题目内容

下面关于过程调用的陈述中,正确的是______。

A. 实参与形参的数量必须相等
B. 当实参的数量多于形参的数量时,多余的实参被忽略
C. 当形参的数量多于实参的数量时,多余的形参取逻辑假
D. 选项B和C都对

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研究者就事先拟好的问题向被调查者提问,并以一问一答的方式进行,藉以了解被试的某些心理特点的方法称为____法。

A. 问卷
B. 产品分析
C. 谈话
D. 个案

口服阿片类药物中毒应

A. 立即用5%碳酸氢钠溶液冲洗后,再用清水冲洗
B. 以大量清水或肥皂水冲洗,继以30%~50%乙醇擦洗,再以饱和硫酸钠溶液湿敷,24h内忌用油膏
C. 以5%氯化钙溶液清洗
D. 用棉花蘸松节油清除后,再涂羊毛脂
E. 以1:2000高锰酸钾溶液洗胃

下列运算结果为逻辑假(.F.)的是______。

A. 1NT(X/5)=X/5
B. INT(X/5)=MOD(X,5)
C. MOD(X,5)=0
D. MOD(X,5)=MOD(5,5)

Stage Fright 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 Mstislav Rostropovich tripped him purposely to cure him of pre-performance panic, Mr. Felts man said, All my fright was【C1】______. I already fell. What else could happen" Today, music schools are addressing the problem of anxiety in classes that 【C2】______ with performance techniques and career preparation. There are a variety of strategies that musicians can learn to【C3】______stage fright and its symptoms; icy fingers, shaky limbs, racing heart, blank mind. Teachers and psychologists offer wide-ranging advice, from basics like learning pieces inside out, 【C4】______mental discipline, such as visualizing a performance and taking steps to relax. Don’t【C5】______that you’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【C6】______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【C7】______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 performers to think of the audience【C8】______a judge. Extreme demands by mentors or parents are often at the【C9】______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 Cleveland Orchestra, and he suffered extreme stage fright. "There were times when I got so【C10】______I was sure the audience could see my chest responding to the throbbing. It was just total panic. I came to a 【C11】______where I thought,If I have to go through this to play music, I think I’m going to look for another job." Recovery, he said, involved developing humility—recognizing that 【C12】______his talent, he was fallible,and that an imperfect concert was not a disaster. 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. 【C13】______, 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【C14】______, "Soprano June Anderson said. "There’s【C15】______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. " 【C11】

A. room
B. point
C. moment
D. corner

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