新时代核心英语教程综合英语4教学课件U3

oreurriculum新时代核心英语教程综合英语4oreurriculum新时代综合英语413UNITTheImpactofArt3UNITTheImpactofArt2CONTENTS1ExploringtheTopic2TextA3CriticalThinking4TextBCONTENTS1ExploringtheTopic2T31Readthefollowingquotesanddiscusshoweachonedefinesartfromadifferentperspective.Thentalkaboutwhetherartisimportanttoyouandgiveyourreasons.ExploringtheTopic1Readthefollowingquotesand41Readthefollowingquotesanddiscusshoweachonedefinesartfromadifferentperspective.Thentalkaboutwhetherartisimportanttoyouandgiveyourreasons.ExploringtheTopic1Readthefollowingquotesand52Therearedifferentformsofartlikeliterature,painting,sculpture,music,dance,photography,andfilm.Whichoneisyourfavorite?Isthereanartworkthathasimpressedyouorhasspecialmeaningforyou?Sharerelatedexperienceswithyourpartner.ExploringtheTopic2Therearedifferentformsof6ExploringtheTopicPairdiscussion:1.Haveyouevervisitedanartmuseum?Whatartformdoyoulikebest,andwhy?2.Whatfamousartistsdoyouknow?Whataretheyfamousfor?3.Alifewithoutmusicwouldbeboringanddull.Whydomostofusfindmusicindispensablyimportantinourlives?ExploringtheTopicPairdiscus7BackgroundInformationTextAnalysisAnalyticalReadingTextABackgroundInformationTextAna8AaronCoplandAaronCopland(1900—1990),AmericancomposerwhoachievedadistinctivemusicalcharacterizationofAmericanthemesinanexpressivemodernstyle.Coplandwasreferredtobyhispeersandcriticsas“theDeanofAmericanComposers.”Theopen,slowlychangingharmoniesinmuchofhismusicaretypicalofwhatmanypeopleconsidertobethesoundofAmericanmusic,evokingthevastAmericanlandscapeandpioneerspirit.BackgroundInformationAaronCoplandBackgroundInform9TextStructureDetailedStudyoftheTextTextAnalysisTextStructureDetailedStudyo10TextStructurePartIWelistentomusiconthreeseparateplanes.PartIIThesensuousplaneistheplaneonwhichwehearmusicwithoutconsideringitinanyway.PartIIIOntheexpressiveplane,wereaddifferentmeaningsintovariouspiecesofmusic.Para.1Paras.2-5Paras.6-13TextStructurePartIWelisten11TextStructurePartVPara.17Whilelisteningtomusic,wecorrelatethethreeplanes.PartIVThesheerlymusicalplaneistheoneonwhichwelistentothe“notesthemselves.”Paras.14-16TextStructurePartVPara.17Wh121.But,forthesakeofanalysis,thewholelisteningprocessmaybecomeclearerifwebreakitupintoitscomponentparts,sotospeak.(Para.1)Paraphrase:Forthepurposeofanalysis,dividingthewholelisteningprocessintoseveralseparateparts,inamannerofspeaking,canhelptheaudienceunderstanditbetter.DetailedStudyoftheTextPartI1.But,forthesakeofanalys13TextStructurePartIWelistentomusiconthreeseparateplanes.PartIIThesensuousplaneistheplaneonwhichwehearmusicwithoutconsideringitinanyway.PartIIIOntheexpressiveplane,wereaddifferentmeaningsintovariouspiecesofmusic.Para.1Paras.2-5Paras.6-13TextStructurePartIWelisten142.Akindofbrainlessbutattractivestateofmindisengenderedbythemeresoundappealofthemusic.(Para.2)Paraphrase:AsaconcludingsentenceofPara.2,ithighlightsthefeatureofthesensuousplaneagain,whichisthesoundappeal,and“mere”isusedtosaythatsomethingissmallbuthasabigeffect.PartIIDetailedStudyoftheText2.Akindofbrainlessbutatt153.Immediatelythatonenoteisenoughtochangetheatmosphereoftheroom—provingthatthesoundelementinmusicisapowerfulandmysteriousagent,whichitwouldbefoolishtoderideorbelittle.(Para.3)Paraphrase:Thesoundelementinmusicisanimportantbutunexplainablefactor,anychangeofwhichcanmaketheatmosphereoftheroomdifferent,soit’saseriousconsideration.PartIIDetailedStudyoftheText3.Immediatelythatonenotei164.Musicallowsthemtoleaveit,andtheygoofftoaplacetodream,dreamingbecauseofandaproposofthemusic

