英語六級閱讀真題，不僅強化詞匯與句型理解，更提升閱讀速度與綜合分析能力。實戰(zhàn)演練，讓考生熟悉題型變化，掌握解題技巧，是沖刺六級高分不可或缺的寶貴資源。今天，小編將分享2022年12月大學(xué)英語六級閱讀真題以及答案（卷三）相關(guān)內(nèi)容，希望能為大家提供幫助！

Section A

Directions: In this section, there is a passage with ten blanks. You are required to select one word for each blank from a list of choices given in a word bank following the passage. Read the passage through carefully before making your choices. Each choice in the bank is identified by a letter. Please mark the corresponding letter for each item on Answer Sheet 2 with a single line through the centre. You may not use any of the words in the bank more than once.

American colleges and universities are using 64 percent less coal than they did a decade ago,burning700,000 tons last year, down from 2 million tons in 2008, the U. S. Energy Information Administration (EIA) said in a report _26_ yesterday.

All 57 schools that were burning coal in 2008 are using less now, and 20 have _27_ coal completely,EIA found.

Most universities have turned to natural gas as a _28_ , with state funding backing the fuel switch.

While academic institutions use less than 0.1 percent of U. S. coal burned for power, campus coal use has a history dating back to the 1800s when _29_ to power was scarce.

Many universities still operate their own power plants. The Public Utility Regulatory Policies Act of1978 encouraged more electricity generation by allowing institutions to sell _30_ power to utilities.

But EIA noted many coal-fired universities have signed onto the American College and University Presidents Climate Commitment, which was launched in 2007.

About 665 schools are part of the program, which aims to _31_ greenhouse gas emissions. Thirty percent of the participants have pledged to be carbon _32_ within 20 years.

The Sierra Club’ s Beyond Coal campaign, which also leads campaigns for universities to withdraw their _33_ in coal and other fossil fuels, lists 22 schools that have pledged to move“beyond coal,” including Clemson University, Indiana University, Ohio University, Penn State University, the University of Louisville and the University of Tennessee, Knoxville.

The largest coal use _34_ at colleges were in Michigan, Missouri, Tennessee and Indiana. Indiana’ s universities alone cut coal _35_ by 81 percent between 2008 and 2015.

During the same period, Michigan made an 80 percent cut and Tennessee cut back by 94 percent at state institutions.

A) abandoned  

B) access  

C) consumption  

D) contrive  

E) duplications  

F) investments  

G) mobilized  

H) negligent

I) neutral

J) reductions

K) released

L) replacement

M) slash

N) surplus

O) void

Section B

Directions: In this section, you are going to read a passage with ten statements attached to it. Each statement contains information given in one of the paragraphs. Identify the paragraph from which the information is derived. You may choose a paragraph more than once. Each paragraph is marked with a letter. Answer the questions by marking the corresponding letter on Answer Sheet 2.

Classical music aims to evolve, build audiences without alienating old guard

A) In 1913, classical music sparked a riot in Paris. Igor Stravinsky was introducing his revolutionary“Rite of Spring” ballet to the world, with its discordant melodies and unorthodox choreography(編舞), and the purists in the crowd expressed their disapproval loud and clear. It might have been classical music's version of the time Bob Dylan went electric at the Newport Folk Festival. “The noise, fighting, and shouting in the audience got so loud,” NPR’s music reporter Miles Hoffman said of the Stravinsky debut, “that the choreographer had to shout out the numbers to the dancers so that they knew what they were supposed to do.”

B) It's difficult to imagine a similar disturbance occurring today within America’s sacred symphony halls.In fact, it's hard to picture any kind of disruptive activity at all( unless someone's cell phone happens to go off, and then you'd better watch your back). A mannerly aura (氛圍) hangs over most classical proceedings, and many of the genre's biggest supporters would have it no other way.

C) Today, Western audiences for classical music and opera and ballet are almost always well dressed,older, respectful, achingly silent and often very wealthy( one has to be able to afford most tickets).But as many of America’s most storied“highbrow”(高雅的) institutions struggle financially—the Philadelphia Orchestra's much-publicized rebound from bankruptcy is just one recent example—classical music fans and theorists are wondering how the medium can weave itself into the 21st century's cultural fabric without sacrificing its integrity.

