1 . That day when Ludwig van Beethoven died was one of the saddest of my life. I had stayed with him for more than twenty years and lived through many of his happiest moments and his triumphs as well as his most unhappy times.
He wasn’t, however, the easiest of men to work for. His moods were changeable so that he could be reasonable at one moment but most impatient and intolerant at the next. All these problems began in 1802 when he discovered his loss of hearing was not temporary.
The loss of hearing brought him to a crossroads in his life. It was then that he realized that his future lay in composing music. Luckily, although his deafness brought him fear and anxiety, he was able to use these emotions to inspire his work.
Dealing with his inner problems and worries, his music was obviously subjective, which was not the most popular type of its time. But people recognized his greatness. They did so even when they knew he could not acknowledge it. When he was conducting his ninth and last symphony on its first performance he was totally deaf. So he just didn’t realize that the music had finished and continued to conduct the orchestra. One of the singers had to turn him round so he could receive the cheers of the audience. From one angle it was a sad moment but from another it was an even greater triumph. That a man with such a condition could have written such dynamic music was overwhelming! It brought tears to my eyes to think that I had contributed in some small way by looking after him.
He dressed rather like a wild man himself. His hair was always untidy, his skin marked with spots and his mouth set in a downward curve. He took no care of his appearance and walked around our city with his clothes carelessly arranged. This was because he was concentrating on his next composition.
Helping him move house many times, preparing his meals and looking after his everyday comforts were my reward for a life living so close to such a musical genius. I consider myself a lucky man!
1. The author was most likely to be Beethoven’s _______.| A．student | B．doctor | C．servant | D．relative |
| A．Beethoven’s music was underestimated at that time. |
| B．Beethoven’s work was inspired by his fear and anger. |
| C．Beethoven’s music stayed in step with the mainstream music of the time. |
| D．Beethoven lost his ability to hear when first conducting his ninth symphony. |
| A．Because the performance was a complete success. |
| B．Because he played a part in Beethoven’s success. |
| C．Because Beethoven was completely deaf then. |
| D．Because the audience cheered for Beethoven. |
| A．intolerant but cheerful |
| B．stubborn but reasonable |
| C．changeable but dedicated |
| D．unsociable but easy-going |
2 . Rita Moreno is one of the very few performers to EGOT: to win an Emmy, a Grammy, an Oscar and a Tony award. But come a little closer, and Moreno’s is another kind of immigrant (移民的) story.
She was a teen when MGM (米高梅电影公司) signed her in the 1950s. Major studios were still dominated by the men who’d run them for decades. They had her change her name. While recognizing her talent, they didn’t know what to do with a Latin girl. Moreno played small parts, including a girl from India and a Burmese (缅甸的) woman. What should have been her big break came when she was cast as Anita in West Side Story. She’d remember Anita as “the very first Hispanic (西班牙的) character I had ever played who had dignity, a sense of self-respect. She became my role model. ” The night Moreno won the Oscar, the Hispanic community across the USA broke out into cheers.
But that career turn didn’t happen. Instead, she received more offers to play what she described as “dusky servants”. The racial and ethnic prejudice was still at play. “It broke my heart, ”she says. Rita Moreno didn’t make another movie for seven years.
Then began her new act. Holding to her mother’s philosophy — Never give in, never quit, keep on moving — she survived professionally during those years with work on the London stage and in nightclubs, slowly reemerging on film and television, and eventually she earned herself a star on the Hollywood Walk of Fame and the Peabody Career Achievement Award.
But even as she continues to perform, her work continues off the screen, speaking out for and representing the Latin community. “I’m now known as la pionera, or the pioneer,” Moreno says. “I really don’t think of myself as a role model. But it turns out that I am, to a lot of the Hispanic community. Not just in show business, but in life. But that’s what happens when you’re first, right?”
