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。
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。