题目内容
Stratford-on-Avon, as we all know, has only one industry—William Shakespeare— but there are two distinctly separate and increasingly hostile branches. There is the Royal Shakespeare Company (RSC), which presents superb productions of the plays at the Shakespeare Memorial Theatre on the Avon. And there are the townsfolk who largely live off the tourists who come, not to see the plays, but to look at Anne Hathaway’s Cottage, Shakespeare’s birthplace and other sights. The worthy residents of Stratford doubt that the theatre adds a penny to their revenue. They frankly dislike the RSC’s actors, with their long hair and beards and sandals and noisiness. It’s all deliciously ironic when you consider that Shakespeare, who earns their living, was himself an actor (with a beard) and did his share of noise-making. The tourist streams are not entirely separate. The sightseers who come by bus— and often take in Warwick Castle and Blenheim Palace on the side -don’t usually see the plays, and some of them are even surprised to find a theatre in Stratford. However, the playgoers do manage a little sight-seeing along with their play going. It is the playgoers, the RSC contends, who bring in much of the town’s revenue because they spend the night (some of them four or five nights) pouring cash into the hotels and restaurants. The sightseers can take in everything and get out of town by nightfall. The townsfolk don’t see it this way and local council does not contribute directly to the subsidy of the Royal Shakespeare Company. Stratford cries poor traditionally. Nevertheless every hotel in town seems to be adding a new wing or cocktail lounge. Hilton is building its own hotel there, which you may be sure will be decorated with Hamlet Hamburger Bars, the Lear Lounge, the Banquo Banqueting Room, and so forth, and will be very expensive. Anyway, the townsfolk can’t understand why the Royal Shakespeare Company needs a subsidy. (The theatre has broken attendance records for three years in a row. Last year its 1,431 seats were 94 per cent occupied all year long and this year they’ll do better.) The reason, of course, is that costs have rocketed and ticket prices have stayed low. It would be a shame to raise prices too much because it would drive away the young people who are Stratford’s most attractive clientele. They come entirely for the plays, not the sights. They all seem to look alike (though they come from all over)—lean, pointed, dedicated faces, wearing jean sand sandals, eating their buns and bedding down for the night on the flagstones outside the theatre to buy the 20 seats and 80 standing-room tickets held for the sleepers and sold to them when the box office opens at 10:30 a.m. From the text we can conclude that the author______.
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Although Chopin later attended the Lyceum where his father taught, his early training began at home. This included receiving piano lessons from his mother. By the age of six, Chopin was creating original pieces, showing innate prodigious musical ability. His parents arranged for the young Chopin to take piano instruction from Wojciech Zywny. When Chopin was sixteen, he attended the Warsaw Conservatory of Music, directed by composer Joseph Elsner, like Zywny, who insisted on the traditional training associated with Classical music but allowed his students to investigate the more original imaginations of the Romantic style as well. As often happened with the young musicians of both the Classical and Romantic Periods, Chopin was sent to Vienna, the unquestioned center of music for that day. He gave piano concerts and then arranged to have his pieces published by a Vienna publishing house there. While Chopin was in Austria, Poland and Russia faced off in the apparent beginnings of war. He returned him a silver goblet filled with Polish soil. He kept it always, as he was never able to return to his beloved Poland. French by heritage, and desirous of finding musical acceptance from a less traditional audience than that of Vienna, Chopin ventured to Paris. Interestingly, other young musicians had assembled in the city of fashion with the very same hope. Chopin joined Franz Liszt, Hector Berlioz, Vincenzo Bellini, all proponents of the "new" Romantic style. Although Chopin did play in the large concert halls on occasion, he left most at home in private settings, enjoying the social milieu that accompanied concerts for the wealthy. He also enjoyed teaching, as this caused him less stress, than performing. Chopin did not feel that his delicate technique and intricate melodies were as suited to the grandiose hall as they were to smaller environments and audiences. News of the war in Poland inspired Chopin to write many sad musical pieces expressing his grief for "his" Poland. Among these was the famous "Revolutionary Etude." Plagued by poor health as well as his homesickness, Chopin found solace in summer visits to the country. Here, his most complex yet harmonic creations found their way to the brilliant composer’s hand the "Fantasia in F Minor," the "Barcarolle," the "Polonaise Fantasia," "Ballade in A Flat Major, Ballade in F Minor" and "Sonata in B Minor" were all products of the relaxed time Chopin enjoyed in the country. As the war continued in Warsaw and then reached Paris, Chopin retired to Scotland with friends. Although he was far beyond the reach of the revolution, his melancholy attitude did not improve and he sank deeper into a depression. Likewise, his health did not rejuvenate either. A window in the fighting made it possible for Chopin to return to Paris as his health deteriorated further. Surrounded by those that he loved, Frederi Francois Chopin died at the age of 39. he was buried in Paris. Chopin’s last request was that the Polish soil in the silver goblet be sprinkled over his grave. Which of the following cities was believed to better accept music of Romantic style
The study of speech sounds in language or a language with reference to their distribution and patterning and to tacit rules governing pronunciation is called______.
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