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阅读考到了莫扎特和地震，莫扎特有三段，中间这一段和这段原文特别像（这两篇估计是中低分裤的文？地震两段 篇幅较短）
Cadenzas sprang up in the early eighteenth century, when composers began indicating brief episodes where the performer should play freely, delaying a final cadence. They appeared not only in opera but also in instrumental pieces, especially in the closing sections of concerto movements. Musicians had been embellishing the score for centuries, and perhaps the cadenza was a way of bringing improvisation under control, corralling it. Mozart, as composer and pianist, brought the practice to its peak; one of his contemporaries stated that cadenzas should be dreamlike in their logic, expressing “ordered disorder,” and Mozart’s playing evidently had that quality. (He wrote out cadenzas for many of his concertos, so his performances may not always have been spontaneous.) Beethoven carried on the tradition—the darkly rumbling cadenza that he devised for Mozart’s D-minor Piano Concerto is a fascinating case of one composer meditating on another—but he also helped to kill it. In the first movement of the “Emperor” Concerto, the soloist is told not to make a cadenza but to play “the following”—a fully notated solo. Performers gradually stopped working out their own cadenzas, instead turning to a repertory of written-out versions. Opera singers retained more freedom, especially when it came to interpolating bravura high notes, but they, too, grew more cautious. Improvisation became the province of church organists and avant-gardists, the latter often taking inspiration from jazz.
Classical advocates of the practice believe that it is not only historically valid but intellectually enlivening. For a recent paper in NeuroImage, Aaron Berkowitz and Daniel Ansari studied what happens cognitively when someone improvises; they observed increased activity in two zones of the brain, one connected to decision-making and the other to language. Even if a soloist extemporizes for only a minute, the remainder of the performance may gain something intangible. Levin, the Harvard-based musician who for decades has been the chief guru of classical improvisation, believes that performances need to cultivate risk and surprise. Otherwise, he says, music becomes “gymnastics with the affectation of emotional content”—a phrase that sums up uncomfortably large tracts of modern music-making.
作文：
X公司z认为自己的website ads投放效果不好，因为做了survey 90%的人并不会因为在website看到什么去做购买决策。
举了一个自己几年前在metro city 投电视和radio广告，投完之后，销量上升的例子。
认为公司应该改投tv&radio广告，这样才会有profit。
主要问题是：
无据因果（a occur before b），错误类比（时地全等）和survey（no evidence about the poll）。
相比6年前考的感觉，现在G难了不少。
这次pace完全乱了，做到最后的verbal题目明显是掉裤了，数学比GWD的要难，时间有点来不及，计算量挺大的，12月再战了！
希望大家都能收获好结果~
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发表于 2021-11-27 09:59:12
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