D) For example, should we feel OK“clapping” during classical music events, even if nobody else is? Why shouldn't we cheer for something great, like we do at a rock concert? The Huffington Post recently rana Great Debate on this issue and many commenters came out on the side of silence. “There is no more rewarding experience in life than being part of an audience where everybody is leaning forward in silence, thoroughly carried away by a great performance of a masterpiece,” one commenter wrote.“Why is it so difficult for folks to develop an appreciation and understanding for the mannerisms and traditions of classical music?” asked another.

E) The truth is that classical music audiences weren't always so polite. Robert Greenberg, an award- winning composer, said that when Beethoven first performed his 7th Symphony, audiences forced the orchestra to perform encores(重演) of certain movements immediately, applauding wildly. And in the last few decades, he said, many audiences at opera performances have abandoned pretenses, yelling“Bravo” when they feel like it.

F)“I don't think there's anything wrong with an audience showing their enthusiasm for a proper moment by applauding, showing their joy,” Greenberg said, noting that the stuffiness in concert halls is“one aspect of contemporary concert etiquette” he doesn't understand. “Instead of waiting half an hour to show enthusiasm, why not show it every eight or nine minutes?”

G) Until the rules about behavior and clothing change, it's hard to imagine multitudes of young people filling concert halls on their own accord. They' re probably more likely to head to Central Park to watch a free performance with a bottle of wine and their friends. “I think anyone should be able to come into a performance dressed any way they like, and be comfortable any way they like, sitting in that seat ready to enjoy themselves,” Greenberg said. “Because it's enjoyable.”

H) Greenberg stressed that he doesn't want people to start respecting the music less, and he's not suggesting that we“dumb down” the experience. Rather, it's about opening up“access”. When operas first instituted subtitles(字幕) during shows, he said, many purists didn't like the idea, believing that the audience should instead study the works before attending. But now it's commonplace to find titles on the seatback in front of you— choose a language, sit back, and understand what's going on.

I) Allison Vulgamore, president of the Philadelphia Orchestra, is certainly looking to the future. She says certain“classics concerts” dedicated to the old masters will always exist, but not every program has to feature Becthoven and Brahms—or even a stage and seats. “We' re trying to introduce different kinds of concerts in different ways,” she said. “We are an interactive society now, where people like to learn.”

J) As the Philadelphia Orchestra rebounds from its financial straits, it is also aiming to experiment,without alienating the loyalists. Vulgamore pointed to Cirque de la Symphonie, a recent offering in which jugglers(玩雜耍的人) and acrobats(雜技演員) interacted with musicians. An upcoming collaboration with New York City's Ridge Theatre, meanwhile, will feature a“suspended dance installation” and other theatrical elements occurring in conjunction with an orchestral piece.

K) The orchestra also continues to offer $25 annual memberships to Philadelphia students, who can buy rush tickets to every concert on the schedule. “Students line up for the concerts they want, and we get roughly 300 or 350 kids a night coming to these. They take any of the open seats available,5 minutes before the concert starts,” Vulgamore said. “It's like the running of the bulls, that energy when the doors open.”

L) Greenberg thinks that youthful energy needs to be harvested. Conductors don't have to be arrogant and untouchable—they can be accessible. Perhaps there could even be a“bit of humor” about them, he suggested, and an abandoning of pretension within the high-art institutions themselves. “On one hand, these organizations are all saying the same thing: we want more general audiences, to break down cultural barriers,” he said. “But then they come up with some very snooty(目中無人的) thing that makes you crazy.”

M) John Terauds, a critic who has covered Toronto’s classical music scene extensively, also wants to do away with the stuffiness. He suggested that the warmer an audience is, the better the musicians themselves will respond. “But the producer or organizer has to let everyone know it's OK,” he said.“It's OK to enjoy yourself.” At the Toronto Symphony Orchestra, for example, conductor Peter Oundjian often stops between pieces, taking a moment to talk about the composer or the music in a very amiable way. And some nights, Terauds said, “at least a third” of the audience consists of students who have purchased cheaper tickets. On these nights, the energy of the room drastically shifts. It becomes a less intimidating place.

