Starting with his review of Skinner’s Verbal Behavior, Noam Chomsky had led the psycholinguists who argue that man has developed an innate (天生的) capacity for dealing with the linguistic universals common to all languages. Experience and learning then provide only information about the (1) instances of those universal aspects of language which are needed to communicate with other people within a particular language (2) .
This linguistic approach (3) the view that language is built upon learned associations between words. What is learned is not strings of words per se (本身), but (4) rules that enable a speaker to (5) an infinite variety of novel sentences. (6) single words are learned as concepts: they do not stand in a one-to-one (7) with the particular thing signified, but (8) all members of a general class.
This view of the innate aspect of language learning is at first not readily (9) into existing psychological frameworks and (10) a challenge that has stimulated much thought and new research directions. Chomsky argues that a precondition for language development is the existence of certain principles "intrinsic (原有的) to the mind" that provide invariant structures (11) perceiving, learning and thinking. Language (12) all of these processes; thus its study (13) our theories of knowledge in general.
Basic to this model of language is the notion that a child’s learning of language is a kind of theory (14) . It’s thought to be accomplished (15) explicit instruction, (16) of intelligence level, at an early age when he is not capable of other complex (17) or motor achievements, and with relatively little reliable data to go on. (18) , the child constructs a theory of an ideal language which has broad (19) power. Chomsky argues that all children could not develop the same basic theory (20) it not for the innate existence of properties of mental organization which limit the possible properties of languages.
A:tunes into B:sheds light on C:leaves behind D:sets forth
Starting with his review of Skinner’s Verbal Behavior, Noam Chomsky had led the psycholinguists who argue that man has developed an innate (天生的) capacity for dealing with the linguistic universals common to all languages. Experience and learning then provide only information about the (1) instances of those universal aspects of language which are needed to communicate with other people within a particular language (2) .
This linguistic approach (3) the view that language is built upon learned associations between words. What is learned is not strings of words per se (本身), but (4) rules that enable a speaker to (5) an infinite variety of novel sentences. (6) single words are learned as concepts: they do not stand in a one-to-one (7) with the particular thing signified, but (8) all members of a general class.
This view of the innate aspect of language learning is at first not readily (9) into existing psychological frameworks and (10) a challenge that has stimulated much thought and new research directions. Chomsky argues that a precondition for language development is the existence of certain principles "intrinsic (原有的) to the mind" that provide invariant structures (11) perceiving, learning and thinking. Language (12) all of these processes; thus its study (13) our theories of knowledge in general.
Basic to this model of language is the notion that a child’s learning of language is a kind of theory (14) . It’s thought to be accomplished (15) explicit instruction, (16) of intelligence level, at an early age when he is not capable of other complex (17) or motor achievements, and with relatively little reliable data to go on. (18) , the child constructs a theory of an ideal language which has broad (19) power. Chomsky argues that all children could not develop the same basic theory (20) it not for the innate existence of properties of mental organization which limit the possible properties of languages.
A:tunes into B:sheds light on C:leaves behind D:sets forth
Starting with his review of Skinner’s Verbal Behavior, Noam Chomsky had led the psycholinguists who argue that man has developed an innate (天生的) capacity for dealing with the linguistic universals common to all languages. Experience and learning then provide only information about the (1) instances of those universal aspects of language which are needed to communicate with other people within a particular language (2) .
This linguistic approach (3) the view that language is built upon learned associations between words. What is learned is not strings of words per se (本身), but (4) rules that enable a speaker to (5) an infinite variety of novel sentences. (6) single words are learned as concepts: they do not stand in a one-to-one (7) with the particular thing signified, but (8) all members of a general class.
This view of the innate aspect of language learning is at first not readily (9) into existing psychological frameworks and (10) a challenge that has stimulated much thought and new research directions. Chomsky argues that a precondition for language development is the existence of certain principles "intrinsic (原有的) to the mind" that provide invariant structures (11) perceiving, learning and thinking. Language (12) all of these processes; thus its study (13) our theories of knowledge in general.
Basic to this model of language is the notion that a child’s learning of language is a kind of theory (14) . It’s thought to be accomplished (15) explicit instruction, (16) of intelligence level, at an early age when he is not capable of other complex (17) or motor achievements, and with relatively little reliable data to go on. (18) , the child constructs a theory of an ideal language which has broad (19) power. Chomsky argues that all children could not develop the same basic theory (20) it not for the innate existence of properties of mental organization which limit the possible properties of languages.
A:tunes into B:sheds light on C:leaves behind D:sets forth
{{B}}第二篇{{/B}}
{{B}}? ? ? ? ? ? ?
? ? ? ? ? ? ? ? ? ? ?
