托福阅读：3大能力助力高分阅读

千里之行，始于第2页/共2页精品文档推荐托福阅读：3大能力助力高分阅读想在托福阅读中取得好的成果，要先了解托福阅读考试机制。今日我就给大家带来托福备考托福阅读：3大力量助力高分阅读,盼望能够关心到大家，下面我就和大家共享，来观赏一下吧。

托福阅读：3大力量助力高分阅读

一、信息定位力量

练习快速扫描，在文章或段落中定位并查找重要的事实和信息，包括主题信息、概念名称、日期、地点和数字等。常常反复地练习，可以提高阅读的速度和流利程度。

二、速读理解力量

1.在把握语法学问(如：语句结构、代词等)以后，应采纳各种手段，努力扩大词汇量，扫除阅读中存在的生字障碍。

2.练习速读，训练通过快速扫瞄而非逐句细读发觉文章主旨的力量。托福阅读考试的选材，从文体角度看，大多是说明体和谈论体的正式书面语文章。其语篇模式一般为导言、主题、支撑、结论四部分，并且每一段落的开头常可发觉主题句。

依据英语语篇的上述特点，阅读时留意文章的首尾段落以及每一段落的开头一、二句话，常有助于快速发觉所读内容的主旨。同时，留意语篇中一些具有语义提示作用的信息词和短语，对于重要信息的快速查找和定位也是有关心的。

3.还可以依据托福考试的题型有针对性地进行一些练习，包括文章中消失的代词(he，they，that，these，it，one，others等)，找出它们所指代的名词;依据文章供应的信息，练习推理、猜测和归纳结论的力量;选择阅读中遇到的生字，依据前后语句所供应的上下文线索猜想字义，例如：

Everyonefacestimeswhenonegoaloranotherhastocomefirst;decidingwhichgoalsaremostimportantissettingpriorities.(依据语句结构，划线单字的意义由is提示是指themostimportantgoals)

Askyscraper，orbuildingmorethantwentystorieshigh，isbuiltonafoundationofconcretesupportedbypilesdrivenintotheground.(句中or在这里表示“或者说”，提示划线单字的意义为buildingmorethantwentystorieshigh)

Unlikehergregarioussister，Janeisashy，unsociablepersonwhodoesnotliketogotopartiesortomakenewfriends.(从Unlike所表示的对比关系，可以确定划线单字的意义正是shy，unsociable的反面，即sociable，friendly)

Inspiteofthefactthatthebeautifulegretisindangerofdyingoutcompletely，manyclothingmanufacturersstillofferhandsomepricesfortheirlong，eleganttailfeathers，whichareusedasdecorationsonladies’hats.(从全句的意思，特殊是描述其特征的feathers等词，可推断划线单字是指atypeofbird)

三、研读整理力量

1.训练阅读除了需要培育理解文章含义和增加查找信息的力量外，还应适当留意所读材料的组织结构及写作手法，例如：该文章的组织方式可能是比较对比、分类、因果等，某个例子在阐述过程中有何作用。这有助于理解把握文章内涵和归纳概括内容提要。

2.练习概括提要，区分主要与次要内容。对于描述过程的文章，可练习按挨次总结步骤，写出提要。若文章涉及信息分类，可尝试制作图表并将相关内容分类排列。虽然新托福考试并不要求自己设计分类图表，但这项练习有助于加强信息整理的意识，可以关心大家更快适应此类题型。

3.依据提要或图表对阅读内容进行口头或书面的总结概述，以协作口语和写作部分综合型考题的需要。

4.选取句子或段落练习释义解述(paraphrase)。一方面，阅读测试包含考查对解述语句的辨识力量;此外，在口语和写作部分的综合型考题中也需要运用此项技能，可以同时提升。

托福阅读背景学问汇总之爵士乐的根源

Therootsofjazz

ThefolksongsandplantationdancemusicofblackAmericanscontributedmuchtoearlyjazz.TheseformsofmusicoccurredthroughouttheSouthernUnitedStatesduringthelate1800s.

Ragtime,amusicalstylethatinfluencedearlyjazz,emergedfromtheSt.Louis,Mo.,areainthelate1890s.ItquicklybecamethemostpopularmusicstyleintheUnitedStates.Ragtimewasanenergeticandsyncopatedvarietyofmusic,primarilyforthepiano,thatemphasizedformalcomposition.

Thebluesisaformofmusicthathasalwaysbeenanimportantpartofjazz.TheblueswasespeciallywidespreadintheAmericanSouth.Itsmournfulscaleandsimplerepeatedharmonieshelpedshapethecharacterofjazz.Jazzinstrumentalistshavelongexploitedthebluesasavehicleforimprovisation.

托福阅读背景学问汇总之Earlyjazz.

