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Specialist Music SchoolsHow to cope with a child who shows outstanding musical ability? It's not always clear how best to develop and encourage their gift. Many parents may even fail to recognize and respond to their child's need until frustration explodes into difficult or uncooperative behavior. And while most schools are equipped to deal with children who are especially able in academic subjects, the musically gifted require special understanding which may not always be available in an ordinary school especially one where music is regarded as a secondary activity. Such children — as well as those whose ability is actively encouraged by parents or teachers — may well benefit from the education offered by a specialist music school.The five music schools in Britain are a relatively recent introduction. They aim to provide a sympathetic environment in which gifted children aged between seven and eighteen can develop their skills to the full under the guidance of professional musicians.Children at specialist music schools spend between one third and one half of an average day on musical activities, for example, individual lessons (up to three hours a week on first and second instruments), orchestras, chamber groups, voice training, conducting and theory. They also spend several hours a day practicing in properly equipped private rooms, sometimes with a teacher. The rest of their time is taken up with a restricted academic program, which tends to concentrate on the essential subjects — English, math, basic sciences and languages — ¬although provision can be made for students who wish to study a wider range of subjects. All five British specialist schools are independent, classes are small by normal school standards, with a high teacher/pupil ratio. Most children attending specialist schools tend to be boarders, leaving home to live, eat and sleep full-time at school. This means they spend their formative years in the company of others with similar aims and interests.What are the disadvantages? An obvious problem is the cost, the fees are high (£ 12,000〜£ 17,000 a year for boarders). However, each school will make every effort with scholarships and other forms of financial assistance, to help parents of outstandingly gifted children to find the necessary fees. Secondly, not all parents want to send their children to boarding school, specially at a very early age. Almost all the directors of the specialist schools express doubts about the wisdom of admitting children as young as seven into such an intense and disciplined environment. They stress, however, that their main aim is to turn out ‘rounded and well-balanced individuals’.1. If a child's musical ability is not recognized ___.2. What problem may musically gifted children face in ordinary schools?3. What makes specialist music schools different from other schools?4. What do most school directors see as a possible disadvantage for pupils?5. The underlined word ‘sympathetic’ in paragraph two means___.

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Truth about the EnvironmentFor many environmentalists, the world seems to be getting worse. They have developed a hit-list of our main fears: that natural resources are running out, that the population is ever growing, leaving less and less to eat; that species are becoming extinct in vast numbers, and that the planet's air and water are becoming ever more polluted.But a quick look at the facts shows a different picture. First, energy and other natural resources have become more abundant, not less so, since the book The Limits to Growth was published in 1972 by a group of scientists. Second, more food is now produced per head of the world's population than at any time in history. Fewer people are starving. Third, although species are indeed becoming extinct, only about 0.7% of them are expected to disappear in the next 50 years, not 25%-50%, as has so often been predicteD.And finally, most forms of environmental pollution either appear to have been exaggerated, or are transient — associated with the early phases of industrialization and therefore best cured not by restricting economic growth, but by accelerating it. One form of pollution — the release of greenhouse gases that causes global warming — does appear to be a phenomenon that is going to extend well into our future, but its total impact is unlikely to pose a devastating problem. A bigger problem may well turn out to be an inappropriate response to it.Yet opinion polls suggest that many people nurture the belief that environmental standards are declining and three factors seem to cause this disjunction between perception and reality.One is the lopsidedness built into scientific research. Scientific funding goes mainly to areas with many problems. That may be a wise policy, but it will also create an impression that many more potential problems exist than is the case.Secondly, environmental groups need to be noticed by the mass mediA.They also need to keep the money rolling in. Understandably, perhaps, they sometimes overstate their arguments. In 1997, for example, the World Wide Fund for Nature issued a press release entitled: "Two thirds of the world's forests lost forever". The truth turns out to be nearer 20%.The third factor is poor individual perception. People worry that the endless rise in the amount of stuff everyone throws away will cause the world to run out of places to dispose of waste. Yet, even if America's trash output continues to rise as it has done in the past, and even if the American population doubles by 2100, all the rubbish America produces through the entire 21st century will still take up only one-12,000th of the area of the entire United States.1. The first paragraph intends to show that ___.2. The facts and figures provided in paragraph two suggest that ___.3. In paragraph four, the writer expresses his concerns about ___.4. The writer quotes from the World Wide Fund for Nature to illustrate how___.5. What is the writer's view of America's waste problem?

