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华南理工大学硕士研究生英语期末考试题
A
卷（
2017
秋季学期）
I.
Vocabulary
Directions:
There
are
20
incomplete
sentences
in
this
part.
For
each
of
them
there
are
4
choices
marked A, B, C, and D. Choose the one that best
complete the sentence, then mark the
corresponding letter on the Answer
Sheet.(20 points)
1.
Lack of
investment opportunity could
the
expansion of the currency, as banks
might have little use for a currency
with limited profit potential.
A.
dissent
B. alter
C.
modify
D. hinder
2.
Numerous
studies
have
shown
that
obesity
with
increased
risk
for
hypertension and stroke.
A. correlates
B.
collides
C. interacts
D. influences
3.
Thus,
from
a
historical
,
the
relationship
between
architecture
and
landform
has always been
variable because it reflects the rich cultures of
the location.
A. point
B. prospect
C. perspective
D. respect
4.
The destruction of the mosque has
anger throughout the Muslim
world.
A. demonstrated
B.
provoked
C.
protested
D. prohibited
5.
The experts at the forum believe the
economic development of the city will continue to
be strong in the next few years, but
may
eventually.
A. level off
B. come off
C.
send off
D. take off
6.
In
the
months
ahead
the
Supreme
Court
will
have
an
opportunity
to
_________ important judgments about gun rights,
anti-terror laws, freedom of speech
and
punishment for juvenile criminals.
A.
jolt
C. render
D. resolve
7.
The
United
States
spends
about
a
billion
dollars
on
programs
to
__________adolescents on
violence, gangs, suicide and other
potential pitfalls.
A.
counsel
B. convey
C. console
D. constrict
8.
To
complete
the
project
ahead
of
schedule,
most
of
the
team
members
will
have
to
additional work at
weekends.
A. take on
B. take in
C. take off
D. take away
9.
If the government approves the new
bill, companies with fifty-five or fewer employees
would be
from the requirements.
A.
ordered
B.
prevented
C. obstructed
D. exempted
10.
The death
toll in this train accident have risen to more
than 70, leaving many families
suffering
pain.
A. cute
B. acute
C.
polarized
D. unexplored
11.
The company was thrown into ________
because of a protest by taxi drivers.
D. turmoil
tion
B. consolation
C. complacency
12.
________, confidence and opportunity
are the basic elements of
one’s
success.
D. Scenario
derie
B. Rivalry
C. Endeavor
13.
They feel
strongly that their religion is ________
with the political system.
nting
B. futile
C. vindictive
D.
incompatible
14.
They know how to ________ their ideas
to be better understood.
D. reign
late
B. preclude
C. thrive
15.
And that is
one problem with those who would wish to include
measures of well-being in
policy-
making: it is hard to ________ what they wish to
measure.
D. resort to
A. split up
B.
pin down
C. shake off
16.
In some cases poor English ________
them from ever finding a job.
D. barricaded
A. craved
B. precluded
C. dumped
17.
She would
never ________ the law courts to resolve her
marital problems.
e in
B. expose to
C. withdraw
from
D. resort to
18.
The salary
will be ________ with age, experience and
position.
A. commensurate
B.
controversial
C.
hypothetical
D.
integral
19.
His exam
results were not very good, but we must take into
________ his long illness.
A. harmony
B.
analogy
C. account
D.
vulnerability
20.
Sometimes we
are so ________ in our work that we lose track of
time.
D. quizzical
A.
engrossed
B. sensuous
C. intransigent
II.
Cloze
Directions: Read the
following passage and choose the best
word(s) for each numbered blank
and
mark A, B, C or D on the Answer Sheet (10 points)
Competition
In competition,
the __21__
of one’s life is essentially
outside one’s life. T
he use of our time
and energy is determined by our
competitors __22___ by our own selves and our own
real
needs.
This
weakens our own sense of identity, and to
compensate for this ever-increasing
feeling
of
emptiness
and
vulnerability
we
compete
still
more,
completing
a
self-depleting
___23___. When enough depletion takes
place to ___24___
further “successful”
competition,
we feel hopeless and
futile and our lives seem __25__.
Despite
talking
about
good
sportsmanship,
competition
is
totally
__26___
with
the
kind of
easy aliveness that
is the aim of this book. It flourishes in an
atmosphere of high stimulation
and
vindictive
triumph.
