Inglês
Interpretação de texto | Reading comprehensionEnsino Einstein · 2018MédioEntre para guardar nos favoritos
Questões de Inglês do ENEM
Questões de Inglês, da área de Linguagens, com gabarito em cada página.
Resultados
624 questões encontradas. Mostrando a página 11 de 32.
33562951-D8 55E02F75-D7 Inglês
Interpretação de texto | Reading comprehensionEscola Bahiana de Medicina e Saúde Pública · 2018MédioEntre para guardar nos favoritos
CARA, Alessia. Scars to your beautiful. Disponível em: <https://www.google.com.br/ search?q=Scars+to+your+beautiful+lyrics&rlz>. Acesso em: nov. 2018.As for the girl of the song, the songwriter55DBFC09-D7 Inglês
Interpretação de texto | Reading comprehensionEscola Bahiana de Medicina e Saúde Pública · 2018DifícilEntre para guardar nos favoritos
CARA, Alessia. Scars to your beautiful. Disponível em: <https://www.google.com.br/ search?q=Scars+to+your+beautiful+lyrics&rlz>. Acesso em: nov. 2018.The only statement that is not true about the girl profiled in this song is that she55D72CED-D7 Inglês
Interpretação de texto | Reading comprehensionEscola Bahiana de Medicina e Saúde Pública · 2018DifícilEntre para guardar nos favoritosRather than a stable set of features, physical beauty is an ever-morphing construct. But female beauty ideals tend nevertheless to have outlines. These have been most visible throughout history in the pictures drawn by those self-elected gods we call artists. History provides us a record, and from it one basic truth stands out: the ideals women are asked to embody, regardless of culture or continent, have been hammered out almost exclusively by men.Consider, for instance, the ways that figure shaping has altered over the centuries. Some 150 years ago, women in Europe began wearing bustles beneath their dresses that greatly enlarged the profile of their buttocks. More recently, the notion of sculpting has been applied directly to the body. In the 1960s, it took the form of dieting, which produced the sort of extremely skinny figure we associate with such models as Twiggy. Her thinness connoted vitality, an escape from the matronhood idealized by earlier generations, as well as an innocent, insouciant sexuality that was not dissimilar to a Roman-era depiction of the Three Graces.Consumerism, of which diet fads are certainly a part, has significantly expanded the range of off-the-shelf options for bodily enhancement. In the 1980s and ’90s, women frequently turned to surgery – breast or buttocks augmentation, nose jobs – and other non-surgical interventions such as Botox and tanning.It’s worth noting that if art holds a mirror up to culture, it has with rare exception failed to reflect a manifestation of female beauty of the last decade: the high-performance, muscled athlete. Popular magazines like ESPN The Magazine’s “Body Issue” have made gestures in this direction, by putting women like Serena Williams on the cover. But, in large part, art seems not to have taken account of the fact that the athlete has become a figure of everyday life, not just a pro.KUNITZ, Daniel. Disponível em: <www.artsy.net/article/artsy-editorial-how-art-hasshaped-female-beauty-ideals-history>. Acesso em: nov. 2018. Adaptado.
Considering the figure of athletic women, the text says that55D2E553-D7 Inglês
Interpretação de texto | Reading comprehensionEscola Bahiana de Medicina e Saúde Pública · 2018DifícilEntre para guardar nos favoritosRather than a stable set of features, physical beauty is an ever-morphing construct. But female beauty ideals tend nevertheless to have outlines. These have been most visible throughout history in the pictures drawn by those self-elected gods we call artists. History provides us a record, and from it one basic truth stands out: the ideals women are asked to embody, regardless of culture or continent, have been hammered out almost exclusively by men.Consider, for instance, the ways that figure shaping has altered over the centuries. Some 150 years ago, women in Europe began wearing bustles beneath their dresses that greatly enlarged the profile of their buttocks. More recently, the notion of sculpting has been applied directly to the body. In the 1960s, it took the form of dieting, which produced the sort of extremely skinny figure we associate with such models as Twiggy. Her thinness connoted vitality, an escape from the matronhood idealized by earlier generations, as well as an innocent, insouciant sexuality that was not dissimilar to a Roman-era depiction of the Three Graces.Consumerism, of which diet fads are certainly a part, has significantly expanded the range of off-the-shelf options for bodily enhancement. In the 1980s and ’90s, women frequently turned to surgery – breast or buttocks augmentation, nose jobs – and other non-surgical interventions such as Botox and tanning.It’s worth noting that if art holds a mirror up to culture, it has with rare exception failed to reflect a manifestation of female beauty of the last decade: the high-performance, muscled athlete. Popular magazines like ESPN The Magazine’s “Body Issue” have made gestures in this direction, by putting women like Serena Williams on the cover. But, in large part, art seems not to have taken account of the fact that the athlete has become a figure of everyday life, not just a pro.KUNITZ, Daniel. Disponível em: <www.artsy.net/article/artsy-editorial-how-art-hasshaped-female-beauty-ideals-history>. Acesso em: nov. 2018. Adaptado.
