I. Unit overview
Text A in this unit is an expository writing introducing the three planes on which music exists. It does not necessarily mean we listen to music on one or the other mechanically, but with such division, the author hopes to provide a clearer view of the way in which we listen to music. The first plane is the sensuous plane on which we hear music without considering it in any way. On the expressive plane, the second plane, we read different meanings into various pieces of music. The last plane is the one on which we listen to “note themselves,” called the sheerly musical plane. Text B is an extract from a biographical novel about Vincent van Gogh, which offers a portrait of the artist’s struggle against critical discouragement and mental turmoil, allowing us catching a glimpse of his world. The author, Irving Stone, uses his pen as a brush to take down the great artist’s world and help us to better understand the man behind his paintings.
Be it an expository essay or an extract from a novel, both texts bring us to a world of arts.
II. Teaching plan
按照《指南》规定，综合英语总学时是64课时，每周4课时，每单元上8课时。有的学校每周6课时，每单元12课时。下表按8课时安排，12课时就按比例调整。
Section Exploring the Topic Input/Exercises Ask Ss to answer the two questions in the textbook (In class) Words and Expressions (Pre-class preview) Detailed Study of the Text (In class) Language Focus (In class) Grammar and Discourse (In class) Intellectual Humility (In class) Words and Expressions (Pre-class preview) Independent Learning (Pre-class preview) Analytical Reading (In class) 1
Suggested Teaching time 0.5TH -- 2TH 1TH 1TH 1TH -- -- 1TH Text A Critical Thinking Text B
Guided Writing
Global Analysis of the Text (In class) Additional Language Work (After class) Prepare and Write the Essay (Pre-class preview) Comment on the Essay Task (In class) 1TH -- -- 0.5TH III. Exploring the topic
Teaching Tips
1. The exercises are designed to help the students get ready for the study of the text by familiarizing them with the topic of this unit. Exercise 1 gives four quotes about art, in the hope of giving students some inspiration on the topic of this unit. Exercise 2 encourages the students to share their favorite artwork and exchange their opinions on its impact on their lives.
2. For Exercise 2, please divide the students in groups of 4 or 5 to discuss on the questions. The teacher randomly invites representatives to report to the whole class, and comments on the answers. Key to Exercises 1
Frank Lloyd Wright restates a classical concept of “art as imitation of nature.” It focuses on the fact that art is an aesthetic representation of a form of nature through artistic techniques. Leo Tolstoy tells us that art is much more than a piece of tangible work, but an expression of one’s emotions, also evoking feelings from others. Oscar Wilde proposes that individualism offers the most fertile ground for the creation of art and cultivates the highest potential. According to Zhang Zao, in the pursuit of artistic creation, one needs to draw inspiration from all things in nature and his innermost thoughts. “Inspiration from within” and “inspiration from without” are complementary to each other, having a relationship of unity rather than opposition. 2
Open-ended.
Optional Activities: Pair Discussion
1. Have you ever visited an art museum? What art form do you like best, and why? 2. What famous artists do you know? What are they famous for?
3. A life without music would be boring and dull. Why do most of us find music
indispensably important in our lives?
IV. Text A
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Background Information
Aaron Copland (1900—1990), American composer who achieved a distinctive musical characterization of American themes in an expressive modern style. Copland was referred to by his peers and critics as “the Dean of American Composers.” The open, slowly changing harmonies in much of his music are typical of what many people consider to be the sound of American music, evoking the vast American landscape and pioneer spirit. He is best known for the works he wrote in the 1930s and 1940s in a deliberately accessible style often referred to as “populist” and which the composer labeled his “vernacular” style. Works in this vein include the ballets Appalachian Spring, Billy the Kid, and Rodeo, his Fanfare for the Common Man and Third Symphony. In addition to his ballets and orchestral works, he produced music in many other genres, including chamber music, vocal works, opera and film scores.
Teaching Tips
As to the structure of Text A, the teacher may ask the students to find out its expository structure, with the introduction, body part and conclusion and refer to Exercise 1 in “Analytical Reading” to help them find the theme of the whole text and the sub-topics of each body part.
In order to help the students to understand some important details in the text, the teacher may ask the students to do the True or False questions in Exercise 2 and to paraphrase the sentences in Exercise 3 in “Analytical Reading.”
The two translation exercises can provide the students an opportunity to summarize and to extend the main idea of Text A, with the theme expressions used. The teacher has two focuses for the exercises: theme expressions and sentence structures. The students are required to use the words, expressions and sentence structures correctly and properly in the context.
As for “Critical Thinking,” the teacher should help the students to really understand what “intellectual humility” is and find more examples to illustrate it. When it comes to exercises in “Language Focus,” the students are required to do them independently before class with reference to dictionaries, corpus and other online resources. Then they can share and discuss their answers with their group members or partners in class, asking the teacher for help whenever they can’t solve their disagreement. The teacher will emphasize the common difficulties and solutions at the end of the exercise session.
