Section B: Information Matching
Directions: In this section, you are going to read a passage with ten statements attached to it. Each statement contains information given in one of the paragraphs. Identify the paragraph from which the information is derived. You may choose a paragraph more than once. Each paragraph is marked with a letter. Answer the questions by marking the corresponding letter on Answer Sheet 2.
Classical music aims to evolve, build audiences without alienating old guard
[A] In 1913, classical music sparked a riot in Paris. Igor Stravinsky was introducing his revolutionary “Rite of Spring” ballet to the world, with its discordant melodies and unorthodox choreography (编舞), and the purists in the crowd expressed their disapproval loud and clear. It might have been classical music’s version of the time Bob Dylan went electric at the Newport Folk Festival. “The noise, fighting, and shouting in the audience got so loud,” NPR’s music reporter Miles Hoffman said of the Stravinsky debut, “that the choreographer had to shout out the numbers to the dancers so that they knew what they were supposed to do.”
[B] It’s difficult to imagine a similar disturbance occurring today within America’s sacred symphony halls. In fact, it’s hard to picture any kind of disruptive activity at all (unless someone’s cell phone happens to go off and then you’d better watch your back). A mannerly aura (氛围) hangs over most classical proceedings, and many of the genre’s biggest supporters would have it no other way.
[C] Today, Western audiences for classical music and opera and ballet are almost always well dressed, older, respectful, achingly silent and often very wealthy (one has to be able to afford most tickets). But as many of America’s most storied “highbrow” (高雅的) institutions struggle financially—the Philadelphia Orchestra’s much-publicized rebound from bankruptcy is just one recent example—classical music fans and theorists are wondering how the medium can weave itself into the 21st century’s cultural fabric without sacrificing its integrity.
[D] For example, should we feel OK “clapping” during classical music events, even if nobody else is? Why shouldn’t we cheer for something great, like we do at a rock concert? The Huffington Post recently ran a Great Debate on this issue and many commenters came out on the side of silence. “There is no more rewarding experience in life than being part of an audience where everybody is leaning forward in silence, thoroughly carried away by a great performance of a masterpiece,” one commenter wrote. “Why is it so difficult for folks to develop an appreciation and understanding for the mannerisms and traditions of classical music?” asked another.
[E] The truth is that classical music audiences weren’t always so polite. Robert Greenberg, an award-winning composer, said that when Beethoven first performed his 7th Symphony, audiences forced the orchestra to perform encores (重演) of certain movements immediately, applauding wildly. And in the last few decades, he said, many audiences at opera performances have abandoned pretenses, yelling “Bravo” when they feel like it.
[F] “I don’t think there’s anything wrong with an audience showing their enthusiasm for a proper moment by applauding, showing their joy,” Greenberg said, noting that the stuffiness in concert halls is “one aspect of contemporary concert etiquette” he doesn’t understand. “Instead of waiting half an hour to show enthusiasm, why not show it every eight or nine minutes?”
[G] Until the rules about behavior and clothing change, it’s hard to imagine multitudes of young people filling concert halls on their own accord. They’re probably more likely to head to Central Park to watch a free performance with a bottle of wine and their friends. “I think anyone should be able to come into a performance dressed any way they like, and be comfortable any way they like, sitting in that seat ready to enjoy themselves,” Greenberg said. “Because it’s enjoyable.”
[H] Greenberg stressed that he doesn’t want people to start respecting the music less, and he’s not suggesting that we “dumb down” the experience. Rather, it’s about opening up “access.” When operas first instituted subtitles (字幕) during shows, he said, many purists didn’t like the idea, believing that the audience should instead study the works before attending. But now it’s commonplace to find titles on the seatback in front of you—choose a language, sit back, and understand what’s going on.
[I] Allison Vulgamore, president of the Philadelphia Orchestra, is certainly looking to the future. She says certain “classics concerts” dedicated to the old masters will always exist, but not every program has to feature Beethoven and Brahms—or even a stage and seats. “We’re trying to introduce different kinds of concerts in different ways,” she said. “We are an interactive society now, where people like to learn.”