As far as figure shaping has changed over time, the text says that55CE6DDF-D7 Inglês
Interpretação de texto | Reading comprehensionEscola Bahiana de Medicina e Saúde Pública · 2018DifícilEntre para guardar nos favoritosRather than a stable set of features, physical beauty is an ever-morphing construct. But female beauty ideals tend nevertheless to have outlines. These have been most visible throughout history in the pictures drawn by those self-elected gods we call artists. History provides us a record, and from it one basic truth stands out: the ideals women are asked to embody, regardless of culture or continent, have been hammered out almost exclusively by men.Consider, for instance, the ways that figure shaping has altered over the centuries. Some 150 years ago, women in Europe began wearing bustles beneath their dresses that greatly enlarged the profile of their buttocks. More recently, the notion of sculpting has been applied directly to the body. In the 1960s, it took the form of dieting, which produced the sort of extremely skinny figure we associate with such models as Twiggy. Her thinness connoted vitality, an escape from the matronhood idealized by earlier generations, as well as an innocent, insouciant sexuality that was not dissimilar to a Roman-era depiction of the Three Graces.Consumerism, of which diet fads are certainly a part, has significantly expanded the range of off-the-shelf options for bodily enhancement. In the 1980s and ’90s, women frequently turned to surgery – breast or buttocks augmentation, nose jobs – and other non-surgical interventions such as Botox and tanning.It’s worth noting that if art holds a mirror up to culture, it has with rare exception failed to reflect a manifestation of female beauty of the last decade: the high-performance, muscled athlete. Popular magazines like ESPN The Magazine’s “Body Issue” have made gestures in this direction, by putting women like Serena Williams on the cover. But, in large part, art seems not to have taken account of the fact that the athlete has become a figure of everyday life, not just a pro.KUNITZ, Daniel. Disponível em: <www.artsy.net/article/artsy-editorial-how-art-hasshaped-female-beauty-ideals-history>. Acesso em: nov. 2018. Adaptado.
According to the text, fill in the blanks with T (True) or F (False). It’s stated in the text( ) Standards of feminine physical beauty have changed markedly over time.( ) Just one type of female beauty has remained unchanged at all times and places.( ) Some feminine physical features have been praised as universally appealing in all cultures.( ) In general, images of women have historically followed a pattern set down by men.The correct sequence, from top to bottom, isF7E03C0F-D7 Inglês
Interpretação de texto | Reading comprehensionFaculdade de Medicina de São José do Rio Preto · 2018MédioEntre para guardar nos favoritosLeia o texto para responder à questão.
There is nothing conventional about 17-year-old Michael Fuller’s relationship with music. As someone with high-functioning autism who sees the world through sound, creating melodies from the bustle of the high street or trains on the tracks feels more natural than any social interaction. This hardwired connection to sound has been with him for as long as he can remember.
By the age of 11, Michael could play Mozart by ear, having taught himself to play the piano through a mobile phone app. The app highlighted notes on a keyboard as classical music played. He describes his unusual musical talent as “downloading” music into his head. His mother, Nadine, remembers that as a child Michael would “suddenly pop up and say: ‘I’ve got a symphony’”. Michael took to the piano and found he could quickly perform complex pieces from memory.
