TPO 47 听力文本
Conversation 1
Listen to a conversation between a student and a music director.
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Stu: Ms. Harper?
Dir: Yes, can I help you?
Stu: Hi, my name is Eric Paterson, I’m a journalism student, Er, I want to ask you about the orchestra.
萧萧送雁群Dir: I’m sorry, Eric. But the orchestra is only open to music majors.
Stu: Really? Well, e…
Dir: But the policy’s changing next year. After that, if you’ve taken three music cours, you will be able to audition. Stu: Well, e…, I have taken some music cours and I do play the double bass, so maybe that’s something to think about. But, actually, I was here about something el.
Dir: Oh, sorry, it’s I get that question all the time, so…
Stu: That’s Ok. The thing is, I work for Magna, the school paper, and I’m reporting on last week’s concert. Now I went to it and I really enjoyed it. But now I’m looking for some background knowledge.
Dir: Well, I can refer you to some of the students in the orchestra if you’d like a young musician’s point of view. Stu: Er, I guess that might be helpful, but I’m really looking for a little bit of scholarly perspective, some history of the music that was performed that evening, where it was originated, how it’s developed over time.
地质灾害应急预案Dir: Well, some of our musician’s kind of specialize in Appalachian music. In fact, that’s part of the reason we performed it. So you really should talk to them, too. Er… OK, so we were playing Appalachian music from communities in the Appalachian mountain regions of the United States.
Stu: All right.
Dir: Er…, Do you really think you can keep the all in your head?
Stu: Oh, don’t worry. All I need are a few key facts. I’m sure I can keep them straight until I get back to my dorm. Dir: So the music is generally bad on folk ballets and instrumental dance tunes. Er, It
starts with Scottish and Irish immigrants who brought over their styles of music. It’s called Anglo-Celtic.
Stu: So, people brought their musical traditions with them.
Dir: Well, this Anglo-Celtic music was considered an important link to the past for the people, which you can e in the way that Appalachian singers sing ballets. They have a sort of nasal quality to them, like in Celtic ballets. In their new land, some of the lyrics were updated. You know, to refer to the new locations, and the occupations the ttlers had in America, but at the same time, lots of ballets were still about the castles and royalty, lords and ladies, stuff like that, which is what they were about originally.
Stu: Ok, and was that some sort of banjo I saw on stage during the performance?
Dir: Yes, we are lucky that one of our students Steward Telford has a 19 century banjo, a real antique. He is able to play it in most of the traditional styles. Did you know that banjos are of African-American origin and that ttlers in Appalachian adopted banjos for their folk music? They became very common in traditional Appalachian music, along with guitars and violins of cour. But if you want to learn about that banjo, talk to Steward.
Stu: That’s great, Ms. Harper. Thanks a lot. Now, can you recommend any sources where I could look up more about this?
Dir: Sure, I have a great book. A student has it today, but you can borrow it tomorrow if you’d like.
Conversation 2
Listen to a conversation between a student and his professor.
Pro: This is not what I had in mind when I assigned a film review.
Stu: It isn’t?
Pro: No. What you wrote is a synopsis, detailed summary of the movie but it’s not a review.
Stu: It’s not? I guess I’m a little confud cau isn’t what a film review does, you know, to describe the film? Pro: Sure, in part. But a good review has to do more. But this is probably not your fault. I’m starting to think that I should’ve explained the assignment better becau, well, I got a lot of summaries and very few reviews.
Stu: So, it wasn’t only me?
Pro: Hardly. I just assumed that everyone would know what to do.
Stu: So, er, what el is a review suppod to do?
Pro: Well it should also analyze the film, discuss its strengths and weakness, maybe compare to other movies, even mention why the reviewer did or didn’t like it.肺气肿的治疗方法
Stu: You mean it should have been more personal?
Pro: For starters, or maybe subjective is a better word than personal. Yes, it should have been more subjective. Stu: Maybe I could rewrite it?
Pro: Well, I don’t know about rewriting it. Too many people em to have misd the point. I think I may have to forgo evaluating this one. Instead, maybe we’ll just devote a class to discussing what it takes to write a good film review or maybe, hum, you know, I have a colleague who writes film reviews for the local paper. Maybe I could ask her to come to class and describe what she does and then have everyone rewrite their reviews.
Stu: So, she will talk about what a film review should be like so we’d know what to do.
Pro: Well, more than that. A professional film reviewer gets to e movie sometimes before they’re even relead. They get advanced copies, usually a video or DVD to watch at home or they go a movie as soon as it opens in the theatres.
Stu: Em…, eing it on a big screen in a theatre. Doesn’t that affect the experience?
Pro: Of cour. Having other people there can affect their review too. So, for the next assignment, I might ask everyone to review one of the films the film club shows every weekend at the theatre on campus. There is no admission charge. They are free to students, and the movies are shown on Friday and Saturday nights, plus Sunday afternoon, so everyone should be able to e one. Yeah, that should work.
Stu: But for this time, will we have to rewrite our reviews?
Pro: Well, let’s take it one thing at a time. Let me talk to my colleague.