yetneverquitelisteningtoit.(Para.4)PartIIDetailedStudyoftheText4.Musicallowsthemtoleave17TextStructurePartIWelistentomusiconthreeseparateplanes.PartIIThesensuousplaneistheplaneonwhichwehearmusicwithoutconsideringitinanyway.PartIIIOntheexpressiveplane,wereaddifferentmeaningsintovariouspiecesofmusic.Para.1Paras.2-5Paras.6-13TextStructurePartIWelisten185.Butthatshouldnotleadonetotheotherextremeofdenyingtomusictherighttobe“expressive.”(Para.6)“That”herereferstothedifficultymentionedintheprevioussentenceingivingapieceofmusicapreciseexplanationsatisfyingeveryone.Despitesuchdifficulty,Coplandstillbelievesallmusichasanexpressivepower.PartIIIDetailedStudyoftheText5.Butthatshouldnotleadon196.Thispopularideaofmusic’smeaning—stimulatedandabettedbytheusualrunofmusicalcommentators—shouldbediscouragedwhereverandwheneveritismet.(Para.8)Inthissentence,both“stimulated”and“abetted”functionaspostpositiveattributive,modifying“thispopularideaofmusic’smeaning.”PartIIIDetailedStudyoftheText6.Thispopularideaofmusic’20TextABackgroundInformationTextAnalysisAnalyticalReadingTextABackgroundInformationTe211Matchthedifferentplanesofmusicintheleft-handcolumnwiththeircharacteristicsontheright.AnalyticalReading1.Thesensuousplane2.Theexpressiveplane3.ThesheerlymusicalplaneA.It’stheplaneonwhichwereaddifferentmeaningsintovariouspiecesofmusic.B.It’stheplaneonwhichwehearmusicwithoutconsideringitinanyway.C.It’stheplaneonwhichwelistentothe“notesthemselves.”1Matchthedifferentplanesof221.Onlythosewholistentomusicabsent-mindedlyinsteadofwithfullconcentrationcanfeelthesheerpleasureofwhattheyhear.Answer:FDecidewhetherthefollowingstatementsaretrue(T)orfalse(F)accordingtothetext.2AnalyticalReading1.Onlythosewholistentomu232.Thesoundappealofmusicshouldonlybeallowedtotakeasmallshareofyourinterest.Answer:FDecidewhetherthefollowingstatementsaretrue(T)orfalse(F)accordingtothetext.2AnalyticalReading2.Thesoundappealofmusics243.AaronCoplandbelievesthatallmusicexpressesacertainidea,whichcan’tbesummarizedwithanyconcreteanddefiniteconcepts.Answer:TDecidewhetherthefollowingstatementsaretrue(T)orfalse(F)accordingtothetext.2AnalyticalReading3.AaronCoplandbelievesthat254.Thoughyoumayfinditimpossibletoreachanagreementontheexactmeaningyouassigntoachosenpieceofmusic,youwillalwaysfeelthesameeverytimeyoulistentoit.Answer:FDecidewhetherthefollowingstatementsaretrue(T)orfalse(F)accordingtothetext.2AnalyticalReading4.Thoughyoumayfinditimpo265.Indescribingthesheerlymusicalplane,Coplandreferstothemelody,rhythm,harmony,andtonecolorofthemusic.Answer:TDecidewhetherthefollowingstatementsaretrue(T)orfalse(F)accordingtothetext.2AnalyticalReading5.Indescribingthesheerlym271.Theonlyadvantagetobegainedfrommechanicallysplittingupthelisteningprocessintothesehypotheticalplanesistheclearerviewtobehadofthewayinwhichwelisten.