“I liked what I was hearing, sought more music and began studying through Google and YouTube,” he remembers. “It was very organic. I would listen in great depth and the music would be implanted in my mind. I could then just play it on the piano – all without being taught.”
Growing up in a family that listened to reggae over classical music, Michael feels “very much aware” of how different his approach is to music – symbolised by the way he taught himself piano as a child. This, his mother says, came as a “surprise to the family and myself – I’d never listened to classical music in my life”.
It was not long after learning to play the piano that Michael started composing his own works. Describing this process as “making music with my mind”, Michael says composing classical symphonies “helps me to express myself through music – it makes me calm”. Michael wants to nurture his song writing to achieve his ambition of becoming a modern mainstream classical artist. He wants to control the creative process, unlike typical modern-day composers, who he says “write blobs on a page, hand it over to the musicians – then say bye-bye and stay in the background and get no recognition”. Instead, Michael is determined to take centre stage.
(Alex Taylor. www.bbc.com, 27.03.2018. Adaptado.)
In the text, the excerpt that best represents an alternative to something previously expressed is:F7DCE669-D7 Inglês
Interpretação de texto | Reading comprehensionFaculdade de Medicina de São José do Rio Preto · 2018MédioEntre para guardar nos favoritosLeia o texto para responder à questão.
There is nothing conventional about 17-year-old Michael Fuller’s relationship with music. As someone with high-functioning autism who sees the world through sound, creating melodies from the bustle of the high street or trains on the tracks feels more natural than any social interaction. This hardwired connection to sound has been with him for as long as he can remember.
By the age of 11, Michael could play Mozart by ear, having taught himself to play the piano through a mobile phone app. The app highlighted notes on a keyboard as classical music played. He describes his unusual musical talent as “downloading” music into his head. His mother, Nadine, remembers that as a child Michael would “suddenly pop up and say: ‘I’ve got a symphony’”. Michael took to the piano and found he could quickly perform complex pieces from memory.
“I liked what I was hearing, sought more music and began studying through Google and YouTube,” he remembers. “It was very organic. I would listen in great depth and the music would be implanted in my mind. I could then just play it on the piano – all without being taught.”
Growing up in a family that listened to reggae over classical music, Michael feels “very much aware” of how different his approach is to music – symbolised by the way he taught himself piano as a child. This, his mother says, came as a “surprise to the family and myself – I’d never listened to classical music in my life”.
It was not long after learning to play the piano that Michael started composing his own works. Describing this process as “making music with my mind”, Michael says composing classical symphonies “helps me to express myself through music – it makes me calm”. Michael wants to nurture his song writing to achieve his ambition of becoming a modern mainstream classical artist. He wants to control the creative process, unlike typical modern-day composers, who he says “write blobs on a page, hand it over to the musicians – then say bye-bye and stay in the background and get no recognition”. Instead, Michael is determined to take centre stage.
(Alex Taylor. www.bbc.com, 27.03.2018. Adaptado.)
O quinto parágrafo afirma que o jovem músicoF7D9CC6C-D7 Inglês
Interpretação de texto | Reading comprehensionFaculdade de Medicina de São José do Rio Preto · 2018MédioEntre para guardar nos favoritosLeia o texto para responder à questão.
There is nothing conventional about 17-year-old Michael Fuller’s relationship with music. As someone with high-functioning autism who sees the world through sound, creating melodies from the bustle of the high street or trains on the tracks feels more natural than any social interaction. This hardwired connection to sound has been with him for as long as he can remember.
By the age of 11, Michael could play Mozart by ear, having taught himself to play the piano through a mobile phone app. The app highlighted notes on a keyboard as classical music played. He describes his unusual musical talent as “downloading” music into his head. His mother, Nadine, remembers that as a child Michael would “suddenly pop up and say: ‘I’ve got a symphony’”. Michael took to the piano and found he could quickly perform complex pieces from memory.
“I liked what I was hearing, sought more music and began studying through Google and YouTube,” he remembers. “It was very organic. I would listen in great depth and the music would be implanted in my mind. I could then just play it on the piano – all without being taught.”
Growing up in a family that listened to reggae over classical music, Michael feels “very much aware” of how different his approach is to music – symbolised by the way he taught himself piano as a child. This, his mother says, came as a “surprise to the family and myself – I’d never listened to classical music in my life”.
