國(guó)內(nèi)托福有閱讀加試么

很多同學(xué)都很關(guān)注國(guó)內(nèi)托福有閱讀加試么這個(gè)問(wèn)題，那么接下來(lái)就跟著中國(guó)教育在線小編一起來(lái)看看吧，相信你通過(guò)以下的文章內(nèi)容就會(huì)有更深入的了解。

國(guó)內(nèi) 托福 有閱讀加試么

托福加試題不能說(shuō)的秘密!加試題是托福考試的一大特色，不是在閱讀部分就是在聽力部分，要么就是雙試，所以同學(xué)們千萬(wàn)不要大意。

舉個(gè)例子來(lái)說(shuō)明：ETS會(huì)找到他們所認(rèn)為的全球考生平均水平(例如做加試題平均水平應(yīng)為20分)在隨后的一次閱讀考試中，如果大家的正題平均分是20分，而閱讀加試部分也做的是20分，那么ETS認(rèn)為此次閱讀難度適中，不必加權(quán)平均。

如果正題20分，加試10分，ETS則認(rèn)為是這次考生水平普遍較低，考試難度偏小，所以會(huì)相應(yīng)減少每個(gè)人的閱讀得分。

反之，如果正題10分，加試25分，那么ETS就認(rèn)為在考生水平那么高的情況下閱讀平均分還那么低，一定是因?yàn)轭}目難度偏大,所以會(huì)給每個(gè)考生平均加上幾分。 這也是為什么托?？忌毡榉从畴y度不太穩(wěn)定，分?jǐn)?shù)卻較為穩(wěn)定的原因。

托福閱讀加試的位置

有的同學(xué)認(rèn)為閱讀加試的位置放在最后一篇，其實(shí)不是這樣。托福閱讀加試是一篇，但你并不知道是哪一篇，有可能是第三篇，也有可能是第二篇，極少部分可能是第一篇。

但是，加試分為經(jīng)典加試(占絕大比例)和非經(jīng)典加試。

也就是說(shuō)，你一上考場(chǎng)開始做題了并且發(fā)現(xiàn)有三篇文章，這時(shí)如果你遇到了經(jīng)典加試，則很可能為加試題;如果三篇都未曾見過(guò)，則三篇中有一篇是加試題，你三篇都要做好。

托福加試算分嗎?

ETS官員曾經(jīng)就這個(gè)問(wèn)題回答過(guò)網(wǎng)友，其實(shí)總結(jié)起來(lái)就是：即使你知道了哪些題是ETS在之前的托?？荚囍薪?jīng)常出現(xiàn)的，也就是即使出現(xiàn)了所謂的經(jīng)典加試，但你不能就認(rèn)為之后計(jì)算機(jī)抽分時(shí)就一定不把這些題當(dāng)做正題來(lái)算分。也就是存在這種可能性：你以為出現(xiàn)了經(jīng)典加試所以亂填一氣，對(duì)于你認(rèn)為的正題認(rèn)真的做，分?jǐn)?shù)出來(lái)之后還是可能慘不忍睹，因?yàn)橛?jì)算機(jī)可能抽中你所謂的“加試”當(dāng)做正題算分了。所以結(jié)果是隨機(jī)的，沒有定論。

遇到托福閱讀加試怎么辦

為了幫助大家高效備考托福，熟悉托福閱讀加試，為大家?guī)?lái)遇到托福閱讀加試怎么辦一文，希望對(duì)大家托福備考有所幫助。

首先，閱讀加試普遍比聽力加試難。

原因在于：

1.連續(xù)4篇閱讀比聽力耗費(fèi)更多體力，頭暈眼花在所難免

2.即使你碰上的是經(jīng)典閱讀加試，但與聽力比起來(lái)，范圍太大太籠統(tǒng)，很難把握。

那么碰到閱讀加試，我們?cè)撛趺崔k?

1.考場(chǎng)上，調(diào)整心態(tài)。可以告訴大家，第一加試題位置不固定，不一定是最后一篇，所以別花時(shí)間猜測(cè)，把每篇都保證做到最好。第二，加試雖有新題，但整體難度還是很穩(wěn)定的，不要害怕~

2.平時(shí)一定要訓(xùn)練自己15分鐘做完一篇文章的能力(這也是我在閱讀真題班里會(huì)教給大家的)，那么即使遇到閱讀加試，也會(huì)成為你的優(yōu)勢(shì)。

基礎(chǔ)不好的同學(xué)，前期多精讀練習(xí)，后期再配上做題技巧方法，分?jǐn)?shù)就能成指數(shù)型增長(zhǎng)啦。

有20分的基礎(chǔ)的同學(xué)，可以側(cè)重學(xué)習(xí)做題技巧方法，直接沖刺高分!