Structure
I. We listen to music on three separate planes. (Para. 1)
II. The sensuous plane is the plane on which we hear music without considering
it in any way. (Paras. 2-5)
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III. On the expressive plane, we read different meanings into various pieces of
music. (Paras. 6-13) IV. The sheerly musical plane is the one on which we listen to the “notes
themselves.” (Paras. 14-16) V. While listening to music, we correlate the three planes. (Para. 17)
Detailed Study of the Text
1. But, for the sake of analysis, the whole listening process may become clearer if we break it up into its component parts, so to speak. (Para. 1)
For the purpose of analysis, dividing the whole listening process into several separate parts, in a manner of speaking, can help the audience understand it better. This sentence unveils the author’s intellectual humility.
so to speak: used to highlight the fact that one is describing something in an unusual or metaphorical way
e.g. This arrangement will allow us to eliminate our debt and get back to solid ground, so to speak.
2. A kind of brainless but attractive state of mind is engendered by the mere sound appeal of the music. (Para. 2)
As a concluding sentence of Para. 2, it highlights the feature of the sensuous plane again, which is the sound appeal, and “mere” is used to say that something is small but has a big effect.
engender: to be the cause of a situation or feeling
e.g. Their financial success has engendered attention among their neighbors. appeal: a quality that makes people like something or someone e.g. What is the particular appeal of this island? The film has great appeal for young audiences.
3. Immediately that one note is enough to change the atmosphere of the room—proving that the sound element in music is a powerful and mysterious agent, which it would be foolish to deride or belittle. (Para. 3)
The sound element in music is an important but unexplainable factor, any change of which can make the atmosphere of the room different, so it’s a serious consideration. belittle: to make someone or something seem small or unimportant e.g. It makes no sense to belittle the enormity of the disaster.
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4. Music allows them to leave it, and they go off to a place to dream, dreaming because of and apropos of the music yet never quite listening to it. (Para. 4) apropos of sth.: concerning or related to something
e.g. He had nothing to say apropos of the latest developments.
5. But that should not lead one to the other extreme of denying to music the right to be “expressive.” (Para. 6)
“That” here refers to the difficulty mentioned in the previous sentence in giving a piece of music a precise explanation satisfying everyone. Despite such difficulty, Copland still believes all music has an expressive power.
6. This popular idea of music’s meaning—stimulated and abetted by the usual run of musical commentators—should be discouraged wherever and whenever it is met. (Para. 8)
In this sentence, both “stimulated” and “abetted” function as postpositive attributive, modifying “this popular idea of music’s meaning.”
the usual/normal/general run of: the usual type of something e.g. The place was very different from the normal run of street cafes.
Translation of Text A
我们如何听音乐 阿隆·科普兰
1. 我们都是根据各自不同的能力来听音乐。但是为了便于分析，我们不妨把
整个听的过程分成几个部分，可以说，这样分析起来就可以更清晰明白。某种意义上讲，我们都会从三个不同的层面欣赏音乐，因缺乏更好的术语表述，我们姑且称之为：（1）感官层面，（2）表现力层面，（3）纯粹音乐层面。机械地把听音乐的过程分为这三种假定的层面，其唯一的好处在于更清楚地了解我们听音乐的方式。 2. 听音乐最简单的方式是为了获得音乐本身带来的纯粹愉悦感而听。这就是
感官层面。在这个层面，我们只是本能地听，不对音乐做任何的思量。只是打开收音机，一边做着其他的事，一边心不在焉地沉浸在音乐中。音乐中声音的感染力就能把人带入无须动脑却引人入胜的心境。 3. 也许，你正坐在房间里读这本书。想象钢琴键上响起一个音符，这个音符
足以立刻改变整个房间里的氛围，这表明音乐的声音元素是一种强大而神秘的原动力，贬低它和轻视它都是愚蠢的。 4. 令人惊讶的是，许多自诩为资深音乐爱好者的人却在听音乐时滥用这一层