[J] As the Philadelphia Orchestra rebounds from its financial straits, it is also aiming to experiment, without alienating the loyalists. Vulgamore pointed to Cirque de la Symphonie, a recent offering in which jugglers (玩杂耍的人) and acrobats (杂技演员) interacted with musicians. An upcoming collaboration with New York City’s Ridge Theatre, meanwhile, will feature a “suspended dance installation” and other theatrical elements occurring in conjunction with an orchestral piece.
[K] The orchestra also continues to offer $25 annual memberships to Philadelphia students, who can buy rush tickets to every concert on the schedule. “Students line up for the concerts they want, and we get roughly 300 or 350 kids a night coming to these. They take any of the open seats available, 5 minutes before the concert starts,” Vulgamore said. “It’s like the running of the bulls, that energy when the doors open.”
[L] Greenberg thinks that youthful energy needs to be harvested. Conductors don’t have to be arrogant and untouchable—they can be accessible. Perhaps there could even be a “bit of humor” about them, he suggested, and an abandoning of pretension within the high-art institutions themselves. “On one hand, these organizations are all saying the same thing: we want more general audiences, to break down cultural barriers,” he said. “But then they come up with some very snooty (目中无人的) thing that makes you crazy.”
[M] John Terauds, a critic who has covered Toronto’s classical music scene extensively, also wants to do away with the stuffiness. He suggested that the warmer an audience is, the better the musicians themselves will respond. “But the producer or organizer has to let everyone know it’s OK,” he said. “It’s OK to enjoy yourself.” At the Toronto Symphony Orchestra, for example, conductor Peter Oundjian often stops between pieces, taking a moment to talk about the composer or the music in a very amiable way. And some nights, Terauds said, “at least a third” of the audience consists of students who have purchased cheaper tickets. On these nights, the energy of the room drastically shifts. It becomes a less intimidating place.
[N] Back in February, Terauds wrote on his blog about how going to classical performances can be intimidating. Certain people “think they have to dress up,” he wrote. “They think they have to know something about the music before they go. And, I’m sure, sitting in a seat, trembling in fear that this might be the wrong time to applaud, is also one of the factors.”
[O] Everyone in the classical world agrees on the need for increased “accessibility,” but achieving it is often easier said than done. Nowadays, there are unknown, unorthodox opera singers wowing (博得……的喝彩) viewers on TV programs like “America’s Got Talent” and “The Voice”. What can higher institutions do with any of that? And if they appeal to these outlets, do they risk compromising the integrity or intelligence of the music?
[P] Vulgamore seems to understand this. She thinks an organization can have it both ways, claiming the new while keeping the old. And as she reorganizes the Philadelphia Orchestra, she will attempt to do just that. “The world’s most respected musicians brought together as an orchestra will always exist,” she said. “But it’s essential that we be willing to experiment and fail.”
36. It was not a rare occurrence that audiences behaved wildly while listening to classical music.
37. Some high-art institutions don’t actually mean it when they say they want more general audiences.
38. The theatre was in chaos when an unconventional ballet was first put on stage in the capital of France.
39. According to one critic, the audience’s warm response would encourage the musicians to do a better job.
40. Many commenters argued for the audience enjoying classical music quietly.
41. What appears on the seatback screen makes it unnecessary for the audience to study the works beforehand.
42. It is generally accepted that there should be no disturbance from the audience during classical music performance.
43. Higher institutions will be concerned about compromising the integrity of classical music if they have to resort to the television medium.
44. Heavily discounted rush tickets help attract many young students to attend classical concerts.
45. The formalities of high-art theatres can intimidate some people attending a performance.
How Marconi Gave Us the Wireless World
[A] A hundred years before iconic figures like Bill Gates and Steve Jobs permeated our lives, an Irish-Italian inventor laid the foundation of the communication explosion of the 21st century. Guglielmo Marconi was arguably the first truly global figure in modern communication. Not only was he the first to communicate globally, he was the first to think globally about communication. Marconi may not have been the greatest inventor of his time, but more than anyone else, he brought about a fundamental shift in the way we communicate.
