一、高中英语任务型阅读
1．任务型阅读
Why doesn't the conductor face the audience?________As the only person with his back to the audience, the conductor is a figure who is bathed in the spotlight, but his complex work requires a high degree of musical skill, as well as an ability to extract what he desires out of the group of artists he leads--his orchestra.
________A person may become a conductor without graduating from the conducting department of a music school or studying in any kind of conductor's training program. However, becoming the conductor of a famous orchestra requires a great deal more than what is needed merely to join an orchestra.
________These naturally examine a conductor's technique and musical interpretation while he conducts an orchestra through a prepared piece of music, but they also involve a sight-reading element________The conductor then has to sit in a room and memorize the piece before coming out and leading the orchestra through the piece by memory. Not only does the conductor have to make his arm and hand motion properly, and signal all the entrances of each instrument, he has to point out intentional mistakes made by the orchestra members on the spot.
The least capabilities a conductor must have are: The ability to memorize an entire score. A good ear for distinguishing correct notes among the music of the entire orchestra.________
Of the conductors that meet these requirements, those with better musical insight and a higher level of charisma(魅力) will succeed.
A. The need for a common musical standard becomes necessary
B. The ability to lead a group of professional musicians
C. There are many conducting competitions
D. For this, the score of music is given to the conductor on site
E. This is how the role of the conductor came to be established
F. The role of the conductor is in fact not well understood
G. There are no examinations for becoming a conductor
【答案】F；G；C；D；B
【解析】【分析】为什么指挥不面向观众？本文就这一话题展开介绍了乐队的指挥总是背对着观众的原因，以及成为一名乐队指挥需要哪些方面的能力等。
(1)根据前面的“Why doesn't the conductor face the audience”可知，人们对乐队指挥这一工作不甚了解，再根据本空后的内容推断应选F项。故答案为F。
(2)根据本空后面的“A person may become a conductor without graduating from the conducting department of a music school or studying in any kind of conductor's training program”可知，乐队的指挥不需要毕业于专业的音乐学校或经过相关的训练，与G项的“不用考试”一致。故答案为G。
(3)根据空格后面的“These naturally examine a conductor's technique and musical interpretation while he conducts an orchestra through a prepared piece of music”，这里的These指的是C项中的competitions。故答案为C。
(4)根据后面的“The conductor then has to sit in a room and memorize the piece”，即把音乐的总谱现场给乐队指挥，然后指挥需要现场记忆。故答案为D。
(5)与前面的“The ability to memorize an entire score”中的ability是并列的。故答案为B。【点评】此类文体的文章的行文需要通过一定的衔接手段来实现，文章的衔接手段有：重复使用某一词语或子范畴词语，使用同义词表达，用总称指代指代具体事物或用具体事物指代整体。使用代词避免重复等。
2．请认真阅读下面短文，并根据所读内容在文章后表格中的空格里填入一个最恰当的单词。注意:每个空格只填1个单词。
Pretending you're someone else can make you creative
One great irony(讽刺) about our collective fascination with creativity is that we tend to frame it in uncreative ways. That is to say, most of us marry creativity to our concept of self: We are either "creative" people or we aren't, without much of a middle ground.
Pillay, a tech businessman and Harvard professor has spent a good part of his career destroying these ideas. Pillay believes that the key to unlocking your creative potential is to dismiss the conventional advice that urges you to "believe in yourself". In fact, you should do the exact opposite: believe you are someone else.
In a recent column for Harvard Business Review, Pillay pointed to a 2016 study showing the impact of stereotypes(刻板印象)on one's behavior. The authors, education psychologists Denis Dumas and Kevin Dunbar, divided their college student subjects into three categories, instructing the members of one group to think of themselves as "eccentric(古怪的) poets" and the members of another to imagine they were "rigid librarians" (people in the third category, the control group, were left alone for this part). The researchers then presented participants with 10 ordinary objects, including a fork, a carrot, and a pair of pants, and asked them to come up with as many different uses as possible for each one. Those who were asked to imagine themselves as "eccentric poets" came up with the widest range of ideas for the objects, while those in the "rigid librarian" group had the fewest. Meanwhile, the researchers found only small differences in students' creativity levels across academic majors—in fact, the physics majors inhabiting(寄生) the personas(伪装的外表) of "eccentric poets" came up with more ideas than the art majors did. These results, write Dumas and Dunbar, suggest that creativity is not an individual quality, but a "malleable(可塑的) product of context and perspective." Everyone can be creative, as long as they feel like creative people.
Pillay's work takes this a step further: He argues that identifying yourself with creativity is less powerful than the creative act of imagining you're somebody else. This exercise, which he calls "psychological halloweenism", refers to the conscious action of inhabiting another persona—an inner costuming of the self. It works because it is an act of "conscious unfocus", a way of positively stimulating the default mode(默认模式) network, a collection of brain regions that spring into action when you're not focused on a specific task or thought.
Most of us spend too much time worrying about two things: How successful/unsuccessful we are, and how little we're focusing on the task at hand. The former feeds the latter—an unfocused person is an unsuccessful one, we believe. Thus, we force ourselves into quiet areas, buy noise
