本文为中国银行2010年笔试的完形填空真题，一共15题，红色为网友答案，仅供参考。
When travelers pass from one time zone to another, they suffer from disrupted circadian rhythms, an uncomfortable feeling known as jet lag. For instance, if you travel from California to New York, you \a.m. the next morning because, according to your body's clock, it is still 5 a.m. It usually takes several days for your body's cycles to adjust to the new time.
To reduce the effects of jet lag, some doctors try to manipulate the biological clock with a technique called light therapy. They expose people to special lights, many times brighter than ordinary household light, for several hours near the time the subjects want to wake up. This helps them reset their biological clocks and adjust to a new time zone.
Symptoms much like jet lag are common in people who work nights or who perform shift work. Because these people's work schedules are at odds with powerful sleep-regulating cues like sunlight, they often become uncontrollably drowsy during work, and they may suffer insomnia or other problems when they try to sleep. Shift workers have an increased risk of heart problems, digestive disturbances, and emotional and mental problems, all of which may be related to their sleeping problems. The number and severity of workplace accidents also tend to increase during the night shift. Major industrial accidents attributed partly to errors made by fatigued night-shift workers include the Exxon Valdez oil spill and the Three Mile Island and Chernobyl nuclear power plant accidents. One study also found that medical interns working on the night shift are twice as likely as others to misinterpret hospital test records, which could endanger their patients. It may be possible to reduce shift-related fatigue by using bright lig hts in the workplace, minimizing shift changes, and taking scheduled naps.
Many people with total blindness experience life-long sleeping problems because their retinas are unable to detect light. These people have a kind of permanent jet lag and periodic insomnia because their circadian rhythms follow their innate cycle rather than a 24-hour one. Daily supplements of melatonin may improve night-time sleep for such patients. However, since the high doses of melatonin found in most supplements can build up in the body, long-term use of this substance may create new problems. Because the potential side effects of melatonin supplements are still largely unknown, most experts discourage melatonin use by the general public
中国银行校园招聘笔试英语的难度跟六级和考研的难度差不多，而且时间非常紧张，根本不够用的。题型大致分为：单选（老六级）、改错、完型、阅读、阅读新题型（段落排序、句子排序）、快速阅读等，题量笔研究生考试的题量还要大，而且时间只给一个半小时。
本文为2010年笔试的阅读的一篇，并提供答案解析以供参考。附件附更全的答案解析和全文翻译
下载地址：中国银行2010笔试阅读理解真题+答案解析
Proponents of different jazz styles have always argued that their predecessor''s musical style did not include essential characteristics that define jazz as jazz. Thus, 1940''s swing was belittled by beboppers of the 1950''s who were themselves attacked by free jazzes of the 1960''s. The neoboppers of the 1980''s and 1990''s attacked almost everybody else. The titanic figure of Black saxophonist John Coltrane has complicated the arguments made by proponents of styles from bebop through neobop because in his own musical journey he drew from all those styles. His influence on all types of jazz was immeasurable. At the height of his popularity, Coltrane largely abandoned playing bebop, the style that had brought him fame, to explore the outer reaches of jazz.
Coltrane himself probably believed that the only essential characteristic of jazz was improvisation, the one constant in his journey from bebop to open-ended improvisations on modal, Indian, and African melodies. On the other hand, this dogged student and prodigious technician — who insisted on spending hours each day practicing scales from theory books — was never able to jettison completely the influence of bebop, with its fast and elaborate chains of notes and ornaments on melody.
Two stylistic characteristics shaped the way Coltrane played the tenor saxophone: he favored playing fast runs of notes built on a melody and depended on heavy, regularly accented beats. The first led Coltrane to sheets of sound” where he raced faster and faster, pile-driving notes into each other to suggest stacked harmonies. The second meant that his sense of rhythm was almost as close to rock as to bebop.
Three recordings illustrate Coltrane''s energizing explorations. Recording Kind of Blue with Miles Davis, Coltrane found himself outside bop, exploring modal melodies. Here he played surging, lengthy solos built largely around repeated motifs — an organizing principle unlike that of free jazz saxophone player Ornette Coleman, who modulated or altered melodies in his solos. On Giant Steps, Coltrane debuted as leader, introducing his own compositions. Here the sheets of sound, downbeat accents, repetitions, and great speed are part of each solo, and the variety of the shapes of his phrases is unique. Coltrane''s searching explorations produced solid achievement. My Favorite Things was another kind of watershed. Here Coltrane played the soprano saxophone, an instrument seldom used by jazz musicians. Musically, the results were astounding. With the soprano''s piping sound, ideas that had sounded dark and brooding acquired a feeling of giddy fantasy.
When Coltrane began recording for the Impulse！ Label, he was still searching. His music became raucous, physical. His influence on rockers was enormous, including Jimi Hendrix, the rock guitarist, who, following Coltrane, raised the extended guitar solo using repeated motifs to a kind of rock art form.
The primary purpose of the text is to
[A] discuss the place of Coltrane in the world of jazz and describe his musical explorations.
examine the nature of bebop and contrast it with improvisational jazz.
[C] analyze the musical sources of Coltrane''s style and their influence on his work.
[D] acknowledge the influence of Coltrane''s music on rock music and rock musicians.
