摘要： 新托福真題（1）熱帶雨林生物多樣性20XX年4月23日托福閱讀內容回顧：講熱帶雨林生物多樣性的，就說這里為什么會有這么多樣的植物，因為經歷過物種隔離所以這些植物就各長各的，而且這里...

新托福真題（1）

熱帶雨林生物多樣性

20XX年4月23日托福閱讀內容回顧：

講熱帶雨林生物多樣性的，就說這里為什么會有這么多樣的植物，因為經歷過物種隔離所以這些植物就各長各的，而且這里不存在某一個物種的dominant或是 suppress其他物種，因為有一些吃幼苗的蟲子會把離它們最近的同一類植物的幼苗吃掉，所以沒有出現某類植物數量明顯多于其他類的現象，再有就是因為植物多啊之類的原因所以生物也多。

熱帶雨林生物多樣性原因，經歷過物種隔離，不存在某一個物種占主導或者壓制另一個物種的生長;又一些吃幼苗的蟲子會把理它們最近的同一類植物的幼苗吃掉，沒有出現植物數量明顯多于其他種類的情況。雨林中植物種類本身也多。

參考練習：

官方真題Official 03：The Long-Term Stability of Ecosystems

官方真題Official 17：Animal Signals In The Rain Forest

官方真題Official 19：Succession, Climax, and Ecosystems

官方真題Official 26：Survival of Plants and Animals in Desert Conditions

新托福真題（2）

Topic：Media and celebrities

Do you agree or disagree with the following statement? Television, newspapers, magazines, and other media pay too much attention to the personal lives of famous people such as public figures and Use specific reasons and details to explain your

新托福真題（3）

參考分析：

不能同意這個觀點——因為這樣的說法過于片面。有些媒體(大眾傳媒mass media)表現得過于關注名人。但是真正的起因(the real cause)卻是大眾(the public; the broad masses of the people)本身——大眾過于關注名人以及名人的私生活。媒體不過是在迎合大眾(cater to the needs of customers;過去幾年里,電視一直迎合大眾的口味。In the past several years, television has been playing to the )，因為媒體也是商業機構(commercial organization)，也要盈利(profit-driving)。不是所有媒體都在一味迎合大眾，也不是所有的television program, newspaper column都在關注名人。

新托福真題（4）

范文：

同意電視等媒體過分注重公眾人物的報道：

(1)媒體為了滿足大眾的好奇心(SATISFY THE CURIOSITY)，所以過分注重公眾人物的報道。比如說，名人的食品和生活方式等等。

(2)媒體為了賺錢的需要，集中在公共人物的報道。

(3)媒體為了監督公眾人物。所以經常報道他們的私生活。

In this global information age where newspapers or magazines are always handy and TV has already turned so many people into couch tomatoes, few people concern about what these mass media has brought to us; we just accept it While I think the current focus on personal lives of famous people by these media requires further

Admittedly, it is reasonable for those media to continuously pay great attention to celebrities, the present fierce competition of the various media, the hard-to-pleased audiences' taste, the bombastic effect of coverage of these shining No surprise sometimes that we feel we just know more than those famous people than

However, the consequence of such intense coverage on public figures' personal lives not only violate those being focused on a certain level, but also do harm to us being informed in some Firstly, the privacy of those celebrities is ineluctably encroached from time to Sometimes the result is sad - do not forget the tragedy of Princess Secondly, our attention is certainly being diverted by such tide of craziness about What about those viewers who want to see something about ordinary people' lives? How can mass media not concern more about those people suffering from pain and poverty?

Furthermore, one of the significant results of the current fad on famous figures is that their behavior is so influential while at the same time the media have little guarantee to ensure what the say and do will not mislead the mass public and even cause more For example, if a famous figure is being asked about his or her point of view in a field he or she is not quite acquainted, the words presented to the audience may be This is especially harmful to those young people who are more likely to watch those programs of their idols, and also are mostly vulnerable to influential but harmful

In a sense, I do not quite appreciate the coverage of people in the center of spotlight; maybe once the mass media turn a little bit from their current focus to other aspects of the society, they may find out that the world is wonderful all the