托福閱讀文章快速瀏覽的正確步驟

托福閱讀考試中，速度是每個(gè)同學(xué)都離不開的問(wèn)題，對(duì)于具體的要不要通讀全文，很多同學(xué)也給出了不同的見解。為大家整理了一些告訴瀏覽文章的方法，供大家參考學(xué)習(xí)。

要不要讀全文因人而異，但是“讀全文”還有另外一種方法，高效瀏覽文章，分三步!

1、先看標(biāo)題，從標(biāo)題中可以把文章的主題給確定，也能對(duì)文章結(jié)構(gòu)進(jìn)行有效猜測(cè)

托福閱讀標(biāo)題大致分為三種類型。

第一種：“A and B” 型

TPO26 Energy and the Industrial Revolution

TPO5 Minerals and Plants

TPO7 Ancient Rome and Greece

TPO11 Orientation and Navigation

TPO19 Succession, Climax, and Ecosystems

只看標(biāo)題我們可以了解到文章中必定有兩個(gè)討論的對(duì)象，而且是分類闡述的，因?yàn)閮蓚€(gè)對(duì)象的重要性相當(dāng)，在作者命名標(biāo)題的時(shí)候會(huì)把兩個(gè)對(duì)象都放在標(biāo)題中。

但是兩個(gè)對(duì)象的討論也不是占用完全相同的篇幅，這就要看標(biāo)題中的兩個(gè)對(duì)象的具體概念。

這種情況下，小概念會(huì)是更主要的討論對(duì)象。

以上面的標(biāo)題TPO26 Energy and the Industrial Revolution以及TPO7 Ancient Rome and Greece為例，標(biāo)題中的兩個(gè)討論對(duì)象是羅馬和希臘，是同級(jí)的概念，只看標(biāo)題，我們可以推測(cè)文章會(huì)是在講羅馬和希臘的關(guān)系和對(duì)比。真實(shí)情況確是如此：文章中圍繞著羅馬與希臘發(fā)展模式的不同以及羅馬受到的希臘文明的熏陶來(lái)講。TPO26 Energy and the Industrial Revolution兩個(gè)對(duì)象是能源和工業(yè)革命，看概念可以知道能源是小概念，工業(yè)革命是大概念，那么推測(cè)文章的主要對(duì)象是能源。事實(shí)上，文章的內(nèi)容就是在講工業(yè)革命中能源的作用。

第二種： “A ” 型

TPO3 Architecture

TPO4 Petroleum Resources

TPO6 William Smith

TPO10 Chinese Pottery

TPO13 Biological Clocks

這類標(biāo)題看上去很簡(jiǎn)單，只涉及一個(gè)概念，那么文章必定圍繞著這一個(gè)對(duì)象來(lái)講。但是這點(diǎn)信息好像對(duì)我們的幫助不大。還有哪些特點(diǎn)呢?其實(shí)，一般情況下，這類文章在行文時(shí)文章會(huì)分為兩部分，文章一開始會(huì)給出這一個(gè)概念的定義，即“什么是A?”;接下來(lái)“A有什么特點(diǎn)?”或者“A的起源”等等。

以TPO3 Architecture為例，文章討論的對(duì)象是建筑，文章第一段也是第一部分講的是建筑的定義和文化價(jià)值;接下來(lái)的內(nèi)容則圍繞著建筑的質(zhì)量、建筑的特點(diǎn)進(jìn)行。

第三種：“帶限定的A” 型

TPO21 The origin of Agriculture

TPO18 The Mystery of Yawning

TPO3 The Long-Term Stability of Ecosystems/

TPO8 Extinction of the Dinosaurs

TPO24 Breathing During Sleep

和“A ” 型標(biāo)題對(duì)比，可以看出這種類型的標(biāo)題對(duì)討論的唯一對(duì)象進(jìn)行了修飾或者稱限定。給出大家一個(gè)推斷的范圍。所以對(duì)文章的接下來(lái)的內(nèi)容推測(cè)也容易的多

比如TPO21 The origin of Agriculture就是在講農(nóng)業(yè)的起源而不會(huì)是農(nóng)業(yè)的其他方面。TPO24 Breathing During Sleep講睡覺時(shí)的呼吸。

這種文章類型會(huì)是我們最希望看到的，因?yàn)榭梢灾苯涌闯鑫恼掠懻摰脑掝}。

2、讀首段

托福閱讀文章屬于議論文或者說(shuō)明文，多采用總分(總)文章結(jié)構(gòu)，利用首段往往可以概括出全文主旨。在閱讀首段時(shí)，注意內(nèi)容中如果出現(xiàn)however,while,but等轉(zhuǎn)折邏輯指示詞，往往后面的內(nèi)容就是重點(diǎn)!