N) Back in February, Terauds wrote on his blog about how going to classical performances can be intimidating. Certain people“think they have to dress up,” he wrote. “They think they have to know something about the music before they go. And, I'm sure, sitting in a seat, trembling in fear that this might be the wrong time to applaud, is also one of the factors.”

O) Everyone in the classical world agrees on the need for increased“accessibility,” but achieving it is often easier said than done. Nowadays, there are unknown, unorthodox opera singers wowing (博得……的喝彩) viewers on TV programs like“America’ s Got Talent” and“The Voice”. What can higher institutions do with any of that? And if they appeal to these outlets, do they risk compromising the integrity or the intelligence of the music?

P) Vulgamore seems to understand this. She thinks an organization can have it both ways, claiming the new while keeping the old. And as she reorganizes the Philadelphia Orchestra, she will attempt to do just that. “The world's most respected musicians brought together as an orchestra will always exist,” she said. “But it's essential that we be willing to experiment and fail.”

36. It was not a rare occurrence that audiences behaved wildly while listening to classical music.

37. Some high-art institutions don't actually mean it when they say they want more general audiences.

38. The theatre was in chaos when an unconventional ballet was first put on stage in the capital of France.

39. According to one critic, the audience's warm response would encourage the musicians to do a better job.

40. Many commenters argued for the audience enjoying classical music quietly.

41. What appears on the seatback screen makes it unnecessary for the audience to study the works beforehand.

42. It is generally accepted that there should be no disturbance from the audience during classical music performance.

43. Higher institutions will be concerned about compromising the integrity of classical music if they have to resort to the television medium.

44. Heavily discounted rush tickets help attract many young students to attend classical concerts.

45. The formalities of high-art theatres can intimidate some people attending a performance.

Section C

Directions: There are 2 passages in this section. Each passage is followed by some questions or unfinished statements. For each of them there are four choices marked A), B),C) and D). You should decide on the best choice and mark the corresponding letter on Answer Sheet 2 with a single line through the centre.

Passage One

Questions 46 to 50 are based on the following passage.

How can one person enjoy good health, while another person looks old before her time? Humans have been asking this question for thousands of years, and recently, it's becoming clearer and clearer to scientists that the differences between people's rates of aging lie in the complex interactions among genes, social relationships, environments and lifestyles. Even though you were born with a particular set of genes, the way you live can influence how they express themselves. Some lifestyle factors may even turn genes on or shut them off.

Deep within the genetic heart of all our cells are telomeres, or repeating segments of noncoding DNA that live at the ends of the chromosomes (染色體). They form caps at the ends of the chromosomes and keep the genetic material together. Shortening with each cell division, they help determine how fast a cell ages. When they become too short, the cell stops dividing altogether. This isn't the only reason a cell can age— there are other stresses on cells we don't yet understand very well— but short telomeres are one of the major reasons human cells grow old. We' ve devoted most of our careers to studying telomeres, and one extraordinary discovery from our labs is that telomeres can actually lengthen.

Scientists have learned that several thought patterns appear to be unhealthy for telomeres, and one of them is cynical hostility. Cynical hostility is defined by high anger and frequent thoughts that other people cannot be trusted. Someone with hostility doesn't just think, “I hate to stand in long lines”; they think,“Others deliberately sped up and beat me to my rightful position in the line!”— and then get violently agitated. People who score high on measures of cynical hostility tend to get more heart disease, metabolic disease and often die at younger ages. They also have shorter telomeres. In a study of British civil servants, men who scored high on measures of cynical hostility had shorter telomeres than men whose hostility scores were low. The most hostile men were 30% more likely to have short telomeres.

What this means: aging is a dynamic process that could possibly be accelerated or slowed— and, in some aspects, even reversed. To an extent, it has surprised us and the rest of the scientific community that telomeres do not simply carry out the commands issued by your genetic code. Your telomeres are listening to you. The foods you eat, your response to challenges, the amount of exercise you get, and many other factors appear to influence your telomeres and can prevent premature aging at the cellular level. One of the keys to enjoying good health is simply doing your part to foster healthy cell renewal.