It was not long after learning to play the piano that Michael started composing his own works. Describing this process as “making music with my mind”, Michael says composing classical symphonies “helps me to express myself through music – it makes me calm”. Michael wants to nurture his song writing to achieve his ambition of becoming a modern mainstream classical artist. He wants to control the creative process, unlike typical modern-day composers, who he says “write blobs on a page, hand it over to the musicians – then say bye-bye and stay in the background and get no recognition”. Instead, Michael is determined to take centre stage.
(Alex Taylor. www.bbc.com, 27.03.2018. Adaptado.)
No trecho do quarto parágrafo “This, his mother says”, o termo sublinhado refere-se ao fato de MichaelF7D52F70-D7 Inglês
Interpretação de texto | Reading comprehensionFaculdade de Medicina de São José do Rio Preto · 2018MédioEntre para guardar nos favoritosLeia o texto para responder à questão.
There is nothing conventional about 17-year-old Michael Fuller’s relationship with music. As someone with high-functioning autism who sees the world through sound, creating melodies from the bustle of the high street or trains on the tracks feels more natural than any social interaction. This hardwired connection to sound has been with him for as long as he can remember.
By the age of 11, Michael could play Mozart by ear, having taught himself to play the piano through a mobile phone app. The app highlighted notes on a keyboard as classical music played. He describes his unusual musical talent as “downloading” music into his head. His mother, Nadine, remembers that as a child Michael would “suddenly pop up and say: ‘I’ve got a symphony’”. Michael took to the piano and found he could quickly perform complex pieces from memory.
“I liked what I was hearing, sought more music and began studying through Google and YouTube,” he remembers. “It was very organic. I would listen in great depth and the music would be implanted in my mind. I could then just play it on the piano – all without being taught.”
Growing up in a family that listened to reggae over classical music, Michael feels “very much aware” of how different his approach is to music – symbolised by the way he taught himself piano as a child. This, his mother says, came as a “surprise to the family and myself – I’d never listened to classical music in my life”.
It was not long after learning to play the piano that Michael started composing his own works. Describing this process as “making music with my mind”, Michael says composing classical symphonies “helps me to express myself through music – it makes me calm”. Michael wants to nurture his song writing to achieve his ambition of becoming a modern mainstream classical artist. He wants to control the creative process, unlike typical modern-day composers, who he says “write blobs on a page, hand it over to the musicians – then say bye-bye and stay in the background and get no recognition”. Instead, Michael is determined to take centre stage.
(Alex Taylor. www.bbc.com, 27.03.2018. Adaptado.)
O trecho do quarto parágrafo “Michael feels ‘very much aware’ of how different his approach is to music” indica que Michael FullerF7D22A12-D7 Inglês
Interpretação de texto | Reading comprehensionFaculdade de Medicina de São José do Rio Preto · 2018MédioEntre para guardar nos favoritosLeia o texto para responder à questão.
There is nothing conventional about 17-year-old Michael Fuller’s relationship with music. As someone with high-functioning autism who sees the world through sound, creating melodies from the bustle of the high street or trains on the tracks feels more natural than any social interaction. This hardwired connection to sound has been with him for as long as he can remember.
By the age of 11, Michael could play Mozart by ear, having taught himself to play the piano through a mobile phone app. The app highlighted notes on a keyboard as classical music played. He describes his unusual musical talent as “downloading” music into his head. His mother, Nadine, remembers that as a child Michael would “suddenly pop up and say: ‘I’ve got a symphony’”. Michael took to the piano and found he could quickly perform complex pieces from memory.
“I liked what I was hearing, sought more music and began studying through Google and YouTube,” he remembers. “It was very organic. I would listen in great depth and the music would be implanted in my mind. I could then just play it on the piano – all without being taught.”
Growing up in a family that listened to reggae over classical music, Michael feels “very much aware” of how different his approach is to music – symbolised by the way he taught himself piano as a child. This, his mother says, came as a “surprise to the family and myself – I’d never listened to classical music in my life”.