面。他们去听音乐会只是为了忘我。他们把音乐作为一种慰藉或遁世的方式。随着音乐，他们进入一个理想世界，不必再考虑每天的现实生活。当然他们也不会想到音乐。音乐允许他们抛下音乐去想别的事情，于是他们
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离开现实，因为音乐而做梦，做关于音乐的梦，却从未好好听过音乐。 5. 没错，音乐的吸引力是一种强大而原始的力量，但不可让它过多地占据你
的兴趣。感官层面在音乐中很重要，非常重要，但它并非全部。 6. 音乐存在的第二个层面是我所谓的表现力层面。一谈到这个层面，我们立
马就进入了一个备受争议的领域。作曲家有办法规避任何有关音乐表现力层面的讨论。斯特拉文斯基本人不就曾宣称他的音乐只是一个“实体”，一样“东西”，有它自己的生命，并且除其纯净的音乐存在之外没有别的意义吗？斯特拉文斯基态度坚决，也许是因为现实中有太多人尝试在众多音乐作品中解读出不同的意义。要准确地说出一首乐曲的意义，还要说得确切，最后还要给出人人都满意的解释，天知道这有多难。但那不应该是人们否定音乐自有“表现”权的原因。 7. 我自己的看法是所有音乐或多或少都具有表现力，但所有音乐在音符背后
都有一个确切的意义，而这个意义终究构成了它向我们诉说、传达的内容。整个问题可以很简单地说明，只需问“音乐有意义吗？”我的回答会是“有”。那么，“你能用一段话说明音乐的意义是什么吗？”我的回答会是“不能”。这就是困难所在。 8. 头脑简单的人绝不会满足于第二个问题的答案。他们总想赋予音乐一个意义，而且越具体，他们越喜欢。在他们看来，音乐越能让他们想起火车、风暴、葬礼或任何其他熟悉的概念，就越有表现力。音乐评论员日常的鼓吹和煽动催生了这种关于音乐意义的时兴观点，但无论何时何地，只要遇到了，我们都应加以劝阻。一位羞怯的女士曾向我坦白她怀疑自己严重缺乏音乐鉴赏力，因为她无法将其与任何确切的事物相联系。当然，这其实是把整件事情本末倒置了。 9. 但不论职业音乐家持什么看法，多数音乐初学者仍会搜寻具体的词来表述
他们对音乐的反应。正因如此，他们总是发现柴可夫斯基比贝多芬容易理解。首先，用语言确定柴可夫斯基一首作品的含义比贝多芬的作品容易，或者说容易得多。再者，在那位俄国作曲家那里，你每次听他的乐曲听到的都是同样的东西，而对于贝多芬，通常就很难捉摸清楚他在表达什么。任何一个音乐家都会告诉你，这就是贝多芬成为了更伟大的作曲家的原因。因为总是向你诉说同一个东西的音乐必定很快就会变得枯燥，而每次听的时候都有细微不同的音乐才更可能长存。 10. 如果可以的话，去听听巴赫的《平均律钢琴曲集》中的48首赋格曲主旋
律。依次听其中的每一个主旋律，你很快就会发现，每个主旋律反映的是不同的情感世界。你也很快就会意识到，你觉得一个主旋律越美，就越难找到一个让你完全满意的词来描述它。是的，你当然知道这个主旋律是欢乐的还是悲伤的，或者说你可以按照自己的想法描绘出关于你的主旋律的情感感受体系。现在来进一步研究其中悲伤的主旋律，尝试确定这种悲伤的准确特质。这是悲观厌世的悲伤还是听天由命的悲伤？这是穷途末路的悲伤还是苦中带甜的悲伤？ 11. 假设你很幸运，可以用让你满意的词语来描述所选主旋律的准确意义，但
这也不能保证别人会感到满意，他们也无需感到满意。关键在于每个人自
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己对一个主旋律或整首乐曲的表现力特质有不同的理解。那么在遇到一首伟大的艺术作品时，就不要期待你每次听这首乐曲时的感受都一样。 12. 当然，主旋律或乐曲不只表现一种情感。以《第九交响曲》的第一个主旋
律为例，这就是以不同的元素组成的，不只在诉说一个东西。然而每个人听到这首乐曲都会立即感到一种强劲有力的感觉。这不是简简单单地因为这个主旋律演奏得很响亮，而是它蕴含的内在力量得到传递。这种主旋律的非凡力量与活力使听众感到像是在听一阵强有力的表白，但绝不应把这归结为“生命的命定之锤”等等。问题就源于此。音乐家盛怒地说，它没有别的意思，只是表示音符本身，但非专业人士只会焦急地保留任何让他们幻想自己离音乐意义更进一步的解释。 13. 现在，当我说音乐确实有表现力，但我们不能用词语来描述那究竟是什么
时，读者们大概比较清楚我的意思了。 14. 音乐存在的第三个层面是纯粹音乐层面。除开音乐的愉悦之声和它释放出
的表现力，音乐确实存在于音符自身及对每一个音符的操控。大多数听众并没有充分意识到这第三个层面。 15. 当街上的人以不同的专注程度听“音符本身”时，他最有可能提及旋律。
不论他有没有听到一段绝妙的旋律，一般来说都会就此放过。第二个最有可能引起他注意的是节奏，尤其是那种听起来振奋人心的节奏。哪怕听众有意识地思考，和声和音色也普遍不会受到重视。至于音乐还有某种明确的曲式，他们从来不会想到。 16. 对所有人来说，提高在纯粹音乐层面对音乐的敏感度非常重要。毕竟我们
是在使用一种实际的音乐素材。聪明的听众必须准备提高对音乐素材及其使用方式的认识，必须更加有意识地去听旋律、节奏、和声和音色。但最重要的是，为了跟上作曲家的思路，他必须学习一些曲式的规范。聆听所有这些元素就是在纯粹音乐层面上的聆听。 17. 请允许我重申一遍，我把听音乐机械地分出三个层面只是为了便于理解。
实际上，我们从不是单独在这个或那个层面上听音乐，我们其实是把它们联系起来，同时在三个层面上听。这不需要花太多脑力，因为我们完全出自本能。
Key to Exercises Analytical Reading 1
1- B; 2-A; 3-C 2
1. (F) According to Para. 2, this is the sensuous plane on which we hear music without thinking. A kind of brainless but attractive state of mind will be engendered
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by the mere sound appeal of the music. Such hypothetical classification is to help us to have a clearer view but not necessarily to say which plane is superior. Therefore, the statement is false.
2. (F) According to Para. 5, it’s only suggested that you don’t allow the sound appeal of music to usurp a disproportionate share of your interest. Therefore, the statement is false.
3. (T) According to Para. 7, Aaron Copland gives a positive answer to the question whether music has a meaning, but a negative one to whether we can state what the meaning is. Therefore, the statement is true.
4. (F) According to Para. 11, it’s written that “And if it is a great work of art, don’t expect it to mean exactly the same thing to you each time you return to it.” Therefore, the statement is false.
5. (T) In Para. 15, Copland explains what we are likely to give attention to or be conscious of when it is said that we are listening to the “notes themselves.” What he lists includes melody, rhythm, harmony, and tone color. Therefore, the statement is true. 3
1. Getting a clearer view of how we listen to music is the only benefit to be had by mechanically breaking the listening process into these assumed planes.