46. What have scientists come to know better today?

A) Why people age at different rates.

B) How genes influence the aging process.

C) How various genes express themselves in aging.

D) Why people have long been concerned about aging.

47. Why are some lifestyle factors considered extremely important?

A) They may shorten the process of cell division.

B) They may determine how genes function.

C) They may affect the lifespan of telomeres.

D) They may account for the stresses on cells.

48. What have the author and his colleagues discovered about telomeres?

A) Their number affects the growth of cells.

B) Their length determines the quality of life.

C) Their shortening process can be reversed.

D) Their health impacts the division of cells.

49. What have scientists learned about cynical hostility?

A) It may lead to confrontational thought patterns.

B) It may produce an adverse effect on telomeres.

C) It may cause people to lose their temper frequently.

D) It may stir up agitation among those in long lines.

50. What do we learn from the last paragraph about the process of aging?

A) It may vary from individual to individual.

B) It challenges scientists to explore further.

C) It depends on one's genetic code. 

D) It may be controlled to a degree.

Passage Two

Questions 51 to 55 are based on the following passage.

Scientists have created by accident an enzyme (酶) that breaks down plastic drinks bottles. The breakthrough could help solve the global plastic pollution crisis by enabling for the first time the full recycling of bottles.

The new research was spurred by the discovery in 2016 of the first bacterium that had naturally evolved to eat plastic at a waste dump in Japan. Scientists have now revealed the detailed structure of the crucial enzyme produced by the bug.

An international team then adjusted the enzyme to see how it had evolved, but tests showed they had accidentally made the molecule even better at breaking down the plastic used for drinks bottles. “What actually turned out was we improved the enzyme, which was a bit of a shock,” said head researcher Prof.McGechan, at the University of Portsmouth, UK.

Currently, the enzyme takes a few days to start breaking down the plastic, far faster than the centuries it takes in the oceans, but the researchers are optimistic this can be speeded up even further and become a viable large-scale process.

“What we are hoping to do is use this enzyme to turn this plastic back into its original components, so we can literally recycle it back to plastic,” said McGeehan. “It means we won't need to dig up any more oil and, fundamentally, it should reduce the amount of plastic in the environment.”

About 1 million plastic bottles are sold each minute around the globe and, with just 14% recycled, many end up in the oceans where they have polluted even the remotest parts, harming marine life and potentially people who eat seafood. “Plastic is incredibly resistant to degradation,” said McGeehan. “It is one of these wonder materials that has been made a little bit too well.”

Currently those bottles that are recycled can only be turned into opaque fibres for clothing or carpets, while the new enzyme indicates a way to recycle old clear plastic bottles back into new clear plastic bottles.

“You are always up against the fact oil is cheap, so plastic is cheap,” said McGeehan. “It is so easy for manufacturers to generate more of that stuff, rather than even try to recycle, but I believe there is a public interest here: perception is changing so much that companies are starting to look at how they can properly recycle these bottles.”

Prof. Adisa Azapagic, at the University of Manchester in the UK, agreed the enzyme could be useful but added:“A full life-cycle assessment would be needed to ensure that the technology does not solve one environmental problem—waste—at the expense of others, including additional greenhouse gas emissions.”

51. What do we learn from the passage about an enzyme scientists have created?

A) It was identified during a lab experiment accident.

B) It may make full recycling of plastic bottles a reality.

C) It was a breakthrough made with persistent efforts.

D) It may initiate a radical reform in plastic industry.

52. What does the passage say about the bug that produces the important enzyme?

A) It has a natural ability to consume plastics.

B) It is a bacterium that reproduces at a high rate.

C) It is essential to the recycling of plastic bottles.

D) It has a chemical structure unknown to scientists.

53. By adjusting the enzyme produced by the bug, the scientists _____ .

A) made it more effective by chance.

B) discovered an extraordinary chemical.

C) altered its basic molecular composition.

D) found its evolutionary process sped up.

54. What does Prof. McGeehan say about the recycling of plastic bottles?

A) Manufacturers are implementing it on an increasingly larger scale.

B) It generates huge business opportunities for plastic manufacturers.