Its
rewards
and
goals
are
immediate
and
short-lived,
and
self-glorification guarantees virtual
___27___ of self-realization. It
destroys our inner sense
of
autonomy
and
stability
and
is
also
destructive
to
outside
relationships
and
to
real
communication.
Competitive
friction
is
___28___
to
kindness,
and
without
kindness
a
self-enriching
philosophy
is
impossible.
Despite
protestations
and
reassurances
about
“friendly competition”,
___29___
are not friendly.
The “feeling good” that competitors
say
comes
from
competition
is
based
on
someone
else’s
feeling
bad.
And
this
“feeling
good”
doesn’t last because it is based upon
putting the
next fellow down rather
than on a ___30___
strengthening of
yourself---through self-realization. So
competition becomes addictive.
21.
A. highlight
B. point
C. focus
D. sense
22.
A. rather than
B. but also
C. despite
D. more than
23.
A. sequence
B. mode
C. fashion
D. cycle
24.
A.
preclude
B. break
C.
strengthen
D.
predict
25.
A. careless
B. purposeless
C. useless
D. selfless
26.
A. agreeable
B. friendly
C. incompatible
D. harmonious
27.
A. realization
B.
participation
C. inclusion
D. exclusion
28.
A. inimical
B. beneficial
C. helpful
D. prevalent
29.
A. siblings
B. antagonists
C. enemies
D.
coordinators
30.
A.
organized
B. realized
C.
supervised
D.
sustained
III.
Reading Comprehension
Directions: Read the following passages
and choose the best answer from the four
choices
given for each of
the test items below. Mark A, B, C or D on the
ANSWER SHEET (50 points)
How We Listen
(1)
We all listen to music
according to our separate capacities. But, for the
sake of analysis,
the whole listening
process may become clearer if we break it up into
its component parts, so
to speak. In a
certain sense we all listen to music on three
separate planes. For lack of a better
terminology, one
might name
these:
①
the sensuous plane,
②
the expressive plane,
③
the
sheerly
musical plane. The only advantage to be gained
from
mechanically splitting up the
listening process into these
hypothetical planes is
the clearer view
to be
had of the
way in
which we listen.
(2)
The simplest
way of listening to music is to listen for the
sheer pleasure of the musical
sound
itself.
That
is
the
sensuous
plane.
It
is
the
plane
on
which
we
hear
music
without
thinking, without considering it in any
way. One turns
on the radio while
doing something
else and
absent-mindedly bathes in the sound. A kind of
brainless but attractive state of mind
is engendered by the mere sound appeal
of the music.
(3)
You may be sitting in a
room reading this book. Imagine one note struck on
the piano.
Immediately that one note is
enough to change the atmosphere of the
room
——
proving that
the sound element in music is a
powerful and mysterious agent, which it would be
foolish to
deride or belittle.
(4)
The
surprising
thing
is
that
many
people
who
consider
themselves
qualified
music
lovers abuse that plane in listening.
They go to concerts in order to lose themselves.
They use
music
as
a
consolation
or
an
escape.
They
enter
an
ideal
world
where
one
doesn't
have
to
think of the realities of everyday
life. Of course they aren't thinking about the
music either.
Music allows them to
leave it, and they go off to a plane to dream,
dreaming because of and
apropos of the
music yet never quite listening to it.
(5)
Yes, the sound appeal of
music is a potent and primitive force, but you
must not allow
it to usurp a
disproportionate share of your interest. The
sensuous plane is an important one in
music, a very important one, but it
does not constitute the whole story.
(6)
There is no need to
digress further on the sensuous plane. Its appeal
to every normal
human being is self-
evident. There is, however, such a thing as
becoming more sensitive to
the
different kinds of sound stuff as used by various
composers. For all composers do not use
that sound stuff in the same way. Don't
get the idea that the value of music is
commensurate
with its sensuous appeal
or that the loveliest sounding music is made by
the greatest composer.
If that were so,
Ravel would be a greater creator than Beethoven.
The point is that the sound
element
varies with each composer, that his usage of sound
forms an integral part of his style
and
must
be
taken
into
account
when
listening.
The
reader
can
see,
therefore,
that
a
more
conscious approach is
valuable even on this primary plane of music
listening.
