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Passage Three Musicians are fascinated with the possibility that music may be found in nature; it makes our own desire for art seem all the more essential. Over the past few years no less a bold musical explorer than Peter Gabriel has been getting involved. At the Research Center in Atlanta, Georgia, he has been making music together with Kanzi, one of the bonobo apes (倭黑猩猩) involved in the long-term language acquisition studies of Sue and Duane Savage-Rumbaugh. I have seen the video of Kanzi picking notes out on a piano-like keyboard, with Gabriel and members of his band playing inside the observation booth in the lab. (They did it this way because Kanzi had bitten one of his trainers a few days previously—interspecies communication is not without its dangers. ) The scene is beautiful, the ape trying out the new machine and looking thoughtfully pleased with what comes out. He appears to be listening, playing the right notes. It is tentative but moving, the animal groping for something from the human world but remaining isolated from the rest of the band. It is a touching encounter, and a bold move for a musician whose tune Shock the Monkey many years ago openly condemned the horrors of less sensitive animal experiments than this. What is the scientific value of such a jam session The business of the Research Center is the forging of greater communication between human and animal. Why not try the fertile and mysterious ground of music in addition to the more testable arena of simple language The advantage of hearing music in nature and trying to reach out to nature through music is that, though we don’t fully understand it, we can easily have access to it. We don’t need to explain its workings to be touched by it. Two musicians who don’t speak the same language can play together, and we can appreciate the music from human cultures far from our own. Music needs no explanation, but it clearly expresses something deep and important, something humans cannot live without. Finding music in the sounds of birds, whales and other animals makes the farther frontiers of nature seem that much closer to us. The author seems to suggest that ______.
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Passage Four It was 1985, and Rafe Esquith was beginning his third year of teaching in Los Angeles public schools. He faced a class of 40 sixth-graders from low-income homes where English rarely was spoken, and the best reader among them was two years below grade level. So, what the beck, he decided to teach them Shakespeare. Five families agreed to let their children play "Macbeth" for two hours after school. This proved to be so much fun that, within weeks, Esquith had 28 kids happily soaking up the drama of blood and betrayal in medieval Scotland. They were learning many words they had never heard before. But when Esquith asked a school district supervisor for official approval, he received this note: " Mr. Esquith, it is not appropriate that you stay after school to teach Shakespeare. It would be better if you did something with the children that is academic. " It would not be the last time that the narrow thinking of bigcity school administration got in Esquith’s way. Yet the bearded, 6-foot-tall cyclone has proved that a teacher who thinks very big— much harder lessons, larger projects, extra class time—can help disadvantaged children in ways most educators never imagine. This was difficult at first, until he stumbled upon a concept of teaching that is at the core of his success. American children, even those from hardworking immigrant cultures, have in Esquith’s view been wrongly taught that learning should always be fun, by teachers who think hard lessons are bad for kids from low-income homes. When faced with something difficult, such ’students don’t know what to do. The Declaration of Independence says Americans are entitled to the pursuit of happiness, but the emphasis in public schooling has been on the happiness, he believes. "What happened to pursuit" Esquith said. So he has created an entirely new universe in his classroom, cherishing effort and the slogan, "There Are No Shortcuts". As for their own dramatic performances, Esquith got around the original ban on his after-school "Macbeth" rehearsals by switching to Thornton Wilder’s " Our Town. " When that class finally performed the Shakespeare play, a school district supervisor showed up. The high-ranking district administrator came up afterward and shook his hand. "Rare," she said, " I’ve never seen Shakespeare done better. " It can be learned from the passage that Esquith’s students ______.
Passage Four It was 1985, and Rafe Esquith was beginning his third year of teaching in Los Angeles public schools. He faced a class of 40 sixth-graders from low-income homes where English rarely was spoken, and the best reader among them was two years below grade level. So, what the beck, he decided to teach them Shakespeare. Five families agreed to let their children play "Macbeth" for two hours after school. This proved to be so much fun that, within weeks, Esquith had 28 kids happily soaking up the drama of blood and betrayal in medieval Scotland. They were learning many words they had never heard before. But when Esquith asked a school district supervisor for official approval, he received this note: " Mr. Esquith, it is not appropriate that you stay after school to teach Shakespeare. It would be better if you did something with the children that is academic. " It would not be the last time that the narrow thinking of bigcity school administration got in Esquith’s way. Yet the bearded, 6-foot-tall cyclone has proved that a teacher who thinks very big— much harder lessons, larger projects, extra class time—can help disadvantaged children in ways most educators never imagine. This was difficult at first, until he stumbled upon a concept of teaching that is at the core of his success. American children, even those from hardworking immigrant cultures, have in Esquith’s view been wrongly taught that learning should always be fun, by teachers who think hard lessons are bad for kids from low-income homes. When faced with something difficult, such ’students don’t know what to do. The Declaration of Independence says Americans are entitled to the pursuit of happiness, but the emphasis in public schooling has been on the happiness, he believes. "What happened to pursuit" Esquith said. So he has created an entirely new universe in his classroom, cherishing effort and the slogan, "There Are No Shortcuts". As for their own dramatic performances, Esquith got around the original ban on his after-school "Macbeth" rehearsals by switching to Thornton Wilder’s " Our Town. " When that class finally performed the Shakespeare play, a school district supervisor showed up. The high-ranking district administrator came up afterward and shook his hand. "Rare," she said, " I’ve never seen Shakespeare done better. " It can be learned ft’om the last paragraph that ______.
短期债券投资持有期间获得的利息，除取得时已计入应收项目的利息外，其他应在实际收到时确认为投资收益。( )
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