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The Haunted AmericaCountries are like little homes; they house a nation, hold ideologies and provides shelter and comfort to its people in hopes that the occupants will nurture better ideas for themselves and further flourish humanity. Such are primary desires and goals of most countries on this small planet.America is no exception. For decades, billions of people around the world slept at night on empty stomachs amidst dreadful circumstances, often dreaming of the freedoms and liberties of America, which they likened to a great land, a paradise and a final destination point.The best and brightest of the world gravitated to the great USA in search of golden opportunities; in hordes they came, and en masse they settleD.America became the nation which acknowledged greatness and provided the driving force to allow the dreams of small, ordinary people to take form and flourish. Free from restrictions, allowing grand expressions with extraordinary liberties, that no other nation in the history of mankind has been able to match at such a grand scale.But currently, it seems that this home of the American nation has started to resemble that old mansion, elegantly pristine (质朴的) but known to be haunted, sitting at the end of that dead-end street where ghosts, mysterious apparitions (幽灵)and unexplainable signs have emergeD.This planet, like an old street, is already full of such haunted houses, which at times seem abandoned, lifeless and unable to give or receive neighborly warmth; factors so critical for any country on the global scene.Can this badly damaged image of America be fixed today and by whom and at what cost? What must it include — a new costume, a new mask or a new heart? These are very important underlying questions, but the biggest question remains — can an entire country be branded to the rest of the world in the same fashion as a breakfast cereal or laundry detergent?The answer is a flat no. Only the branding-circus would come up with such a fake, superficial, logo-centric-slogan-happy attempt to rebuild a nation painted with banners and billboards. In reality, countries cannot be branded in such a simple process from the past, because nations are already branded over decades and centuries by their histories and cultural interactions and exportable identities.1. America used to be thought of as___.2. America is now likened to___.3. The writer suggests that___.4. According to the passage that ___ is NOT true.5. The main rhetorical device of this passage is ___.

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Film CriticMark Adams looks back over the last ten years of his workas a film critic for a newspaper called The Front PageWriting articles about films for The Front Page was my first proper joB.Before then I had done bits of reviewing — novels for other newspapers, films for a magazine and anything I was asked to do for the radio. That was how I met Tom Seaton, the first arts editor of The Front Page who had also written for television. He hired me, but Tom was not primarily a journalist, or he would certainly have been more careful in choosing his staff.At first, his idea was that a team of critics should take care of the art forms that didn't require specialized knowledge: books, TV, theatre, film and radio. There would be a weekly lunch at which we would make our choices from the artistic material that Tom had decided we should cover, though there would also be guests to make the atmosphere sociable.It all felt like a bit of a dream at that time: a new newspaper, and I was one of the team. It seemed so unlikely that a paper could be introduced into a crowded market. It seemed just as likely that a millionaire wanted to help me personally, and was pretending to employ me. Such was my lack of self-confidence. In fact, the first time I saw someone reading the newspaper on the London underground, then turning to a page on which one of my reviews appeared, I didn't know where to look.Tom's original scheme for a team of critics for the arts never took off. It was a good idea, but we didn't get together as planned and so everything was done by phone. It turned out, too, that the general public out there preferred to associate a reviewer with a single subject area, and so I chose film. Without Tom's initial push, though, we would hardly have come up with the present arrangement, by which I write an extended weekly piece, usually on one film.The Luxury of this way of working suits me well. I wouldn't have been interested in the more standard film critic's role, which involves considering every film that comes out. That's a routine that would make me stale in no time at all. I would soon be sinking into my seat on a Monday morning with the sigh, “What insulting rubbish must I sit through now?”— a style of sigh that can often be heard in screening rooms around the world.1. What do we learn about Tom Seaton from the first paragraph?2. A weekly lunch was arranged for critics to ___.3. When Mark started working for The Front Page, he___.4. In the end, the organization of the team was influenced by___.5. Mark takes the new way of working as “luxury” (paragraph 5) because___.

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