(7)
The second plane on which music exists is what I
have called the expressive one. Here,
immediately, we tread on controversial
ground. Composers have a way of shying away from
any discussion of music's expressive
side. Did not Stravinsky himself proclaim that his
music
was
an
a
with
a
life
of its
own,
and
with
no
other
meaning than
its
own
purely
musical existence? This intransigent attitude of
Stravinsky's may be due to the fact that
so many people have tried to read
different meanings into so many pieces. Heaven
knows it is
difficult enough to say
precisely what it is that a piece of music means,
to say it definitely, to
say it finally
so that everyone is satisfied with your
explanation. But that should not lead one
to the other extreme of denying to
music the right to be
(8)
My
own belief is that all music has an expressive
power, some more and some less,
but
that all music has a certain meaning behind the
notes and that that meaning behind the
notes
constitutes,
after
all,
what
the
piece
is
saying,
what
the
piece
is
about.
This
whole
problem can be stated quite simply by
asking,
that would be,
to
that would be,
(9)
Simple-
minded
souls
will
never
be
satisfied
with
the
answer to
the
second
of these
questions. They always want music to
have a meaning, and the more concrete it is, the
better
they
like
it.
The
more
the
music
reminds
them
of
a
train,
a
storm,
a
funeral,
or
any
other
familiar conception the more expressive
it appears to be to them. This popular idea of
music's
meaning
——
stimulated and abetted by the usual run of musical
commentator
——
should be
discouraged wherever and whenever it is
met. One timid lady once confessed to me that she
suspected something seriously lacking
in her appreciation of music because of her
inability to
connect it with anything
definite. That is getting the whole thing
backward, of course.
(10)
Still,
the
question
remains.
How
close
should
the
intelligent
music
lover
wish
to
come to pinning a
definite meaning to any particular work? No closer
than a general concept,
I should say.
Music expresses, at different moments, serenity or
exuberance, regret or triumph,
fury or
delight. It expresses each of these moods, and
many others, in a numberless variety of
subtle shadings and differences. It may
even express a state of meaning for which there
exists
no adequate word in any
language. In that case, musicians often like to
say that it has only a
purely musical
meaning. They sometimes go father and say that all
music has only a purely
musical
meaning. What they really mean is that no
appropriate word can be found to express
the music's meaning and that, even if
it could, they do not feel the need of finding it.
(11)
But whatever the professional musician may hold,
most musical novices still search
for
specific words with which to pin down their
musical reactions. That is why they always
find Tchaikovsky easier to
meaning-word on a Tchaikovsky piece
than on a Beethoven one. Much easier. Moreover,
with
the Russian composer, every time
you come back to a piece of his, it almost always
says the
same thing to you, whereas
with Beethoven it is often quite difficult to put
your finger right
on what he is saying.
And any musician will tell you that this is why
Beethoven is the greater
composer.
Because
music
which
always
says
the
same
thing
to
you
will
necessarily
soon
become
dull
music,
but
music
whose
meaning
is
slightly
different
with each
hearing
has a
greater chance of
remaining alive.
(12)
Now, perhaps, the
reader will know better what I mean when I say
that music does
have an expressive
meaning but that we cannot say in so many words
what that meaning is.
(13)
The
third
plane
on
which
music
exists
is
the
sheerly
musical
plane.
Besides
the
pleasurable
sound of music
and the
expressive feeling that it gives off, music
does exist in
terms
of the
notes
themselves and
of their
manipulation. Most listeners
are not
sufficiently
conscious of this third
plane. It will be largely the business of this
study to make them more
aware of music
on this plane.
(14)
Professional musicians, on the other hand, are, if
anything, too conscious of the mere
notes themselves. They often fall into
the error of becoming so engrossed with their
arpeggios
and staccatos that they
forget the deeper aspects of the music they are
performing. But from
the layman's
standpoint, it is not so much a matter of getting
over bad habits on the sheerly
musical
plane as of increasing one's awareness of what is
going on, in so far as the notes are
concerned.
(15)
When
the
man
in
the
street
listens
to
the
themselves
with
any
degree
of
concentration, he is most likely to
make some mention of the melody. Either he hears a
pretty
melody or he does not, and he
generally lets it go at that. Rhythm is likely to
gain his attention
next,
particularly
if
it
seems
exciting.
But
harmony
and
tone
color
are
generally
taken
for
granted,
if
they
are
thought
of
consciously
at
all.
