【文章內(nèi)容簡介】 物 ]擺布或控制 . While it is being carried around, it cannot feed to sustain its energy 問題 Q1：主旨題 A1：解釋了一種 phenomenon/categoryQ2：問 H動物這種行為 會產(chǎn)生什么后果？ A2： A: it will be more subject to predation. E: it will not move as quickly as it 了。 Q3：有個 infer 題：就是通過 HA不是 1 或 2 種寄生你能得出什么結(jié)論？ A3：反正就不是一起去的利益也不是一個會損害另一個的利益， Lz選的是一個得利另一個不受傷害 Q4：高亮題，全段高亮，解釋第三段的作用 A4：第三段就是解釋這種現(xiàn)象的，說了這個現(xiàn)象跟之前發(fā)現(xiàn)的 3 種理論都不符合。然后給出 一個新的解釋 Q5：框架 A5：提出現(xiàn)象，解釋現(xiàn)象，總結(jié)新 category 6 即興演奏與華彩樂段 Improvisation amp。 Cadenza 考古 The art of embellishment—improvising cadenzas, adding ornaments, taking other opportunities for creativity in performance—is a hot topic in classical music these days. For generations, conservatories preached absolute fidelity to the score: do what the poser wrote and nothing more. The problem is that the scores of prior eras can leave quite a bit to the performer’s imagination, and the earlier the piece the sparser the notation. Modern musicians specializing in the Renaissance and the Baroque have led the way in looking beyond the printed page: the great viol player Jordi Savall improvises heavily in his appearances with Hesp232。rion XXI, and Richard Egarr, in a new recording of Handel’s an concertos, responds imaginatively to passages marked ―ad libitum.‖ The notion of adding unwritten material to Classical and Romantic works is more outr233。, especially in instrumental music, but it is gaining ground. At this summer’s Mostly Mozart Festival, both the pianist Robert Levin and the violinist Joshua Bell presented their own cadenzas, giving spark to what might have been routine events. Cadenzas sprang up突然開始或存在 in the early eighteenth century, when posers began indicating brief episodes where the performer should play freely, delaying a final cadence. They appeared not only in opera but also in instrumental pieces, especially in the closing sections of concerto協(xié)奏曲 movements樂章 . Musicians had been embellishing the score樂譜 for centuries, and perhaps the cadenza華彩樂章 was a way of bringing improvisation即興演出 under control, corralling控制，占有 it. Mozart, as poser and pianist, brought the practice to its peak。 one of his contemporaries stated that cadenzas should be dreamlike in their logic, expressing ―ordered disorder,‖ and Mozart’s playing evidently had that quality. (He wrote out cadenzas for many of his concertos, so his performances may not always have been spontaneous.) Beethoven carried on the tradition—the darkly rumbling cadenza that he devised for Mozart’s Dminor Piano Concerto is a fascinating case of one poser meditating on深思，沉思 another—but he also helped to kill it. In the first movement of the ―Emperor‖ Concerto, the soloist is told not to make a cadenza but to play ―the following‖—a fully notated solo. Performers gradually stopped working out their own cadenzas, instead turning to a repertory of writtenout versions. Opera singers retained more freedom, especially when it came to interpolating插入 bravura大勝的嘗試 ,勇氣的舉動 (顯示演奏家技藝的壯麗的 樂段 ) high notes 音調(diào) , but they, too, grew more cautious. Improvisation became the province of church anists and avantgardists, the latter often taking inspiration from jazz. Classical advocates of the practice believe that it is not only historically valid but intellectually enlivening 使（某人 [某事物 ]）更活躍或更愉快 . For a recent paper in NeuroImage, Aaron Berkowitz and Daniel Ansari studied what happens cognitively when someone improvises。 