新托福真題（5）

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 It had characteristically soft, curved sides--one of the primary features of anything identifiable as a guitar or The Greeks also produced a similar instrument which was later modified by the Romans, though both versions appear to have lacked the curved What is interesting here is that it seems this Roman cithara appeared in Hispania (now known as Spain) centuries before the Moorish

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 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 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

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 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 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

In the late 1400's, the visual was born by adding doubled strings and increasing its It was a large plucked instrument with a long neck (vibrating string length: 72 to 79 cm) with ten or eleven frets and six 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

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

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 These struts were added for structural support to allow thinning of the top for greater resonance and for better distribution of sound across the 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 (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 ) These guitars would be unmistakably recognized by us as early classical

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 By 1850, the guitar was prepared for its most important breakthrough since its inception, the work of Antonio Torres 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 He increased the body size and the width of the neck These improvements allowed for greater volume and bass response as well as the development of a left hand technique for richer The guitar was now prepared for the demands of the solo performer and the concert

Although there have been continued developments since the middle 1800's, our modern guitar retains most of what was developed nearly 150 years 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!

新托福真題（6）

吉他的history

根據格羅夫(Grove)音樂辭典記載，古典吉他為魯特琴族(Lute family)中具有琴格的撥弦樂器。關于吉他起源及其形成之研究，可說是眾說紛紜﹔這些理論包括了：

從古希臘齊特琴(Kithara)及吉他之語源學說(Etymology)中研究得來。

部分學者推論認為吉他是從美索不達米亞(Mesopotamia)， 及安娜多利亞(Anatolia)發現的長頸魯特琴(Lute)所演變而來。

另一部分學者研究發現吉他是由阿拉伯傳入歐洲，因為在埃及發現平扁琴背之哥普魯特琴(Coptic Lute)，或可認為是吉他的前身。由于以上大部分均為推論，且早期音樂文獻多半失散，以至于在缺乏直接證據的狀況下，目前對于吉他真正的起源尚未形成定論，只能從非古典吉他及其他音樂歷史文獻中尋找可靠而相關的蛛絲馬跡。

在中世紀文學中出現和吉他有關的樂器名稱，法國稱之為Interne，英國則是gesturer。法國諾曼底公爵(Duke of Normandy)所擁有樂師名單中，有赫特馬(Jean Haut mar)彈奏Gutierrez Latina及拉貝(Richard Labe)彈奏Gutierrez Porsche等古吉他琴族樂器之記載。馬肅(Guillaume de Mac haut)亦列出Moriches et Gutierrez為魯特琴族之一。由于當時古吉他琴族中的拉丁吉他Guitars Latina，吉他Gutierrez及摩爾吉他uiterreMoresche等音量不能和魯特琴相抗衡，因此在歐洲大陸吉他無法廣為流傳，直到文藝復興時期西班牙出現了比維拉琴(Visual)及四弦吉他(Four-Course Guitar)之后，吉他的地位才開始奠定了雛形。

一般稱古典吉他為西班牙吉他，因為從16世紀以后，比維拉琴及四弦吉他首先在伊比利半島上萌芽發展，隨后才發展成巴羅克時期五弦吉他，六弦吉他，最后六弦吉他亦在西班牙境內孕育出吉他第一黃金時期，到了現代古典吉他大師塞戈維亞(Andres Segovia)手中，更進一步將古典吉他藝朮推廣到歐洲之外的亞洲及美洲，形成古典吉他史上的第二黃金期。在古典吉他的演變時期中，雖然也正是音樂史上巴羅克、古典、浪漫時期，器樂己成為主流﹔然而當時吉他卻因為無法和交響樂團整體音量匹敵，加上其本身之特殊風格，與樂團樂器之配置有所隔閡，因此成為一獨奏樂器。

