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Section I Use of English

Directions:

Read the following text. Choose the best word(s) for each numbered blank and mark [A], [B], [C] or [D] on ANSWER SHEET 1. (10 points)

Ancient Greek philosopher Aristotle viewed laughter as “a bodily exercise precious to health.” But ­­­__1___some claims to the contrary, laughing probably has little influence on physical fitness Laughter does __2___short-term changes in the function of the heart and its blood vessels, ___3_ heart rate and oxygen consumption But because hard laughter is difficult to __4__, a good laugh is unlikely to have __5___ benefits the way, say, walking or jogging does.

__6__, instead of straining muscles to build them, as exercise does, laughter apparently accomplishes the __7__, studies dating back to the 1930’s indicate that laughter__8___ muscles, decreasing muscle tone for up to 45 minutes after the laugh dies down.

Such bodily reaction might conceivably help _9__the effects of psychological stress. Anyway, the act of laughing probably does produce other types of ___10___ feedback, that improve an individual’s emotional state. __11____one classical theory of emotion, our feelings are partially rooted ____12___ physical reactions. It was argued at the end of the 19th century that humans do not cry ___13___they are sad but they become sad when the tears begin to flow.

Although sadness also ____14___ tears, evidence suggests that emotions can flow __15___ muscular responses. In an experiment published in 1988,social psychologist Fritz Strack of the University of würzburg in Germany asked volunteers to __16___ a pen either with their teeth-thereby creating an artificial smile – or with their lips, which would produce a(n) __17___ expression. Those forced to exercise their enthusiastically to funny catoons than did those whose months were contracted in a frown, ____19___ that expressions may influence emotions rather than just the other way around __20__ , the physical act of laughter could improve mood.

1.[A]among [B]except [C]despite [D]like

2.[A]reflect [B]demand [C]indicate [D]produce

3.[A]stabilizing [B]boosting [C]impairing [D]determining

4.[A]transmit [B]sustain [C]evaluate [D]observe

5.[A]measurable [B]manageable [C]affordable [D]renewable

6.[A]In turn [B]In fact [C]In addition [D]In brief

7.[A]opposite [B]impossible [C]average [D]expected

8.[A]hardens [B]weakens [C]tightens [D]relaxes

9.[A]aggravate [B]generate [C]moderate [D]enhance

10.[A]physical [B]mental [C]subconscious [D]internal

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 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 last!” 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 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 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 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 troupes, theater companies, and museums, but also with the recorded performances of the great classical musicians of the 20thcentury. 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 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 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.