听力
Part 1旅游咨询
题型：填空
1.moderate
2.park
3.pool
4.museum
5.flowers
6.Cafe
7.No.279
8.5.30
9.Bridge
10.map
Part 2办公室搬迁
题型：单选+多选
11-16单选
11. Whatreason does the manager give for moving to a new office building?
C. to bein a central location
12. Whatis best about the new office building?
B. theamount of natural light
13. Whenwill the office move take place?
A. afterthe sales conference
14. Whatinformation about the new location is already on the company website?
B.places to eat
15. Whatpractical thing must staff do now?
A. givedetails of damaged furniture
16.Staff will need to put folders containing confidential details
B. intogrey plastic bags
17-18多选
17-18Which Two things do people often forget when lifting heavy things?
C. don'tlean to one side
D. usehandles
19-20Which TwO things should staff do when moving papers?
C. weargloves
E. drinkplenty of water
Part3修复作业
题型：单选+匹配
21-24 单选
21.During the lecture about restoration and types of paint, Jenny
C.learned some new information
22. Whatdo the students think will be the most difficult part of their assignment?
A.deciding the cause of damage to the portrait
23. Whendiscussing their trip to the restorers' studio, the students agree that
B. therestorers' work was exhausting.
24.Jenny thinks that the authorities give priority to restoring paintings which
B. areby well-known artists.
25-30匹配
25.Bringing Old Pictures Back to Life:
C. toobasic to be of much use
26.Presenting Masterpieces:
G.focuses on historical aspects
27.Saving Paintings:
D. dealswith modern techniques
28.Approaches to Restoration:
F.requires scientific knowledge
29.ArtConservation Today:
B.useful tips on preventing problems
30. RestoringFine Art:
A. goodvisuals
Part4 新西兰教育研究
题型：填空
31. toomuch emphasis on getting a qualification
32.the government should have less influence on teaching
33. boys inparticular need a new type of school
34.children in small schools are happier
35.lessons are organized like a meeting
36. aboy interested in music end up in business
37.preparing for entering university
38.the age of students in one class can be different
39.parents are important in developing children's reading skills
40.conclusions are that most children are better at relationships
阅读
第一篇：橄榄油的早期历史
1. TRUE
2 .FALSE
3. TRUE
4. NOTGIVEN
5. TRUE
6 .NOTGIVEN
7. beating
8. bags
9. salt
10. pollution
11. floors
12. leather
13. pesticide
第二篇：MusicalMaladies
NormanM. Weinberger reviews the latest work of Oliver Sacks on music.
原文：
Musicand the brain are both endlessly fascinating subjects, and as a neuroscientistspecialis-ing in auditory learning and memory, I find them especiallyintriguing. So I had high expecta-tions of Musicophilia, the latest offeringfrom neurologist and prolific author Oliver Sacks. And I confess to feeling alittle guilty reporting that my reactions to the book are mixed.
Sackshimself is the best part of Musicophilia. He richly documents his own life inthe book and reveals highly personal experiences. The photograph of him on thecover of the book— which shows him wearing headphones, eyes closed, clearlyenchanted as he listens to Alfred Brendel perform Beethoven’s PathétiqueSonata—makes a positive impression that is borne out by the contents of thebook. Sacks’s voice throughout is steady and erudite but never pon-tifical. Heis neither self-conscious nor self-promoting.
Thepreface gives a good idea of what the book will deliver. In it Sacks explainsthat he wants to convey the insights gleaned from the “enormous and rapidlygrowing body of work on the neural underpinnings of musical perception andimagery, and the complex and often bizarre disorders to which these are prone.”He also stresses the importance of “the simple art of observation” and “therichness of the human context.” He wants to combine “observation anddescription with the latest in technology,” he says, and to imaginatively enterinto the expe-rience of his patients and subjects. The reader can see thatSacks, who has been practicing neurology for 40 years, is torn between the“old-fashioned” path of observation and the new-fangled, high-tech approach: Heknows that he needs to take heed of the latter, but his heart lies with theformer.
The bookconsists mainly of detailed descriptions of cases, most of them involvingpatients whom Sacks has seen in his practice. Brief discussions of contemporaryneuroscientific reports are sprinkled liberally throughout the text. Part I,“Haunted by Music,” begins with the strange case of Tony Cicoria, a nonmusical,middle-aged surgeon who was consumed by a love of music after being hit bylightning. He suddenly began to crave listening to piano music, which he hadnever cared for in the past. He started to play the piano and then to composemusic, which arose spontaneously in his mind in a “torrent” of notes. How couldthis happen? Was the cause psychological? (He had had a near-death experiencewhen the lightning struck him.) Or was it the direct result of a change in theauditory regions of his cerebral cortex? Electro-encephalography (EEG) showedhis brain waves to be normal in the mid-1990s, just after his trauma andsubsequent “conversion” to music. There are now more sensitive tests, butCicoria has declined to undergo them; he does not want to delve into the causesof his musicality. What a shame!