Which of the following best describes the organization of the fourth paragraph？
[A] A thesis referred to earlier in the text is mentioned and illustrated with three specific examples.
A thesis is stated and three examples are given each suggesting that a correction needs to be made to a thesis referred to earlier in the text.
[C] A thesis referred to earlier in the text is mentioned, and three examples are presented and ranked in order of their support of the thesis.
[D] A thesis is stated, three seemingly opposing examples are presented, and their underlying correspondence is explained.
According to the text, John Coltrane did all of the following during his career EXCEPT
[A] improvise on melodies from a number of different cultures.
perform as leader as well as soloist.
[C] spend time improving his technical skills.
[D] eliminate the influence of bebop on his own music.
According to the text a major difference between Coltrane and other jazz musicians was the
[A] degree to which Coltrane''s music encompassed all of jazz.
repetition of motifs that Coltrane used in his solos.
[C] number of his own compositions that Coltrane recorded.
[D] indifference Coltrane maintained to musical technique.
In terms of its tone and form, the text can best be characterized as
[A] dogmatic explanation.
indignant denial.
[C] enthusiastic praise.
[D] speculative study.
附件：中国银行2010笔试阅读理解真题+答案解析.doc http://fs3.dajie.com/2010/11/09/001/12892762019115904.doc
中国银行2010笔试阅读理解真题
中国银行校园招聘笔试英语的难度跟六级和考研的难度差不多，而且时间非常紧张，根本不够用的。题型大致分为：单选（老六级）、改错、完型、阅读、阅读新题型（段落排序、句子排序）、快速阅读等，题量笔研究生考试的题量还要大，而且时间只给一个半小时。 本文为2010年笔试的阅读的一篇，并提供答案解析以供参考。
Proponents of different jazz styles have always argued that their predecessor''s musical style did not include essential characteristics that define jazz as jazz. Thus, 1940''s swing was belittled by beboppers of the 1950''s who were themselves attacked by free jazzes of the 1960''s. The neoboppers of the 1980''s and 1990''s attacked almost everybody else. The titanic figure of Black saxophonist John Coltrane has complicated the arguments made by proponents of styles from bebop through neobop because in his own musical journey he drew from all those styles. His influence on all types of jazz was immeasurable. At the height of his popularity, Coltrane largely abandoned playing bebop, the style that had brought him fame, to explore the outer reaches of jazz.
Coltrane himself probably believed that the only essential characteristic of jazz was improvisation, the one constant in his journey from bebop to open-ended improvisations on modal, Indian, and African melodies. On the other hand, this dogged student and prodigious technician — who insisted on spending hours each day practicing scales from theory books — was never able to
jettison completely the influence of bebop, with its fast and elaborate chains of notes and ornaments on melody.
Two stylistic characteristics shaped the way Coltrane played the tenor saxophone: he favored playing fast runs of notes built on a melody and depended on heavy, regularly accented beats. The first led Coltrane to sheets of sound” where he raced faster and faster, pile-driving notes into each other to suggest stacked harmonies. The second meant that his sense of rhythm was almost as close to rock as to bebop.
Three recordings illustrate Coltrane''s energizing explorations. Recording Kind of Blue with Miles Davis, Coltrane found himself outside bop, exploring modal melodies. Here he played surging, lengthy solos built largely around repeated motifs — an organizing principle unlike that of free jazz saxophone player Ornette Coleman, who modulated or altered melodies in his solos. On Giant Steps, Coltrane debuted as leader, introducing his own compositions. Here the sheets of sound, downbeat accents, repetitions, and great speed are part of each solo, and the variety of the shapes of his phrases is unique. Coltrane''s searching explorations produced solid achievement. My Favorite Things was another kind of watershed. Here Coltrane played the soprano saxophone, an instrument seldom used by jazz musicians. Musically, the results were astounding. With the soprano''s piping sound, ideas that had sounded dark and brooding acquired a feeling of giddy fantasy.
When Coltrane began recording for the Impulse！ Label, he was still searching. His music became raucous, physical. His influence on rockers was enormous, including Jimi Hendrix, the rock guitarist, who, following Coltrane, raised the extended guitar solo using repeated motifs to a kind of rock art form.
The primary purpose of the text is to
[A] discuss the place of Coltrane in the world of jazz and describe his musical explorations. [B] examine the nature of bebop and contrast it with improvisational jazz.
[C] analyze the musical sources of Coltrane''s style and their influence on his work. [D] acknowledge the influence of Coltrane''s music on rock music and rock musicians.
Which of the following best describes the organization of the fourth paragraph？
[A] A thesis referred to earlier in the text is mentioned and illustrated with three specific examples.
[B] A thesis is stated and three examples are given each suggesting that a correction needs to be made to a thesis referred to earlier in the text.
[C] A thesis referred to earlier in the text is mentioned, and three examples are presented and ranked in order of their support of the thesis.
[D] A thesis is stated, three seemingly opposing examples are presented, and their underlying correspondence is explained.
According to the text, John Coltrane did all of the following during his career EXCEPT [A] improvise on melodies from a number of different cultures. [B] perform as leader as well as soloist.
[C] spend time improving his technical skills. [D] eliminate the influence of bebop on his own music.