they observed increased activity in two zones of the brain, one connected to decisionmaking and the other to language. Even if a soloist extemporizes即席演奏 for only a minute, the remainder of the performance may gain something intangible. Levin, the Harvardbased musician who for decades has been the chief guru宗師 of classical improvisation, believes that performances need to cultivate risk and surprise. Otherwise, he says, music bees ―gymnastics體操 with the affectation裝模作樣，故弄玄虛 of emotional content‖—a phrase that sums up unfortably large tracts of modern musicmaking. 問題 Q1： Beethoven對 Cadenza的發(fā)展起到什么作用 Q2：哪些人用了 Cadenza的方式 Q3：最后一段第一句話中提到的那種人可能贊成什么觀點 Q4：問第二段中提到的 C什么的那個人（我也沒搞清楚是不是個人 … ）是為了什么 … Q5：傳統(tǒng)的 Candeza的支持者的觀點 Q6：問那個科學(xué)家還是歷史學(xué)家會同意哪種關(guān)于 cadenza以下那種說法 7 存貨的生產(chǎn)平滑模型 Production Smoothing Model of Inventory 考古 V1 第一段： inventorysmoothing理論 /model的 思想是，用庫存 (inventory)作為 buffer,應(yīng)付可能出現(xiàn)的產(chǎn)品需求的突然增長。這樣公司就不用改變當前的生產(chǎn)， production level就會保持穩(wěn)定 (這里有題 ) 第二段：根據(jù)這個理論， production的 variance會下降。而且如果需求增加， sales的 variance會增加。但是經(jīng)過科學(xué)家調(diào)查，發(fā)現(xiàn) production 比 sales 的 variance 要高，而且他們（或者是 sales和 inventory，不影響整體閱讀）的 variance是 ，要么還有其他因素影響了調(diào)查結(jié)果。 第三段：第一句話是，科學(xué)家所做的調(diào)查是基于 aggregate level的（后面有問這句話的作用，我選：提供了 possibility that masks對單個企業(yè)的應(yīng)用）。這樣一些 seasonality的數(shù)據(jù)可能被忽略。但是有科學(xué)家對單個企業(yè)做調(diào)查，也不能證實這個 model V2 第一段：inventorysmoothing理論 /model的思想是，用庫存 (inventory)作為 buffer,應(yīng)付可能出現(xiàn)的產(chǎn)品需求的突然增長或減少。這樣公司就不用改變當前的生產(chǎn)， production level就會保持穩(wěn)定 第二段：根據(jù)這個理論， production的 variance會下降。而且如果需求增加， sales的 variance會增加。但是經(jīng)過科學(xué)家調(diào)查，發(fā)現(xiàn) production比 sales的 variance要高，而且他們是 correlated.這說明要么這個理論有問題，要么還有其他因素影響了調(diào)查結(jié)果。 第三段：第一句話是，科學(xué)家所做的調(diào)查是基于 aggregate level的，這樣一些 seasonality的數(shù)據(jù)可能被忽略，所以不能反映 individual firm的情況（后 面有問這句話的作用，我選：提供了 possibility that masks對單個企業(yè)的應(yīng)用）。有科學(xué)家專門對 individual firm做調(diào)查，但也與 inventorysmoothing理論不符。 問題 Q1：主旨 A1：討論一個模型并研究其不可靠性 Q2： Inventorysmoothing里面問 inventory primarily concerned with？ A2： JJ里那道類似的選的是使生產(chǎn)保持恒定，但是我考的時候感覺 peaks and valleys of sales 那個選項好像更 好，意思大概就是消除銷售峰谷的影響，因為有另外兩個選項都是說恒速生產(chǎn)這同一個意思。 Q3：最后一段提到 aggregate data說明什么 A3： suggest the possibility that aggregate data masked the applicability of the model to individual pany 8 文藝復(fù)興時期畫家與贊助人的關(guān)系 the PatronArtist Relations in the Renaissance Periord 考古 V1 關(guān)于文藝復(fù)興時期的畫家和他們的贊助人（也就是花錢讓他們畫畫的人）之間的故事先是 A的觀點（名字不記得了，代號吧） 說不太清楚這兩類人是不是有很明確的關(guān)系，即贊助人本身不太懂藝術(shù)吧，然后是 B 的觀點（兩者是并列的）說很少有證據(jù)表明贊助人干預(yù)藝術(shù)家作畫吧。 然后是 C 的觀點（應(yīng)該是作者要肯定的觀點）說舉了很多例子說贊助人對畫家指手畫腳，要求很多，甚至一些細節(jié)，然后舉了個例子。第二段又進一步說了 C 的觀點