至于六弦吉他的出現，雖然大部分學者均相信是在法國以及義大利所開始，但卻沒有任何當代文獻證明是由誰最早開始制作。反而有一位德國的小提琴與吉他制琴家雅寇﹒奧古斯特。奧圖(Jacob Augustus Otto)自稱是他在接受了德勒司登的樂團指揮紐曼先生(Herr Neumann)的一張六弦吉他訂單之后，特別為他所設計制造的。這似乎表示六弦吉他是在德國首先出現的，但是有件事絕對不能忽略，這位制琴師奧圖早年均在義大利學習制琴，很有可能當時他就已經在學習過程中見過這種吉他的雛形了。至于西班牙采用六弦吉他的起源，雖然沒有書面的記載，但一般相信大約在1820年左右，因為著名的西班牙吉他作曲家兼演奏家阿瓜多(Dionysius Agued)為六弦吉他所寫的教本于1825年在馬德里出版，足以證明在此之前，六弦吉他已經有部分人開始使用，所以才會需要這樣的教本。 在18世紀末至19世紀初，六弦吉他的發展也逐漸產生一些較為常見的特征，例如由于琴身上下較寬部分又加寬了些，使得曲線更為明顯﹔琴橋固定琴弦的方式是將弦纏在本制插梢上，再插入琴橋上預先挖好的六個小孔中加以固定，取代了這之前直接纏繞在琴橋上的設計﹔到了19世紀早期，在琴橋又加上了狹長的骨片或象牙片，作為下弦枕。此外，指板也繼續延伸到音孔旁。雖然無法查證何時開始采用這種設計，但可以將其歸功于一位德籍制琴家喬治﹒史道弗(George Stauffer)，值得注意的是，他也是后來移民至美國紐約，并成為美國制琴工業先驅的著名制琴師馬汀(Christian Friedrich Martin)的老師。馬汀后來在美國研究發展出本土的鋼弦吉他，也就是現在流行音樂界所廣為使用的民謠吉他鼻祖，有別于當時在歐洲仍采用的羊腸弦吉他。

19世紀早期，吉他形狀漸漸改變發展成接近現代吉他的外觀：金屬弦紐取代木制紐頭﹔挖空的音孔取代玫瑰紋飾的音孔﹔琴橋提高了﹔扁平的背板變成標準形式﹔第十二琴格對準琴頸和音箱聯結處，此外，華麗的裝飾也幾乎完全消失了。在這名家輩出的時代，必須提到這位被稱為近代吉他制作之父的著名人物，西班牙制琴師安東尼奧﹒托雷斯(Antonio de Torres Jordon, 1817～1892)。他所設計出的吉他新形式，可說是凌駕于在這之前所有形態的吉他。他將弦長定為65公分，琴身內部構造以響孔為起點，在音箱內部配置有七根扇形力木，并將原本較為窄小的琴身擴大，這種設計大大地提高吉他的音響效果，引起各著名制琴師的仿效，成為現代古典吉他的制作典范。

新托福真題（7）

Topic：Media and celebrities

Do you agree or disagree with the following statement? Television, newspapers, magazines, and other media pay too much attention to the personal lives of famous people such as public figures and Use specific reasons and details to explain your

新托福真題（8）

范文：

同意電視等媒體過分注重公眾人物的報道：

(1)媒體為了滿足大眾的好奇心(SATISFY THE CURIOSITY)，所以過分注重公眾人物的報道。比如說，名人的食品和生活方式等等。

(2)媒體為了賺錢的需要，集中在公共人物的報道。

(3)媒體為了監督公眾人物。所以經常報道他們的私生活。

In this global information age where newspapers or magazines are always handy and TV has already turned so many people into couch tomatoes, few people concern about what these mass media has brought to us; we just accept it While I think the current focus on personal lives of famous people by these media requires further

Admittedly, it is reasonable for those media to continuously pay great attention to celebrities, the present fierce competition of the various media, the hard-to-pleased audiences' taste, the bombastic effect of coverage of these shining No surprise sometimes that we feel we just know more than those famous people than

However, the consequence of such intense coverage on public figures' personal lives not only violate those being focused on a certain level, but also do harm to us being informed in some Firstly, the privacy of those celebrities is ineluctably encroached from time to Sometimes the result is sad - do not forget the tragedy of Princess Secondly, our attention is certainly being diverted by such tide of craziness about What about those viewers who want to see something about ordinary people' lives? How can mass media not concern more about those people suffering from pain and poverty?