2. The sound element in music is an important but unexplainable factor, any change of which can make the atmosphere of the room different, so it’s a serious consideration.
3. It’s extremely difficult to pin down definitely and finally the exact meaning of a piece of music in a way that will satisfy everyone.
4. I believe that all music can express thoughts and feelings to a greater or lesser extent, because each note which makes up a composition has a certain meaning and has its part to play in telling you what the piece is about.
5. The musician will angrily deny the expressive side of his/her music, claiming that there are just notes, while common people long for an explanation, which will make them feel closer to the music’s meaning. 4
1. To listen for the sheer pleasure of the musical sound itself is the simplest way of
listening to music.
2. This plane is abused when people use music just as a consolation or an escape
from reality, but never quite listen to the music nor think about the music. 3. It is the second plane, the expressive plane.
4. Because it is difficult to pin down the definite meaning of each piece of music in
a way that satisfies everyone.
5. It refers to the idea of pinning down the exact meaning of pieces of music in
specific words, which is said to be encouraged by musical commentators. Copland disagrees with this idea.
6. There are two reasons. Firstly, it’s easier to pin a meaning-word on a Tchaikovsky
piece than on a Beethoven one, and secondly, every time you come back to a
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piece of the former, it almost says the same thing to you, while the latter brings different feelings every time you return to it. 7. It’s the third plane, the sheerly musical plane.
8. It’s because Copland wants to emphasize such division is just for the sake of
greater clarity but in the real situation, we listen in all three ways at the same time. 9. Open-ended. 10. Open-ended.
Language Focus Vocabulary 1
1. proclaims 2. inherent 3. agents 4. therein 5. abet
6. disproportionately 7. vigor 8. primitive 9. deride 10. Hypothesis 2 1.
a) sensible b) sentimental c) sensuous d) sensitive 2.
a) consultation b) consolation c) consolidation 3.
a) constitute b) contains c) consist d) Composed 3
appeal
1. a quality that makes people like something or someone
城市生活的前景对我几乎没有什么吸引力。 2. an urgent request for something important
警方呼吁公众保持冷静。
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3. to make a formal request to a court or someone in authority asking for a decision
to be changed
陪审团宣判之后，双方都有机会对裁决提出上诉。 shy
4. to avoid doing or dealing with something because you are not confident enough
or you are worried or nervous about it
他们批评了领导层，却回避了正面的挑战。
5. nervous and embarrassed about meeting and speaking to other people, especially
people you do not know
他在公共场合非常害羞，但在家里和家人在一起时却完全不是那样。 6. not having quite the amount that is needed to be something or to reach a
particular figure
她在圣诞节前去世了，仅差一个月就满90岁。 run
7. the usual/normal/general run of: the usual type of something
在通常情况下，上上下下出租车是他唯一的锻炼。 8. an attempt to be elected to an important position
他正在准备参与总统竞选。
9. to organize or be in charge of an activity, business, organization, or country
在我不在的时候，安迪把一切都安排得井井有条。 4 1. into 2. in 3. of 4. to 5. to 6. to 7. off 8. to 9. from
Grammar & Discourse 1 Absolute Constructions An absolute construction refers to a grammatically independent group of words that serves to modify or add information to a sentence. It adds information to the event of the main clause when it follows the main clause. 1. My own belief is that all music has an expressive power, some more and some less... The part “some more and some less” is an absolute construction. The word “some” is the logical subject of “more” and “less.” Sentence 1 can be rewritten into the following sentence: 1a. My own belief is that all music has an expressive power, and some music has more expressive power and some has less expressive power...
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The absolute construction in Sentence 1 takes the form of “the logical subject + adjective.” As revealed in Sentence 1a, since the parts “has” and “expressive power” have already been used in the first clause, the absolute construction has left out these words. In addition to the absolute construction in Sentence 1, absolute constructions can fall into the other three types. I. Noun/Pronoun + -ing participle phrase 2. I saw him vanish in the general direction of my apartment house, his little body quivering with fear in the great open sun on the blazing concrete. In Sentence 2, “his little body” is the logical subject of the participle “quivering,” which conveys an active sense. The absolute construction can be expanded into another sentence, which is more common in conversations. 2a. I saw him vanish in the general direction of my apartment house. His little body quivered with fear in the great open sun on the blazing concrete. II. Noun/Pronoun + -ed participle phrase 3. To fish in the local bay waters, anyone can buy a fishing license—no questions asked—so of course fish populations decline. Sentence 3 has an absolute construction in which “no question” functions as the logical subject of the participle “asked.” The past participle form of the word reveals a passive sense. Sentence 3 can be rewritten into the following sentence. 3a. To fish in the local bay waters, anyone can buy a fishing license. No questions were asked, so of course fish populations decline. III. With-type absolute construction Absolute constructions also can be introduced with the word “with.” Structurally, “with-type absolute construction” mainly falls into the following two types: 1) with + Noun/Pronoun + -ing participle 4. With her child being sick, she has to do most her work at home. Sentence 4 can be rewritten into Sentence 4a: 4a. Because her child is sick, she has to do most her work at home. 2) with + Noun/Pronoun + -ed participle 5. However, by the 19th century these rigid legal boundaries were relaxed, with common-law marriage widely recognized as an acceptable union. Sentence 5 can be rewritten into Sentence 5a: 5a. However, by the 19th century these rigid legal boundaries were relaxed. The common-law marriage was widely recognized as an acceptable union. Tips to create absolute constructions by joining two sentences: Example: All the money was spent and he had to start looking for a job. 1. Decide which sentence is used as the main clause. In most cases, the sentence with a “human” functioning as the subject is always retained as the main clause. ...he had to start looking for a job the main clause Sometimes, the establishment of the main clause depends on the logical relation of the two sentences. The sentence conveying the meaning of “time, reason...” is always changed into the absolute construction. 2. Change the other clause or sentence into an absolute construction. If the finite verb is in the active form, use the -ing form of this verb. If the finite verb is in its passive form, use the -ed form of this verb. All the money was spent spent (or having been spent) So the absolute construction is: All the money spent, he had to start looking for a job.
