3．An idea came to me，and I turned off the lights in the studio．In the darkness，I took off my shirt and took up the cello （大提琴）； it was the first time in my life I'd fel the instrument against my bare chest．I'd never thought about that； music scholars always talk about the resonating properties （共振） of various instruments，but surely the performer's own body must have some effect on the sound．As I dug into the notes I imagined that my own chest and lungs were extensions of the sound box； I seemed to be able to change the sound by the way I sat，and by varying the muscular tightness in my upper body．
After improvising for a while，I started playing，still in the darkness．I heard the music through my skin．For the first time I didn't think about how it would sound to anyone else，and slowly，joyfully，gratefully，I started to hear again．The notes sang out，first like a trickle：，then like a fountain of cool water bubbling up from a hole in the middle of a desert．After an hour or soI looked up，and in the darkness saw the outline of the cat sitting on the floor in front of me，cleaning her paws and purring loudly，I had an audience again，humble as it was．
So that's what I do now with my cello．At least once a clay I find time to tune it，close my eyes and listen．It's probably not going to lead to the kind of comeback I'd be thirsty for-years of playing badly have left scars on my technique-but I might eventually try giving a concert if I feel up to it．
Occasionally I feel a stab of longing，and I wish I could give just one more concert on a great stage before m lights blink off，but that longing passes more quickly now．I take comfort in the fact that，unlike the way I felt before，I can enjoy playing for myself now．I feel relaxed and expansive when I play，as if I could stretch out my arms and reach from one end of the apartment to the other．A feeling of completeness and dignity surrounds me and lifts me up．
60．The writer put the cello against his bare chest toB．
A．test music scholars'ideas about the resonating properties
B．experience the effect of his body on the musical sound
C．reduce his muscular tightness in his upper body
D．check the function of the sound box
61．In Paragraph 2，the writer intends toC．
A．explain his feelings of playing before a cat
B．identify specific pieces of music he layed
C．express his feelings of playing against his body
D．describe the sound when he played against his body
62．From the last paragraph we can infer that the writer wasA．
A．optimistic B．discouraged C．nervous D．enthusiastic
63．The passage is mainly aboutC
A．a(chǎn) musician playing he cello for an audience
B．a(chǎn) musician's feelings when playing the cello
C．a(chǎn) musician finding joy in playing music in a new way
D．a(chǎn) musician's desire to return to his former profession．
分析 我第一次裸露著上身在黑暗的工作室里拉大提琴，我所確定的是演奏者的身體會對樂器的聲音有影響，通過坐的方式和上半身肌肉的收縮可以調(diào)節(jié)聲音．
調(diào)整了一會，我開始演奏．我能聽到音樂經(jīng)過我的皮膚釋放出來，一開始像小溪，后來像噴泉．一只貓坐在我的面前舔舐著爪子，它是我謙卑的聽眾．
這就是我現(xiàn)在利用大提琴所做的，我的演技很糟糕，已經(jīng)給我留下了陰影，但我仍然渴望開一個我自己的音樂會．
時而我感到一股渴望，但一念之間它又很快消失．我現(xiàn)在可以享受音樂了．當(dāng)我演奏時，我感到放松與富有，滿足感和尊貴感圍繞在我的身邊，把我高高抬起．
解答 60-63 BCAC
60．B 細(xì)節(jié)理解題 根據(jù)第一自然段相關(guān)語境"music scholars always talk about the resonating properties （共振） of various instruments，but surely the performer's own body must have some effect on the sound．"可知作者把大提琴靠到裸露的胸部是因為作者確信演奏者的身體可以影響樂器的聲音，所以結(jié)合選項可知選項B提到的體驗身體對音樂的影響是正確的，故選B．
61．C 分析判斷題 分析第二自然段的語境可知都是講述作者彈琴時的感受"slowly，joyfully，gratefully，I started to hear again．The notes sang out，first like a trickle：，then like a fountain"從這些形容詞和比喻中可以推斷出正確答案，故選C．
62．A 分析判斷題．本題推斷作者的情感，根據(jù)最后一自然段的語境，從這些用詞"enjoy，relaxed，completeness and dignity"中可以判定作者對音樂是具有積極心態(tài)的；又從上一自然段得知作者演技"playing badly have left scars on my technique"不如意，綜合來看作者是持樂觀態(tài)度的，故選A．
63．C 分析判斷題． 本題找出全文的主要意思，在把握整體文意的前提下結(jié)合選項．全文一開始就講述作者是身體感知樂器的新方法來演奏大提琴并緊接著給出了感受．結(jié)合選項意思（joy，in a new way），故選C．
點評 本文主要講述作者通過用身體感知樂器的新方法來演奏大提琴并緊接著給出了感受，對音樂事業(yè)充滿著樂觀態(tài)度．題目中多分析判斷題，要在充分理解相關(guān)語境的前提下認(rèn)真分析每一個選項，可以用排除法來得出正確答案；分析理解題，要在把握全文的基礎(chǔ)上重點對題目中的個點進(jìn)行前后聯(lián)系的分析，從而得出答案．