Furthermore, one of the significant results of the current fad on famous figures is that their behavior is so influential while at the same time the media have little guarantee to ensure what the say and do will not mislead the mass public and even cause more For example, if a famous figure is being asked about his or her point of view in a field he or she is not quite acquainted, the words presented to the audience may be This is especially harmful to those young people who are more likely to watch those programs of their idols, and also are mostly vulnerable to influential but harmful

In a sense, I do not quite appreciate the coverage of people in the center of spotlight; maybe once the mass media turn a little bit from their current focus to other aspects of the society, they may find out that the world is wonderful all the

新托福真題（9）

托福綜合寫作原文：

Throughout the Greek islands, archaeologists have found over 200 plate-sized ceramic disks dating to about 20XX to 3000 The disks are typically decorated on one side, while the other side is undecorated and has a raised edge that creates a shallow They usually also have short Archaeologists are still unclear about what the objects were used Three theories about their function have been

Pans for Cooking Food

Some archaeologists believe that the objects were used for cooking These archaeologists believe that food was placed on the undecorated side and that the raised edge on that side prevented the food from falling out of the The handle would have made it easier and safer to remove the pan from a cooking fire or

Drums

Other archaeologists believe that the objects were drums for making These archaeologists point out that animal skins could have been stretched over the side with the raised edge, creating an air chamber that would have amplified sound when the animal skin was According to this theory, the person doing the drumming would hold the drum by the handle with one hand and strike the skin with the other

Mirrors

Yet other archaeologists believe that the objects were a kind of ancient Although the objects are not made of a reflective material, they could have been used to create a reflection by pouring a liquid, such as olive oil, into the shallow basin with the raised Supporters of this theory point out that the decorations found on the ceramic disks are similar to decorations found on hand-held metal mirrors made in ancient

Directions: You have 20 minutes to plan and write your Your response will be judged on the basis of the quality of your writing and on how well your response presents the points in the lecture and their relationship to the reading Typically, an effective response will be 150 to 225

閱讀：出土了一種用陶土做的disk，一面有花紋，一面沒花紋。沒花紋那面周圍有一圈凸起剛好形成了一個淺淺的碗。disk下面還有短短的手柄。這種disk有三種可能的用法。

1、用來做飯，disk無花紋面的碗剛好可以盛放食物，而手柄方便烹飪的時候移動disk。

2、用來當鼓，往disk上蒙上獸皮，就可以形成一個腔體。人們可以一手持手柄，一手擊鼓。

3、用作鏡子。往無花紋面里到些液體，就可以當鏡子用了。而且，這種用法很像古希臘的手持鏡子。

聽力：上用法都不可信

1、不可能用于烹飪的。想一想我們家里用的pans and pots，使用之后會black end or discolored，因為長時間接觸高溫，炊具勢必會發黑。但是出土的200件disk中沒有一個出現了這種情況。

2、做鼓使用也不可能發出好聽的聲音。這中disk使用陶土制作，即使蒙上獸皮敲擊的聲音也遠不如用獸皮和木頭制作的鼓好聽。此外，陶土制作的鼓非常沉，使用不便。

3、無法當作鏡子。倒入液體后，disk就必須被水平放置，這樣人們可以彎腰照鏡子。但是被水平放置后，有花紋的那一面就看不見了。古希臘的鏡子是手持的，垂直拿在手里，這樣可以隨時看見鏡子的花紋。

主題

希臘發現了200多個圓盤狀的ceramic disks，一邊平面的有裝飾，一邊是周圍有突起的邊沒裝飾的。三種理論推測用途。

R&L對照

Reading:

1、Pans for cooking 因為沒裝飾那邊凹進去，盛菜不會撒，且有把手好握著;

2、把動物皮綁在disks周圍突起上面，可以制成鼓等等;

3、 古人把水等液體放進去，容器放平，彎腰就能看見自己的figure。

Lecture: 逐一反駁

1、如果用來盛菜，會使ceramic disks變得blacken and discolor,因為高溫。同時出土的近200多件，太少了，不會是盛菜用的;

2、這樣的做法敲起來不會有好的聲音，解釋了一般的鼓部分原理。并且為什么古人放著那么多充足的適合做鼓的材料不用而用它呢;

3、如果是為了做鏡子用，就要把鏡子平放，那么人家干嘛還把背后平的那一面弄上裝飾呢，反正又沒人看得見嘛。

新托福真題（10）

Do you agree or disagree with the following statement?