C) It has aroused persistent interest among the general public.

D) Manufacturers are beginning to explore ways of doing it.

55. What is Prof. Adisa Azapagic's advice concerning the application of the enzyme?

A) Developing technologies to address greenhouse gas emissions.

B) Considering the extra cost involved in producing the enzyme.

C) Assessing its possible negative impact on the environment.

D) Studying the full life cycle of the enzyme as the first step.

26.K)【語義判斷】空格所在段主要講美國高校的煤炭使用量大幅度下降，這段描述中涉及很多真實的數(shù)據(jù)，均出自美國能源信息署(EIA)的一份報告。動詞的過去分詞中,K) released 表示“發(fā)布,公開”,用在這里表示“昨天發(fā)布的報告”，符合文意，故答案為K)。

27.A)【語義判斷】空格所在句前半句提到，2008年使用煤炭的所有57所學(xué)?，F(xiàn)在都在減少煤炭的使用，后半句又提及其中20所學(xué)校在煤炭使用方面的問題。在所有過去分詞的備選項中，只有A)abandoned“放棄”可以與 coal 搭配,表示“棄用煤炭”，符合語境，故為答案。

28.L)【語義判斷】由上文可知，很多高校都減少了煤炭的使用量，而空格所在句指出它們轉(zhuǎn)而使用天然氣，說明它們是用天然氣來代替煤炭，空格處填入的名詞應(yīng)該有“替代品”的意思。由此確定 L) replacement“替代品”為答案。

29.B)【語義判斷】空格所在句的前半句和后半句語義上是相對的，前半句的意思是這些學(xué)術(shù)機構(gòu)實際煤炭使用量很小，即需求量并不大，后半句則提到19世紀(jì)時的狀況，那時電力的_____是匱乏的。在所有單數(shù)/不可數(shù)名詞中，B)access“使用的機會”用在這里表示“能得到電力供應(yīng)的機會是很少的”，符合語境，故答案為B)。

30.N)【語義判斷】空格所在句意思是政府鼓勵電力生產(chǎn)，允許這些擁有自己發(fā)電廠的院校出售電力，由于院校自身也需要使用部分電力，可以推斷出它們出售的電力應(yīng)該是滿足自身供給后剩余的部分。由此確定 N)surplus“剩余的”為答案。

31.M)【語義判斷】上一段提到，許多燃煤的高校已經(jīng)簽署了2007年啟動的“美國高校校長氣候承諾”，可以推斷出這個承諾的目的應(yīng)該是讓氣候變得更好，如果要符合這個期盼的話就應(yīng)該減少溫室氣體排放，備選項中只有M)slash“大幅度削減“符合語境，故答案為M)。

32.I)【語義判斷】上文已經(jīng)提到高校承諾要實施有利于氣候的行動，即減少溫室氣體排放，而下文再次提及了相關(guān)的“超越煤炭運動”，說明空格所在處的詞也與此相關(guān)。備選項中的名詞I)neutral和carbon是固定搭配, carbon neutral表示“碳中和”，符合語境，故答案為I)。

33.F)【語義判斷】空格所在段講的是“超越煤炭運動”，這一運動也是為了減少溫室氣體排放，為了實現(xiàn)這一目標(biāo)需要相應(yīng)地減少煤炭使用量，由此可推斷也應(yīng)該減少對其的資金投入，備選項中F) investments表示“投資”,用在這里表示“減少對煤炭和其他化石燃料的投資”，符合語境，故為答案。

34.J)【語義判斷】下一句提到印第安納州的高校煤炭使用量具體縮減了多少，說明上文中(也就是空格所在句)講的也是縮減煤炭使用量的內(nèi)容，備選項中的J)reductions“減少”符合文意，故為答案。

35 .C)【語義判斷】上下文中都提到各州高校減少煤炭的使用，因此空格處的名詞也應(yīng)該與“使用”的意思相近，備選項中只有C)consumption “消耗”可以搭配動詞cut,且符合文意，故為答案。