1. What do we know about Moreno in Paragraph 2?| A．She was an actress contracted with MGM. |
| B．She had her future well-planned for her talent. |
| C．She was treated as a Hispanic girl with dignity. |
| D．She won the Oscar for acting a Burmese woman. |
| A．She did not receive any film offers. |
| B．She rejected roles of racial prejudice. |
| C．She was tired of performing on the stage. |
| D．She focused on her stage career in nightclubs. |
| A．Generous and brave. | B．Kind and grateful. |
| C．Honest and trustworthy. | D．Tough and determined. |
| A．She prefers to be a role model in show business. |
| B．She is unhappy with what happened to an actress. |
| C．She makes a difference to the Hispanic community. |
| D．She feels pressured about being a Hispanic pioneer. |
3 . The question of whether it is possible to dissociate the artist from their work has been debated for a long time. Even though positive critical reviews about an artist’s behavior can improve their artistic accomplishments, people should treat artists as individuals who have lived apart from their work.
One of the reasons is that even artists have shortcomings. Like any other human being, an artist can err, and we cannot be severely judgmental of every person that falls into error. Cancel culture with endless criticism is concerned more with how we should disregard the artists when they make mistakes than with how their weaknesses can be used by the artists to create art that is unique.
Perhaps Kevin Hart’s words support this thought. He asks, “When did we get to a point where life was supposed to be perfect? Where people were supposed to operate perfectly all the time?” When people start seeing artists as human beings, they’ll see them for who they are and review their behavior not on the basis of their art but on the basis of their humanity.
It should be also noted that there are works of art that are inspired by the artist’s experience. For example, the themes in the Harry Potter books are so connected with J. K. Rowling’s wicked worldview that it is virtually impossible to distinguish the two from each other. Since canceling artists based on their worldview would mean the reception to their art will suffer, artists become tense and unwilling to express themselves, which will kill creativity, eventually leading to the death of art. Comedians, singers or painters who should be integrating contemporary issues with their works become boring, and art stops functioning as the social mirror it ought to be.
An artist who makes mistakes still has art with intrinsic (内在的) value, benefiting entire communities or cultures. For instance, when Kendrick Lamar launched his album and frequently used the F-slur in one of his songs, there was much-heated discussion. He was entirely mistaken in using the F-slur, but as an artist, he still had a wide-reaching impact on society. Similarly, one can respect the late Michael Jackson because of how he impacted pop music and the inclusion of black musicians in mainstream media despite his personal weaknesses, opinions, worldviews and associations.
While these artists may engage in their terrible behavior, the art they produce today may serve as an example for others to produce outstanding work in the future. Some would refer to this process as a cycle. Good art should, therefore, be judged due to its value and not the value of the artist.
1. Which would Kevin Hart probably agree with?| A．People should perform perfectly all the time. |
| B．Artists’ shortcomings might be their inspiration. |
| C．If artists have weaknesses, we’d better cancel them. |
| D．Artists should be evaluated based on their humanity. |
| A．Artists will be unwilling to create any artwork. |
| B．Artists will stop concerning with contemporary issues. |
| C．Artists will lose their desire for expression and creativity. |
| D．Artworks are unavoidably inspired by artists’ experiences. |
| A．The artist may make some new words popular. |
| B．The artist’s opinions may provoke heated discussion. |
| C．The artist will benefit entire communities or cultures. |
| D．The artist’s art may give others ideas of artistic creation. |
| A．Judge Art Due to Its Value |
| B．Separate the Art From the Artist |
| C．Regard Artists as Human Beings |
| D．Stop Criticizing Artists’ Behavior |
4 . Michael Morgan was six years old when his father moved a neighbor’s unwanted piano into their living room. “And that’s really where the whole thing started,” he says. “My mother and grandmother had played the piano a little bit, but my father just thought it was a good thing to have in the house.” Young Michael started piano lessons, but it was when he saw a conductor (指挥) leading an orchestra on television that he realized what he really wanted to do.
