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P1 濒危的树 P2 如何吸引人才 P3 Musical Maladies 朗阁教师孙景楠点评 1. 本次考试难度中等偏下。 2. 整体分析：涉及自然环境类(P1)、商业类(P2)、科学研究类(P3)。 本场考试题型与前一场考试稍有变化，细节题型增多，第一篇为常见题型搭配(判断题与填空，且理解难度不大大，文章说明性较强，逻辑思路明显;第二篇文章难度一般，双题型加配对搭配(填空+匹配+判断);第三篇难度中等，话题比较陌生，共三个题型(判断+选择+句子匹配)，但因为文章议论题材，较难理解，灵活运用技巧，能有效提高效率。 3. 主要题型：本次考试配对题型比例中等，集中在了第二篇与第三篇文章中大概为10题左右，填空型偏多，选择题正常水平。 4. 文章分析：第一篇文章主要讲述一种濒危树种的相关内容; 第二篇文章讲述经过研究发现公司如何留住人才及如何吸引人才所建立的机制; 第三篇介绍科学研究音乐对人所产生的作用及相关研究; 5. 部分答案及参考文章： Passage 1： 题型：判断+填空 文章待补充 Passage 2： 题型：填空+匹配+判断 14. F 15. B 16. G 17. C 18. Not Given 19. Yes 20. No 22. Yes 23. analysts 24. star 25. working environment 26. rivals 技巧分析：此篇文章为段落信息匹配与单细节搭配，比较推荐的解题策略为先解决填空题型，比较容易定位答案句，且填空题在考试中为送分题，考生应尽量多拿分，另外如果有一定阅读能力的同学可以采取平行阅读法来处理此类文章，效果也比较理想。 Passage 3： Music and the brain are both endlessly fascinating subjects, and as a neuroscientist specialising in auditory learning and memory, I find them especially intriguing. So I had high expectations of Musicophilia, the latest offering from neurologist and prolific author Oliver Sacks. And I confess to feeling a little guilty reporting that my reactions to the book are mixed. Sacks himself is the best part of Musicophilia. He richly documents his own life in the book and reveals highly personal experiences. The photograph of him on the cover of the book which shows him wearing headphones, eyes closed, clearly enchanted as he listens to Alfred 1 Brendel perform Beethoven's Pathitique Sonata--makes a positive impression that is borne out by the contents of the book. Sacks's voice throughout is steady and erudite but never pontifical. He is neither self-conscious nor self-promoting. The preface gives a good idea of what the book will deliver. In it Sacks explains that he wants to convey the insights gleaned from the ^enormous and rapidly growing body of work on the . neural underpinnings of musical perception and imagery, and the complex and often bizarre disorders to which these are prone." He also stresses the importance of Mthe simple art of observation" and Mthe richness of the human context.He wants to combine observation and I description with the latest in technology,” he says, and to imaginatively enter into the expe-rience of his patients and subjects. The reader can see that Sacks, who has been practicing neurology for 40 years, is torn between the old-fashionedw path of observation and the new-fangled, high-tech approach: He knows that he needs to take heed of the latter， but his heart lies with the former. The book consists mainly of detailed descriptions of cases, most of them involving patients whom Sacks has seen in his practice. Brief discussions of contemporary neuroscientific reports are sprinkled liberally throughout the text. Part I, MHaunted by Music," begins with the strange case of Tony Cicoria, a nonmusical, middle-aged surgeon who was consumed by a love of music after being hit by lightning. He suddenly began to crave listening to piano music， which _ he had never cared for in the past. He started to play the piano and then to compose music，1 which arose spontaneously in his mind in a u torrentw of notes. How could this happen? Was I the cause psychological? (He had had a near-death experience when the lightning struck him.) Or was it the direct result of a change in the auditory regions of his cerebral cortex? Electro-encephalography (EEG) showed his brain waves to be normal in the mid-1990s, just after his trauma and subsequent Mconversionw to music. There are now more sensitive tests, but Cicoria has declined to undergo them; he does not want to delve into the causes of his musicality. What a shame! Part II, “A Range of Musicality,” covers a wider variety of topics，but unfortunately，some of the chapters offer little or nothing that is new. For example, chapter 13, which