[B] Today’s globally networked media and communication system has its origins in the 19th century, when, for the first time, messages were sent electronically across great distances. The telegraph, the telephone, and radio were the obvious predecessors of the Internet, iPods, and mobile phones. What made the link from then to now was the development of wireless communication. Marconi was the first to develop and perfect this system, using the recently-discovered “air waves” that make up the electromagnetic spectrum.
[C] Between 1896, when he applied for his first patent in England at the age of 22, and his death in Italy in 1937, Marconi was at the center of every major innovation in electronic communication. He was also a skilled and sophisticated organizer, an entrepreneurial innovator, who mastered the use of corporate strategy, media relations, government lobbying, international diplomacy, patents, and prosecution. Marconi was really interested in only one thing: the extension of mobile, personal, long-distance communication to the ends of the earth (and beyond, if we can believe some reports). Some like to refer to him as a genius, but if there was any genius to Marconi it was this vision.
[D] In 1901 he succeeded in signaling across the Atlantic, from the west coast of England to Newfoundland in the USA, despite the claims of science that it could not be done. In 1924 he convinced the British government to encircle the world with a chain of wireless stations using the latest technology that he had devised, shortwave radio. There are some who say Marconi lost his edge when commercial broadcasting came along; he didn’t see that radio could or should be used to frivolous (无聊的) ends. In one of his last public speeches, a radio broadcast to the United States in March 1937, he deplored that broadcasting had become a one-way means of communication and foresaw it moving in another direction, toward communication as a means of exchange. That was visionary genius.
[E] Marconi’s career was devoted to making wireless communication happen cheaply, efficiently, smoothly, and with an elegance that would appear to be intuitive and uncomplicated to the user—user-friendly, if you will. There is a direct connection from Marconi to today’s social media, search engines, and program streaming that can best be summed up by an admittedly provocative exclamation: the 20th century did not exist. In a sense, Marconi’s vision jumped from his time to our own.
[F] Marconi invented the idea of global communication—or, more straightforwardly, globally networked, mobile, wireless communication. Initially, this was wireless Morse code telegraphy, the principal communication technology of his day. Marconi was the first to develop a practical method for wireless telegraphy using radio waves. He borrowed technical details from many sources, but what set him apart was a self-confident vision of the power of communication technology on the one hand, and, on the other, of the steps that needed to be taken to consolidate his own position as a player in that field. Tracing Marconi’s lifeline leads us into the story of modern communication itself. There were other important figures, but Marconi towered over them all in reach, power, and influence, as well as in the grip he had on the popular imagination of his time. Marconi was quite simply the central figure in the emergence of a modern understanding of communication.
[G] In his lifetime, Marconi foresaw the development of television and the fax machine, GPS, radar, and the portable hand-held telephone. Two months before he died, newspapers were reporting that he was working on a “death ray,” and that he had “killed a rat with an intricate device at a distance of three feet.” By then, anything Marconi said or did was newsworthy. Stock prices rose or sank according to his pronouncements. If Marconi said he thought it might rain, there was likely to be a run on umbrellas.
[H] Marconi’s biography is also a story about choices and the motivations behind them. At one level, Marconi could be fiercely autonomous and independent of the constraints of his own social class. On another scale, he was a perpetual outsider. Wherever he went, he was never “of” the group; he was always the “other,” considered foreign in Britain, British in Italy, and “not American” in the United States. At the same time, he also suffered tremendously from a need for acceptance that drove, and sometimes stained, every one of his relationships.