It was not long after learning to play the piano that Michael started composing his own works. Describing this process as “making music with my mind”, Michael says composing classical symphonies “helps me to express myself through music – it makes me calm”. Michael wants to nurture his song writing to achieve his ambition of becoming a modern mainstream classical artist. He wants to control the creative process, unlike typical modern-day composers, who he says “write blobs on a page, hand it over to the musicians – then say bye-bye and stay in the background and get no recognition”. Instead, Michael is determined to take centre stage.
(Alex Taylor. www.bbc.com, 27.03.2018. Adaptado.)
No trecho do terceiro parágrafo “sought more music”, o termo sublinhado tem sentido semelhante, em português, aF7CF25E3-D7 Inglês
Interpretação de texto | Reading comprehensionFaculdade de Medicina de São José do Rio Preto · 2018FácilEntre para guardar nos favoritosLeia o texto para responder à questão.
There is nothing conventional about 17-year-old Michael Fuller’s relationship with music. As someone with high-functioning autism who sees the world through sound, creating melodies from the bustle of the high street or trains on the tracks feels more natural than any social interaction. This hardwired connection to sound has been with him for as long as he can remember.
By the age of 11, Michael could play Mozart by ear, having taught himself to play the piano through a mobile phone app. The app highlighted notes on a keyboard as classical music played. He describes his unusual musical talent as “downloading” music into his head. His mother, Nadine, remembers that as a child Michael would “suddenly pop up and say: ‘I’ve got a symphony’”. Michael took to the piano and found he could quickly perform complex pieces from memory.
“I liked what I was hearing, sought more music and began studying through Google and YouTube,” he remembers. “It was very organic. I would listen in great depth and the music would be implanted in my mind. I could then just play it on the piano – all without being taught.”
Growing up in a family that listened to reggae over classical music, Michael feels “very much aware” of how different his approach is to music – symbolised by the way he taught himself piano as a child. This, his mother says, came as a “surprise to the family and myself – I’d never listened to classical music in my life”.
It was not long after learning to play the piano that Michael started composing his own works. Describing this process as “making music with my mind”, Michael says composing classical symphonies “helps me to express myself through music – it makes me calm”. Michael wants to nurture his song writing to achieve his ambition of becoming a modern mainstream classical artist. He wants to control the creative process, unlike typical modern-day composers, who he says “write blobs on a page, hand it over to the musicians – then say bye-bye and stay in the background and get no recognition”. Instead, Michael is determined to take centre stage.
(Alex Taylor. www.bbc.com, 27.03.2018. Adaptado.)
De acordo com o terceiro parágrafo, Michael FullerF7CBEBC7-D7 Inglês
Interpretação de texto | Reading comprehensionFaculdade de Medicina de São José do Rio Preto · 2018DifícilEntre para guardar nos favoritosLeia o texto para responder à questão.
There is nothing conventional about 17-year-old Michael Fuller’s relationship with music. As someone with high-functioning autism who sees the world through sound, creating melodies from the bustle of the high street or trains on the tracks feels more natural than any social interaction. This hardwired connection to sound has been with him for as long as he can remember.
By the age of 11, Michael could play Mozart by ear, having taught himself to play the piano through a mobile phone app. The app highlighted notes on a keyboard as classical music played. He describes his unusual musical talent as “downloading” music into his head. His mother, Nadine, remembers that as a child Michael would “suddenly pop up and say: ‘I’ve got a symphony’”. Michael took to the piano and found he could quickly perform complex pieces from memory.
“I liked what I was hearing, sought more music and began studying through Google and YouTube,” he remembers. “It was very organic. I would listen in great depth and the music would be implanted in my mind. I could then just play it on the piano – all without being taught.”
Growing up in a family that listened to reggae over classical music, Michael feels “very much aware” of how different his approach is to music – symbolised by the way he taught himself piano as a child. This, his mother says, came as a “surprise to the family and myself – I’d never listened to classical music in my life”.
It was not long after learning to play the piano that Michael started composing his own works. Describing this process as “making music with my mind”, Michael says composing classical symphonies “helps me to express myself through music – it makes me calm”. Michael wants to nurture his song writing to achieve his ambition of becoming a modern mainstream classical artist. He wants to control the creative process, unlike typical modern-day composers, who he says “write blobs on a page, hand it over to the musicians – then say bye-bye and stay in the background and get no recognition”. Instead, Michael is determined to take centre stage.