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Tips to create absolute constructions by reducing an adverbial clause: 1. Reduce the connective of the adverbial clause. Because the last bus had gone, we had to walk home. 2. Decide on the form of the verb. Use the -ing participle if the finite verb is in its active form. Use the -ed participle if the finite verb is in its passive form. Because the last bus had gone having gone So the absolute construction is: The last bus having gone, we had to walk home. An absolute construction is more frequent in formal situations while in conversations adverbial clauses, simple sentences and compound sentences are preferred. 1. The manager sat quietly in the office, his eyes closed.
解释：
1）第一句透露更多关于“他”的状态的信息，第二句的信息只是关于他的眼睛，所以信息多的第一句保留为主句，第二句写出独立主格结构。 2）做法：
（1）保留第二句的主语his eyes；
（2）定位谓语动词were closed，将其写成分词短语closed;
（3）合并两个句子。合并后的句子里，独立主格结构his eyes closed做状语，进一步补充、说明主句的信息。 2. Hands shaking, she searched pockets and found a keycard. 解释：
1）第二句的主语是she，所以第二句保留为主句。 2）做法：
（1）保留第一句的主语her hands；
（2）定位谓语动词were shaking，将其写成分词短语shaking;
（3）合并两个句子。合并后的句子里，独立主格结构Hands shaking做状语，表示和主句几乎同时的动作。
3. Nobody having any more to say, the meeting was closed. 解释：
1）仔细观察两个句子的逻辑关系，可发现第一句表示的是原因，所以将第一句写成独立主格结构。 2）做法：
（1）保留第一句的主语nobody；
（2）定位谓语动词had，将其写成分词短语having;
（3）合并两个句子。合并后的句子里，独立主格结构Nobody having any more to say做状语，表示原因。
4. Dinner over, we began to work again. 解释：
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1）第一句交代时间，第二句讲事件的主要信息，所以将第一句写成独立主格结构。
2）做法：
（1）保留第一句的主语dinner； （2）定位谓语动词was;
（3）合并两个句子。合并后的句子里，独立主格结构Dinner over做时间状语，补充说明第二句的情况。
5. (With) fingers crossed, she is back on her skateboard, even though a bad fall could reinjure her tendons. 解释：
1）第二句透露的是“她”的整体信息，第一句讲的是她的手指的信息，这属于部分信息，所以第一句写成独立主格结构。 2）做法：
（1）保留第一句的主语fingers；
（2）定位谓语动词are crossed，将其写成分词短语crossed。
（3）合并两个句子。合并后的句子里，独立主格结构(With) fingers crossed做状语，说明第二句的状态。
6. She stood back and looked at him, her face smiling radiantly. 解释：
1）在第一句透露更多的关于“她”的状态的信息，第二句的信息只是关于她的面部表情，所以信息多的第一句保留为主句，第二句写出独立主格结构。 2）做法：
（1）保留第二句的主语her face；
（2）定位谓语动词smiled，将其写成分词短语smiling;
（3）合并两个句子。合并后的句子里，独立主格结构her face smiling radiantly做状语，进一步补充、说明主句的信息。
7. The little boy stands there, (with) his back against the wall. 解释：
1）第二句的主语是无灵主语（无生命名词）his back，含无灵主语的第二句改写成with独立主格结构。 2）做法：
（1）保留介词against，去掉be动词；
（2）改写后的with独立主格结构做状语，补充说明主句的信息。
8. (With) exams approaching, you had better conduct a detailed review of your class notes.
解释：
1）仔细观察两个句子间的逻辑语义关系，可看出第一句是第二句的原因。第一句又是无灵名词exams做主语，将第一句改写成with独立主格结构。 2）做法：
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（1）在第一个分句中，去掉该句的be动词；
（2）改写后的with独立主格结构做状语，表示原因。 2
1. 但是为了便于分析，我们不妨把整个听的过程分成几个部分，可以说，这样分析起来就可以更清晰明白。 2. 这就是困难所在。
3. 在他们看来，音乐越能让他们想起火车、风暴、葬礼或任何其他熟悉的概
念，就越有表现力。
4. 音乐家盛怒地说，它没有别的意思，只是表示音符本身……
5. 除开音乐的愉悦之声和它释放出的表现力，音乐确实存在于音符自身及对每一个音符的操控。 3
1. I’d like to go back to the days when I was young, so to speak. 2. Jenny hadn’t had, so to speak, a real childhood. 3. Therein lies its extreme danger for investors.
