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.
Answers & Explanations (答案与解析)
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。
全文翻译
[A] 1913年，古典音乐在巴黎引发了一场骚乱。伊戈尔·斯特拉文斯基正在向世界介绍他革命性的《春之祭》芭蕾舞剧，以其不和谐的旋律和非正统的编舞，人群中的纯粹主义者大声而清晰地表达了他们的不满。这可能是古典音乐版的鲍勃·迪伦在纽波特民谣节上插电演出的时刻。"观众中的噪音、打斗和喊叫声变得如此之大，"NPR音乐记者迈尔斯·霍夫曼谈到斯特拉文斯基首演时说，"编舞者不得不向舞者喊出编号，好让他们知道自己该做什么。"
[B] 很难想象今天在美国神圣的交响乐厅里会发生类似的骚动。事实上，很难想象任何类型的破坏性活动（除非某人的手机响了，那你最好小心一点）。一种彬彬有礼的氛围笼罩着大多数古典音乐活动，而这一流派的最大支持者中的许多人也不希望有其他方式。
[C] 今天，西方古典音乐、歌剧和芭蕾舞的观众几乎总是穿着得体、年长、恭敬、令人痛苦地安静，而且往往非常富有（必须能够负担得起大多数门票）。但正如美国许多最具传奇色彩的"高雅"机构在财务上挣扎一样——费城交响乐团众所周知的从破产中反弹只是最近的一个例子——古典音乐爱好者和理论家正在思考这一媒介如何在不牺牲其完整性的情况下融入21世纪的文化结构。
[D] 例如，在古典音乐活动中我们应该感到"鼓掌"是OK的吗，即使没有其他人鼓掌？我们为什么不应该为伟大的东西欢呼，就像在摇滚音乐会上那样？《赫芬顿邮报》最近就这个问题进行了一场大辩论，许多评论者站在沉默一边。"生活中没有比成为全场每个人都前倾身体、完全被一部杰作的伟大表演所陶醉的观众一部分更令人满足的经历了，"一位评论者写道。"为什么人们如此难以培养对古典音乐礼仪和传统的欣赏和理解？"另一位问道。
[E] 事实是，古典音乐观众并非总如此礼貌。获奖作曲家罗伯特·格林伯格说，当贝多芬首次演奏他的第七交响曲时，观众迫使乐团立即重演某些乐章，热烈鼓掌。而在过去的几十年里，他说，许多歌剧演出的观众已经放弃了伪装，在想喊的时候就喊"Bravo"。
[F] 格林伯格说："我不认为观众通过在适当的时候鼓掌来表达他们的热情有什么不对，"他指出音乐厅的沉闷是"当代音乐会礼仪的一个方面"，他不理解。"为什么要等半个小时来表达热情，为什么不每八到九分钟就表现一下？"
[G] 在关于行为和着装的规则改变之前，很难想象大量年轻人自愿坐满音乐厅。他们可能更倾向于去中央公园和朋友们带着一瓶酒观看免费演出。"我认为任何人都应该能够以任何他们喜欢的方式穿着进入演出，以任何他们喜欢的方式舒适地坐在那把椅子上准备享受自己，"格林伯格说。"因为它是令人享受的。"
[H] 格林伯格强调他不希望人们开始不那么尊重音乐，他也不是在建议我们"降低"体验。相反，这是关于开放"准入"。他说，当初歌剧院首次在演出中引入字幕时，许多纯粹主义者不喜欢这个想法，认为观众应该在参加前研究作品。但现在在您面前的座位靠背上找到字幕是司空见惯的——选择一种语言，坐下，理解正在发生的事情。
[I] 费城交响乐团总裁艾莉森·瓦尔加莫尔当然在展望未来。她说某些致力于老大师的"经典音乐会"将永远存在，但并非每个节目都必须以贝多芬和勃拉姆斯为特色——甚至不是必须有舞台和座位。"我们正在尝试以不同方式引入不同类型的音乐会，"她说。"我们现在是一个互动社会，人们喜欢学习。"
[J] 随着费城交响乐团从财务困境中反弹，它也在尝试实验，同时不疏远忠实粉丝。瓦尔加莫尔提到了Cirque de la Symphonie，最近的一个演出中玩杂耍的人和杂技演员与音乐家互动。与此同时，即将与纽约市Ridge Theatre的合作将呈现一个"悬挂式舞蹈装置"和其他戏剧元素，与管弦乐作品同时进行。
[K] 乐团还继续向费城学生提供25美元的年费会员资格，他们可以购买每场音乐会的抢票。"学生们排队等他们想要的音乐会，我们每晚大约有300或350名孩子来参加。他们在音乐会开始前5分钟坐进任何空位，"瓦尔加莫尔说。"就像奔牛节，当门打开时的那种能量。"
[L] 格林伯格认为需要收获那些年轻人的能量。指挥家不必傲慢和不可接近——他们可以是可接近的。也许他们身上甚至可以有一些"幽默感"，他建议，并在高雅艺术机构内部抛弃伪装。"一方面，这些组织都在说同样的话：我们想要更多的普通观众，打破文化障碍，"他说。"但然后他们又提出一些非常目中无人的事情，让人发疯。"
[M] 评论家约翰·特劳兹广泛报道过多伦多古典音乐界，他也想摒弃沉闷。他建议观众越热情，音乐家自身的回应就越好。"但制作人或组织者必须让每个人知道这是OK的，"他说。"享受自己是OK的。"例如，在多伦多交响乐团，指挥彼得·翁吉安经常在曲目之间停下来，以非常友好的方式谈论作曲家或音乐。而有些夜晚，特劳兹说，"至少三分之一"的观众由购买了更便宜票的学生组成。在这些夜晚，室内的能量发生了巨大变化。它变成了一个不那么令人畏惧的地方。
[N] 早在二月份，特劳兹在他的博客上写到去古典音乐演出可能多么令人畏惧。某些人"认为他们必须打扮，"他写道。"他们认为在去之前必须了解一些关于音乐的知识。而且，我确信，坐在座位上，颤抖着担心这可能是错误的鼓掌时刻，也是因素之一。"
[O] 古典音乐世界的每个人都同意需要增加"可及性"，但实现它往往说起来容易做起来难。如今，有无名的非正统歌剧歌手在像《美国达人秀》和《好声音》这样的电视节目中博得观众喝彩。高等教育机构能利用这些吗？如果它们诉诸这些渠道，它们是否有损害音乐完整性或智慧的风险？
[P] 瓦尔加莫尔似乎理解这一点。她认为一个组织可以兼而有之，在保留旧的同时接纳新。随着她重组费城交响乐团，她将尝试做到这一点。"世界上最受尊敬的音乐家聚集在一起作为乐团将永远存在，"她说。"但我们必须愿意实验和失败。
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）
do away with：废除，去掉（wants to do away with the stuffiness）
easier said than done：说起来容易做起来难（achieving it is often easier said than done）
have it both ways：鱼和熊掌兼得，两全其美（an organization can have it both ways）
【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。
So... that... 结果状语从句：
"...the noise, fighting, and shouting in the audience got so loud... that the choreographer had to shout out the numbers..."
（观众中的噪音、打斗和叫喊声太大了，以至于编舞者不得不大声喊出数字……）生动地描写了当时混乱的场景，表现了其极端的程度。
"...the noise, fighting, and shouting in the audience got so loud... that the choreographer had to shout out the numbers..."
（观众中的噪音、打斗和叫喊声太大了，以至于编舞者不得不大声喊出数字……）生动地描写了当时混乱的场景，表现了其极端的程度。