5.For a number of years the selection of music for each film program rested entirely in the hands of the conductor or leader of the orchestra, and very often the principal qualifications for holding such a position was not skill or taste so much as the ownership of a large personal library of musical pieces.

　　多年以來電影音樂的選擇程序完全掌握在導(dǎo)演和音樂督導(dǎo)手中，通常擁有這些權(quán)力的主要資格并非是自身的技藝和品味而更多的是因?yàn)閾碛写罅康膫�(gè)人音樂素材庫。

　　6.Rather, they were made of a top layer of woolen or glazed worsted wool fabric, consisting of smooth, compact yarn from long wool fibers, dyed dark blue, green, or brown with a bottom layer of a coarser woolen material, either natural or a shade of yellow.

　　更進(jìn)一步，他們是由一個(gè)頂層是毛紡或光滑的精紡羊毛織物制作，包含光滑，緊湊的紗線來自長(zhǎng)羊毛的纖維染成蘭黑色、綠色、或褐色底層含有粗糙天然的和暗黃色的毛紡材料。

　　7.For good measure, during the spring and summer drought, heat, hail, grasshoppers, and other frustrations might await the weary growers.

　　在春季和夏季，要精確量度干旱、熱量、冰雹、蝗蟲和其他損失可能是一件疲勞的事情。

　　8.What we today call America folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits.

　　我們今天所謂的美國(guó)民間藝術(shù)，實(shí)際上是普通老百姓的藝術(shù)、被普通老百姓創(chuàng)造的藝術(shù)和為普通老百姓和日常提到的“民間人士”的藝術(shù)，是一個(gè)他們?cè)谏鐣?huì)日漸繁榮和休閑情況下創(chuàng)建的一個(gè)包含各種各樣尤其是肖像畫種類的藝術(shù)的市場(chǎng)。

　　9.The people had no agriculture but, over thousands of years, had developed techniques and equipment to exploit their environment, basing their economy on fishing in streams and coastal waters that teemed with salmon, halibut, and other varieties of fish; gathering abalone, mussels, clams, and other shellfish from the rocky coastline; hunting land and sea mammals; and collecting wild plant foods.

　　他們沒有農(nóng)業(yè)，但是經(jīng)過幾千年，已經(jīng)發(fā)展了探索自身環(huán)境的技術(shù)和設(shè)備。他們是基于大量出現(xiàn)鮭魚、大比目魚和其他多種魚類的自身流域和水岸捕魚的經(jīng)濟(jì);基于從落基山水岸聚集了鮑魚、蚌類、蛤和其他貝殼動(dòng)物的經(jīng)濟(jì);基于捕獵地域和海洋哺乳動(dòng)物的經(jīng)濟(jì);以及基于收集野生植物的食物的經(jīng)濟(jì)。