Lecture 1金额符号
Listen to part of a lecture in a literature class.
So, um, in France, you have the French Academy, which was created to uphold the standards of literary taste. Was it a very conrvative organization? It tried to keep things a certain way, resist change. It dictated that French play should be neoclassic in form, you know, have 5 acts, sophisticated language, etc. But try as it might, it couldn’t stop change. French drama was changing. Though the transition from neoclassical drama to romantic drama was itlf pretty, er, dramatic.
Let’s look at a play by Victor Hugo, called Hernani, or the French would say Hernané. Although Hugo was a truly brilliant writer of, er, essays, poems, novels, and plays. Er, his play Hernani isn’t a great play in a novel of itlf. It’s got a really confusing, convoluted storyline. Critics back then were unimpresd by it, though it’s likely that their own feelings about how play should be, neoclassical or romantic, affected their opinions about it. But it’s premier in Paris in 1830 was anything but ordinary. Hernani s opening night was probably one of the most important literary events in nineteen century France. What happened was, ok, Hugo was a romanticist, right? He was part of a growing movement of er…, young authors and artists, who were rebelling against neoclassicism, against the conventions of neoclassicism. And, and what this meant is that Hugo oppod the neoclassical unities, that French
theatre had inherited from Greek drama. The unities were basically the unity of time, space and ac
tion, meaning that the entire play consisted of just one main event that was unfolding in just one specific place, usually in the cour of one day. And Hugo found this to be too constraining. He looked for inspiration in, well, ok. Hugo is from the nineteen century, but he looked to Shakespeare, veral centuries in the past, long before neoclassicism. For example, in Shakespeare’s play, A Midsummer Night’s Dream, the play moves from indoors to outdoors, from the city to the forest, and back again. So there was a kind of mobility in the u of space, and well, in A Midsummer Night’s Dream, of cour the action in that play takes place on a single summer’s night. But in Shakespeare’s other plays, in Hamlet, for example, time elaps, people travel, they go to other destinations, and the action is not limited to one plot.
Hugo also oppod the neoclassical insistence on the paration of genres. For neoclassicists, a play could only be dramatic and high art, or comic, the light-hearted, and in neither ca, there was still a n of decorum, characters might make jokes, and get into silly situations, but there are still regular people, like not in disgui or anything. There is still a certain amount of restraint in a neoclassical comedy. Again, earlier works by Shakespeare provided very different models that Hugo found more appealing. Many of Shakespeare’s plays, even the tragedies, contain scenes with ridiculous outlandish characters, like clowns. So that many of the plays have both qualities, a rious dramatic side, and comedic scenes, with the clowns that break the drama.
And Hugo, like other Romantics, was also oppod to the artistic rules that neoclassicists had inherited from enlightenment. The Romantics wanted a more passionate kind of theatre, and it was more rooted in the individual and the individual nsibility.
Romanticism was political as well, claiming that individuals, people, could govern themlves, without the need for kings and queens. There was an ideological struggle between a lot of young people, artists, people who want to change and people who didn’t. So of cour Romanticism was controversial. Now, Hernani was a play that incorporated the romantic conventions. Hugo suspected that neoclassical audiences would be hostile to this new form and the ideas that it reprented. So, to protect himlf, he rounded up his friends for opening night and hundreds of them came to the theatre that night. And Hugo writes about this arrival of the Romantics, the wild and bizarre characters and their outlandish costumes, which stupefied and infuriated the more conventional theatre goers. So the play that night took forever to finish becau it was interrupted many times. And there were the debates in the audience, between Hugo’s friends and supporters, the Romantics, and the neoclassicists, the supporters of the old school, lots of interruptions. And afterward, what had been a debate inside the theater spilt out onto the street there and were fistfights. It was a complete free-for-all. And this went on for the next forty five nights. Every night that
the play was performed, there was this excitement and controversy that was really an expression the kinds of passions that differences of statics and political opinions and tastes could give ri to.
Lecture 2
Listen to part of a lecture in a biology class.
修正人生Pro: Now usually when we talk about birds flying long distances, we are discussing asonal migration, but there are some species that fly long distances not as part of a migration, but as part of their regular foraging for food. A great example is the albatross. Albatross are abirds that nest on islands, and, er, forage for food out in the open a. And, you have one species that forages in an average of a thousand miles from its nest. And I read in another study where one albatross left a chick in its nest and went out and arch of food, and by the time it got back to the nest, it had flown nine thousand miles. Yes, Bob.
Bob: er, but why don’t they just build their nest clo to the food supply? I mean, for one thing, they must burn up艾佛森身高
a lot of energy flying back and forth, and also the parents are gonna to have to be away from the nest that much. Aren’t the chicks gonna be pretty hungry most of the time?