At age eight, he began reading The Joy of Music by conductor and composer (作曲家) Leonard Bernstein and got to know how to direct with a baton (指挥棒) .
When Michael entered junior high, he joined an orchestra and band and learned to play many instruments. He was just 12 years old when his instructor asked him to compose and conduct a concert piece. And that was only the beginning. Throughout high school, he continued to develop his artistic talent, and after graduating, he headed to Oberlin Conservatory of Music.
Morgan is dedicated (致力于) to offering kids a chance to explore classical music. In his hometown of Oakland, California, he started to volunteer in local schools, conducting student orchestras and talking with kids about music. Later, Morgan developed MUSE (Music for Excellence), a music education program for kids.
He brings musicians from Oakland Symphony into classrooms to teach kids. He also works with teachers in after-school programs to teach students who can’t afford lessons.
Morgan says his work is mostly about providing young people with an entrance into music. “Instruments are a way for kids to express their feelings, and give them an interest they can carry with them through life,” he says.
1. Why did Michael’s father move a piano into their house?| A．It was a gift from their neighbor. | B．It was his mother and wife’s favorite. |
| C．He just wanted to have one in the house. | D．He wanted to give Michael piano lessons. |
| A．After he developed MUSE. |
| B．After he read The Joy of Music. |
| C．After he was asked to compose a concert piece. |
| D．After he studied at Oberlin Conservatory of Music. |
| A．Get the chance of entering college. | B．Become world-class musicians. |
| C．Receive music education. | D．Join Oakland Symphony. |
| A．By giving examples. | B．By expressing opinions. |
| C．By making comparisons. | D．By following time order. |
5 . About 20 years ago, Daniel Hoffman, a classically trained violinist met a young musician playing in the town square in Marrakech, an ancient city in Morocco. They communicated in the little French they both knew, but their main common language was music. On the back of a motorbike of the fellow violinist, Hoffman weaved through the back streets of the city and then learned his first lessons in Andalusian music, the classical music of North Africa.
That experience gave birth to an idea: What would it be like to try to learn how to play different violin styles around the world in just one week? Oh. yes, and at the end of that week, play a concert. He even got a name for the concept “musical extreme sports”.
It took him almost two decades to launch that dream with a friend, who introduced him to the wonders of Kickstarter, a funding platform for creative projects. Up to now, the dream has taken the form of a new documentary currently airing on American public television stations called “Otherwise, It’s Just Firewood.”
In the documentary, Hoffman travels to County Clare, Ireland, where he takes lessons with James Kelly, a master Irish violin player, for less than a week and then performs together with him in front of an audience, many of whom are star Irish musicians.
The film is what Hoffman hopes will be the first of an eventual series of short documentaries, showing him learning to play the violin in a variety of styles, including the folk music of south India, Sweden, Greece, Romania, and West Virginia.
That would add to his extensive repertoire (全部曲目), which already includes Balkan, Middle Eastern, and Turkish styles. “The big joke is what’s the difference between the fiddle and the violin? It’s the person who plays it,” says Niall Keegan, a traditional flute player. “It’s the music you make on it that makes it Irish or English or French or classical or jazz or whatever else. It’s how we imagine it and how we create through it that make it and give it character.”
“Otherwise, it’s just firewood,” he says, words that became the film’s title.
1. Where does Hoffman’s idea of musical extreme sports come from?| A．His exploration of the local music. |
| B．His cooperation with the young violinist. |
| C．His sightseeing tour on a motorbike seat. |
| D．His constantly changing taste in violin styles. |
| A．help Hoffman to become a master violin player |
| B．are funded by American public television stations |
| C．introduce different styles of musicians around the world |
| D．record Hoffman’s experience in learning various violin styles |
| A．the power of diversified artistic expression |
| B．the pleasure in learning traditional music |
| C．the technique of instrument playing |
| D．the importance of famous artists |