Part II,“A Range of Musicality,” covers a wider variety of topics, but unfortunately,some of the chapters offer little or nothing that is new. For example, chapter13, which is five pages long, merely notes that the blind often have betterhearing than the sighted. The most interest-ing chapters are those that presentthe strangest cases. Chapter 8 is about “amusia,” an inabil-ity to hear soundsas music, and “dysharmonia,” a highly specific impairment of the ability tohear harmony, with the ability to understand melody left intact. Such specific“dissociations” are found throughout the cases Sacks recounts.
ToSacks’s credit, part III, “Memory, Movement and Music,” brings us into theunderappreci-ated realm of music therapy. Chapter 16 explains how “melodicintonation therapy” is being used to help expressive aphasic patients (thoseunable to express their thoughts verbally fol-lowing a stroke or other cerebralincident) once again become capable of fluent speech. In chapter 20, Sacksdemonstrates the near-miraculous power of music to animate Parkinson’s patientsand other people with severe movement disorders, even those who are frozen intoodd postures. Scientists cannot yet explain how music achieves this effect.
Toreaders who are unfamiliar with neuroscience and music behaviour, Musicophiliamay be something of a revelation. But the book will not satisfy those seekingthe causes and implica-tions of the phenomena Sacks describes. For one thing,Sacks appears to be more at ease dis-cussing patients than discussingexperiments. And he tends to be rather uncritical in accepting scientificfindings and theories.
It’strue that the causes of music-brain oddities remain poorly understood. However,Sacks could have done more to draw out some of the implications of the carefulobservations that he and other neurologists have made and of the treatmentsthat have been successful. For example, he might have noted that the manyspecific dissociations among components of music comprehension, such as loss ofthe ability to perceive harmony but not melody, indicate that there is no musiccenter in the brain. Because many people who read the book are likely tobelieve in the brain localisation of all mental functions, this was a missededucational oppor-tunity.
Anotherconclusion one could draw is that there seem to be no “cures” for neurologicalprob-lems involving music. A drug can alleviate a symptom in one patient andaggravate it in another, or can have both positive and negative effects in thesame patient. Treatments men-tioned seem to be almost exclusively antiepilepticmedications, which “damp down” the excit-ability of the brain in general; theireffectiveness varies widely.
Finally,in many of the cases described here the patient with music-brain symptoms isreported to have “normal” EEG results. Although Sacks recognises the existenceof new tech-nologies, among them far more sensitive ways to analyze brain wavesthan the standard neu-rological EEG test, he does not call for their use. Infact, although he exhibits the greatest com-passion for patients, he conveys nosense of urgency about the pursuit of new avenues in the diagnosis andtreatment of music-brain disorders. This absence echoes the book’s preface, inwhich Sacks expresses fear that “the simple art of observation may be lost” ifwe rely too much on new technologies. He does call for both approaches, though,and we can only hope that the neurological community will respond.
Questions27 - 30
Choosethe correct letter, A, B, C or D.
Writethe correct letter in boxes 27-30 on your answer sheet.
27.Whydoes the writer have a mixed feeling about the book?
A Theguilty feeling made him so.
B Thewriter expected it to be better than it was.
C Sacksfailed to include his personal stories in the book.
D Thisis the only book written by Sacks.
28.Whatis the best part of the book?
A thephoto of Sacks listening to music
B thetone of voice of the book
C theautobiographical description in the book
D thedescription of Sacks’s wealth
29.Inthe preface, what did Sacks try to achieve?
A maketerms with the new technologies
B givedetailed description of various musical disorders
C explainhow people understand music
D explainwhy he needs to do away with simple observation
30.Whatis disappointing about Tony Cicoria’s case?
A Herefuses to have further tests.
B Hecan’t determine the cause of his sudden musicality.
C Henearly died because of the lightening.
D Hisbrain waves were too normal to show anything.
Questions31 - 36
Do thefollowing statements agree with the views of the writer in Reading Passage 3?
In boxes31-36 on your answer sheet, write
YES if the statement agrees with the views of the writer
NO if the statement contradicts with the views of the writer
NOTGIVEN if it is impossible to say what the writer thinks about this
31.It isdifficult to give a well-reputable writer a less than favourable review.
32.Beethoven’sPathétique Sonata is a good treatment for musical disorders.
33.Sacksbelieves technological methods is not important compared with obser- vationwhen studying his patients.
34.It isdifficult to understand why music therapy is undervalued.
35.Sacksshould have more skepticism about other theories and findings.
36.Sacksis impatient to use new testing methods.
Questions37 - 40
Completeeach sentence with the correct ending, A-F, below.
Writethe correct letter, A-F, in boxes 37-40 on your answer sheet.
A showno music-brain disorders.
B indicatesthat medication can have varied results.
C iskey for the neurological community to unravel the mysteries.
D shouldnot be used in isolation.
E indicatethat not everyone can receive good education.
F showthat music is not localised in the brain.
37.Thedissociations between harmony and melody
38.Thestudy of treating musical disorders
39.TheEEG scans of Sacks’s patients
40.Sacksbelieves testing based on new technologies
答案：
27.B
28.C
29.A
30.A
31.YES
32.NOT GIVEN
33.NO
34.NOT GIVEN
35.YES
36.NO
37.F
38.B
39.A
40.D
第三篇：见面的地方
27 A
28 B
29 C
30 D
31 YES
32 NG
33 NG
34 NO
35 NG
36 E
37 F
38 H
39 G
40 B
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