FullydevelopedjazzmusicprobablyoriginatedinNewOrleansatthebeginningofthe1900s.NewOrleansstylejazzemergedfromthecitysownmusicaltraditionsofbandmusicforblackfuneralprocessionsandstreetparades.Today,thistypeofjazzissometimescalledclassicjazz,traditionaljazz,orDixielandjazz.NewOrleanswasthemusicalhomeofthefirstnotableplayersandcomposersofjazz,includingcontestsBuddyBoldenandKingOliver,cornetsandtrumpeterLouisArmstrong,saxophonistandclarinetistSidneyBechtel,andpianistJellyRollMorton.

JazzsoonspreadfromNewOrleanstootherpartsofthecountry.FateMarbleledaNewOrleansbandthatplayedonriverboatstravelingupanddowntheMississippiRiver.KingOlivermigratedtoChicago,andJellyRollMortonperformedthroughouttheUnitedStates.FivewhitemusiciansformedabandinNewOrleans,playedinChicago,andtraveledtoNewYorkCity,callingthemtheOriginalDixielandJazzBand(thespellingwassoonchangedtoJazz).Thisgroupmadetheearliestjazzphonographrecordingsin1917.MamieSmithrecordedCrazyBluesin1920,andrecordingsofragtime,blues,andjazzofvariouskindssoonpopularizedthemusictoalargeandeagerpublic.

The1920s

The1920shavebeencalledthegoldenageofjazzorthejazzage.Commercialradiostations,whichfirstappearedinthe1920s,featuredliveperformancesbythegrowingnumberofjazzmusicians.NewOrleans;Memphis;St.Louis;KansasCity,Missouri;Chicago;Detroit;andNewYorkCitywereallimportantcentersofjazz.

AgroupofMidwestyouths,manyfromChicagosAustinHighSchool,developedatypeofimprovisationandarrangementthatbecameknownasChicagostylejazz.ThesemusiciansincludedtrumpetersJimmyMcFarlandandMuggySpinier;cornetsBoxBeiderbecke;clarinetistsFrankTastemaker,PeeWeeRussell,Mezzo,andBennyGoodman;saxophonistsFrankieRombauerandBudFreeman;drummersDaveTough,GeorgeWetting,andGeneKrupp;andguitaristEddieCondon.Theyplayedharmonicallyinventivemusic,andthetechnicalabilityofsomeoftheplayers,especiallyGoodman,wasatahigherlevelthanthatofmanyearlierperformers.

InNewYorkCity,JamesP.Johnsonpopularizedanewmusicalstylefromragtimecalledstridepiano.Instridepiano,thelefthandplaysalternatingsinglenotesandchordsthatmoveupanddownthescalewhiletherighthandplayssolomelodies,accompanyingrhythms,andinterestingchoralpassages.Johnsonstronglyinfluencedotherjazzpianists,notablyCountBasie,DukeEllington,ArtTatum,FatsWaller,andTeddyWilson.

FletcherHendersonwasthefirstmajorfigureinbigbandjazz.In1923,hebecamethefirstleadertoorganizeajazzbandintosectionsofbrass,reed,andrhythminstruments.Hisarranger,DonRedman,wasthefirsttomasterthetechniqueofscoringmusicforbigbands.VariousHendersonbandsofthe1920sand1930sincludedsuchgreatjazzinstrumentalistsasLouisArmstrongandsaxophonistsBennyCarterandColemanHawkins.

ArmstrongmadesomeofhismostfamousrecordingswithhisownHotFiveandHotSevencombosfrom1925to1928.Theserecordingsrankamongthemasterpiecesofjazz,alongwithhisduorecordingsofthesameperiodwithpianistEarlFatahHines.Armstrongalsobecamethefirstwell-knownmalejazzsinger,andpopularizedscatsinging-thatis,wordlesssyllablessunginaninstrumentalmanner.

Duringthelate1920sandearly1930s,jazzadvancedfromrelativelysimplemusicplayedbyperformerswhooftencouldnotreadmusictoamorecomplexandsophisticatedform.AmongthemusicianswhobroughtaboutthischangeweresaxophonistsBennyCarter,ColemanHawkins,andJohnnyHodges;theteamofviolinistJoeVenetiaandguitaristEddieLang;andpianistArtTatum.ManypeopleconsiderTatumthemostinspiredandtechnicallygiftedimproviserinjazzhistory.

Theswingeraflourishedfromthemid-1930stothemid-1940.In1932,DukeEllingtonrecordedhiscompositionItDontMeanaThingIfItIsn’tGotThatSwing.Swingwassoonadoptedasthenameoftheneweststyleofjazz.Swingemphasizesfourbeatstothebar.Bigbandsdominatedtheswingera,especiallythoseofCountBasie,BennyGoodman,andDukeEllington.

BennyGoodmanbecameknownastheKingofSwing.Startingin1934,Goodmansbandsandcombosbroughtswingtonationwideaudiencesthroughballroomperformances,recordings,andradiobroadcasts.Goodmanwasthefirstwhitebandleadertofeatureblackandwhitemusiciansplayingtogetherinpublicperformances.In1936,heintroducedtwogreatblacksoloists-pianistTeddyWilsonandvibraphonistLionelHampton.Untilthen,racialsegregationhadheldbacktheprogressofjazzandofblackmusiciansinparticular.