【阅读】12/13玥渎整理（1227更新，48篇原始，41篇考古）

ccb

Finally found this, share with you all:
From: https://forum.chasedream.com/thread-389352-1-1.html

"记住了是Soey sheep ，刚才google到了，来自New York Times
可以确定是同一篇，以及中文译文。
http://www.nytimes.com/2008/01/22/science/22obshee.html?_r=1
http://www.gengrid.com/node/106
The Soay sheep of St. Kilda, a group of small Scottish islands, have been living free and unfettered for millennia（考试中此处有注释）. While these primitive sheep are still unmanaged, detailed records have been kept on them for the past 20 years. That makes St. Kilda a kind of natural evolutionary experiment, an island-scale Petri dish where sheep, not fruit flies, are the subjects.
Soays come in two colors: light brown and dark brown. The dark-brown sheep are bigger, and evolutionarily speaking, bigger should be better — big animals are more fit and more likely to survive.（此处有题，问该句作用，选的是：提出一个basic  principles 而引出soay sheep的现象为什么会引起科学家的好奇） So over time, the frequency of dark-brown sheep in the population should be increasing. But the St. Kilda records show that the opposite is true.
Now a team of scientists led by Jon Slate, an evolutionary geneticist at the University of Sheffield in England, has discovered why. “It comes down to where on the genome the coat-color gene sits,” Dr. Slate said. “It just happens to sit next to this fitness gene.”
The researchers earlier identified the coat-color gene and discovered that dark was dominant（我们高中学过的显性基因）. If a sheep gets the dark-brown variant from one or both parents, it will be dark brown. Only if it gets the light-color variant from both parents will it be light brown.（只要从父母的任何一方遗传得到一个深棕色的等位基因，它就是深棕色的；只有同时从父母身上都遗传得到浅棕色的等位基因，才会出现浅棕色的症状。这句话一定要注意，其中一题问，如果是一只light color的羊，我们能得出什么结论，选的是，这只羊不会有dark基因。
   
即决定样颜色性状的是A，a两种基因，AA Aa都是深色的只有aa才是浅色的。因而浅色羊不会含有A）
   
即决定样颜色性状的是A，a两种基因，AA Aa都是深色的只有aa才是浅色的。因而浅色羊不会含有A）
  
In the new research, reported in Science, they found nearby locations on the genome that affect body size, juvenile survival and reproductive success. They don’t know why these loci, as they are called, have the effects they do. But when the dark-color variant is passed to offspring, it’s accompanied by genes that positively affect body size but negatively affect juvenile survival and reproduction. When the light-colored variant is passed on, genes for smaller body size but better survival and reproduction come along for the ride.
That means light-brown sheep, and dark-brown sheep who have the dark-brown gene from only one parent, are more fit. Sheep with dark-brown genes from both parents are less fit, which accounts for their decreasing numbers. Their larger size is not enough to offset the other genetic factors. “If it wasn’t for the body-size gene, they’d be even worse off,” Dr. Slate said.
野生索艾羊(Soay Sheep)已在苏格兰的圣基达岛(St Kilda Is.)上与世隔绝、毫无拘束地生活了上千年的时间。处于这种环境下的索艾羊是研究自然进化的绝佳材料--圣基达岛就像一个巨大的培养皿，而其中的索艾羊就像果蝇一样。
有两种颜色的索艾羊：浅棕色和深棕色。深棕色的索艾羊个体更大，从进化的角度来说，形体越大越好--大型动物的适应性更好，更有可能生存下去。因此随着时间的推移，索艾羊种群中深棕色的羊比例应该越来越大。但过去20年记录显示的结果却完全相反。
英国布里斯托尔大学（University of Bristol）Jon Slate领导的的研究小组发现了其中的原因。 Slate博士说，这是由于羊毛颜色基因位点附近的基因决定的，这个基因叫做适应性基因（fitness gene）。
较早前研究人员已鉴定出羊毛的颜色基因，并发现深棕色的为显性。只要从父母的任何一方遗传得到一个深棕色的等位基因，它就是深棕色的；只有同时从父母身上都遗传得到浅棕色的等位基因，才会出现浅棕色的症状。
在这项新研究中，他们发现在基因组相邻的基因位点，分别会影响形体的大小，小羊的存活率和生殖的成功与否。他们不知道为什么这些位点会有这种作用。当深棕色的等位基因遗传给子代时，同时也遗传正向影响形体大小的基因，但也遗传着负向影响小羊存活率和生殖能力的基因。当浅棕色的特征遗传给索艾羊时，索艾羊同时也获得更小的形体的基因，以及更好存活和生殖的基因。
这意味着，浅棕色的索艾羊和仅有一份深棕色基因的深棕色索艾羊，适应性要更强。这就是浅棕色索艾羊数量增多的原因。更大的形体不足以抵消其它的遗传因素。Slate博士表示，“如果不是形体大小的基因，那它们就更糟糕。”

跟g有完

ccb 发表于 2017-12-20 14:45
Finally found this, share with you all:
From: https://forum.chasedream.com/thread-389352-1-1.html

太赞了

左滚滚

感觉三十四篇不太一样啊 考古

forestlong

第24篇我找到一个这个，不知道有没有用
http://www.bbc.com/news/health-15552964

御清风

碰到了7 写了点原始狗 https://forum.chasedream.com/thread-1312638-1-1.html

Byhhhope

发表于 2017-12-13 13:38:45
本帖最后由 ahlanwei 于 2017-12-20 22:06 编辑

一、【考古】大脑de...

