【正文】 nternal 11．[A]Except for [B]According to [C]Due to [D]As for 12．[A]with [B]on [C]in [D]at 13．[A]unless [B]until [C]if [D]because 14．[A]exhausts [B]follows [C]precedes [D]suppresses 15．[A]into [B]from [C]towards [D]beyond 16．[A]fetch [B]bite [C]pick [D]hold 17．[A]disappointed [B]excited [C]joyful [D]indifferent 18．[A]adapted [B]catered [C]turned [D]reacted 19．[A]suggesting [B]requiring [C]mentioning [D]supposing 20．[A]Eventually [B]Consequently [C]Similarly [D]Conversely Section II Reading Comprehension Part A Directions: Read the following four texts. Answer the questions below each text by choosing [A], [B], [C] or [D]. Mark your answers on ANSWER SHEET 1. (40 points) Text 1 The decision of the New York Philharmonic to hire Alan Gilbert as its next music director has been the talk of the classicalmusic world ever since the sudden announcement of his appointment in 2020. For the most part, the response has been favorable, to say the least. “Hooray! At last!” wrote Anthony Tommasini, a sobersided classicalmusic critic. One of the reasons why the appointment came as such a surprise, however, is that Gilbert is paratively little known. Even Tommasini, who had advocated Gilbert’s appointment in the Times, calls him “an unpretentious musician with no air of the formidable conductor about him.” As a description of the next music director of an orchestra that has hitherto been led by musicians like Gustav Mahler and Pierre Boulez, that seems likely to have struck at least some Times readers as faint praise. For my part, I have no idea whether Gilbert is a great conductor or even a good one. To be sure, he performs an impressive variety of interesting positions, but it is not necessary for me to visit Avery Fisher Hall, or anywhere else, to hear interesting orchestral music. All I have to do is to go to my CD shelf, or boot up my puter and download still more recorded music from iTunes. Devoted concertgoers who reply that recordings are no substitute for live performance are missing the point. For the time, attention, and money of the artloving public, classical instrumentalists must pete not only with opera houses, dance troupes, theater panies, and museums, but also with the recorded performances of the great classical musicians of the 20th century. There recordings are cheap, available everywhere, and very often much higher in artistic quality than today’s live performances。 moreover, they can be “consumed” at a time and place of the listener’s choosing. The widespread availability of such recordings has thus brought about a crisis in the institution of the traditional classical concert. One possible response is for classical performers to program attractive new music that is not yet available on record. Gilbert’s own interest in new music has been widely noted: Alex Ross, a classicalmusic critic, has described him as a man who is capable of turning the Philharmonic into “a markedly different, more vibrant organization.” But what will be the nature of that difference? Merely expanding the orchestra’s repertoire will not be enough. If Gilbert and the Philharmonic are to succeed, they must first change the relationship between America’s oldest orchestra and the new audience it hops to attract. 21. We learn from that Gilbert’s appointment has [A]incurred criticism. [B]raised suspicion. [C]received acclaim. [D]aroused curiosity. 22. Tommasini regards Gilbert as an artist who is [A]influential. [B]modest. [C]respectable. [D]talented. 23. The author believes that the devoted concertgoers [A]ignore the expenses of live performances. [B]reject most kinds of recorded performances. [C]exaggerate the variety of live performances. [D]overestimate the value of live performances. 24. According to the text, which of the following is true of recordings? [A]They are often inferior to live concerts in quality. [B]They are easily accessible to the general public. [C]They help improve the quality of music. [D]They have only covered masterpieces. 25. Regarding Gilbert’s role in revitalizing the Philharmonic, the author feels [A]doubtful. [B]enthusiastic. [C]confident. [D]puzzled. Text 2 When Liam McGee departed as president of Bank of America in August, his explanation was surprisingly straight up. Rather than cloaking his exit in the usual vague excuses, he came right out and said he was leaving “to pursue my goal of running a pany.” Broadcasting his ambition was “very much my decision,” McGee says. Within two weeks, he was talking for the first time with the board of Hartford Financial Services Group, which named him CEO and chairman on September 29. McGee says leaving without a position lined up gave him time to reflect on what kind of pany he wanted to run. It also sent a clear message to the outside world about his aspirations. And McGee isn’t alone. In recent weeks the executives at Avon and American Express quit with the explanation that they were looking for a CEO post. As boards scrutinize succession plans in response to shareholder pressure, executives who don’t get the nod also may wish to move on. A turbulent business environment also has senior managers cautious of letting vague pronouncements cloud their reputations. As the first signs of recovery begin to take hold, deputy chiefs may be more willing to make the jump without a net. In the third quarter, CEO turnover was down 23% from a year ago as nervous boards stuck with the leaders they had, according to Liberum Research. As the economy picks up, opportunities will abound for aspiring leaders. The decis