(Para.1)Answer:Gettingaclearerviewofhowwelistentomusicistheonlybenefittobehadbymechanicallybreakingthelisteningprocessintotheseassumedplanes.Paraphrasethefollowingsentences.3AnalyticalReading1.Theonlyadvantagetobega282.Immediatelythatonenoteisenoughtochangetheatmosphereoftheroom—provingthatthesoundelementinmusicisapowerfulandmysteriousagent,whichitwouldbefoolishtoderideorbelittle.(Para.3)Answer:Thesoundelementinmusicisanimportantbutunexplainablefactor,anychangeofwhichcanmaketheatmosphereoftheroomdifferent,soit’saseriousconsideration.Paraphrasethefollowingsentences.3AnalyticalReading2.Immediatelythatonenotei293.Heavenknowsitisdifficultenoughtosaypreciselywhatitisthatapieceofmusicmeans,tosayitdefinitely,tosayitfinallysothateveryoneissatisfiedwithyourexplanation.(Para.6)Answer:It’sextremelydifficulttopindowndefinitelyandfinallytheexactmeaningofapieceofmusicinawaythatwillsatisfyeveryone.Paraphrasethefollowingsentences.3AnalyticalReading3.Heavenknowsitisdifficul304.Myownbeliefisthatallmusichasanexpressivepower,somemoreandsomeless,butthatallmusichasacertainmeaningbehindthenotesandthatthatmeaningbehindthenotesconstitutes,afterall,whatthepieceissaying,whatthepieceisabout.(Para.7)Answer:Ibelievethatallmusiccanexpressthoughtsandfeelingstoagreaterorlesserextent,becauseeachnotewhichmakesupacompositionhasacertainmeaningandhasitsparttoplayintellingyouwhatthepieceisabout.Paraphrasethefollowingsentences.3AnalyticalReading4.Myownbeliefisthatallm315.Themusician,inhisexasperation,saysitmeansnothingbutthenotesthemselves,whereasthenonprofessionalisonlytooanxioustohangontoanyexplanationthatgiveshimtheillusionofgettingclosertothemusic’smeaning.(Para.12)Answer:Themusicianwillangrilydenytheexpressivesideofhis/hermusic,claimingthattherearejustnotes,whilecommonpeoplelongforanexplanation,whichwillmakethemfeelclosertothemusic’smeaning.Paraphrasethefollowingsentences.3AnalyticalReading5.Themusician,inhisexaspe321.WhatisthesimplestwayoflisteningtomusicaccordingtoCopland?Answerthefollowingquestions.4AnalyticalReadingAnswer:Tolistenforthesheerpleasureofthemusicalsounditselfisthesimplestwayoflisteningtomusic.1.Whatisthesimplestwayof332.InwhatsituationwouldthesensuousplanebeabusedinCopland’sopinion?Answerthefollowingquestions.4AnalyticalReadingAnswer:Thisplaneisabusedwhenpeopleusemusicjustasaconsolationoranescapefromreality,butneverquitelistentothemusicnorthinkaboutthemusic.2.Inwhatsituationwouldthe343.AccordingtoCopland,whichplaneiscontroversial?Answerthefollowingquestions.AnalyticalReadingAnswer:Itisthesecondplane,theexpressiveplane.43.AccordingtoCopland,which354.Whydosomecomposersdenytheexpressivesideoftheirmusic?Answerthefollowingquestions.AnalyticalReadingAnswer:Becauseitisdifficulttopindownthedefinitemeaningofeachpieceofmusicinawaythatsatisfieseveryone.44.Whydosomecomposersdeny365.Whatdoes“Thispopularideaofmusic’smeaning”inPara.8referto?Whoencouragessuchanidea?What’sCopland’sattitudetowardit?Answerthefollowingquestions.AnalyticalReadingAnswer:Itreferstotheideaofpinningdowntheexactmeaningofpiecesofmusicinspecificwords,whichissaidtobeencouragedbymusicalcommentators.Coplanddisagreeswiththisidea.45.Whatdoes“Thispopularide376.AccordingtoCopland,whydomostmusicalnovicesfindTchaikovskyeasierto“understand”