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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. " 【C8】

A. like
B. by
C. as
D. on

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Ants as a Barometer of Ecological Change At picnics, ants are pests. But they have their uses. In industries such as mining,farming and forestry, they can help gauge the health of the environment by just crawling around and being antsy. It has been recognized for decades that ant—which are highly sensitive to ecological change—can provide a near-perfect barometer of the state of an ecosystem. Only certain species, for instance, will continue to thrive at a forest site that has been cleared of trees. 【B1】 And still others will move in and take up residence. By looking at which species populate a deforested area, scientists can determine how "stressed" the land is. 【B2】Ants are used simply because they are so common and comprise so many species. Where mine sites are being restored, for example, some ant species will recolonize the stripped land more quickly than others. 【B3】Australian mining company Capricorn Coal Management has been successfully using ant surveys for years to determine the rate of recovery of land that it is replanting near its German Creek mine in Queensland. Ant surveys also have been used with mine-site recovery projects in Africa and Brazil, where warm climates encourage dense and diverse ant populations. "We found it worked extremely well there, " says Jonathan Majer, a professor of environmental biology. Yet the surveys are perfeetlv suited to climates throughout Asia, he says, because ants are so common throughout the region. As Majer puts it; "That’s the great thing about ants. " Ant surveys are so highly-regarded as ecological indicators that governments worldwide accept their results when assessing the environmental impact of mining and tree harvesting. 【B4】 Why not Because many companies can’t afford the expense or the laboratory time needed to sift results for a comprehensive survey. The cost stems, also, from the scarcity of ant specialists. 【B5】__A This allowed scientists to gauge the pace and progress of the ecological recovery.B Yet in other businesses, such as farming and property development, ant surveys aren’t used widely.C Employing those people are expensive.D They do this by sorting the ants, counting their numbers and comparing the results with those of earlier surveys.E The evolution of ant species may have a strong impact on our ecosystem.F Others will die out for lack of food. 【B5】

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. " 【C10】

A. decisive
B. nervous
C. excited
D. grateful

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. " 【C13】

Actually
B. Correspondingly
Certainly
D. Similarly

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. " 【C12】

A. whatever
B. whenever
C. wherever
D. however