[I] Marconi placed a permanent stamp on the way we live. He was the first person to imagine a practical application for the wireless spectrum, and to develop it successfully into a global communication system—in both terms of the word; that is, worldwide and all-inclusive. He was able to do this because of a combination of factors—most important, timing and opportunity—but the single-mindedness and determination with which he carried out his self-imposed mission was fundamentally character-based; millions of Marconi’s contemporaries had the same class, gender, race, and colonial privilege as he, but only a handful did anything with it. Marconi needed to achieve the goal that was set in his mind as an adolescent; by the time he reached adulthood, he understood, intuitively, that in order to have an impact he had to both develop an independent economic base and align himself with political power. Disciplined, uncritical loyalty to political power became his compass for the choices he had to make.
[J] At the same time, Marconi was uncompromisingly independent intellectually. Shortly after Marconi’s death, the nuclear physicist Enrico Fermi—soon to be the developer of the Manhattan Project—wrote that Marconi proved that theory and experimentation were complementary features of progress. “Experience can rarely, unless guided by a theoretical concept, arrive at results of any great significance…on the other hand, an excessive trust in theoretical conviction would have prevented Marconi from persisting in experiments which were destined to bring about a revolution in the technique of radio-communications.” In other words, Marconi had the advantage of not being burdened by preconceived assumptions.
[K] The most controversial aspect of Marconi’s life—and the reason why there has been no satisfying biography of Marconi until now—was his uncritical embrace of Benito Mussolini. At first this was not problematic for him. But as the regressive nature of Mussolini’s regime became clear, he began to suffer a crisis of conscience. However, after a lifetime of moving within the circles of power, he was unable to break with authority, and served Mussolini faithfully (as president of Italy’s national research council and royal academy, as well as a member of the Fascist Grand Council) until the day he died—conveniently—in 1937, shortly before he would have had to take a stand in the conflict that consumed a world that he had, in part, created.
36. Marconi was central to our present-day understanding of communication.
37. As an adult, Marconi had an intuition that he had to be loyal to politicians in order to be influential.
38. Marconi disapproved of the use of wireless communication for commercial broadcasting.
39. Marconi’s example demonstrates that theoretical concepts and experiments complement each other in making progress in science and technology.
40. Marconi’s real interest lay in the development of worldwide wireless communication.
41. Marconi spent his whole life making wireless communication simple to use.
42. Because of his long-time connection with people in power, Marconi was unable to cut himself off from the fascist regime in Italy.
43. In his later years, Marconi exerted a tremendous influence on all aspects of people’s life.
44. What connected the 19th century and our present time was the development of wireless communication.
45. Despite his autonomy, Marconi felt alienated and suffered from a lack of acceptance.
Answers & Explanations (答案与解析)
古典音乐的演变