thanBeethoven?Answerthefollowingquestions.AnalyticalReadingAnswer:Therearetworeasons.Firstly,it’seasiertopinameaning-wordonaTchaikovskypiecethanonaBeethovenone,andsecondly,everytimeyoucomebacktoapieceoftheformer,italmostsaysthesamethingtoyou,whilethelatterbringsdifferentfeelingseverytimeyoureturntoit.46.AccordingtoCopland,whyd387.AccordingtoCopland,whichplanedolistenerstendtobeleastawareof?Answerthefollowingquestions.AnalyticalReadingAnswer:It’sthethirdplane,thesheerlymusicalplane.47.AccordingtoCopland,which398.WhydoesCoplandrepeatthatwhathehasdoneisjusttosplitupthelisteningprocessintothreeplanesmechanicallyinthefirstandlastparagraphs?Answerthefollowingquestions.AnalyticalReadingAnswer:It’sbecauseCoplandwantstoemphasizesuchdivisionisjustforthesakeofgreaterclaritybutintherealsituation,welisteninallthreewaysatthesametime.48.WhydoesCoplandrepeattha409.Howdoyoulistentomusic?DoyouagreewithCopland’sanalysisofthethreeplanes?Whyorwhynot?Answerthefollowingquestions.AnalyticalReadingAnswer:Open-ended.49.Howdoyoulistentomusic?4110.TheAnalectsnotes,“HearingthemusicofsuccessioninQi,theMasterdidnotknowthetasteofmeatforthreemonths,saying,‘Ididnotrealizethatmusiccouldhavebeensodelicious.’”(子在齐闻《韶》，三月不知肉味，曰：“不图为乐之至于斯也。”)BothConfuciusandCoplandstresstheimpactofmusic.Whatdoyouthinkofthefunctionofmusic?Useexamplesandevidencetosupportyourargument.Answerthefollowingquestions.AnalyticalReading4Answer:Open-ended10.TheAnalectsnotes,“Heari42CriticalThinking

——IntellectualHumilityCriticalThinking43Intellectualhumilitymeansbeingawareofbiasesandprejudicesaswellasthelimitationsofone’sviewpoint.Intellectualhumilityrequiresthatweshouldnotclaimmorethanweactuallyknow.Itrequiresidentifyingandassessingthefoundationsofourbeliefs,lookingespeciallyforthosethatcannotbejustifiedthroughgoodreasoning.CriticalThinkingIntellectualhumilitymeansbe44Applyyourskill.1.ManyChinesescholarsenjoyahighreputationintheirfields,butstillhavethevirtueofintellectualhumility.Chooseoneandexplainwithexampleshowhe/shedisplaysintellectualhumility.CriticalThinkingApplyyourskill.1.ManyChine45Applyyourskill.Answer:Confucius,thegreatestChinesephilosopher,believedthathumilityisthefoundationofallvirtues.Hesaidthat“Toadmitwhatyouknowandwhatyoudonotknow,thatisknowledge.”Heconstantlydisplayedthisattitude,andwaswillingtoletanyonebehisteacher.Oneofhismostfamousquotationssaysthat“Whenthreemenwalktogether,theremustbeoneworthytobemyteacher.Iwillchoosewhatisgoodinhimtofollow,andavoidwhatisnotgood.”Therefore,Confuciusprovidesarolemodelandcanbeadmiredforhishumblemannerinthenon-stoppursuitoflearning.CriticalThinkingApplyyourskill.Answer:Confu46BackgroundInformationTextStructureTextBBackgroundInformationTextSt47LustforLifeLustforLifeisaclassicfictionalretellingoftheincrediblelifeofVincentvanGogh,writtenbyIrvingStone.Sinceitsinitialpublicationin1934,ithasbeenacriticalsuccess,amultimillion-copybestsellerandthebasisforanAcademyAward-winningmovie.Itfollowstheartistthroughhistormentedlife,depictinghisstrugglingagainstmentalturmoil.BackgroundInformationLustforLifeBackgroundInform48TextStructurePartIArisingbeforedawn,returningwithafinishedcanvasatnight,vanGoghbecameablindpaintingmachine.PartIIHispai