托福聽力備考經(jīng)驗分享
托福聽力備考經(jīng)驗分享,從4到23的華麗蛻變，今天小編給大家?guī)硗懈Ｂ犃淇冀?jīng)驗分享，下面小編就和大家分享，來欣賞一下吧。
托福聽力備考經(jīng)驗分享丨從4到23的華麗蛻變
背景為高三黨，萬惡苦逼的高三黨啊!一共考了四次：
13年10月20日：16+4+17+16=53(是的沒錯，你沒看錯，聽力確實就只有4分!)
14年5月25日：21+16+18+24=79
14年9月14日：26+19+20+24=89
14年12月6日：27+23+20+25=95
這里分享一下我托福聽力從4分到16分再到23分的逆襲經(jīng)歷。像聽力4分這樣子要不就是數(shù)據(jù)傳輸?shù)臅r候出了問題，要不就是真的聽力夠差。我一定是屬于后者的…反正我記得我裸考的時候真的是毛都沒挨到，也不知道加試是什么。就感覺一直在聽，根本停不下來的節(jié)奏啊!
從4分到16分，我一開始就聽的是官方真題Official聽力，聽完一遍以后做題，做完題就聽寫。每句要聽5遍差不多才能聽出來，而且有的時候是幾個單詞一斷。當(dāng)時lecture和conversation都會做筆記，而且是聽到什么就記什么，像什么哪個哪個teacher啊，數(shù)字啊，甚至是about這種簡單詞也會記。后來事實證明這種做筆記的方法是絕對錯誤的。二戰(zhàn)的時候也惡心到我了，我以為一篇lecture是經(jīng)典加試，所以很歡樂的在剝手!結(jié)果看到題目的時候華麗麗地跪了。
從16到23分這樣子，其實一直做的就是精聽。同樣是在暑假的時候，開始再次準(zhǔn)備托福。聽力一開始也意識到自己的水平實在太low，乖乖地就先聽寫了40篇老托。后來發(fā)現(xiàn)老托略簡單，直接聽也能知道professor在說什么，就開始轉(zhuǎn)戰(zhàn)精聽官方真題Official了。精聽也懶啊TTT做完了題以后精聽幾遍還要看心情。心情好就不怎么聽了，心情不好就聽了2-3遍，然后同時撥撥手指啊，想點心事，打個瞌睡啊，反正就是走神。所以別學(xué)我，我是反例。9月開學(xué)以后，我只能每天晚上練聽力，聽力已經(jīng)對于我來說是重中之重，晚上要專門花2個半小時聽，白天沒事的時候也會掛個耳機在耳朵上(其實我覺得白天這樣子沒什么用)。一到晚上8點15，準(zhǔn)時要睡個15分鐘再起來繼續(xù)聽。聽力絕對對于這種白天在學(xué)?？嗍芾蠋熣勰?，身心俱疲的人是催眠劑啊!
我試過各種論壇里大神們說過的方法，加速多少多少倍啊，又是讀幾十幾十遍啊，后期的時候聽sss啊?；蛟S這些方法對大神們挺有用的，不得不說在我身上收益甚微。
加速：第一太麻煩，不知道是不是人蠢?？傊以赼boboo里面找不到大多數(shù)官方真題Official聽力的音頻和文本，所以太懶也不愿意再去下一個再播放。第二不得不說聽完加速以后再聽原速的很爽，但是原速的總讓我覺得慢得有點奇怪，好想讓他說快一點。
跟讀：有看到很多人說過，一旦跟上了professor，你就能聽懂很多，也會適應(yīng)她的語速。這是對的，但是，第一浪費時間，讀多了沒那么多時間，讀少了又沒什么作用，效率太低。第二，我在我身上看到的作用是嘴皮子變快了好多而已。對聽力幫助不是特別大。
SSS：這種大神聽力，我這種小渣渣是高攀不起的唉。
做筆記方法
我的方法是conversation不記，因為一記就會漏掉很多東西。反正就那么3分鐘，也不會走神到哪里去。Lecture會做筆記，但是是有目標(biāo)地去做。在professor的信號詞出現(xiàn)后，就會狂記不已。當(dāng)然，還是以聽為主。平時精聽，聽清楚每一個句子，連接詞。也要分析出題點，這樣就能找到信號詞。像什么pro加重語氣，提出一個新term，轉(zhuǎn)折，下結(jié)論。這些都是很重要的，如果在聽的時候就知道這是重點的話，就不會毫無方向。
托福閱讀真題原題+題目
The term folk song has been current for over a hundred years, but there is still a good deal of disagreement as to what it actually means. The definition provided by the International Folk Music Council states that folk music is the music of ordinary people, which is passed on from person to person by being listened to rather than learned from the printed page. Other factors that help shape a folk song include: continuity (many performances over a number of years); variation (changes in words and melodies either through artistic interpretation or failure of memory); and selection (the acceptance of a song by the community in which it evolves).
When songs have been subjected to these processes their origin is usually impossible to trace. For instance, if a farm laborer were to make up a song and sing it to a-couple of friends who like it and memorize it, possibly when the friends come to sing it themselves one of them might forget some of the words and make up new ones to fill the gap, while the other, perhaps more artistic, might add a few decorative touches to the tune and improve a couple of lines of text. If this happened a few times there would be many different versions, the song's original composer would be forgotten, and the song would become common property. This constant reshaping and re-creation is the essence of folk music. Consequently, modem popular songs and other published music, even though widely sung by people who are not professional musicians, are not considered folk music. The music and words have been set by a printed or recorded source, limiting scope for further artistic creation. These songs' origins cannot be disguised and therefore they belong primarily to the composer and not to a community.