As
for
music's
having
a
definite
form
of
some kind, that idea seems never to
have occurred to him.
(16)
It is very important for all of us to
become more alive to music on its sheerly musical
plane.
After
all,
an
actual
musical
material
is
being
used.
The
intelligent
listener
must
be
prepared
to increase his awareness of the musical material
and what happens to it. He must
hear
the melodies, the rhythms, the harmonies, the tone
colors in a more conscious fashion.
But
above all he must, in order to follow the line of
the composer's thought, know something
of the principles of musical form.
Listening to all of these elements is listening on
the sheerly
musical plane.
(17)
Let me
repeat that I have split up mechanically the three
separate planes on which we
listen
merely for the sake of greater clarity. Actually,
we never listen on one or the other of
these planes. What we do is to
correlate them
——
listening in
all three ways at the same time.
It
takes no mental effort, for we do it
instinctively.
(18)
Perhaps
an analogy with what happens to us when we visit
the theater will make this
instinctive
correlation
clearer.
In
the
theater,
you
are
aware
of
the
actors
and
actresses,
costumes and sets, sounds and movement.
All these give one the sense that the theater is a
pleasant place to be in. They
constitute the sensuous plane in our theatrical
reactions.
(19)
The
expressive plane in the theater would be derived
from the feeling that you get
from what
is happening on the stage. You are moved to pity,
excitement, or gayety. It is this
general feeling, generated aside from
the particular words being spoken, a certain
emotional
something which exists on the
stage, that is analogous to the expressive quality
in music.
(20)
The
plot
and
plot
development
is
equivalent
to
our
sheerly
musical
plane.
The
playwright creates and
develops a character in just the same way that a
composer creates and
develops a theme.
According to the degree of your awareness of the
way in which the artist in
either field
handles his material will you become a more
intelligent listener.
(21)
It
is
easy
enough
to
see
that
the
theatergoer
never
is
conscious
of
any
of
these
elements
separately.
He
is
aware
of
them
all
at
the
same
time.
The
same
is
true
of
music
listening. We
simultaneously and without thinking listen on all
three planes.
(22)
In a
sense, the ideal listener is both inside and
outside the music at the same moment,
judging it and enjoying it, wishing it
would go one way and watching it go another
—
almost
like
the
composer
at
the
moment
he
composes
it;
because
in
order
to
write
his
music,
the
composer must also be inside and
outside his music, carried away by it and yet
coldly critical
of it. A subjective and
objective attitude is implied on both creating and
listening to music.
(23)
What the reader should strive for, then, is a more
active kind of listening. Whether
you
listen to Mozart or Duke Ellington, you can deepen
your understanding of music only by
being a more conscious and aware
listener
—
not someone who
is just listening, but someone
who is
listening for something.
31. Which is the writer’s main
purpose
of writing this
article?
A. To show how complex listening to
music is.
B. To get people
to listen to music more.
C.
To discourage some people from listening to music.
D. To get people to think
about how they listen to music.
32. The writer’s purpose in
mentioning those so
-called qualified
music lovers in paragraph 4
is to_____.
A. indirectly
advise people to think about the music while
listening
B. confirm that music can
help people forget the annoying realities of life
C. criticize music lovers for using
music as a consolation or as an escape
D. belittle those listeners who are
dreaming while listening to music.
33.
Which of the following has the closest meaning to
the word
“
digress
”
in the first sentence
of
paragraph 6?
A. move away
B. wonder
C. appeal
D. share
34. The following
statements about the expressive plane are wrong
except_____.
A. The
expressive plane gives us a clear picture of what
we are trying to listen.
B. Composers
are good at defining music's expressive side.
C. People hold different ideas about
the expressive plane of listening to music.
D. Listeners can find the definite
meaning of each piece of music.
35.
is that ____.
A. she should connect music with
anything definite
B. her doubt is
getting the whole thing back to the first plane
C. it's wrong to listen for definite
meaning when listening to music
D. it’s
difficult for listeners to follow
composers.
36. A great work
of art means______.
A. the same to you whenever and
wherever you listen to it
B. something
slightly different to you each time you return to
it
C. totally different meaning with
each hearing
D. you can never
understand the expressive meaning
37
. From the layman’s
perspective, __________.