(Alex Taylor. www.bbc.com, 27.03.2018. Adaptado.)
In the excerpt from the second paragraph “he could quickly perform complex pieces”, the underlined word indicatesF7C8CA3F-D7 Inglês
Interpretação de texto | Reading comprehensionFaculdade de Medicina de São José do Rio Preto · 2018FácilEntre para guardar nos favoritosLeia o texto para responder à questão.
There is nothing conventional about 17-year-old Michael Fuller’s relationship with music. As someone with high-functioning autism who sees the world through sound, creating melodies from the bustle of the high street or trains on the tracks feels more natural than any social interaction. This hardwired connection to sound has been with him for as long as he can remember.
By the age of 11, Michael could play Mozart by ear, having taught himself to play the piano through a mobile phone app. The app highlighted notes on a keyboard as classical music played. He describes his unusual musical talent as “downloading” music into his head. His mother, Nadine, remembers that as a child Michael would “suddenly pop up and say: ‘I’ve got a symphony’”. Michael took to the piano and found he could quickly perform complex pieces from memory.
“I liked what I was hearing, sought more music and began studying through Google and YouTube,” he remembers. “It was very organic. I would listen in great depth and the music would be implanted in my mind. I could then just play it on the piano – all without being taught.”
Growing up in a family that listened to reggae over classical music, Michael feels “very much aware” of how different his approach is to music – symbolised by the way he taught himself piano as a child. This, his mother says, came as a “surprise to the family and myself – I’d never listened to classical music in my life”.
It was not long after learning to play the piano that Michael started composing his own works. Describing this process as “making music with my mind”, Michael says composing classical symphonies “helps me to express myself through music – it makes me calm”. Michael wants to nurture his song writing to achieve his ambition of becoming a modern mainstream classical artist. He wants to control the creative process, unlike typical modern-day composers, who he says “write blobs on a page, hand it over to the musicians – then say bye-bye and stay in the background and get no recognition”. Instead, Michael is determined to take centre stage.
(Alex Taylor. www.bbc.com, 27.03.2018. Adaptado.)
De acordo com o primeiro e segundo parágrafos, Michael FullerF7C4FD9F-D7 Inglês
Interpretação de texto | Reading comprehensionFaculdade de Medicina de São José do Rio Preto · 2018DifícilEntre para guardar nos favoritosLeia o texto para responder à questão.
There is nothing conventional about 17-year-old Michael Fuller’s relationship with music. As someone with high-functioning autism who sees the world through sound, creating melodies from the bustle of the high street or trains on the tracks feels more natural than any social interaction. This hardwired connection to sound has been with him for as long as he can remember.
By the age of 11, Michael could play Mozart by ear, having taught himself to play the piano through a mobile phone app. The app highlighted notes on a keyboard as classical music played. He describes his unusual musical talent as “downloading” music into his head. His mother, Nadine, remembers that as a child Michael would “suddenly pop up and say: ‘I’ve got a symphony’”. Michael took to the piano and found he could quickly perform complex pieces from memory.
“I liked what I was hearing, sought more music and began studying through Google and YouTube,” he remembers. “It was very organic. I would listen in great depth and the music would be implanted in my mind. I could then just play it on the piano – all without being taught.”
Growing up in a family that listened to reggae over classical music, Michael feels “very much aware” of how different his approach is to music – symbolised by the way he taught himself piano as a child. This, his mother says, came as a “surprise to the family and myself – I’d never listened to classical music in my life”.
It was not long after learning to play the piano that Michael started composing his own works. Describing this process as “making music with my mind”, Michael says composing classical symphonies “helps me to express myself through music – it makes me calm”. Michael wants to nurture his song writing to achieve his ambition of becoming a modern mainstream classical artist. He wants to control the creative process, unlike typical modern-day composers, who he says “write blobs on a page, hand it over to the musicians – then say bye-bye and stay in the background and get no recognition”. Instead, Michael is determined to take centre stage.
(Alex Taylor. www.bbc.com, 27.03.2018. Adaptado.)
