托?？谡Z(yǔ)29分是如何練成的

陳鈴221147由分享時(shí)間：2020-08-23 16:05:09

托?？谡Z(yǔ)或許是整個(gè)托?？荚嚠?dāng)中最難準(zhǔn)備獲得提升的部分了，今天小編給大家?guī)?lái)托福口語(yǔ)29分是如何“練”成的，下面小編就和大家分享，來(lái)欣賞一下吧。

托福口語(yǔ)29分是如何“練”成的

托?？谡Z(yǔ)考試的基礎(chǔ)——聽(tīng)力。原理大家都知道，想提一下練習(xí)時(shí)候的重點(diǎn)，和練聽(tīng)力不一樣。一些美劇有日常對(duì)話的更合適練口語(yǔ)，注意聽(tīng)他們是怎么把一個(gè)想法變成spoken English的，簡(jiǎn)言之就是學(xué)會(huì)用英語(yǔ)思考。多看些片子我覺(jué)得對(duì)于培養(yǎng)語(yǔ)感很重要，特別是你會(huì)不知不覺(jué)地也想用英文表達(dá)自己想法的時(shí)候，OK!(即使是很簡(jiǎn)單的也行)。FRIENDS最經(jīng)典，另外聽(tīng)得時(shí)候注意語(yǔ)音語(yǔ)調(diào)、句子頓挫什么的，這樣別人聽(tīng)你說(shuō)的內(nèi)容就更容易理解了。

有關(guān)口音等等：

不得不承認(rèn)正確的發(fā)音，斷句，聲調(diào)降調(diào)等對(duì)于rater聽(tīng)你的回答有準(zhǔn)確的判斷作用。關(guān)于這個(gè)，可以看看美劇，知道哪種語(yǔ)氣有什么隱含意義(順便這個(gè)對(duì)于做聽(tīng)力的語(yǔ)氣題也比較有幫助)。

托?？荚嚳谡Z(yǔ)用到的復(fù)習(xí)資料：

DELTA的口語(yǔ)題我覺(jué)得是最有價(jià)值的，雖然有點(diǎn)難。練習(xí)兩三遍不為過(guò)。有些題第二遍也說(shuō)不好滴。

托?？荚嚳谡Z(yǔ)機(jī)經(jīng)，第一二題的尤其。

托福口語(yǔ)練習(xí)的時(shí)候：

一定要錄下來(lái)，這樣才會(huì)有緊迫感。

錄下來(lái)之后可以讓別人幫忙聽(tīng)聽(tīng)，發(fā)音什么的。

第一二題可以看看別人總結(jié)的提綱以及機(jī)井和185作文題庫(kù)，照著提綱一題題講過(guò)來(lái)。建議強(qiáng)度大些，考前幾天若能把全部機(jī)井都過(guò)一遍，那肯定講起來(lái)自信多了，倒不是說(shuō)會(huì)押中多少題。

如何組織你的回答：

一二題，先topic sentence說(shuō)主旨，不要兜圈子。然后說(shuō)分論點(diǎn)，一般2個(gè)比較合適，否則會(huì)展開(kāi)得不夠。盡量往具體的地方說(shuō)，別準(zhǔn)備那些個(gè)名人軼事了(寫(xiě)作我都不甚推薦)。其實(shí)呢這個(gè)覺(jué)得和陶瓷有點(diǎn)相似啊，你不能光說(shuō)我喜歡這個(gè)公園因?yàn)樗芷?。說(shuō)說(shuō)有什么特色的東西，別處少有的?？偨Y(jié)要不要說(shuō)取決于剩下的時(shí)間。

有reading的題目，先用一句話概括reading內(nèi)容，校園對(duì)話比較簡(jiǎn)單。Lecture的話盡量選擇有概念、定義、分類(lèi)的。然后省略。。。

如何創(chuàng)造使用托?？谡Z(yǔ)考試模版：

然后說(shuō)模版，其實(shí)口語(yǔ)的模版不外乎 conversation里講了什么，lecture圍繞什么，中間展開(kāi)，結(jié)尾conclusion一下，相信大家都不會(huì)忘記的。模版別套別人的，口語(yǔ)一緊張就全忘了。

沒(méi)有講完的話，影響有多大?

我第四題沒(méi)有講完，是一整個(gè)point都沒(méi)有講。恩，最后結(jié)果還不錯(cuò)了?？梢?jiàn)若在已講的部分組織好條理還是比較重要的。也不用看到?jīng)]時(shí)間了就拼命加快語(yǔ)速。OG上有一句話很重要：learn to pace yourself!

根據(jù)高分牛人的經(jīng)驗(yàn)，同學(xué)們可以自己調(diào)整口語(yǔ)練習(xí)的步調(diào)與方法，也可以從中找到適合自己的方法，這樣你的托?？谡Z(yǔ)備考才能見(jiàn)到成效。

托福閱讀真題原題+題目

Composers today use a wider variety of sounds than ever before, including many that were once considered undesirable noises. Composer Edgard Varèse(1 883-1965) called thus the liberation of sound...the right to make music with any and all sounds. Electronic music, for example — made with the aid of computers, synthesizers, and electronic instruments — may include sounds that in the past would not have been considered musical. Environmental sounds, such as thunder, and electronically generated hisses and blips can be recorded, manipulated, and then incorporated into a musical composition. But composers also draw novel sounds from voices and nonelectronic instruments. Singers may be asked to scream, laugh, groan, sneeze, or to sing phonetic sounds rather than words. Wind and string players may lap or scrape their instruments. A brass or woodwind player may hum while playing, to produce two pitches at once; a pianist may reach inside the piano to pluck a string and then run a metal blade along it. In the music of the Western world, the greatest expansion and experimentation have involved percussion instruments, which outnumber strings and winds in many recent compositions. Traditional percussion instruments are struck with new types of beaters; and instruments that used to be couriered unconventional in Western music — tom-toms, bongos, slapsticks, maracas—are widely used.