4. This area is completely unspoilt, and therein lies its charm. 5. The more haste there is, the less speed there will be.
6. The higher we climbed, the more awe-inspiring scenery we see. 7. She does nothing but complain about her fate. 8. I feel nothing but contempt for cheating. 9. Do be careful when you cross the street. 4
对所有人来说，提高在纯粹音乐层面对音乐的敏感度非常重要。毕竟我们是在使用一种实际的音乐素材。聪明的听众必须准备提高对音乐素材及其使用方式的认识，必须更加有意识地去听旋律、节奏、和声和音色。但最重要的是，为了跟上作曲家的思路，他必须学习一些曲式的规范。聆听所有这些元素就是在纯粹音乐层面上的聆听。 5
For the sake of analysis, the whole listening process may become clearer if we split it up into various planes. It can be divided into three planes: the sensuous plane, the expressive plane and the sheerly musical plane. On the sensuous plane we listen for the sheer pleasure of the musical sound itself. A kind of brainless but attractive state of mind is engendered by the mere sound appeal of the music. All music has an expressive power, some more and some less, but all music has a certain meaning behind the notes, although this is very difficult to pin down. This is the expressive plane. The third plane on which music exists is the sheerly musical plane. Although most listeners are not sufficiently conscious of it, music does exist in terms of the notes themselves and of their manipulation. Of course, we never listen on just one or the other of these planes; instead we correlate them by listening in all three ways at the same time.
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6 1. F 2. A 3. D 4. O 5. L 6. B 7. I 8. C 9. K 10. N
V. Critical Thinking
Intellectual Humility Intellectual humility means to be aware of the limits of one’s knowledge and to understand the natural inclination of the mind to overestimate what it knows. It involves being keenly aware of the extent of one’s ignorance when people are thinking through any particular issue or thinking within any content area. Intellectual humility is essential to higher-level thinking. In addition to helping us become a fair-minded thinker, knowledge of our own ignorance can improve our thinking in many ways. It can enable us to recognize the prejudices, false beliefs, and habits of mind that lead to flawed learning. This recognition leaves a student well positioned to learn as much as possible from peers and to strive to capture as much of the expertise from professors as possible. The following strategies will help us to develop intellectual humility. First, view difficulties or challenges as opportunities to learn something new. We can practice pro-growth self-talk which helps us to see an intellectual challenge as an indictment on the limits of intelligence. For instance, we can say to ourselves like this, “Right now I’m struggling to understand syntactic complexity, but that means I’ve got opportunity to improve my English grammar.” This makes us to realize our blind spots. Second, model a hero of intellectual humility. Think of that person when you’re stuck, and this will help you confess and overcome your intellectual limitations. A hero of intellectual humility can be found in history. If you find one, read their biography. You can find them in everyday life as well. Just look for people constantly learning because they know their intellectual limitations. Then think of them when you’re tempted to act like a know-it-all. The opposite of intellectual humility is intellectual arrogance. It involves having little or no insight into self-deception or into the limitations of one’s point of view. Intellectually arrogant people often fall prey to their own biases and prejudices, and frequently claim to know more than they actually know.
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Possible Answer
Confucius, the greatest Chinese philosopher, believed that humility is the foundation of all virtues. He said that “To admit what you know and what you do not know, that is knowledge.” He constantly displayed this attitude, and was willing to let anyone be his teacher. One of his most famous quotations says that “When three men walk together, there must be one worthy to be my teacher. I will choose what is good in him to follow, and avoid what is not good.” Therefore, Confucius provides a role model and can be admired for his humble manner in the non-stop pursuit of learning.
VI. Text B
Background Information
Lust for Life is a classic fictional retelling of the incredible life of Vincent van Gogh, written by Irving Stone. Since its initial publication in 1934, it has been a critical success, a multimillion-copy bestseller and the basis for an Academy Award-winning movie. It follows the artist through his tormented life, depicting his struggling against mental turmoil.
Teaching Tips
Students are encouraged to learn Text B by themselves with teaching tips from teachers. This text is an extract from a biographical novel about Vincent van Gogh, Lust for Life. As a fictional novel, it uses carefully selected vocabulary to vividly depict van Gogh’s creative journey from a struggling artist to one of the world’s most celebrated artists.
Structure
Part One (Paras. 1-3): Arising before dawn, returning with a finished canvas at night, van Gogh became a blind painting machine.
Part Two (Paras. 4-12): His paintings were a glowing, brilliant transcription of nature, with the mistral and the fierce sun which would make the audience think the artist was drunk.
Part Three (Paras. 13-23): The people of Arles gave van Gogh a wide berth and the hotel owner swindled him out of every franc he could.
Part Four (Paras. 24-27): Van Gogh kept painting, driven not by the desire to succeed but the desire to create. The only time he felt alive was when he worked hard at his painting.
