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1、阅读理解解题流程Text 1 The decision of the New York Philharmonic to hire Alan Gilbert as its next music director has been the talk of the classical-music world ever since the sudden announcement of his appointment in 2009. For the most part, the response has been favorable, to say the least. “Hooray! At las
2、t!” wrote Anthony Tommasini, a sober-sided classical-music critic. One of the reasons why the appointment came as such a surprise, however, is that Gilbert is comparatively little known. Even Tommasini, who had advocated Gilberts appointment in the Times, calls him “an unpretentious musician with no
3、 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 Gil
4、bert is a great conductor or even a good one. To be sure, he performs an impressive variety of interesting compositions, 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 computer
5、 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 art-loving public, classical instrumentalists must compete not only with opera houses, dance tro
6、upes, theater companies, and museums, but also with the recorded performances of the great classical musicians of the 20th century. These recordings are cheap, available everywhere, and very often much higher in artistic quality than todays live performances; moreover, they can be “consumed” at a ti
7、me and place of the listeners 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. Gilbe
8、rts own interest in new music has been widely noted: Alex Ross, a classical-music 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 orchestras repe
9、rtoire will not be enough. If Gilbert and the Philharmonic are to succeed, they must first change the relationship between Americas oldest orchestra and the new audience it hopes to attract. 21. We learn from Paragraph 1 that Gilberts appointment has_. Aincurred criticism Braised suspicion. Creceive
10、d acclaim Daroused curiosity. 22. Tommasini regards Gilbert as an artist who is _. Ainfluential Bmodest Crespectable Dtalented 23. The author believes that the devoted concertgoers _. Aignore the expenses of live performances Breject most kinds of recorded performances Cexaggerate the variety of liv
11、e performances Doverestimate the value of live performances 24. According to the text, which of the following is true of recordings？ AThey are often inferior to live concerts in quality. BThey are easily accessible to the general public. CThey help improve the quality of music. DThey have only cover
12、ed masterpieces. 25. Regarding Gilberts role in revitalizing the Philharmonic, the author feels _. Adoubtful Benthusiastic Cconfident Dpuzzled 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
13、 usual vague excuses, he came right out and said he was leaving “to pursue my goal of running a company.” 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 an
14、d chairman on September 29. McGee says leaving without a position lined up gave him time to reflect on what kind of company he wanted to run. It also sent a clear message to the outside world about his aspirations. And McGee isnt alone. In recent weeks the No.2 executives at Avon and American Expres
15、s quit with the explanation that they were looking for a CEO post. As boards scrutinize succession plans in response to shareholder pressure, executives who dont 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, accord