In the excerpt from the first paragraph “has been with him for as long as he can remember”, the underlined expression indicatesF7C1842C-D7 Inglês
Interpretação de texto | Reading comprehensionFaculdade de Medicina de São José do Rio Preto · 2018MédioEntre para guardar nos favoritosLeia o texto para responder à questão.
There is nothing conventional about 17-year-old Michael Fuller’s relationship with music. As someone with high-functioning autism who sees the world through sound, creating melodies from the bustle of the high street or trains on the tracks feels more natural than any social interaction. This hardwired connection to sound has been with him for as long as he can remember.
By the age of 11, Michael could play Mozart by ear, having taught himself to play the piano through a mobile phone app. The app highlighted notes on a keyboard as classical music played. He describes his unusual musical talent as “downloading” music into his head. His mother, Nadine, remembers that as a child Michael would “suddenly pop up and say: ‘I’ve got a symphony’”. Michael took to the piano and found he could quickly perform complex pieces from memory.
“I liked what I was hearing, sought more music and began studying through Google and YouTube,” he remembers. “It was very organic. I would listen in great depth and the music would be implanted in my mind. I could then just play it on the piano – all without being taught.”
Growing up in a family that listened to reggae over classical music, Michael feels “very much aware” of how different his approach is to music – symbolised by the way he taught himself piano as a child. This, his mother says, came as a “surprise to the family and myself – I’d never listened to classical music in my life”.
It was not long after learning to play the piano that Michael started composing his own works. Describing this process as “making music with my mind”, Michael says composing classical symphonies “helps me to express myself through music – it makes me calm”. Michael wants to nurture his song writing to achieve his ambition of becoming a modern mainstream classical artist. He wants to control the creative process, unlike typical modern-day composers, who he says “write blobs on a page, hand it over to the musicians – then say bye-bye and stay in the background and get no recognition”. Instead, Michael is determined to take centre stage.
(Alex Taylor. www.bbc.com, 27.03.2018. Adaptado.)
The text is mainly aboutF2035932-D7 Inglês
Interpretação de texto | Reading comprehensionEscola Bahiana de Medicina e Saúde Pública · 2018DifícilEntre para guardar nos favoritos
Disponível em: <https://cartoonstock.com>. Acesso em: mai. 2018.Considering the reduction of pandemic influenza transmission, this cartoon focus on
F1FE066B-D7 Inglês
Interpretação de texto | Reading comprehensionEscola Bahiana de Medicina e Saúde Pública · 2018MédioEntre para guardar nos favoritosCan our technological connectedness trump the risks of our biological and geographic connectedness? That’s one reason Nathan Wolfe has pushed GVF (Globe Viral Forecasting) to pioneer what he calls digital epidemiology, which uses the resources of the Internet to make predictive sense of the viral chatter picked up in the field. He and his team are setting up a bioinformatics strategy that could mine data from Internet searches and social media to pinpoint new outbreaks as they dawn – and potentially predict which newly discovered viruses might pose real threats to humanity. That work is culminating in a project called Epidemic IQ that will, Wolfe hopes, provide the ability to predict new pandemics the way the CIA might predict a terrorist attack.Current global disease control efforts focus largely on attempting to stop pandemics after they have already emerged. This fire brigade approach, which generally involves drugs, vaccines, and behavioral change, has severe limitations. Just as we discovered in the 1960s that it is better to prevent heart attacks than try to treat them, we realize that it’s better to stop pandemics before they spread and that effort should increasingly be focused on viral forecasting and pandemic prevention.“We’re finally beginning to understand why pandemics happen instead of just reacting to them”, Wolfe says. What’s needed is a global effort to scale up that kind of proactive work to ensure that every hot spot has surveillance running for new pathogens in animals and in human beings and that it has its own GVF-type group to do the work. Viruses don’t respect borders – whether between nations or between species – and in a world where airlines act like bloodlines, global health is only as strong as its weakest link. We got lucky with the relatively weak swine-flu pandemic in 2009, but history tells us our luck won’t last. “We sit here dodging bullets left and right, assuming we have an invisible shield”, says Wolfe. “But you can’t dodge bullets forever.”WALSH, Bryan.Virus hunter. Disponível em: <content.time.com/time/subscriber/l>. Acesso em: mai. 2018. Adaptado.