The ideal situation for the creation of folk music is an isolated rural community. In such a setting folk songs and dances have a special purpose at every stage in a person's life, from childhood to death. Epic tales of heroic deeds, seasonal songs relating to calendar events, and occupational songs are also likely to be sung.
1. What does the passage mainly discuss?
(A) Themes commonly found in folk music
(B) Elements that define folk music
(C) Influences of folk music on popular music
(D) The standards of the International Folk Music Council
2. Which of the following statements about the term folk song is supported by the passage ?
(A) It has been used for several centuries.
(B) The International Folk Music Council invented it.
(C) It is considered to be out-of-date.
(D) There is disagreement about its meaning.
3. The word it in line 8 refers to
(A) community
(B) song
(C) acceptance
(D) memory
4. Which of the following is NOT mentioned in the passage as a characteristic of the typical folk
song?
(A) It is constantly changing over time.
(B) It is passed on to other people by being performed.
(C) It contains complex musical structures.
(D) It appeals to many people.
5. The word subjected in line 9 is closest in meaning to
(A) reduced
(B) modified
(C) exposed
(D) imitated
6. The author mentions the farm laborer and his friends (lines 10-14) in order to do which of the
following?
(A) Explain how a folk song evolves over time
(B) Illustrate the importance of music to rural workers
(C) Show how subject matter is selected for a folk song
(D) Demonstrate how a community, chooses a folk song
7. According to the passage , why would the original composers of folk songs be forgotten?
(A) Audiences prefer songs composed by professional musicians.
(B) Singers dislike the decorative touches in folk song tunes.
(C) Numerous variations of folk songs come to exist at the same time.
(D) Folk songs are not considered an important form of music.
8. The word essence in line 16 is closest in meaning to
(A) basic nature
(B) growing importance
(C) full extent
(D) first phase
9. The author mentions that published music is not considered to be folk music because
(A) the original composer can be easily identified
(B) the songs attract only the young people in a community
(C) the songs are generally performed by professional singers
(D) the composers write the music in rural communities
托福閱讀真題原題+題目
Often enough the craft worker's place of employment in ancient Greece was set in rural isolation. Potter, for instance, found it convenient to locate their workshops near their source of clay, regardless of its relation to the center of settlement. At Corinth and Athens, however, two of the best-known potters' quarters were situated on the cities' outskirts, and potters and makers of terra-cotta figurines were also established well within the city of Athens itself. The techniques of pottery manufacture had evolved well before the Greek period, but marked stylistic developments occurred in shape and in decoration, for example, in the interplay of black and other glazes with the red surface of the fired pot. Athenian black-figure and red-figure decoration, which emphasized human figures rather than animal images, was adopted between 630 and 530 B.C.; its distinctive color and luster were the result of the skillful adjustments of the kiln's temperature during an extended three-stage period if firing the clayware. Whether it was the potters or the vase-painters who initiated changes in firing is unclear, the functions of making and decorating were usually divided between them, but neither group can have been so specialized that they did not share in the concerns of the other.
The broad utility of terra-cotta was such that workers in clay could generally afford to confine themselves to either decorated ware and housewares like cooking pots and storage jars or building materials like roof tiles and drainpipes. Some sixth- and fifth-century B.C. Athenian pottery establishments are known to have concentrated on a limited range of fine ware, but a rural pottery establishment on the island of Thasos produced many types of pottery and roof tiles too, presumably to meet local demand. Molds were used to create particular effects for some products, such as relief-decorated vessels and figurines; for other products such as roof tiles, which were in some quantity, they were used to facilitate mass production. There were also a number of poor-quality figurines and painted pots produced in quantity by easy, inexpensive means — as numerous featureless statuettes and unattractive cases testify.
1. The passage mainly discusses ancient Greek pottery and its
(A) production techniques
(B) similarity to other crafts
(C) unusual materials
(D) resemblance to earlier pottery
2. The phrase regardless of in line 3 is closest in meaning to
(A) as a result of
(B) no matter what
(C) proud of
(D) according to
3. It can be inferred from the passage that most pottery establishments in ancient Greece were
situated
(A) in city centers
(B) on the outskirts of cities
(C) where clay could be found
(D) near other potters' workshops
4. The word marked in line 7 is closest in meaning to
(A) original
(B) attractive
(C) noticeable
(D) patterned
5. The word confine in line 17 is closest in meaning to
(A) adapt
(B) train
(C) restrict
(D) organize
6. It can be inferred from the passage that terra-cotta had which of the following advantages
(A) It did not break during the firing process.
(B) It was less expensive than other available materials.
(C) Its surface had a lasting shine.
(D) It could be used for many purposes.
7. The word presumably in line 21 is closest in meaning to
(A) frequently
(B) practically
(C) preferably
(D) probably
8. The word they in line 24 refers to
(A) molds
(B) particular effects
(C) products
(D) vessels and figurines
9. According to the passage , all of the following are true of ancient Greek potters and vase
painters EXCEPT:
(A) Their functions were so specialized that they lacked common concerns.
(B) They sometimes produced inferior ware.
(C) They produced pieces that had unusual color and shine.
(D) They decorated many of their works with human images.
PASSAGE 57 ABCCC DDAA
托福聽力備考經(jīng)驗分享相關(guān)文章：