A. professional
musicians could never fail to know the deeper
aspects of the music
B. music does not exist in
terms of the notes themselves or their influence
C. professional musicians
do not understand the deeper meanings of music
because they
only care about the
arpeggios and staccatos
D. it is not a serious bad
habit if one who is so engrossed with mere notes
fails to know
the deeper aspects of
music
38. The author
criticizes professional musicians for______.
A. they are too conscious
of the mere notes themselves
B. they
forget the expressive quality of the music they
are performing
C. they put too much
emphasis on their arpeggios and staccatos
D. All of the above
39.
According to the author, when a man in the street
listens to the notes of a piece of music,
it’s mostly likely that he consciously
hears __________ at first.
A. the melody
B. the tone
color
C. the rhythm
D. the harmony
40.
intelligent
listener
must
be
prepared
to
increase
his
awareness
of
the
musical
material
and
what
happens
to
it.”
(Paragraph
16)
Here
musical
material
refers
to______.
A. melody, rhythm
B.
harmony, tone color
C. the principles
of musical form
D. All of the
above
41. When listening to music on
the musical plane, we try to ____.
A. focus on the
quality of sound produced and the intensity of the
sound
B. determine how the music
interprets and clarifies our feelings
C. focus on the movement and the
structure of the piece
D. figure out
the meaning behind the notes.
42. Which
of the following statements is correct?
A.
It
is
easier
to
understand Tschaikovsky
than
Beethoven,
so
the
former
is
the
greater
composer than the later.
B.
The
writer
discusses
the
value
of
developing
a
more
critically
sophisticated
understanding of music.
C.
As
listeners,
we
should
pay
as
much
attention
to
the
sheerly
musical
plane
as
the
professional musicians.
D.
The
value
of
music
is
not
determined
by
its
sensuous
appeal
but
its
expressive
meaning.
43. Which of the following analogies is
NOT correct?
A. The senuous plane of listening to
music can be analogous to your pleasant feeling of
being in a theater.
B. The
expressive plane of listening to music can be
compared to the emotional feeling
you get from what is happening on the
stage.
C.
The
sheerly
musical
plane
in
the
listening
process
is
similar
to
the
plot
and
plot
development in an opera.
D. An
intelligent listener won
’
t
be both inside and outside the music at the same
time in
much the same way as a composer
writes his or her music.
44. As music
listeners, we are encouraged in this passage to
__________.
A. listen to music more consciously
B. use music as an escape
C.
split up the listening process into more
hypothetical planes
D. do nothing but actively
seek sensuous appeal in music
45. The text is a (n)
________piece of writing.
A. expository
B.
argumentative
C. descriptive
D. interpretative
Advice to a Young Scientist
What
I’m going to
do is to just give a few notes,
and this is from a book I’m preparing
called”
Letters to a Young
Scientist.”
I’d thought it’d
be appropriate to
present it, on the
basis that I
have
had
extensive
experience in
teaching,
counseling
scientists
across
a
broad
array
of
fields.
And
you
might
like
to
hear
some
of
the
principles
that
I’ve
developed
in
doing
that
teaching and counseling.
So
let
me
begin
by
urging
you,
parti
cularly
you
on
the
youngsters’
side,
on this
path
you’ve
chosen,
to go as far as you can. The
world needs you, badly. Humanity is now fully
into the techno-scientific age. There
is going to be no turning back.
Although
varying
among
disciplines
—
say,
astrophysics, molecular
genetics,
the
immunology,
the
microbiology,
the
public health,
to
the
new
area
of
the
human
body
as
a
symbiont, to public health,
environmental science, knowledge in medical
science and science
overall is
doubling
every
15
to
20
years.
Technology
is
increasing
at
a
comparable
rate. Between
them,
the
two
already
pervade, as
most
of
you
here
seated
realize, every
dimension of human life.
So
swift is the velocity of the techno-scientific
revolution, so startling in its countless
twists and turns, that no one can
predict its outcome even a decade from the present
moment.
There
will
come
a
time,
of
course, when
the
exponential
growth
of
discovery
and
knowledge, which actually began in the
1600s, has to peak and level off,
but
that’s not going
to matter to you. The
revolution is
going to continue for at
least several more
decades.
It’ll
render
the
human
condition
radically
different
from
what
it
is
today. Traditional
fields
of
study
are going to continue to grow and in so doing,
inevitably they will meet and create new
disciplines.
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