36.【定位】由題干中的not a rare occurrence、audiences和 behaved wildly定位到文章E)段第一句和最后一句。

E)【精析】細(xì)節(jié)歸納題。E)段第一句提到，古典音樂的聽眾并不總是那么有禮貌，接著以觀眾迫切要求樂團(tuán)重奏第七交響曲的例子來佐證這一觀點。該段最后一句又提到，在過去的幾十年里，歌劇表演中的許多觀眾已經(jīng)放棄了偽裝，他們喜歡表演時就會大喊“Bravo(好極了)”。由此可知，題干是對E)段定位句的歸納概括：觀眾在聽古典音樂時經(jīng)常出現(xiàn)狂熱失控的行為。題干中的not a rare occurrence和 behaved wildly對應(yīng)原文中的weren't always so polite,故答案為E)。

37.【定位】由題干中的high-art institutions和general audiences定位到L)段最后兩句。

L)【精析】細(xì)節(jié)推斷題。L)段定位句指出，這些高級藝術(shù)機構(gòu)都表示希望有更多的普通觀眾，以打破文化障礙，但后來他們卻提出了一些非常目中無人的要求，這些要求會讓觀眾發(fā)瘋。由此可以推斷，這些高級藝術(shù)機構(gòu)并非真心實意地歡迎更多的普通觀眾。題干中的don't actually mean it是根據(jù)原文中 they come up with some very snooty thing that makes you crazy推斷出的意思,題干中的want more general audiences直接對應(yīng)原文內(nèi)容，故答案為L)。

38.【定位】由題干中的chaos、unconventional ballet和the capital of France定位到文章A)段前兩句。

A)【精析】同義轉(zhuǎn)述題。A)段定位句提到，1913年，在巴黎，伊戈爾·斯特拉文斯基向世界展示了他革命性的芭蕾舞《春之祭》，旋律不和諧，編舞非正統(tǒng)，人群中的純粹主義者大聲而明確地表達(dá)了他們的不滿，因而引發(fā)了一場騷亂。題干中的was in chaos對應(yīng)原文中的sparked a riot;題干中的 unconventional是原文中 unorthodox 的同義詞;題干中的was first put on stage是對原文中 introducing的同義轉(zhuǎn)述,題干中的the capital of France對應(yīng)原文中的Paris,故答案為A)。

39.【定位】由題干中的critic和warm response定位到M)段前兩句。

M)【精析】同義轉(zhuǎn)述題。M)段定位句提到，約翰·特勞德斯是一位曾廣泛報道過多倫多古典音樂界的評論家，他認(rèn)為觀眾越熱情，音樂家們自己的反應(yīng)就越好。題干中的one critic直接對應(yīng)原文中的John Terauds, a critic;題干中的the audience's warm response would encourage the musicians to do a better job是對原文中the warmer an audience is, the better the musicians themselves will respond的同義轉(zhuǎn)述,故答案為M)。

40.【定位】由題干中的commenters和classical music定位到文章D)段前三句。

D)【精析】細(xì)節(jié)推斷題。D)段定位句首先提出問題：我們是否應(yīng)該覺得在古典音樂活動中“鼓掌”是可以接受的，即使其他人沒有這樣做? 為什么我們不能像在搖滾音樂會上那樣為偉大的作品歡呼呢? 接著提到，《赫芬頓郵報》最近就這個問題進(jìn)行了一場大辯論，許多評論員都站在“保持安靜”一邊。由此可推斷，許多評論員認(rèn)為聽眾應(yīng)該安靜地去欣賞古典音樂。該段最后兩句展示了其中兩位評論員的觀點，從中也可以看出他們贊成傳統(tǒng)的欣賞古典音樂的方式。題干中的many commenters直接對應(yīng)原文內(nèi)容;題干中的argued for正好和原文中的came out on the side of silence形成呼應(yīng),故答案為D)。

41.【定位】由題干中的seatback和study the works beforehand定位到H)段最后兩句。

H)【精析】細(xì)節(jié)推斷題。H)段定位句指出，當(dāng)歌劇首次在演出期間設(shè)置字幕時，許多純粹主義者不喜歡這個想法，他們認(rèn)為觀眾應(yīng)該在觀看之前先研究一下作品。但現(xiàn)在觀眾普遍可以在座椅靠背上找到字幕，很容易就能明白作品的內(nèi)容。由此可推斷出，有了這些椅背屏幕上的字幕，觀眾就沒有必要再事先研究作品了。題干中的on the seatback screen對應(yīng)原文中的on the seatback;題干中的study the works beforehand是對原文中study the works before attending的同義轉(zhuǎn)述,故答案為H)。

