托福閱讀可以返回嗎

托福閱讀可以返回嗎，相信這個問題是許多正在準備留學(xué)的同學(xué)關(guān)心的一個問題，那么下面小編就來和大家說一說，感興趣的您趕緊往下了解吧。

托福 閱讀可以返回嗎

托福閱讀可以返回嗎?這個當然完全可以，但是操作有點不便吧。

現(xiàn)在托福沒有加試的話閱讀一般是考三篇，總共大概42題，有時按題型變化而減少一兩題。三篇閱讀一起計時，同屬于一個相同的模塊，所以只要你完成了最后一篇的閱讀有時間的話，完全可以倒回去檢查修改自己不確定的題。

考試的軟件上方會有個review點進去會有你的答題記錄，但是點題目并不能跳轉(zhuǎn)，似乎也不能標記自己不會的題。這些有待改進，不過可以手動按back跳到你草稿紙上記下來的不確定的題，再思考，修改就可以啦。

托福閱讀怎樣節(jié)省答題時間

托福閱讀考試中，時間是非常關(guān)鍵的因素，如何能夠更好地節(jié)省時間，是考生不得不面對的問題。那么今天我們就來講講，在答題的階段，怎樣節(jié)省時間，希望對大家有更好地幫助。

很多托福考生都說，也許在托福閱讀中，最影響人的實力發(fā)揮的恐怕就是要求55分鐘內(nèi)做完50道閱讀題。托福閱讀不同于CET4，CET6，與高考也是有區(qū)別的，因為這些都是大約4-5篇閱讀，20題，而且這些考試都沒有要求做完沒門考試所用的時間。因此很多同學(xué)在一開始做托福閱讀的時候，十分不適應(yīng)托福閱讀的時間限制，有的人甚至在考前都沒有克服這個問題。

1 托福閱讀即先閱讀文章的首段前4行 ，注意這里不是前2行，因為現(xiàn)在很多文章首句通常是由專業(yè)名詞組成或者是一些習(xí)語組成，大多數(shù)中國學(xué)生只知道看完首句，然后他們就崩潰了，因為專業(yè)詞匯和習(xí)慣用語一次性將他們打懵。因此這里建議首先讀完前4行來了解文章主題方向。

2 托福閱讀應(yīng)該直接做題 ，然后在題中找關(guān)鍵詞回到原文進行點查。不過這里點查也是有技巧的。第一題通常是文章的主題題，跳過不做，放到最后來做，其他的很多試題都是標記了行號或者可以通過特殊字符來辨認，比如數(shù)字，大寫字母，拼寫十分怪異的單詞等等，當一道題沒有這些標示的時候要通過鄰近的其他試題來定位本題在原文中的位置。

托福閱讀圖表填空題怎么做

托福閱讀考試中，題目的類型是最多的，具體的不同的題型也有不同的技巧。今天我們重點來講解的是圖表填空題的解題技巧，通過實例的解析，讓大家更好地掌握相關(guān)的技巧。

托福閱讀題型：圖表填空題例題解題方法

Directions: Complete the table below by indicating which features of fishes are associated in the passage with reducing water resistance and which are associated with increasing thrust. This question is worth 3 points.

Features of Fishes

1. The absence of scales from most of the body

2. The ability to take advantage of eddies

3. The ability to feed and reproduce while swimming

4. Eyes that do not protrude

5. Fins that are stiff, narrow, and smooth

6. The habit of swimming with the mouth open

7. A high, narrow tail with swept-back tips

這道托福閱讀題要求對比文章中的某兩個部分的內(nèi)容，有的托福閱讀文章是全文的對照對比，有的文章是重點段落的對照對比。這種題目需要先識別要求對比的內(nèi)容，并且從原文中搜尋對應(yīng)的文章段落。本題要求對比REDUCING WATER RESISTANCE和INCREASING THRUST，因此我們先通過讀每段的關(guān)鍵句來確定對比內(nèi)容所在段落。通過檢索我們發(fā)現(xiàn)以下兩個段落對應(yīng)本題：

第三自然段：Tunas, mackerels, and billfishes have made streamlining into an art form. Their bodies are sleek and compact. The body shapes of tunas, in fact, are nearly ideal from an engineering point of view. Most species lack scales over most of the body, making it smooth and slippery. The eyes lie flush with the body and do not protrude at all. They are also covered with a slick, transparent lid that reduces drag. The fins are stiff, smooth, and narrow, qualities that also help cut drag. When not in use, the fins are tucked into special grooves or depressions so that they lie flush with the body and do not break up its smooth contours. Airplanes retract their landing gear while in flight for the same reason.

本段重點陳述了減少水阻力的幾種設(shè)計，通過對于本段的精讀我們發(fā)現(xiàn)陰影處信息可對應(yīng)選項145.

第八自然段：There are adaptations that increase the amount of forward thrust as well as those that reduce drag. Again, these fishes are the envy of engineers. Their high, narrow tails with swept-back tips are almost perfectly adapted to provide propulsion with the least possible effort. Perhaps most important of all to these and other fast swimmers is their ability to sense and make use of swirls and eddies (circular currents) in the water. They can glide past eddies that would slow them down and then gain extra thrust by "pushing off" the eddies. Scientists and engineers are beginning to study this ability of fishes in the hope of designing more efficient propulsion systems for ships.

