大学创新英语同步练习2答案及听力原文 | Unit 3
Part 1 Vocabulary and Structure (20 points)
Section A (5 points)
1. B 2. C 3. A 4. D 5. A
6. A 7. C 8. C 9. C 10. B
Section B (5 points)
11. was regarded as 12. a selection of 13. a mention of 14. signed up 15. steer clear of 16. made my way 17. picked up 18. lit up 19. coincide with 20. shine a spotlight
Section C (5 points)
21. A 22. B 23. B 24. A 25. C
26. D 27. B 28. B 29. A 30. B
Section D (5 points)
31. In searching for answers to the question, I pored over related books to seek for enlightenment.
32. A special remastered version of Carmen is being released.
33. He is seeking advice on how to revive economy.
34. When she was in high school, she often decorated her room with her favorite singer’s photos.
35. She stood in the middle of the stage, singing a song with great confidence.
Part 2 Listening Comprehension (20 points)
Section A (8 points)
Conversation 1
36. B 37. C 38. A 39. D
Conversation 2
40. B 41. A 42. D 43. D
Section B (12 points)
Passage 1
44. being turned down 45. full-length concert 46. new northern home 47. made sense
Passage 2
48. C 49. D 50. D 51. A
Passage 3
52. about 800 years of evolution 53. a creative transformation 54. artistic form
55 an intrinsic and close
Part 3 Reading Comprehension (30 points)
Section A (10 points)
56. I 57. B 58. K 59. D 60. E
61. N 62. G 63. H 64. A 65. J
Section B (10 points)
66. E 67. I 68. H 69. A 70. K
71. D 72. B 73. G 74. N 75. M
Section C (10 points)
76. A 77. D 78. C 79. B 80. D
81. A 82. C 83. D 84. D 85. A
Part 4 Translation (10 points)
The preparation of an opera performance involves the work of many individuals which sometimes last a long time. First of all, we should find out the writer of the original story. Then comes the librettist, who puts the story into a form that is suitable for musical setting and singing. The composer then sets that libretto to music. After that, the architects will design a space that is suitable for performances. At last, the producer has to specify the work of designers, scene painters, costumers, and lighting experts.
Part 5 Writing (20 points)
Section A (10 points)
Reference
My Opinion on Appreciating Opera
With the rapid development of the network, people have more and more ways to get entertainment. Many young people prefer to listen to pop music for relaxation. They don’t like to watch opera. They think that opera is rather boring. Only a small number of young people who like to learn from the essence of traditional culture and literature are willing to appreciate opera. In fact, the appreciation of drama is very beneficial to one’s development.
Attending a performance of your favorite opera can promote a connection with and understanding of humanity in a bigger sense. The inclusion of human conflicts in many operas helps people build up proper relationship with each other.
Watching an opera also allows the audience to access the emotions that they often lack. Whether you watch a tragedy or a comic opera, there’s likely an element of the storyline that extends beyond your personal life experiences.
So opera is the stuff of life. It is the ultimate expression through live performance of the human condition, of all that we feel, fear and care about.
Section B (10 points)
Reference
St. John’s High School
Presents
Carmen
Opera in Two Acts by David L. Webster
High School Auditorium Mar. 12 and 13, 2018
CAST OF CHARACTERS
Don Jose……………………………………………………………………………Kenneth Neate
Escamillo…………………………………………………………………………..…Dennis Noble
Dancairo…………………………………………………………………………Garhame Clifford
Remendado……………………………………………………….………………Hubert Nnorville
Morales………………………………………………………..……………………Bruce Dargavel
Carmen……………………………………………………………….………………David Franklin
Micaela………………………………………………..…………………………………Muriel Rae
Frasquita……………………………………………………………………….……Audrey Brown
Synopsis:
Act I Three Tavern Dancer
○ Interval of fifteen minutes ○
Act II Pas de Huit
Directed by Henery Cass
Prompter—Edward Burra
Lighting—Herman Klein
Stage—George Merimee
Ushers—Karl Rankl, Douglas Robinson and Beryl Grey
Music—Georges Bizet, Peter Waller and Paddy Stone
Produced by Joseph Shadwick
Audio Scripts
Part 2 Listening Comprehension (20 points)
Section A (8 points)
Directions: In this section, you will hear two long conversations. At the end of each conversation, you will hear four questions. Both the conversations and the questions will be spoken only once. After you hear a question, you must choose the best answer from the four choices marked A), B), C) and D).
Conversation 1
Mary: Hi, Mike, What are you listening to? Beethoven or Bach?
Mike: It’s Beethoven. Do you like it?
Mary: Beethoven’s music is fantastic. I’ve heard that listening to music can make people more creative. Do you think so?
Mike: I don’t know, but I do think that it helps me relax.
Mary: What other kind of music do you like?
Mike: Actually, I mostly listen to classical music. How about you?
Mary: To be honest, I think classical music is too sophisticated for me.
Mike: What kind of music do you prefer then?
Mary: I like rock music. And you?
Mike: Not really. I don’t think rock music has much depth.
Mary: I see what you mean. But it can make me so high.
Mike: Have you been long in to rock music, then?
Mary: Yes, it’s a long time since my childhood. Have you always liked classical music?
Mike: Not really. When I was a little boy, I didn’t really listen to music at all.
Mary: So, how did you become interested in it?
Mike: Well, when I was about 12 years old, I started playing the piano. I think that’s how it all started.
Mary: Do you still play the piano nowadays?
Mike: Of course, it’s one of my hobbies. When I want to relax, I always play it.
Mary: That’s great! If there is a chance, can you perform a classical piece for me?
Mike: My pleasure.