42.【定位】由題干中的disturbance定位到文章B)段。

B)【精析】細(xì)節(jié)歸納題。B)段第一句銜接上文，表示很難想象今天在美國神圣的交響樂大廳內(nèi)會發(fā)生類似的騷亂，接著提到平時在欣賞古典音樂表演時即便手機響了也得當(dāng)心。最后一句又指出，大多數(shù)古典音樂的表演過程都被一種彬彬有禮的氛圍籠罩著。由此可知，題干是對B)段的歸納概括：這種騷亂在古典音樂表演中極為罕見，說明人們都認(rèn)為在欣賞表演的過程中觀眾不可以有干擾性的行為。題干中的 there should be no disturbance對應(yīng)原文中的it's difficult to imaginea similar disturbance;題干中的 during classical music performance對應(yīng)原文中的hangs over most classical proceedings,故答案為B)。

43.【定位】由題干中的higher institutions和compromising the integrity of classical music定位到文章O)段最后兩句。

O)【精析】同義轉(zhuǎn)述題。O)段定位句提出疑問：面對如今電視節(jié)日中非正統(tǒng)歌劇演員深受好評的現(xiàn)象，更高級的機構(gòu)如果也試圖通過這些表演平臺尋求改變，是否有可能損害音樂的完整性或智慧?題干和原文內(nèi)容意思相符。題干中的compromising the integrity of classical music對應(yīng)原文中的“compromising the integrity... of the music”;題干中的resort to是原文中appeal to的同義表達(dá);題干中的 television medium對應(yīng)原文中的these outlets,故答案為O)。

44.【定位】由題干中的rush tickets、young students和classical concerts定位到文章K)段前兩句。

K)【精析】細(xì)節(jié)歸納題。K)段定位句指出，樂團(tuán)向費城學(xué)生出售會員資格，他們可以買日程表上每場音樂會的搶購票。樂團(tuán)的主席瓦爾格莫也提到，每晚大約有300或350個孩子來參加這些音樂會。由此可知，題干是對K)段定位句的歸納概括。題干中的heavily discounted rush tickets對應(yīng)原文中的$25 annual memberships和rush tickets;題干中的young students對應(yīng)原文中的Philadelphia students 和kids;題干中的classical concerts對應(yīng)原文中的concerts,故答案為K)。

45.【定位】由題干中的intimidate和performance定位到文章N)段。

N)【精析】細(xì)節(jié)歸納題。N)段第一句指出，早在今年2月，特勞德斯在他的博客上表示欣賞古典表演會令人生畏，之后又具體解釋原因：有人認(rèn)為必須盛裝打扮，有人認(rèn)為在去之前必須對音樂有所了解，還有人可能會擔(dān)心自己鼓掌的時機不對。這些都是高級藝術(shù)劇院中涉及古典音樂表演的一些禮節(jié)要求，而這些要求令人對欣賞古典表演感到膽怯。由此可知，題干是對N)段定位句的歸納概括。題干中的 formalities對應(yīng)原文中的dress up、know something about the music before they go以及time to applaud,題干中的intimidate對應(yīng)原文中的intimidating, 題干中的attending a performance對應(yīng)原文中的going to classical performances,故答案為N)。

46.【定位】由題干中的scientists和today定位到首段第一、二句。

A)【精析】事實細(xì)節(jié)題。文章首段第一、二句指出，幾千年來，人類一直在追問一個問題：為什么一個人可以享受健康，而另一個人卻看起來未老先衰?最近，科學(xué)家們越來越清楚地認(rèn)識到，人們衰老速度的差異在于基因、社會關(guān)系、環(huán)境和生活方式之間復(fù)雜的相互作用。由此可知，科學(xué)家們最近了解到的就是人們衰老速度差異的原因，故答案為A)。