is five pages long, merely notes that the blind often have better hearing than the sighted. The most interesting chapters are those that present the strangest cases. Chapter 8 is about “amusia，”an inability to hear sounds as music， and “dysharmonia，”a highly specific impairment of the ability to hear harmony, with the ability to understand melody left intact. Such specific dissociationsw are found throughout the cases Sacks recounts. To Sacks's credit, part III, "Memory, Movement and Music," brings us into the underappreciated realm of music therapy. Chapter 16 explains how "melodic intonation therapy" is being used to help expressive aphasic patients (those unable to express their thoughts verbaDy following a stroke or other cerebral incident) once again become capable of fluent speech. In chapter 20, Sacks demonstrates the near-miraculous power of music to animate Parkinson’s patients and other people with severe movement disorders, even those who are frozen into odd postures. Scientists cannot yet explain how music achieves this effect. To readers who are unfamiliar with neuroscience and music behavior, Musicophilia may be something of a revelation. But the book will not satisfy those seeking the causes and implications of the phenomena Sacks describes. For one thing, Sacks appears to be more at ease dis* cussing patients than discussing experiments. And he tends to be rather uncritical in accepting scientific findings and theories. It's true that the causes of music-brain oddities remain poorly understood. However, Sacks could have done more to draw out some of the implications of the careful observations that he and other neurologists have made and of the treatments that have been successful. For example, he might have noted that the many specific dissociations among components of music comprehension, such as loss of the ability to perceive harmony but not melody, indicate that there is no music center in the brain. Because many people who read the book are likely to believe in the brain localisation of all mental functions, this was a missed educational opportunity. Another conclusion one could draw is that there seem to be no Mcuresff for neurological problems involving music. A drug can alleviate a symptom in one patient and aggravate it in another, or can have both positive and negative effects in the same patient. Treatments mentioned seem to be almost exclusively antiepileptic medications, which "damp down" the excitability of the brain in general; their effectiveness varies widely. Finally, in many of the cases described here the patient with music-brain symptoms is reported to have "normal" EEG results. Although Sacks recognises the existence of new technologies, among them far more sensitive ways to analyze brain waves than the standard neurological EEG test, he does not call for their use. In fact, although he exhibits the greatest compassion for patients, he conveys no sense of urgency about the pursuit of new avenues in the diagnosis and treatment of music-brain disorders. This absence echoes the book's preface, in which Sacks expresses fear that wthe simple art of observation may be lost" if we rely too much on new technologies. He does call for both approaches, though, and we can only hope that the neurological community will respond. 题型：匹配+选择+判断 27. B 28. C 29. A 30. A 31. Yes 32. Not Given 33. No 34. Not Given 35. Yes 36. No 37. F 38. B 39. A 40. D 技巧分析：匹配题考生要有明确应对策略，根据自身阅读理解能力决定先后做题顺序，该题型考生要利用准确定位以及理解与替换两种方法双管齐下。做选择题时需要注意巧妙利用排除法，找出最合适的答案;最后需要注意多选题答案一般涉及文章一部分，根据其出现的位置，可以从文章结尾向前找答案，节省时间。 考试预测 1. 2021年3月最后一场考试，难度回归正常，根据前几场考试特点来看，配对题中段落信息题为重点，考生应着重准备。在接下来考试中，出题风格可能会延续，但考生要注意有可能出现大量配对题型集中的情况，对阅读能力不足和没有足够刷题经验的考试着实是个考验。 2. 下场考试的话题可能有关教育类，科学类，发展史类。 3. 重点浏览2015年机经。 (责任编辑：jasmine) |
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