Questions 36 to 39 are based on the conversation you have just heard.
36. According to the woman, what the effect does music have on people?
37. What kind of music does the man like?
38. Why does the woman dislike classical music?
39. When did the man become interested in classical music?
Conversation 2
M: So, do you enjoy this play?
W: Well, the lighting and the set are marvelous, but the acting is not natural. What do you think?
M: I think you're a little critical. The leading roles are fantastic.
W: Do you know anyone in the play?
M: Actually, the man playing Romeo is one of my former classmates.
W: Really? Is that why you wanted to praise it?
M: That's only part of it. I absolutely adore the director. Every drama he directed is very great and the story is very exciting.
W: So have you seen other plays that he has directed?
M: Yes, quite a few. That’s a big help for my professional study.
W: I agree! Have you ever been in a play?
M: I've never played a part in a play before, but I used to be a part of the stage crew during my college life.
W: What did you do?
M: I helped build the sets for the plays. What about you?
W: I have never done anything related to drama. You know my major is accounting. So there is no chance for me to get in touch with such a thing.
M: Right. Oh, look. They're dimming the lights. I think we should get back to our seats for the second half of the play.
Questions 40 to 43 are based on the conversation you have just heard.
40. What does the woman think of the performance of the actors in this play?
41. Why does the man enjoy the play?
42. What does the man do for the plays?
43. What’s the woman’s major?
Section B (12points)
Directions: In this section, you will hear three passages.
Passage 1
Directions: In this passage, you are required to fill in the blanks with the exact words you have just heard.
An opera by the singer-songwriter Rufus Wainwright is to have its world debut in Manchester after being turned down by the New York Met. The Canadian’s first foray into the world of opera, Prima Donna, was commissioned by the Metropolitan Opera in New York, but was not 44. performed after Wainwright refused to change the libretto from French to English.
Instead it will be performed at the second Manchester International Festival as one of its highlights, alongside a collaboration between the Mercury Prize winners Elbow and the Hallé Orchestra, and the first-ever 45. full-length concert featuring Lou Reed and his new wife, Laurie Anderson.
Wainwright has spent the past year writing and orchestrating the piece, which will be performed in 46. two acts at Manchester’s Palace Theatre, which is set to be the new northern home of the Royal Opera House.
He said of the Met’s decision to pull out: "When I started writing the opera it was in French and it takes place in Paris. It 47. made sense – I was brought up in Montreal and I can speak French. The music started to reflect the language. But the Met wanted to commission an American work."
Passage 2
Directions: In this passage, four questions will be asked about what was said. After you hear a question, you must choose the best answer from the four choices marked A), B) C) and D).
Opera Fans Get Little Respect.
No one gives me any grief when I tell them that I’m a Seattle Mariners fan. Nor does anyone tease me for being a Green Bay Packers fan — except perhaps when I wear my cheesehead.
But when I mention that my real passion in life is opera, I am bombarded with a variety of bizarre responses, usually from people who have never set foot in an opera house.
Some warble a few notes in their best operatic voices. Others try to compliment me by saying, “But you don’t seem like a snob.” Some of my literature colleagues deride opera’s stories as silly. Some feminist colleagues dismiss the whole art form as sexist. And a few of my musician friends have expressed distaste for music they consider unsophisticated.
As part of the upcoming celebration of National Opera Week (Nov. 13-22), I would like to explain why this passion is so intriguing and instinctual, and why others — from Supreme Court Justice Ruth Bader Ginsberg to pop singers Rufus Wainwright and Patti Smith — are ardent fans of opera.
Of course, I can only tell my story, but some of it may resonate with other opera lovers.
To put it simply, nothing thrills me more than good operatic singing. Opera singers are vocal athletes, and like other athletes they push human capabilities to their limits.
Questions 48 to 51 are based on the passage you have just heard.
48. What makes the speaker bombarded with a variety of odd responses?
49. Who might not bombard the speaker with a variety of odd responses?
50. How long will the celebration of National Opera Week last?
51. What makes the speaker thrill most?
Passage 3
Directions: In this passage, four questions will be asked about what was said. After you hear a question, complete the answer with no more than three words.
China is a large country with a time-honored tradition of dramatic art, which has undergone about 800 years of evolution. More than 300 dramatic forms are still thriving throughout the country.
Modern Chinese drama originated from the West. Compared with China’s long-standing indigenous dramatic art, it is merely a latecomer. It is an art form introduced from the West when Chinese society evolved towards a modern society following the decline of feudalism and the forced opening up of the Qing Dynasty (1644-1911) under the military threat from the Western powers. After constant absorption and remolding by Chinese artists, this art form has gone through a creative transformation.
Modern Chinese drama differs from traditional Chinese drama in artistic form. Instead of telling stories by means of singing and dancing such as traditional drama, it aims to create true visual effects on the stage mainly through dialogue, physical activity and stage settings that are borrowed from the west. At the same time, it has established an intrinsic and close relationship, in terms of artistic spirit, with traditional Chinese drama and the entire Chinese literature and art fields through long-term artistic practice.
Today, after nearly one hundred years of development, modern Chinese drama has grown up as a major dramatic art form with national influence. In addition, Chinese drama has transformed an imported art form into a Chinese dramatic type endowed with modernity and national characteristics, thus constituting an organic part of Chinese literature and art as a whole.
Questions 52 to 55 are based on the passage you have just heard.
52. How many years of evolution has Chinese dramatic art undergone?
53. After constant absorption and remolding by Chinese artists, what has this opera form gone through?
54. What’s the difference between modern Chinese drama and traditional drama?
55. What kind of relationship has modern Chinese drama established with traditional Chinese drama?