Fall down as you come onstage. That"s an odd trick. Not recommended. But it saved the pianist Vladimir Felts man when he was a teenager back in Moscow. The veteran cellist MstislavRostropovich tripped him purposely to cure him of pre-performance panic, ²Mr. Felts man said," All my fright was gone. I already fell. What else could happen?"

    Today, music schools are addressing the problem of anxiety in classes that deal with performance techniques and career preparation. There are a variety of strategies that musicians can learn to fight stage fright and its symptoms : icy fingers, shaky limbs, racing heart, blank mind 3.

    Teachers and psychologists offer wide-ranging advice, from basics like learning pieces, inside out 4, to mental discipline, such as visualizing a performance and taking steps to relax. Don t deny that your"re jittery, they urge; some excitement is natural, even necessary for dynamic playing. And play in public often, simply for the experience.

    Psychotherapist Diane Nichols suggests some strategies for the moments before performance ,Take two deep abdominal breaths, open up your shoulders, then smile," she says. "And not one of “these" please don"t kill me" smiles. Then choose three friendly faces in the audience, people you would communicate with and make music to, and make eye contact with them. " She doesn"t want to think of the audience as a judge.Extreme demands by mentors or parents are often at the root of stage fright, says Dorothy Delay, a well-known violin teacher. She tells other teachers to demand only what their students are able to achieve.

    When Lynn Harrell was 20,he became the principal cellist of the Cleverl and Orchestra, and he suffered extreme stage fright. "There were times when I got so nervous I was sure the audience could see my chest responding to the throbbing. It was just total panic. I came to a point where I thought, If I have to go through this to play music, I think I"m going to look for another job 5. "

    Recovery, he said, involved developing humility-recognizing that whatever his talent, he was fallible, and that an imperfect concert was not a disaster 6.

    It is not only young artists who suffer, of course. The legendary pianist Vladimir Horowitz"s nerves were famous. The great tenor Franco Corelli is another example. "They had to push him on stage," Soprano Renata Scotto recalled.

    Actually, success can make things worse. "In the beginning of your career, when you"re scared to death, nobody knows who you are, and they don"t, have any expectations," Soprano June Anderson said. "There" s less to lose. Later on, when you re known, people are coming to see you, and they have certain expectations. You have a lot to lose. "

    Anderson added, "I never stop being nervous until I"ve sung my last note. "

词汇：

veteran/ ˈvetərən / adj．经验丰富的

jittery/ ˈdʒɪtəri / adj．紧张不安的

mentor/ ˈmenˌtɔ: / n．指导者

soprano/ səˈprprɑ:nəʊ / n．女高音；女高音歌手

cellist/ˈtʃelɪst / n．大提琴演奏家

abdominal/ æbˈdɔmənəl / adj．腹部的

fallible/ ˈfæləbəl / adj．易犯错误的

tenor/"tenə/ n．男高音

注释：

1．Stage Fright：舞台恐惧

2．The veteran cellist Mstislav Rostropovich tripped him purposely to cure him of pre-performance panic…资深大提琴家Mstislav Rostropovich故意把Vladimir Feltsman绊倒，因而治愈了他的上台前的恐惧症。cure somebody of something (illness, problem)：医治好病（解决问题）

3．… its symptoms：icy fingers, shaky limbs, racing heart, blank mind：舞台恐惧的症状有手冰凉、身体颤抖、心跳加快和大脑一片空白。

4．Teachers and psychologists offer wide-ranging advice, from basics like learning pieces inside out ：老师和心理学家提出了方方面面的建议，一些基础知识，比如将演奏曲目烂熟于心…… inside out： in great detail详细地，从里到外地

5．I came to a point where I thought，“If I have to go through this to play music, I think I’m going to look for another job. ”我曾经一度认为，如果搞音乐就必须经过克服舞台恐惧这一关的话，这项工作不能做。

6．Recovery, he said, involved developing humility-recognizing that whatever his talent, he was fallible, andthat an imperfect concert was not a disaster.不舞台恐惧意味着提高谦卑感，即认识到不管你多有才，你也会出错，一个有瑕疵的音乐会也绝对不是世界末日。

If you have stage fright, it"s helpful to have friendly audience.

A:Right B:Wrong C:Not mentioned

以“有S是M，所有P不是M”为前提进行三段论推理，将所得结论再进行变形法直接推理，可得出的结论有（）.

A:有非P是S B:有P不是S C:所有P不是S D:有S是P E:有S是非P

以“没有M不是P”和“有的S是M”为前提进行推理，其结论是（）.

A:没有S是P B:没有S不是P C:有的S是P D:有的S不是P

以“所有P是M，有S不是M”为前提，进行三段论推理，其正确的结论是（）。

A:有的S是P B:所有S都是P C:有的S不是P D:所有S都不是P

以“所有P是M，所有S不是M”为前提进行三段论推理，可必然推出（）。

A:SEP B:SAP C:SIP D:SOP E:没有S不是P

所有的S是P换质：（）

A:所有S是非P B:所有S不是P C:所有S不是非P D:有些S是P

某建筑场地土层分布和剪切波速为：0～2.0m，填土，υ_s=150m/s；2～5.0m粉质黏土，υ_s=200m/S；5～10m淤泥质粉质黏土，υ_s=100m/s；10～15m粉质黏土，υ_s=300m/s；15～17m孤石，υ_s=600m/s；17～25m粉质黏土，υ_s=300m/s；25m以下基岩，υ_s＞500m/s。在计算深度内土层的等效剪切波速接近（）。

A:170m/s B:179m/s C:200m/s D:210m/s

某场地地层资料如下：
① 0～3 m黏土，v_s=150m/s；
② 3～18 m砾砂；v_s=350m/s
③ 18～20 m玄武岩，v_s=600m/s；
④ 20～27 m黏土，v_s=160m/s；
⑤ 27～32 m黏土v_s=420m/s；
⑥ 32 m以下，泥岩，v_s=600m/s。
按《建筑抗震设计规范》(GB 50011—2010)

A:234.5 m/s B:265.4 m/s C:286.4 m/s D:302.2 m/s