Mark一下

ziyuenlau

原文

77小草莓

upupupup

ziyuenlau

本月原始】矫矫

讲的是关于一个作曲家 E 的，第一段没怎么看懂，大概是这个作曲家在一个 XX 公司里。出现了一个短语，大概是：vocal tone，不懂什么意思

第二段，说这个作曲家 extended pieces 失败了，主要有两个原因：（1）有 32Bars,太长了 （2）别人很难复制。因为演奏这个 pieces 的人都是那些最优秀的演奏家（这里有高亮，问作用）

第三段：说这个公司同时出 classical music 和 mordern music,出现了一个什么问题来着（问了第三段在全文中的作用）

这篇文章我感觉主要是音乐方面的术语有点多，看起来费劲。 再就是第一段各种插入语、长难句很多，比较难搞懂逻辑关系。不过题干都比较短，考的细节不是很多。


原文

SONGS, EXTENDED PIECES, AND SHEET MUSIC
(Paragraph 1) Out of all the aspects of the music business, vocal tunes represented number one priority for promotion during Ellington’s tenure at the Mills organization. Hit vocal tunes sold sheet music. According to Paul Mills and other sources, the biggest profit came from plugging songs more than particular recordings:

It was rare for an African American musician/composer to be involved in this Tin Pan Alley-dominated process that resulted in songs being covered by a wide variety of artists in different genres. But this dovetailed perfectly with the marketing strategy for Ellington which held that African American music represented a potentially popular genre. Mills Music commissioned lyrics for many of Ellington’s instrumentals, and a few of them, including ‘In My Solitude” and “I let a Song Go Out Of My Heart,” became his biggest hits of the decade. Of other contemporary African Americans, perhaps only Fats Waller (who had some of his copyrights handled by Mills) enjoyed the same advantages and presence in the song-writing marketplace that Ellington received during his tenure with Mills Music. Louis Armstrong had two songbooks dedicated to his work in 1927, for years before Mills published songbooks that collected Ellington material, but Armstrong’s folios emphasized his famed “hot” instrumental breaks and were intended for trumpet players, not the mass commercial market at which Mills aimed Ellington’s work. The Mills organization made Ellington sheet music available in multiple formats that served individual musicians and different sized bands.

The marketing of Ellington’s sheet music also represented a form of integration practiced by the Mills organization to increase Ellington’s commercial potential. Ads accompanying his sheet music featured cross-promotions with either exclusively or mostly white songwriters and artists. Such racial cross-promotion was rare in any facet of the industry, and must have advanced Ellington’s work with a white audience, especially notation-reading musicians more inclined to appreciate the sophisticated nature of the Ellington material compared to the usual Tin Pan Alley fare. Conversely, such cross-promotion may have increased the sales of the white songwriters whom Mills Music marketed alongside Ellington. Ellington was a star as well as performer, and it appears from the ads that Mills used this fame to cast a favourable light on other Mills-managed performers and composers.

(Paragraph 2) Ellington’s extended pieces, which he began writing in 1930, proved to be one area where economic motives did not mesh smoothly with artistic motives. Many reasons existed for the relative commercial failure of these pieces. First, until mid-1940s, publishers tended to refuse songs that lasted more than 32 bars. Not only were they too long for the standard 10” 78 RPM record format, but they also entailed additional pages in printed sheet music, which mandated a more expensive and less marketable product. An additional problem ensued because, even if the public bought sheet music for such extended pieces as “creole Rhapsody” and “Reminiscing In Tempo,” it would be difficult or impossible for most musicians to reproduce the complicated intricacy of Ellington’s arrangements and the unique timbres of his instrumentalists. Ellington wrote these pieces with his band’s individual talents in mind, and those men constituted some of the best musicians in jazz history. The fact that such pieces were deemed too long by radio programmers did not help their popularity either.

(Paragraph 3) The segregation that existed between popular and classical music further complicated the longer pieces’ immediate success. When Mills Music started publishing classical folios, some customers would not buy from them because they sold popular music as well, even though their versions were cheaper and “had better engraving.” Paul Mills’s father-in-law, a conductor, used different names when he worked on classical radio programs and popular music programs. According to Paul Mills, “You couldn’t even use the same name playing two different kinds of music. it was that much of a difference.”

Ellington’s extended works upset those segments of society that insisted on strict separation of popular and classicla music. Their relaxed and charming transgression of the three-minute barriers of pop and jazz recording and their uniquely Ellingtonian straddling of pop, jazz, and classicla idiom established them as some of the freshesta nd most intriguing pieces in the Ellington canon, even decades later. Trackslike “creole” and “Reminiscing” deserved the application of the 12-inch format, but instead were released on 10-inch discs, which meant that listeners could not hear them in their enrirety without stopping the composition in mid-stride and turning the record over. With their shifting tempos and unpredictable transitions, these pieces represented a musical adventure. They were and remain examples of the kind of emotional and intricately plotted-out music that rewards repeated listenings and careful attention, like the best music of any genre. In these longer works, Ellington demonstrated the nearsightedness of the tenets of segregation in the area of music, as well as race.

Irving Mills fought resistant record companies to release the extended Ellington pieces “Cotton Club Medley” and “Reminiscing,” which Brunswick initially threatened to delete. Mills did this even though he felt that “Reminiscing” represented a “wrong direction” and “never should have been released.” John Hammond, who called the piece “formless and shallow,” believed that Ellington’s resistance on writing extended

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