36. E。解析：题干 It was not a rare occurrence that audiences behaved wildly while listening to classical music.（观众在听古典音乐时表现得很狂野，这并不罕见。）对应 [E] 段 The truth is that classical music audiences weren’t always so polite... audiences forced the orchestra to perform encores of certain movements immediately, applauding wildly.（事实是古典音乐观众并不总是那么有礼貌……观众迫使管弦乐队立即重演某些乐章，疯狂地鼓掌。）not a rare occurrence 对应 weren’t always so polite，behaved wildly 对应 applauding wildly。
37. L。解析：题干 Some high-art institutions don’t actually mean it when they say they want more general audiences.（一些高雅艺术机构说他们想要更多普通观众时，其实并不是当真的。）对应 [L] 段 “On one hand, these organizations are all saying the same thing: we want more general audiences... But then they come up with some very snooty thing that makes you crazy.”（“一方面，这些组织都在说同样的话：我们需要更多普通观众……但随后他们又想出了一些非常目中无人的东西，让你发疯。”）don't actually mean it 表明了这些机构言行不一（saying we want more... but then come up with some very snooty thing）。
38. A。解析：题干 The theatre was in chaos when an unconventional ballet was first put on stage in the capital of France.（当一部非传统的芭蕾舞剧首次在法国首都上演时，剧院陷入了混乱。）对应 [A] 段 In 1913, classical music sparked a riot in Paris. Igor Stravinsky was introducing his revolutionary “Rite of Spring” ballet to the world... The noise, fighting, and shouting in the audience...（1913年，古典音乐在巴黎引发了一场骚乱。伊戈尔·斯特拉文斯基向世界介绍了具有革命性的《春之祭》芭蕾舞剧……观众中的噪音、打斗和叫喊声……）chaos 对应 riot / noise, fighting, and shouting，unconventional ballet 对应 revolutionary ballet，capital of France 对应 Paris。
39. M。解析：题干 According to one critic, the audience’s warm response would encourage the musicians to do a better job.（根据一位评论家的说法，观众的热情回应会鼓励音乐家们表现得更好。）对应 [M] 段 John Terauds, a critic... suggested that the warmer an audience is, the better the musicians themselves will respond.（评论家约翰·泰劳兹……他暗示观众越热情，音乐家自己回应得就越好。）critic 对应 John Terauds, a critic，warm response would encourage... 对应 the warmer an audience is, the better the musicians themselves will respond。
40. D。解析：题干 Many commenters argued for the audience enjoying classical music quietly.（许多评论者主张观众应安静地欣赏古典音乐。）对应 [D] 段 The Huffington Post recently ran a Great Debate on this issue and many commenters came out on the side of silence.（《赫芬顿邮报》最近就这个问题展开了一场大辩论，许多评论者都站在保持沉默的一边。）enjoying... quietly 对应 on the side of silence。
41. H。解析：题干 What appears on the seatback screen makes it unnecessary for the audience to study the works beforehand.（椅背屏幕上显示的内容使得观众没有必要事先研究作品。）对应 [H] 段 ...many purists didn't like the idea, believing that the audience should instead study the works before attending. But now it’s commonplace to find titles on the seatback in front of you—choose a language, sit back, and understand what’s going on.（……许多纯粹主义者不喜欢这个想法，认为观众应该在出席前研究作品。但现在，在前面的椅背上找到字幕已经司空见惯了……）seatback screen 对应 titles on the seatback，makes it unnecessary... study... beforehand 对应 but now... choose a language, sit back, and understand what's going on。
42. B。解析：题干 It is generally accepted that there should be no disturbance from the audience during classical music performance.（人们普遍认为，在古典音乐表演期间，观众不应产生任何干扰。）对应 [B] 段 It’s difficult to imagine a similar disturbance occurring today within America’s sacred symphony halls... A mannerly aura hangs over most classical proceedings, and many of the genre’s biggest supporters would have it no other way.（很难想象今天在美国神圣的交响乐大厅里会发生类似的干扰……大多数古典音乐表演都笼罩着一种彬彬有礼的氛围，而且许多该流派最大的支持者不希望有任何改变。）no disturbance 对应 difficult to imagine a similar disturbance / mannerly aura。