新托福閱讀背景知識學(xué)習(xí)

Early jazz.

Fully developed jazz music probably originated in New Orleans at the beginning of the 1900's. New Orleans style jazz emerged from the city's own musical traditions of band music for black funeral processions and street parades. Today, this type of jazz is sometimes called classic jazz, traditional jazz, or Dixieland jazz. New Orleans was the musical home of the first notable players and composers of jazz, including contests Buddy Bolden and King Oliver, cornets and trumpeter Louis Armstrong, saxophonist and clarinetist Sidney Bechtel, and pianist Jelly Roll Morton.

Jazz soon spread from New Orleans to other parts of the country. Fate Marble led a New Orleans band that played on riverboats traveling up and down the Mississippi River. King Oliver migrated to Chicago, and Jelly Roll Morton performed throughout the United States. Five white musicians formed a band in New Orleans, played in Chicago, and traveled to New York City, calling them the Original Dixieland Jazz Band (the spelling was soon changed to "Jazz"). This group made the earliest jazz phonograph recordings in 1917. Mamie Smith recorded "Crazy Blues" in 1920, and recordings of ragtime, blues, and jazz of various kinds soon popularized the music to a large and eager public.

The 1920's

The 1920's have been called the golden age of jazz or the jazz age. Commercial radio stations, which first appeared in the 1920's, featured live performances by the growing number of jazz musicians. New Orleans; Memphis; St. Louis; Kansas City, Missouri; Chicago; Detroit; and New York City were all important centers of jazz.

A group of Midwest youths, many from Chicago's Austin High School, developed a type of improvisation and arrangement that became known as "Chicago style" jazz. These musicians included trumpeters Jimmy McFarland and Muggy Spinier; cornets Box Beiderbecke; clarinetists Frank Tastemaker, Pee Wee Russell, Mezzo, and Benny Goodman; saxophonists Frankie Rombauer and Bud Freeman; drummers Dave Tough, George Wetting, and Gene Krupp; and guitarist Eddie Condon. They played harmonically inventive music, and the technical ability of some of the players, especially Goodman, was at a higher level than that of many earlier performers.

In New York City, James P. Johnson popularized a new musical style from ragtime called stride piano. In stride piano, the left hand plays alternating single notes and chords that move up and down the scale while the right hand plays solo melodies, accompanying rhythms, and interesting choral passages. Johnson strongly influenced other jazz pianists, notably Count Basie, Duke Ellington, Art Tatum, Fats Waller, and Teddy Wilson.

Fletcher Henderson was the first major figure in big band jazz. In 1923, he became the first leader to organize a jazz band into sections of brass, reed, and rhythm instruments. His arranger, Don Redman, was the first to master the technique of scoring music for big bands. Various Henderson bands of the 1920's and 1930's included such great jazz instrumentalists as Louis Armstrong and saxophonists Benny Carter and Coleman Hawkins.

Armstrong made some of his most famous recordings with his own Hot Five and Hot Seven combos from 1925 to 1928. These recordings rank among the masterpieces of jazz, along with his duo recordings of the same period with pianist Earl "Fatah" Hines. Armstrong also became the first well-known male jazz singer, and popularized scat singing-that is, wordless syllables sung in an instrumental manner.

During the late 1920's and early 1930's, jazz advanced from relatively simple music played by performers who often could not read music to a more complex and sophisticated form. Among the musicians who brought about this change were saxophonists Benny Carter, Coleman Hawkins, and Johnny Hodges; the team of violinist Joe Venetia and guitarist Eddie Lang; and pianist Art Tatum. Many people consider Tatum the most inspired and technically gifted improviser in jazz history.

The swing era flourished from the mid-1930's to the mid-1940. In 1932, Duke Ellington recorded his composition "It Don't Mean a Thing If It Isn’t Got That Swing." "Swing" was soon adopted as the name of the newest style of jazz. Swing emphasizes four beats to the bar. Big bands dominated the swing era, especially those of Count Basie, Benny Goodman, and Duke Ellington.

Benny Goodman became known as the "King of Swing." Starting in 1934, Goodman's bands and combos brought swing to nationwide audiences through ballroom performances, recordings, and radio broadcasts. Goodman was the first white bandleader to feature black and white musicians playing together in public performances. In 1936, he introduced two great black soloists-pianist Teddy Wilson and vibraphonist Lionel Hampton. Until then, racial segregation had held back the progress of jazz and of black musicians in particular. In 1938, Goodman and his band, and several guest musicians, performed a famous concert at Carnegie Hall in New York City. Their performance was one of the first by jazz musicians in a concert hall setting.

Other major bands of the swing era included those led by Benny Carter, Bob Crosby, Jimmy Dorsey, Tommy Dorsey, Woody Herman, Earl Hines, Andy Kirk, Jimmie Lunsford, Glenn Miller, Artie Shaw, Chick Webb, and, toward the end of the period, Stan Kenton. The bands in Kansas City, Missouri, especially the Count Basie band, had a distinctive swing style. These bands relied on the 12-bar blues form and riff backgrounds, which consisted of repeated simple melodies. They depended less heavily on written arrangements, allowing more leeway for rhythmic drive and for extended solo improvisations.

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