3、讀每段的中心句

學(xué)生面對(duì)一個(gè)托福閱讀段落，肯定一開始很難確定主題句，有的段落主題句也并不是明顯的某一句話。但是一般情況下，托福閱讀段落主題句會(huì)是前1-2句，或者是最后一句，要注意的是每個(gè)段落大致采取Topic話題 + Aspects方面 + Attitude態(tài)度的結(jié)構(gòu)，這三要素加起來(lái)就是標(biāo)準(zhǔn)學(xué)術(shù)論文體的"T+A+A篇章結(jié)構(gòu)"。托福文章大都遵循這種結(jié)構(gòu)，考生通過(guò)這種結(jié)構(gòu)抓住文章的各個(gè)段落主旨，便可洞悉整個(gè)文章脈絡(luò)和邏輯結(jié)構(gòu)。

新托福閱讀背景知識(shí)分享

A Brief History of the Guitar

There is evidence that a four string, guitar-like instrument was played by the Hittites (who occupied a region now known as Asia Minor and Syria) around 1400 BC. It had characteristically soft, curved sides--one of the primary features of anything identifiable as a guitar or predecessor. The Greeks also produced a similar instrument which was later modified by the Romans, though both versions appear to have lacked the curved sides. What is interesting here is that it seems this Roman cithara appeared in Hispania (now known as Spain) centuries before the Moorish invasion.

It had long been assumed that it was only after this invasion and the introduction of the Arabic due in the South that a guitar-like instrument first appeared in Spain. But with the Roman cithara arriving centuries prior, we might say that although the due influenced the development of the guitar it is not the true ancestor. According to this theory, the Spanish guitar derived from the tan bur of the Hittites, kithara with a "k" of the Greeks and then the cithara with a "c" of the Romans.

However, following the arrival of the Moors, the Roman cithara and the Arabic due must have mixed and exerted mutual influences on one another for many centuries. Although there is no specific documentation, it is likely that makers of us and cithara’s would have seen each other's work, if only through presentation by traveling troubadours. By 1200 AD, the four string guitar had evolved into two types: the guitars maraca (Moorish guitar) which had a rounded back, wide fingerboard and several sound holes, and the guitars Latina (Latin guitar) which resembled the modern guitar with one sound hole and a narrower neck.

In the late 1400's, the visual was born by adding doubled strings and increasing its size. It was a large plucked instrument with a long neck (vibrating string length: 72 to 79 cm) with ten or eleven frets and six courses. It was the visual which became the preferred instrument of the Spanish and Portuguese courts and remained so until the late 1600's when orchestral and keyboard instruments became more prominent.

Although the guitar existed concurrently during this period, the visual and lute had overshadowed it until the end of the 17th century when the lute had acquired too many strings, was too hard to play and tune, and the visual was slowly replaced by the four and five course guitars (which had seven and nine strings respectively: one single high string, and three or four remaining courses--or pairs--of strings). It was perhaps the addition of the fifth course in the late 16th century that gave the guitar more flexibility and range and thus improved the potential of the repertoire that led to its ascent.

By the end of the 18th century and the beginning of the 19th, some guitars already used six single strings and employed fan struts under the soundboard. These struts were added for structural support to allow thinning of the top for greater resonance and for better distribution of sound across the board. Other contemporaneous developments included the use of a reinforced, raised neck using ebony or rosewood for the fingerboard, and the appearance of machine tuners in place of the wooden pegs. (It is noteworthy that the raised fingerboard had a great impact on the technique of the instrument since the strings were then too far from the soundboard to rest one's finger on the face for support.) These guitars would be unmistakably recognized by us as early classical guitars.

Beginning with the early 19th century, in the works of Agustin Caro, Manuel Gonzalez, Antonio de Lorca, Manuel Gutierrez from Spain and other European makers including Rene Lakota, and Johann Stauffer, we find the direct predecessors of the modern classical guitar. By 1850, the guitar was prepared for its most important breakthrough since its inception, the work of Antonio Torres Jordon. With the encouragement of Julian Arcos and his own brilliant intuitions, Torres refined the strutting of the guitar to include as many as seven struts spread out like a fan under the soundboard. He increased the body size and the width of the neck considerably. These improvements allowed for greater volume and bass response as well as the development of a left hand technique for richer repertoire. The guitar was now prepared for the demands of the solo performer and the concert stage.

Although there have been continued developments since the middle 1800's, our modern guitar retains most of what was developed nearly 150 years ago. No one can say if we have reached the end of the evolution of the guitar, but until now, many of the best guitars from the point of view of volume, projection and sheer beauty of tone were made by the great makers, Torres, Ramirez and Arias from the second half of the last century!

關(guān)于國(guó)內(nèi)托福有閱讀加試么這個(gè)問(wèn)題本文的分享就到這里結(jié)束了，如果您還想了解更多相關(guān)的內(nèi)容，那么可以持續(xù)關(guān)注本頻道。

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