The expression in bold in the sentence “But you can’t dodge bullets forever.” means that you can’tF1FAB55D-D7 Inglês
Interpretação de texto | Reading comprehensionEscola Bahiana de Medicina e Saúde Pública · 2018DifícilEntre para guardar nos favoritosCan our technological connectedness trump the risks of our biological and geographic connectedness? That’s one reason Nathan Wolfe has pushed GVF (Globe Viral Forecasting) to pioneer what he calls digital epidemiology, which uses the resources of the Internet to make predictive sense of the viral chatter picked up in the field. He and his team are setting up a bioinformatics strategy that could mine data from Internet searches and social media to pinpoint new outbreaks as they dawn – and potentially predict which newly discovered viruses might pose real threats to humanity. That work is culminating in a project called Epidemic IQ that will, Wolfe hopes, provide the ability to predict new pandemics the way the CIA might predict a terrorist attack.Current global disease control efforts focus largely on attempting to stop pandemics after they have already emerged. This fire brigade approach, which generally involves drugs, vaccines, and behavioral change, has severe limitations. Just as we discovered in the 1960s that it is better to prevent heart attacks than try to treat them, we realize that it’s better to stop pandemics before they spread and that effort should increasingly be focused on viral forecasting and pandemic prevention.“We’re finally beginning to understand why pandemics happen instead of just reacting to them”, Wolfe says. What’s needed is a global effort to scale up that kind of proactive work to ensure that every hot spot has surveillance running for new pathogens in animals and in human beings and that it has its own GVF-type group to do the work. Viruses don’t respect borders – whether between nations or between species – and in a world where airlines act like bloodlines, global health is only as strong as its weakest link. We got lucky with the relatively weak swine-flu pandemic in 2009, but history tells us our luck won’t last. “We sit here dodging bullets left and right, assuming we have an invisible shield”, says Wolfe. “But you can’t dodge bullets forever.”WALSH, Bryan.Virus hunter. Disponível em: <content.time.com/time/subscriber/l>. Acesso em: mai. 2018. Adaptado.
According to Wolfe, the most important thing to do when dealing with pandemics is toF1F6D860-D7 Inglês
Interpretação de texto | Reading comprehensionEscola Bahiana de Medicina e Saúde Pública · 2018DifícilEntre para guardar nos favoritosCan our technological connectedness trump the risks of our biological and geographic connectedness? That’s one reason Nathan Wolfe has pushed GVF (Globe Viral Forecasting) to pioneer what he calls digital epidemiology, which uses the resources of the Internet to make predictive sense of the viral chatter picked up in the field. He and his team are setting up a bioinformatics strategy that could mine data from Internet searches and social media to pinpoint new outbreaks as they dawn – and potentially predict which newly discovered viruses might pose real threats to humanity. That work is culminating in a project called Epidemic IQ that will, Wolfe hopes, provide the ability to predict new pandemics the way the CIA might predict a terrorist attack.Current global disease control efforts focus largely on attempting to stop pandemics after they have already emerged. This fire brigade approach, which generally involves drugs, vaccines, and behavioral change, has severe limitations. Just as we discovered in the 1960s that it is better to prevent heart attacks than try to treat them, we realize that it’s better to stop pandemics before they spread and that effort should increasingly be focused on viral forecasting and pandemic prevention.“We’re finally beginning to understand why pandemics happen instead of just reacting to them”, Wolfe says. What’s needed is a global effort to scale up that kind of proactive work to ensure that every hot spot has surveillance running for new pathogens in animals and in human beings and that it has its own GVF-type group to do the work. Viruses don’t respect borders – whether between nations or between species – and in a world where airlines act like bloodlines, global health is only as strong as its weakest link. We got lucky with the relatively weak swine-flu pandemic in 2009, but history tells us our luck won’t last. “We sit here dodging bullets left and right, assuming we have an invisible shield”, says Wolfe. “But you can’t dodge bullets forever.”WALSH, Bryan.Virus hunter. Disponível em: <content.time.com/time/subscriber/l>. Acesso em: mai. 2018. Adaptado.
The text says that, when dealing with pandemics nowadays, public health officials try to