43. O。解析：题干 Higher institutions will be concerned about compromising the integrity of classical music if they have to resort to the television medium.（高等机构会担心如果他们不得不诉诸电视媒体，就会损害古典音乐的完整性。）对应 [O] 段 Nowadays, there are unknown, unorthodox opera singers wowing viewers on TV programs... What can higher institutions do with any of that? And if they appeal to these outlets, do they risk compromising the integrity or intelligence of the music?（如今，有未知、非正统的歌剧歌手在电视节目中博得观众喝彩……如果高等机构诉诸这些渠道，他们是否有损害音乐完整性或智慧的风险？）television medium 对应 TV programs / these outlets，compromising the integrity 对应 risk compromising the integrity。
44. K。解析：题干 Heavily discounted rush tickets help attract many young students to attend classical concerts.（大打折扣的站票/折扣票有助于吸引许多年轻学生参加古典音乐会。）对应 [K] 段 The orchestra also continues to offer $25 annual memberships to Philadelphia students, who can buy rush tickets... Students line up for the concerts they want, and we get roughly 300 or 350 kids a night coming to these.（该乐团还继续向费城学生提供25美元的年度会员资格，他们可以购买折扣票……大约每晚有300到350个孩子来听音乐会。）heavily discounted rush tickets 对应 $25 annual memberships / rush tickets，attract many young students 对应 get roughly 300 or 350 kids a night coming to these。
45. N。解析：题干 The formalities of high-art theatres can intimidate some people attending a performance.（高雅艺术剧院的繁文缛节可能会吓到一些参加表演的人。）对应 [N] 段 ...going to classical performances can be intimidating. Certain people “think they have to dress up,”... “They think they have to know something... trembling in fear that this might be the wrong time to applaud, is also one of the factors.”（……去听古典音乐表演可能会令人生畏。某些人“认为他们必须盛装打扮”……“坐在座位上，吓得发抖，生怕此时鼓掌不合时宜……”）intimidate some people 对应 can be intimidating / trembling in fear，formalities 对应 dress up / know something before they go。
马可尼与无线电世界
36. F。解析：题干 Marconi was central to our present-day understanding of communication.（马可尼对我们当今对通讯的理解至关重要。）对应 [F] 段最后一句 Marconi was quite simply the central figure in the emergence of a modern understanding of communication.（简单来说，马可尼就是现代通讯理解出现的核心人物。）central to 对应 central figure in，present-day 对应 modern。
37. I。解析：题干 As an adult, Marconi had an intuition that he had to be loyal to politicians in order to be influential.（作为一个成年人，马可尼有一种直觉，即他必须忠于政治家才能具有影响力。）对应 [I] 段 ...by the time he reached adulthood, he understood, intuitively, that in order to have an impact he had to both develop an independent economic base and align himself with political power. Disciplined, uncritical loyalty to political power became his compass...（……到他成年时，他直觉地明白，为了产生影响，他必须既发展独立的经济基础，又与政治权力结盟。对政治权力的严格、不加批评的忠诚成了他做出选择的指南针。）As an adult 对应 reached adulthood，intuition 对应 intuitively，loyal to politicians 对应 align himself with / loyalty to political power，influential 对应 have an impact。
38. D。解析：题干 Marconi disapproved of the use of wireless communication for commercial broadcasting.（马可尼不赞成将无线电通讯用于商业广播。）对应 [D] 段 There are some who say Marconi lost his edge when commercial broadcasting came along; he didn’t see that radio could or should be used to frivolous (无聊的) ends.（有人说当商业广播出现时，马可尼失去了优势；他认为无线电不应该被用于无聊的目的。）disapproved of 对应 didn't see that radio could or should be used to frivolous ends。
39. J。解析：题干 Marconi’s example demonstrates that theoretical concepts and experiments complement each other in making progress in science and technology.（马可尼的例子表明，理论概念和实验在科技进步中相辅相成。）对应 [J] 段 ...wrote that Marconi proved that theory and experimentation were complementary features of progress.（……写道，马可尼证明了理论和实验是进步的互补特征。）demonstrates 对应 proved，complement each other 对应 complementary。
40. C。解析：题干 Marconi’s real interest lay in the development of worldwide wireless communication.（马可尼的真正兴趣在于发展全球无线通讯。）对应 [C] 段 Marconi was really interested in only one thing: the extension of mobile, personal, long-distance communication to the ends of the earth...（马可尼真正感兴趣的只有一件事：将移动的、个人的、长距离的通讯延伸到地球的尽头……）real interest 对应 really interested in，worldwide 对应 ends of the earth。