47.【定位】由題干中的 lifestyle factors定位到首段第三、四句。

B)【精析】事實細(xì)節(jié)題。文章首段第三、四句提到，即使你生來就有一組特定的基因，你的生活方式也會影響它們的表達(dá)方式。一些生活方式方面的因素甚至可能會打開或關(guān)閉這些基因。由此可知，生活方式方面的因素甚至可以決定基因是否能發(fā)揮作用，因此極其重要，故答案為B)。

48.【定位】由題干中的the author and his colleagues和telomeres定位到最后一段。

C)【精析】推理判斷題。文章最后一段第一句指出，衰老是一個動態(tài)的過程，有可能加速或減緩，而且在某些方面甚至可以逆轉(zhuǎn)。通過前文可知，端粒的縮短是細(xì)胞衰老的主要原因之一，由此可推斷出細(xì)胞衰老過程就是端?？s短過程，而這個過程是可以被逆轉(zhuǎn)的，故答案為C)。

49.【定位】由題干中的cynical hostility定位到第三段。

B)【精析】事實細(xì)節(jié)題。第三段第一句指出，科學(xué)家們已經(jīng)了解到，有幾種思維模式似乎會對端粒產(chǎn)生不利影響，其中之一就是憤世嫉俗的敵意。由此可知答案為B)。

50.【定位】由題干中的 last paragraph定位到最后一段。

D)【精析】推理判斷題。文章最后一段第一句提到，衰老是一個動態(tài)的過程，有可能加速或減緩，而且在某些方面甚至可以逆轉(zhuǎn)；最后一句又提到，享受良好健康的關(guān)鍵之一就是簡單地盡你自己的一份力來促進(jìn)有益于健康的細(xì)胞更新。說明衰老的過程是可以發(fā)生改變的，而且我們可以通過自己的努力來促進(jìn)有益健康的細(xì)胞更新，從而延緩衰老。由此可推斷衰老的過程在一定程度上是可以得到控制的，故答案為D)。

51.【定位】由題干中的an enzyme scientists have created定位到第一段第一句。

B)【精析】事實細(xì)節(jié)題。定位句指出，科學(xué)家偶然制出了一種能分解塑料飲料瓶的酶，隨后一句說，這一突破將首次實現(xiàn)塑料瓶的完全回收，可見B)為該句的同義轉(zhuǎn)述，故為答案。

52.【定位】由題干中的the bug和produces定位到第二段第二句。

A)【精析】事實細(xì)節(jié)題。第二段第二句提到了bug，由上下文可知，這里的bug就是指前一句中提到的 bacterium。第二段首句指出，這種細(xì)菌是第一種自然進(jìn)化出的以塑料為食的細(xì)菌，可知它具有消耗塑料的天然能力，故答案為A)。

53.【定位】由題干中的adjusting定位到第三段第一句。

A)【精析】事實細(xì)節(jié)題。定位句提到，科學(xué)家對這種酶進(jìn)行了調(diào)整，原本的目的是觀察它如何進(jìn)化，但測試結(jié)果顯示，他們意外地增強了這種分子分解飲料瓶所用的塑料時的作用，可知A)為該句信息的轉(zhuǎn)述，故為答案。

54.【定位】由題干中的人名和選項中的manufacturers、public等關(guān)鍵詞定位到第八段。

D)【精析】推理判斷題。該段最后一句提到，對于制造商而言，生產(chǎn)更多的塑料比試圖回收更容易，但由于回收塑料涉及公眾利益，導(dǎo)致人們的看法也發(fā)生了巨大變化，所以這些制造商公司也開始考慮如何恰當(dāng)?shù)鼗厥者@些瓶子，可知D)是對該句部分信息的轉(zhuǎn)述，故為答案。

55.【定位】由題干中的Prof. Adisa Azapagic定位到最后一段。

C)【精析】推理判斷題。在該段引用這位教授的話中，提及需要進(jìn)行一個全生命周期的評估，目的在于確保新的塑料分解技術(shù)不會以引起其他環(huán)境問題為代價，可知評估的目的在于這項新技術(shù)會不會對環(huán)境造成負(fù)面影響，故答案為C)。