Translation of Text B
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对生活的渴求 欧文·斯通
1. 文森特每天黎明前起身，穿好衣服，顺河步行几公里或走到田野里，寻觅
一个能让他动心的地方。每天傍晚，他带着一幅完成的油画回来，所谓完成是因为他对这幅画已经没有其他能做的了。一吃完饭，他就上床睡觉。 2. 他成了一台盲目的绘画机器，甚至连自己也不知道在干什么，就饱含热情
地迅速完成了一幅又一幅油画。乡野的果园鲜花盛开。他产生了一种疯狂的热情，想把它们全都画下来。他不再思索自己的画。他只是不断地画。整整八年的艰苦劳动没有白费，终于化成一股巨大的胜利劲头。有时，他在天将破晓时开始作画，到中午就能完成。他走回镇上，喝杯咖啡，然后带着新画布又朝另一个方向前行。 3. 他不知道自己的画好还是不好。他并不在乎。他陶醉于色彩之中。 4. 没人同他讲话。他也不和别人说话。他在绘画中没用完的那一点儿力气都
用来对付西北风了。每星期有三天时间，他都得把画架拴在打入地里的木桩上。那画架就像挂在晾衣绳上的床单一样，在风中来回摆动。到了晚上，他感到浑身酸痛，像是被人痛打了一顿。 5. 他从不戴帽子。烈日慢慢地灼烧着他头顶的头发。晚上躺在小旅店的铜架
床上时，他觉得自己的头好像装在一个火球里一样。阳光照得他视线不清。他无法分辨田野的绿色和天空的蓝色。但是，当他回到旅店时，他却发现那幅油画不知怎的竟然把大自然的灿烂辉煌摹写下来了。 6. 一天，他在一片种着紫丁香的果园里作画，红色的篱笆围绕着园中淡紫色
的耕地，两株玫瑰色的桃树开着淡红色的花，衬托在晴朗的蓝天白云上。 7. “这也许是我最好的一幅风景画了。”他喃喃自语道。
8. 他回到旅店时看到一封信，通知他安东·莫夫在海牙去世了。他在自己画
的桃树下面写了“纪念莫夫——文森特和提奥”几个字，立刻将它寄到尤尔布门街的莫夫家。 9. 次日清晨，他发现了一片李子花盛开的果园。在他作画过程中，狂风大
作，海浪般地来而复去。太阳在狂风的间歇中放射光芒，照得树上的白花闪闪发亮。尽管地面上的整个景色每分钟都在变化，文森特继续作画。这让他想起在斯海弗宁恩的时候，他常常在雨中和风沙中作画，风暴掀起的海水飞溅到他的身上和画架上。他的油画呈现出白色的效果，但其中又有许多黄色、蓝色和淡紫色。到他画完时，他发现自己的画上有一种他本来无意画上去的东西——西北风。 10. “人们会以为我在画这幅画时喝醉了。”他笑着对自己说。
11. 他想起昨天提奥的来信中的一句话。特斯提格先生在一次访问巴黎时，曾
站在一副西斯莱的作品前对提奥说：“我想这个艺术家在画这幅画的时候，有点儿醉了。” 12. “倘若特斯提格看到我在阿尔勒画的这些画。”文森特想，“他会说这完全是震颤性谵妄症。”
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13. 阿尔勒人对文森特敬而远之。他们看见他日出之前就背着沉重的画架匆匆
出城，不戴帽子，下巴急切地前伸，眼睛流露出狂热兴奋的神情。他们看见他回来时，两只眼睛像两个冒火的洞，头顶红得像生肉，胳膊下夹着一块湿画布，而且自己跟自己打着手势。城里人给他起了个名字，大家都这样叫他。 14. “红头发的疯子！”
15. “也许我就是个红头发的疯子。”他自言自语道，“那有什么办法呢？” 16. 旅店老板把文森特的每一个法郎都骗走了。阿尔勒人几乎都在家里吃饭，
所以文森特弄不到东西吃。饭店的价格昂贵。为了喝到一碗浓汤，文森特走遍了所有饭店，然而哪一家都没有。 17. “太太，可以煮点土豆吗？”他在一家饭馆问。 18. “没有，先生。” 19. “那有米饭吗？” 20. “明天才有。” 21. “通心粉呢？” 22. “没有炉灶做。”
23. 最后，他对吃的不再多想了，有什么吃什么。虽然胃里没有美食，炎炎烈
日还是增强了他的生命力。他用苦艾酒、烟草和都德有关达达兰的传说代替一般的食物。他用了不知多少时间在画板前聚精会神地作画，这使他的神经变得迟钝。他需要刺激。苦艾酒让他第二天格外兴奋——那是经受西北风鞭挞和烈日炙烤的兴奋。 24. 随着夏日推移，万物灼热升温。他在周围看到的颜色只有碧绿天空下的古
铜、青铜和黄铜色，空气中充满了炽热。凡是阳光照射之处，都呈硫黄色。在他的画上是一片明亮的、燃烧的黄色。他知道，自文艺复兴以来欧洲绘画中是从来不用黄色的，但这也阻止不了他。黄色从颜料管中渗到画布上，就在那儿停留下来。他的画被阳光浸透，被高温灼烧，经受着烈日的洗礼和空气的吹拂。 25. 他深信，绘制一幅好画并不比搜求到一颗钻石或者一粒珍珠容易。他不满
意自己，不满意自己正在画的东西，但他尚存一线希望，希望事情最终会好起来。有时，甚至这样的希望似乎也是海市蜃楼的幻觉。只有在辛勤作画时，他才感觉自己是活着的。至于个人生活，他是没有的。他只是一架机器，一个盲目的自动绘画机，每天早晨倒入食物、酒和颜料，晚上就会完成一幅油画。 26. 目的是什么呢？为了销售吗？当然不是！他知道没人愿意买他的画。那为
何如此着急？他鞭策自己去画几十幅油画，以至于他可怜的铜床下已经堆得满满的了，这又是为了什么呢？
27. 文森特并不渴望成功。他作画是因为他不得不画，因为这样可以使他免受
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过多的精神上的痛苦，作画可以分散他的注意力。他可以没有妻子、家庭和子女；他可以没有爱情、友情和健康；他可以没有安全而舒适的物质生活；他甚至可以没有上帝。但是他不能没有创造的力量和才能——那是比他自己更伟大的东西，那是他的生命。
Key to Exercises Independent Learning 1 1. Irving Stone (1903-1989) was an American writer, chiefly known for his biographical novels of noted artists, politicians and intellectuals.
