题目内容
听力原文：I = Interviewer
M = Martha Flowers(Interviewee)
I: Martha Flowers, you're the founder and managing director of Max Sandwiches. First of all, thank you for agreeing to speak to us.
M: You're welcome. I: I'd like to begin by asking you to tell us some- thing about how you started what is now a very successful business.
M: OK, Eh, I started it because I was hungry really. There was nowhere to buy something cheap yet healthy at lunchtime. And I spotted a gap in the market. I set up the business with a partner.
I: What？ Someone who knew the business？
M: Yes, he'd had lots of hands-on experience. However the first three years were difficult. We worked all hours and hardly made any profit. We just didn't have sufficiently clear ideas of what we wanted, and frankly we were lucky to survive. These days we are very much more focused.
I: Martha, would it be fair to describe max as just one more fast food company？
M: No. We're definitely not that. For us, it's all about selling naturally made products at reason- able prices, not selling cheap food fast. Having set that, the fast food chains do some things very well. And I'd tike us to imitate the good aspects of how they operate. What I mean is we should cut out waste the way they do, not waste time or materials.
I: All right, so that's the aim. Now I'd like to ask you something about how you actually run your business like. Are you, like so many executives nowadays, a slave to your diary？
M: No, I am not. I don't even own one. I find this lack of structure gives me immense flexibility. I really don't see how you can get things done if you're tired down all the time. I am sorry for my secretary, who has, to cope with the way I work, but for me it's the only way.
I: But how are meetings scheduled？
M: Well, this is another thing. I hate meetings. The only regular feature of my week is the senior management team meeting. And we focus there not on details but on major issues. This means I can actually spend about 95% of my time listening to customers. And this is really the key to bow I run my business life-listening to our employees, because they can often tell you how to get things right.
I: Your approach certainly seems to be working. Your company is expanding all the time. How do you account for this success？
I: We're I a high volume low margin business. We only make a little profit on everything we sell, so basically we have to sell a lot. And the secret of success in a business like this is a loyal customer base. It's as simple as that.
I: Well, obviously the next question is what exactly do you do to keep your customer's loyalty？
M: We have to look at three things. The price of the product, the quality of the product and the attitude of our employees. They have to under- stand one thing very well indeed, and that is, it' s the customers who pay their salary.
I: Martha, if you were asked to give just one piece of advice to someone who is staring out in business today, what would you say？
M: I'd say, look at what other people in your line of business are doing. It's absolutely vital.
I: But doesn't everyone monitor what their competitors are doing？
M: Perhaps they do, but the important thing is what action you then take. A lot of people seem to monitor what's going on so they know what their feelings are. Then they do nothing about it. I find it must extraordinary.
I: Martha Flowers, thanks very much for talking to us.
M: You're welcome.
？You will hear a radio interview with Martha Flowers, the Managing Director of the MAX chain of sandwich bars.
？Choose the correct phrase to complete each sentence or answer the question.
？Mark one letter(A, B, or C) for the phrase you choose.
？After you have listened once, replay the recording.
Martha started her business because
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Although the distribution of recorded music went digital with the introduction of the compact disc in the early 1980s, technology has had a large impact on the way music is made and recorded as well. At the most basic level, the invention of MIDI (Musical Instrument Digital Interface), a language enabling computers and sound synthesizers to talk to each other, has given individual musicians powerful tools with which to make music.
"The MIDI interface enabled basement musicians to gain power which had been available only in ex- pensive recording studios," One expert observed. "It enables synthesis of sounds that have never existed before, and storage and subsequent simultaneous replay and mixing of multiple sound tracks. Using a moderately powerful desktop computer running a music composition program and a ' 500 synthesizer, any musically literate person can write -- and play! -- a string quartet in an afternoon."
Whereas many musicians use computers as a tool in composing or producing music, Tod Machover uses computers to design the instruments and environments that produce his music. As a professor of music and media at the MIT Media Lab, Machover has pioneered hyper - instruments: hybrids of computers and musical instruments that allow users to create sounds simply by raising their hands, pointing with a "virtual baton," or moving their entire body in a "sensor chair."
Similar work on a "virtual orchestra" is being done by Geoffrey Wright, head of the computer music, program at John Hopkins University's Peabody Conservatory of Music in Baltimore, Maryland. Wright uses conductors' batons that emit infrared light beams to generate data about the speed and direction of the batons, data that can then be translated by computers into instructions for a synthesizer to produce music.
In Machover' s best- known musical work, Brain Opera (1996), 125 people interact with each other and a group of hyper - instruments to produce sounds that can be blended into a musical performance. The final opera is assembled from these sound fragments, material contributed by people on the Web, and Machover's own music. Machover says he is motivated to give people "an active, directly participatory relationship with music."
More recently, Machover helped design the Meteorite Museum, a remarkable underground museum that opened in June 1998 in Essen, Germany. Visitors approach the museum through a glass atrium, open an enormous door, enter a cave, and then descend by ramps into various multimedia rooms. Machover com- posed the music and designed many of the interactions for these rooms. In the Transfiow Room, the undulating walls are covered with 100 rubber pads shaped like diamonds. "By hitting the pads you can make and shape a sound and images in the room. Brain Opera was an ensemble of imtividual instruments, while the Transfiow Room is a single instrument played by 40 people. The room blends the reactions and images of tile group."
Machover' s projects at MIT include Music Toys and Toys of Tomorrow, which are creating devices that he hopes will eventually make a Toy Symphony possible. Machover describes one of the toys as an embroidered ball the size of a small pumpkin with ridges on the outside and miniature speakers inside. "We' ve recently figured out how to send digital information through fabric or thread," he said. "So the basic idea is to squeeze the ball and where you squeeze and where you place your fingers will affect the sound produced. You can also change the pitch to high or low, or harmonize with other balls."
Computer music has a long way to go before it wins mass acceptance, however. Martin Goldsntitb, host of National Public Radio' s Performance Today, explains why: "I think that a reason a great moving piece of computer music hasn' t been written yet is that -- in this instance -- the technology stands between the creator and the receptor and prevents a real huma
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