In the search for novel sounds, increased use has been made in Western music of microtones. Non-western music typically divides and interval between two pitches more finely than western music does, thereby producing a greater number of distinct tones, or microtones, within the same interval. Composers such as Krzysztof Penderecki create sound that borders on electronic noise through tone clusters — closely spaced tones played together and heard as a mass, block, or band of sound. The directional aspect of sound has taken on new importance as well. Loudspeakers or groups of instruments may be placed at opposite ends of the stage, in the balcony, or at the back and sides of the auditorium.

Because standard music notation makes no provision for many of these innovations, recent music scores may contain graphlike diagrams, new note shapes and symbols, and novel ways of arranging notation on the page.

1. What does the passage mainly discuss?

(A) The use of nontraditional sounds in contemporary music

(B) How sounds are produced electronically

(D) Several composers who have experimented with the electronic production of sound

2. The word wider in one 1 is closest in meaning to more impressive

(A) more distinctive

(B) more controversial

(D) more impressive

3. The passage suggests that Edgard Var è se is an example of a composer who

(A) criticized electronic music as too noiselike

(B) modified sonic of the electronic instruments he used in his music

(D) wrote music with environmental themes

4. The word it in line 12 refers to

(A) piano

(B) string

(D) music

5. According to the passage , which of the following types of instruments has played a role in

much of the innovation in western music?

(A) string

(B) percussion

(D) brass

6. The word thereby in line 20 is closest in meaning to

(A) in return for

(B) in spite of

(D) by that means

7. According to the passage , Krzysztof Penderecki is known for which of the following practices?

(A) Using tones that are clumped together

(B) Combining traditional and nontradinonal instruments

(D) Playing Western music for non-Western audiences

8. According to the passage , which of the following would be considered traditional elements of

Western music?

(A) microtones

(B) tom-toms and bongos

(D) hisses

9. In paragraph 3, the author mentions diagrams as an example of a new way to

(A) chart the history of innovation in musical notation

(B) explain the logic of standard musical notation

(D) indicate how particular sounds should be produced

PASSAGE 54 ACCBB DACD

托福閱讀真題原題+題目

In 1903 the members of the governing board of the University of Washington, in Seattle, engaged a firm of landscape architects, specialists in the design of outdoor environment — Olmsted Brothers of Brookline, Massachusetts — to advise them on an appropriate layout for the university grounds. The plan impressed the university officials, and in time many of its recommendations were implemented. City officials in Seattle, the largest city in the northwestern United States, were also impressed, for they employed the same organization to study Seattle's public park needs. John Olmsted did the investigation and subsequent report on Seattle's parks. He and his brothers believed that parks should be adapted to the local topography, utilize the area's trees and shrubs, and be available to the entire community. They especially emphasized the need for natural, serene settings where hurried urban dwellers could periodically escape from the city. The essence of the Olmsted park plan was to develop a continuous driveway, twenty miles long, that would tie together a whole series of parks, playgrounds, and parkways. There would be local parks and squares, too, but all of this was meant to supplement the major driveway, which was to remain the unifying factor for the entire system.

In November of 1903 the city council of Seattle adopted the Olmsted Report, and it automatically became the master plan for the city's park system. Prior to this report, Seattle's park development was very limited and funding meager. All this changed after the report. Between 1907 and 1913, city voters approved special funding measures amounting to $4,000,000. With such unparalleled sums at their disposal, with the Olmsted guidelines to follow, and with the added incentive of wanting to have the city at its best for the Alaska-Yukon-Pacific Exposition of 1909, the Parks Board bought aggressively. By 1913 Seattle had 25 parks amounting to 1,400 acres, as well as 400 acres in playgrounds, pathways, boulevards, and triangles. More lands would be added in the future, but for all practical purposes it was the great land surge of 1907-1913 that established Seattle's park system.

1. What does the passage mainly discuss?

(A) The planned development of Seattle's public park system

(B) The organization of the Seattle city government

(D) The design and building of the University of Washington campus

2. The word engaged in line 2 is closest in meaning to

(A) trained

(B) hired

(D) evaluated

3. The word subsequent in line 8 is closest in meaning to

(A) complicated

(B) alternate

(D) detailed

4. Which of the following statements about parks does NOT reflect the views of the Olmsted

Brothers firm?

(A) They should be planted with trees that grow locally.

(B) They should provide a quiet, restful environment.

(D) They should be designed to conform to the topography of the area.

5. Why does the author mention local parks and squares in lines 14 when talking about the

Olmsted plan?

(A) To emphasize the difficulties facing adoption of the plan

(B) To illustrate the comprehensive nature of the plan

(D) To describe Seattle's landscape prior to implementation of the plan

6. Which of the following can be inferred from the passage about how citizens of Seattle received

the Olmsted Report?

(A) They were hostile to the report's conclusions.

(B) They ignored the Olmsted's findings.

(D) They favored the city council's seeking advice from another firm.

7. According to the passage , when was the Olmsted Report officially accepted as the master plan

for the Seattle public park system?

(A) 1903

(B) 1907

(D) 1913

8. The word sums in line 20 is closest in meaning to

(A) problems

(B) amounts

(D) debts

9. According to the passage , which of the following was most directly influenced by the

Alaska-Yukon- Pacific Exposition?

(A) The University of Washington

(B) Brookline, Massachusetts

(D) The Seattle Parks Board

PASSAGE 55 ABCCB CABD

托?？谡Z(yǔ)29分是如何練成的

托福口語(yǔ)29分是如何“練”成的

托福閱讀真題原題+題目

托福閱讀真題原題+題目

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