, education quite often '98h<(@]
produces surprises. A chance conversation with a stranger may lead a person ~Ex.Yp8.
to discover how little is known of other religions. People are engaged in b!X"2'
education from infancy on. Education, then, is a very broad, inclusive W
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term. It is a lifelong process, a process that starts long before the start eAsX?iaH
of school, and one that should be an integral part of one's entire life. T#n1@FgC
Schooling, on the other hand, is a specific, formalized process, whose GD[ou.C}k
general pattern varies little from one setting to the next. B^_Chj*m
Throughout a country, children arrive at school at approximately [u9JL3
the same time, take assigned seats, are taught by an adult, use similar =b<<5N s
textbooks, do homework, take exams, and so on. The slices of reality that T_x+sv=|X!
are to be learned, whether they are the alphabet or an understanding of the @y(Wy}
workings of government, have usually been limited by the boundaries of the 2d2@ J{
subject being taught. For example, high school students know that they are T5azYdzJy
not likely to find out in their classes the truth about political problems P$3=i`X!nw
in their communities or what the newest filmmakers are experimenting with. C5+`<
There are definite conditions surrounding the formalized process of 6"i{P
schooling. )J+{oB[>b
上学与受教育 ,xYsH+ybA
在美国,人们通常认为上学是为了受教育。 而现在却有人认为孩子们上学打断了他们 受教育的过程。 这种观念中的上学与受教育之间的区别非常重要。 Dk`4bYK
与上学相比,教育更具 开放性,内容更广泛。 教育不受任何限制。 它可以在任何场合下进行,在淋浴时,在工作 时,在厨房里或拖拉机上。 &'(a$S>v
它既包括在学校所受的正规教育,也包括一切非正规教育。 传 授知识的人可以是德高望重的老者,可以是收音机里进行政治辩论的人们,可以是小孩子, *NW QmC~
也可以是知名的科学家。 上学读书多少有点可预见性,而教育往往能带来意外的发现。 与 陌生人的一次随意谈话可能会使人认识到自己对其它宗教其实所知甚少。 t@(9ga(
人们从幼时起就 开始受教育。 因此,教育是一个内涵很丰富的词,它自始至终伴随人的一生,早在人们上 学之前就开始了。 n#>.\F
教育应成为人生命中不可缺少的一部分。然而,上学却是一个特定的形 式化了的过程。 在不同场合下,它的基本形式大同小异。 在全国各地,孩子们几乎在同一 eOehgU5x
时刻到达学校,坐在指定的座位上,由一位成年人传授知识,使用大致相同的教材,做作业, 考试等等。 abo>_"9-
他们所学的现实生活中的一些片断,如字母表或政府的运作,往往受到科目范 围的限制。 :4ja@~
例如,高中生们知道,在课堂上他们没法弄清楚他们社区里政治问题的真情, 也不会了解到最新潮的电影制片人在做哪些尝试。 "J
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学校教育这一形式化的过程是有特定的 限制的。 -R&E