41. E。解析：题干 Marconi spent his whole life making wireless communication simple to use.（马可尼一生都在致力于使无线通讯变得简单易用。）对应 [E] 段 Marconi’s career was devoted to making wireless communication happen cheaply, efficiently, smoothly, and with an elegance that would appear to be intuitive and uncomplicated to the user—user-friendly...（马可尼的职业生涯致力于使无线通讯变得廉价、高效、顺畅……对用户来说直观且不复杂——也就是用户友好……）spent his whole life 对应 career was devoted to，simple to use 对应 uncomplicated to the user / user-friendly。
42. K。解析：题干 Because of his long-time connection with people in power, Marconi was unable to cut himself off from the fascist regime in Italy.（由于长期与权势人物有联系，马可尼无法与意大利的法西斯政权切断联系。）对应 [K] 段 However, after a lifetime of moving within the circles of power, he was unable to break with authority, and served Mussolini faithfully...（然而，在权力圈子里周旋了一生之后，他无法与权威决裂，并忠诚地为墨索里尼服务……）long-time connection with people in power 对应 lifetime of moving within the circles of power，unable to cut himself off 对应 unable to break with authority。
43. G。解析：题干 In his later years, Marconi exerted a tremendous influence on all aspects of people’s life.（在晚年，马可尼对人们生活的方方面面产生了巨大的影响。）对应 [G] 段 By then, anything Marconi said or did was newsworthy. Stock prices rose or sank according to his pronouncements. If Marconi said he thought it might rain, there was likely to be a run on umbrellas.（到那时，马可尼所说或做的任何事都具有新闻价值。股票价格根据他的声明而涨跌。如果马可尼说他认为可能会下雨，就很可能会出现抢购雨伞的风潮。）exerted a tremendous influence 对应 anything Marconi said or did was newsworthy... stock prices rose... run on umbrellas。
44. B。解析：题干 What connected the 19th century and our present time was the development of wireless communication.（连接19世纪与我们现在的，是无线通讯的发展。）对应 [B] 段 What made the link from then to now was the development of wireless communication.（从那时到现在的联系是无线通讯的发展。）connected 对应 made the link from then to now。
45. H。解析：题干 Despite his autonomy, Marconi felt alienated and suffered from a lack of acceptance.（尽管马可尼拥有自主权，他却感到被疏远并因缺乏接纳而遭受痛苦。）对应 [H] 段 At one level, Marconi could be fiercely autonomous... On another scale, he was a perpetual outsider... At the same time, he also suffered tremendously from a need for acceptance...（在一个层面上，马可尼可以极度自主……在另一个层面上，他是一个永远的局外人……同时，他也因极度渴望被接纳而遭受了巨大的痛苦……）autonomy 对应 autonomous，alienated 对应 perpetual outsider / foreign，suffered from a lack of acceptance 对应 suffered tremendously from a need for acceptance。
核心搭配与高分句型
【核心搭配与高频短语】
alienate from：使疏远，离间（without alienating old guard）
come out on the side of：站在...一边，表态支持（many commenters came out on the side of silence）
carried away by：被...吸引，被...深深打动/冲昏头脑（thoroughly carried away by a great performance）
on one's own accord：自愿地，主动地（filling concert halls on their own accord）
lay the foundation of：为...奠定基础（laid the foundation of the communication explosion）
lose one's edge：失去优势，不再锋芒毕露（lost his edge when commercial broadcasting came along）
break with：与...决裂，断绝关系（unable to break with authority）
【亮点句型解析】
The more... the more... 比较级句型：
"He suggested that the warmer an audience is, the better the musicians themselves will respond."
（他暗示观众越热情，音乐家自己回应得就越好。）经典的双重比较级，不仅表达了观众态度与音乐家表现的正相关关系，且语言精炼地道。
"He suggested that the warmer an audience is, the better the musicians themselves will respond."
（他暗示观众越热情，音乐家自己回应得就越好。）经典的双重比较级，不仅表达了观众态度与音乐家表现的正相关关系，且语言精炼地道。
Not only... but also... 倒装句型：
"Not only was he the first to communicate globally, he was the first to think globally about communication."
（他不仅是第一个在全球范围内进行交流的人，也是第一个对交流进行全球性思考的人。）`Not only` 置于句首引起部分倒装，极大地加强了赞叹的语气。
"Not only was he the first to communicate globally, he was the first to think globally about communication."
（他不仅是第一个在全球范围内进行交流的人，也是第一个对交流进行全球性思考的人。）`Not only` 置于句首引起部分倒装，极大地加强了赞叹的语气。