? ? ?Good Music{{/B}} ? ?Music which is original is individual and personal. That is to say, it can be identified as belonging to a particular composer. It has particular qualities, or a style, which are not copied from another. If you can recognize the style of a composer, you will probably be able to tell that a certain composition belongs to him or her even though you have never heard it before. ? ?A basket-maker has the skill of weaving and interweaving his materials to create colorful patterns, and an expert carpenter(木匠) has the skill of joining together different shapes and sizes of wood to make a beautiful piece of furniture. These skills may be referred to as "workmanship" (技艺). Similarly, in music a composer organizes his melodies(旋律) and rhythms and combines sounds to create harmony. A composer may be capable of thinking up very good, original tunes, yet if tunes are poorly organized, that is, if the workmanship is poor, the final result will not be up to standard. ? ?Good music expresses feelings in a way that is suitable to those feelings. These may be joy, sorrow, fear, love, anger, or whatever. Bad music, on the other hand, may confuse unrelated ?feelings, it may not express any not express any important feeling at all, or it may exaggerate ?some feelings and make them vulgar, that is, cheap and ugly. ? ?Good music will stand the test of time. It will not go out of fashion but will continue to be enjoyed and respected long after it is first introduced. It will gain a king of permanent status while bad music will disappear and be forgotten quickly. In pop music, where the general rule seems to be "the newer the better", the test of time is the hardest test of all To pass. |
A:different shapes and sizes of furniture B:materials for creating colourful patterns C:a piece of music with its melodies and rhythms organized in harmony D:a piece of music with very good, original tunes mixed together
{{B}}第二篇{{/B}}
{{B}}? ? ? ? ? ? ?
? ? ? ? ? ? ? ? ? ? ?
? ? ?Good Music{{/B}} ? ?Music which is original is individual and personal. That is to say, it can be identified as belonging to a particular composer. It has particular qualities, or a style, which are not copied from another. If you can recognize the style of a composer, you will probably be able to tell that a certain composition belongs to him or her even though you have never heard it before. ? ?A basket-maker has the skill of weaving and interweaving his materials to create colorful patterns, and an expert carpenter(木匠) has the skill of joining together different shapes and sizes of wood to make a beautiful piece of furniture. These skills may be referred to as "workmanship" (技艺). Similarly, in music a composer organizes his melodies(旋律) and rhythms and combines sounds to create harmony. A composer may be capable of thinking up very good, original tunes, yet if tunes are poorly organized, that is, if the workmanship is poor, the final result will not be up to standard. ? ?Good music expresses feelings in a way that is suitable to those feelings. These may be joy, sorrow, fear, love, anger, or whatever. Bad music, on the other hand, may confuse unrelated ?feelings, it may not express any not express any important feeling at all, or it may exaggerate ?some feelings and make them vulgar, that is, cheap and ugly. ? ?Good music will stand the test of time. It will not go out of fashion but will continue to be enjoyed and respected long after it is first introduced. It will gain a king of permanent status while bad music will disappear and be forgotten quickly. In pop music, where the general rule seems to be "the newer the better", the test of time is the hardest test of all To pass. |
A:it helps to while away the hours B:it combines different rhythms and sounds C:it makes people forget their sorrows and worries quickly D:it expresses a certain feeling in a proper way
{{B}}第二篇{{/B}}
{{B}}? ? ? ? ? ? ?
? ? ? ? ? ? ? ? ? ? ?
? ? ?Good Music{{/B}} ? ?Music which is original is individual and personal. That is to say, it can be identified as belonging to a particular composer. It has particular qualities, or a style, which are not copied from another. If you can recognize the style of a composer, you will probably be able to tell that a certain composition belongs to him or her even though you have never heard it before. ? ?A basket-maker has the skill of weaving and interweaving his materials to create colorful patterns, and an expert carpenter(木匠) has the skill of joining together different shapes and sizes of wood to make a beautiful piece of furniture. These skills may be referred to as "workmanship" (技艺). Similarly, in music a composer organizes his melodies(旋律) and rhythms and combines sounds to create harmony. A composer may be capable of thinking up very good, original tunes, yet if tunes are poorly organized, that is, if the workmanship is poor, the final result will not be up to standard. ? ?Good music expresses feelings in a way that is suitable to those feelings. These may be joy, sorrow, fear, love, anger, or whatever. Bad music, on the other hand, may confuse unrelated ?feelings, it may not express any not express any important feeling at all, or it may exaggerate ?some feelings and make them vulgar, that is, cheap and ugly. ? ?Good music will stand the test of time. It will not go out of fashion but will continue to be enjoyed and respected long after it is first introduced. It will gain a king of permanent status while bad music will disappear and be forgotten quickly. In pop music, where the general rule seems to be "the newer the better", the test of time is the hardest test of all To pass. |
A:the newer the music is the harder it can pass the test of time B:it is the most difficult for music to gain a kind of permanent status C:pop music will cease to be enjoyed soon after it is introduced D:good music needn’t pass the test of time
A:music B:songs C:melodies D:tunes