Lust for Life is a biographical novel written by Irving Stone about the life of the famous Dutch painter Vincent van Gogh and his hardships. It was Stone's first major publication, and is largely based on the collection of letters between Vincent van Gogh and his younger brother, art dealer Theo van Gogh.
2. Vincent van Gogh (1853-1890) was a Dutch post-impressionist painter who posthumously became one of the most famous and influential figures in the history of Western art. The striking color, emphatic brushwork, and contoured forms of his work powerfully influenced the current of Expressionism in modern art. Van Gogh’s art became astoundingly popular after his death, especially in the late 20th century, when his work sold for record-breaking sums at auctions around the world and was featured in blockbuster touring exhibitions.
3. Anton Mauve (1838-1888) was a Dutch realist painter who was a leading member of the Hague School. A master colorist, he was a very significant early influence on his cousin-in-law Vincent van Gogh. His best-known paintings depict peasants working in the fields. His paintings of flocks of sheep were especially popular with American patrons, so popular that a price differential developed between scenes of “sheep coming” and “sheep going.”
4. The Hague is a city and municipality on the western coast of the Netherlands on the North Sea. The Hague is the administrative capital of the nation and the home of the court and government, though Amsterdam is the official capital. Vincent van Gogh lived and worked longer in The Hague than anywhere else during his adult life.
5. Alphonse Daudet (1840-1897) was a French short-story writer and novelist, now remembered chiefly as the author of sentimental tales of provincial life in the south of France.
The tale of Tartarin de Tarascon was written by Alphonse Daudet in 1872, and was one of the many works which he produced. In it he pokes gentle fun at a type of Frenchman who comes from the Midi, the area where he himself was born. Tartarin is a boastful braggart, easily deceived, but good-hearted essentially.
6. Fata Morgana is the Italian name for Morgan le Fay (meaning “Morgan the Fairy”), a sorceress of medieval legends. This sister of the legendary King Arthur is sometimes portrayed as the ruler of the island paradise Avalon and is said to have had a number of magical powers, with which she caused a great deal of trouble. Among her powers, say some versions of the legend, was the ability to change shape, and she has been
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blamed for causing complex mirages over bodies of water, especially in the Strait of Messina. Today we know that such optical illusions are really caused by atmospheric conditions, but we still sometimes use “fata morgana” as a synonym of “mirage.”
Analytical Reading 1 Part I II III IV Paras. 1-3 4-12 13-23 24-27 Main idea Arising before dawn, returning with a finished canvas at night, van Gogh became a blind painting machine. His paintings were a glowing, brilliant transcription of nature, with the mistral and the fierce sun which would make the audience think the artist was drunk. The people of Arles gave van Gogh a wide berth and the hotel owner swindled him out of every franc he could. Van Gogh kept painting, driven not by the desire to succeed but the desire to create. The only time he felt alive was when he worked hard at his painting. 2
1. It is because every day Vincent did nothing but kept painting one canvas after another without even knowing what he did.
2. It is because he not only spent much energy painting, but also had to fight the mistral to fasten his easel to the ground and keep it stable from waving back and forth in the wind.
3. It could be because of the brightness of the colors and swirls in his paintings that resemble the air current unfurling across the sky and create an effect of dizziness. 4. They kept their distance from him. That’s because his appearance and behavior made people in Arles consider him insane.
5. He gathered his energy from the hot sun, absinthe, tobacco and Daudet’s tales of Tartarin. 6. It was because that was the exact color he saw in the summer sun. 7. He is diligent, passionate, rebellious, and full of creativity.
Open-ended question.
8. No, it’s not a paradox. It is because he loved his life and wanted to fulfill his dreams that he persisted in painting. Painting was the only moment when he felt alive, and throwing himself into his work was exactly the way that he could save himself from a miserable life.
VII. Guided Writing
Writing Criteria/Rubric
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Content
The writing is appropriately long and without redundancy.
The subject matter is well selected and impressively introduced. The thesis/main idea is clearly presented.
The thesis is connected with the main points to be developed in the body paragraphs. The main points to be compared and contrasted are clearly stated. The main points are convincingly supported by sufficient data.
Organization and Style
The writing is neat, legible, and presented in an appropriate format.
The writing is structured into three parts: introduction, body, and conclusion. Connectives are effectively used to make sure the writing is coherent and logical. Each body paragraph centers on a single idea connected with the thesis. The thesis is restated in the conclusion part. …
Language
The writing is free of misspellings; words are capitalized correctly; sentences are punctuated correctly without run-on sentences or fragments. The tenses are used correctly.
Use proper clauses rather than just compound or simple sentences. Use proper NP constituents.
Proper synonyms, phrases, or antonyms are used to avoid repetition.
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