Pro: Ok. Good question. The chicks are capable of going for long periods of time without food, which works out nicely since as you point out, they may not get to eat that often. As far as the parents go, well, um, first, they typically can’t get enough food in a single location, so they have to visit veral places on the same foraging trip. And the locations of good foraging grounds tend to be very far apart. As cond, they can’t always nest on an island that is clost to the best feeding ground becau some of tho islands have too many predators on them. Predators that would just love some little chicks to snack on. So I don’t think they have much choice, but it still works out becau albatross fly using a technique called dynamic soaring, which enables them to cover very long distances while expending very little energy. If it weren’t for that, you would be right. They would probably burn up all their energy just flying back and forth. Another factor is albatross lay only one egg at a time. So when the parent returns with the food, that one chick doesn’t have to share it with a lot of other chicks. Yes, Nancy.
Nancy: So you are saying that they might easily fly a thousand miles over the open ocean when they are looking for food?
Pro: That’s right.
Nancy: Then how do they know how to get to the food? I mean, which direction to take to get to the food, and how do they find their way back home?
Pro: Good point. And the truth is we’re not sure. It’s very difficult to keep abirds in captivity where you can study them. And it’s very difficult to study them in the wild, you know. But we think that a lot of what we’ve learned about songbirds probably applies to abirds as well. So we are thinking that albatross could make u of two different kinds of compass, if you… well, magnetic compass and celestial compass. The magnetic compass somehow makes u of earth’s magnetic field, much the way a standard compass does. But to prove this, we would have to find some kind of magnetic accessory organ in birds. And we are not sure that we have. We have found in birds a mineral, called magnetite, which we think might be somehow related to this, becau magnetite is a natural magnet. But the problem is that we’ve also found magnetite in non-migratory birds, which suggests that it may in fact rve a completely different function, not related to navigation at all. Um, and the other compass, the celestial compass, makes u of the stars, more or less the same way humans have starkly ud the stars to navigate in the open a. So that’s the way we think albatross navigate. So anyway, you know, think about it, how about if you had to go a thousand miles every time you wanted to get a bite to eat.
Stu: Yeah, and we complained about having to walk all the way across campus to get to the cafeteria.
Pro: Yeah.
Lecture 3
Listen to part of a lecture in a sports management class.
Pro: So, I want to end today with a topic that many of you’ve questioned about when you’ve come to e me during my office hours. A lot of you have told me you are specifically interested in careers as coaches. Now, it doesn’t matter what’s sports you’re interested in coaching, volleyball, basketball, swimming. There are some considerations for all new coaches to think about as they plan their careers. A recent study, a survey of high school head coaches helped identify some obstacles, some things that head coaches felt they were not prepared for as they began their
careers. They were surveyed to determine what things they would do differently if they were starting their careers over again. Bad on their respons, veral things emerged. The largest number of respons was in the area of relationships. 79% of the coaches indicated that if they had to do it ove
r again, they would do things differently in this area. They said they dealt differently with assistant coaches, parents, student athletes, school administration, and pay more attention to tho relationships.
The cond most critical area for the coaches was organization and administration. To them, this means things like better managing their budgets, and delegating responsibilities, making sure that even minor things were taken care of, like pregame meals, tho sorts of things.
Kenny: Excu me, professor? I know good nutrition is important, but organizing pregame meals, isn’t really something you consider when you thinking about going at the coaching as a career.
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Pro: No, I guess not, Kenny. But it’s more an example of paying attention to the details, being organized. I do want to emphasize that the profession of coaching is about more than just wins and loss. In fact, wining is probably stresd too much, at its best, I’d say coaching, especially in high school and college is about teaching life skills through game strategy. Of cour, coaching requires a specialized body of knowledge. If you coach tennis you need to know the rules of tennis. If you are a football coach, you need to know all about football strategies. And tho are the sorts of things that you will get in your class here at the university. But if coaches spend too much of your time on ga
me strategy, well, you e, maybe that’s condary, too, to the knowledge and skills you’ll need for the other roles you undertake as a coach, especially, as that survey emphasized, skills in dealing with people and administration.
Kenny: But, how do you, how do you improve in tho areas. I mean, I’m going be an assisting coach at a high school, beginning next month, and …
Female Stu: Really? Nice going, Kenny.
Pro: Yes, that’s wonderful.
Kenny: Thanks. I’m excited.
Pro: So, congratulations. Ok, well, to get better organized, one thing is take cours in business management, and not just the sports management cours in the physical education department, other business in finance cours. Oh, but wait a minute, you said you were starting next month? What sport will you be coaching?
Kenny: Er, gymnastics, mainly.
Pro: Ok, in my career, I’ve learned, well, as part of building and maintaining strong relationships in working on administrative skills, you’ve got to consider the other needs of your team, beyond the sport itlf. Remember, the team members are athletes, and students. Er, and remember that if you’re enthusiastic about what you are doing, well, enthusiasm is its catching, right? You want team members to enjoy participating.
Kenny: Right, but what about tting rules for your team? And is it better to be strict or not so strict?
Pro: Actually, I don’t believe in having a lot of rules and coaches often do have too many. I think that can get in the way of leadership and box you in. I think people sometimes t rules just to make things easier for themlves. That way, maybe later, they just can refer to the rule and avoid making a choice. You know that kind of person I’m talking