Workers would be happier if they are doing different types of tasks during their workday than doing the same

新托福寫作思路解析：工人做不同類型的工作

I agree

Workers will get tired easily if they keep doing the same type of task for a long (長時間做同樣的工作會導致效率下降，不同的工作可以轉化思維)

By doing a variety of tasks a person can develop skills in different (不同的工作會有不同的要求，從而積累工作經驗，這對于未來的職業發展有好處)

新托福真題（11）

文章內容小結題

這是托福閱讀考試中經常出現的題目。顧名思義，是對全文內容的總結，考察的是對文章主旨和段落主旨的把握。正確選項是一些總結性的選項，錯誤選項的特點是：與原文不符，原文沒有提到，或者是次要信息。次要信息也就是文中提到的某個細節性的信息，次要信息的選項具有極大的干擾，在做題時應注意識別。

句子簡化題

這種題型的主要考查目的是：考查理解文章中某一特定復雜句子所傳達的基本內容，并不受細枝末節的干擾，用簡化的句子表達原句基本內容的能力。因此，語法水平在解題過程中就顯得尤為重要。這種題目在托福閱讀中的具體表現是題目中有“high sentence”。

修辭目的題

這是托福閱讀題型中比較難得分的題目，這種題目注重考察單詞，短語或句子在句子之內或句子之間起到的作用，這就要求平時閱讀時，在涉獵原文細節信息的基礎之上，要有意識地注意句子之間的邏輯關系以及段落的結構。

事實否定題

在解答這種題目的時候首先要注意的是避免慣性思維的影響。平時在做題習慣當中，看到與原文相符或者和原文一樣的選項就選，但是到了這個題目，需要選擇不屬于題干內容或者與原文相反的選項，這是需要注意的一點。

插空題

這些題目中的一些較為復雜的邏輯關系會可能會造成失分。在解答托福閱讀插空題，首要任務就是要找到線索詞。也就是能夠讓了解句子之間邏輯或者語法聯系的詞，線索詞亦是解題的關鍵。

如何快速完成托福閱讀插句題：

在段落之前的空，99%錯誤率!因為每段的中心容易出現在第一句，如果把第一句改變了，也就改變句意了。但同時請注意【兩段式的插句題】，第二個段落前面或第一個段落后面的空反而容易是正確的!

空后有代詞this, these, that, those, he, she, they, it, such, each, other, one, another, both, each, anybody, none, some, any….的，一般來說是不對的，緣由是【代詞不能跨距!】，如果在代詞前面加了一句話，就會改變代詞的指代對象。但是也是有例外的，比如該段只有一個主語，其他各句出現連續指代前句，就無法排除后有代詞的選項。

插入句中存在指代關系this, these, that, those, he, she, they, it, such, each, other, one, another, both, each, anybody, none, some, any….，一般不選擇整段最前面的空!這是根據插入句本身無足輕重的地位決定的，一般不會考核段間承接關系，但【兩段式插句題除外】!

優先考慮【段落最后的空】，注意!這里說的是段落最后的，而不是最后一個空!(因為有時候最后一個空在段中)。因為放在最末尾，本身對文章沒什么影響，所以，優先考慮這個空!

空后有時間點，例如 ■ In 1832, ….，而本句又不強調事件，一般不做選擇，時間一般和前句發生的時間承接較為緊密，不可拆分。

空后出現轉折however/ 、因果Because, 、遞進what's more/ in addition/ first/ second….【90%】高頻情況下作為最次要的考慮位置!因為插入句承起不到那么強悍的、連接句間邏輯關系作用的!但經過詳細排查位置之后，無奈之下但能對應或前或后的信息，則可放入!

插入句中若出現積極或消極概念，有兩種可能，第一、插入句為消極和前句構成轉折對立，則前一句存在積極概念;第二、插入句和前句構成遞進解釋，則前一句為存在消極概念。

解析新托福閱讀考試題型：

第一種題型： 詞匯題與以往的老TOEFL相比這個題型是太多沒有發生改變：

The word X in the passage is closet in meaning to

第二種題型： 代詞指代題 同老TOEFL,只不過去掉了行數,用加黑的方式讓同學們發現所在.

The word X in the passage refers to托福考試 雅思考試托福考試時間雅思考試時間

第三種題型： 細節題 依然考查我們對于文章細節的把握能力

factual information and negative factual information

第四種題型： 推理題 文章中明確給出所要推理的內容,如給你結果讓你推原因等

which of the following can be inferred about X?

The author of the passage implies that

第五種題型： 插入句子題：這種題是新TOEFL新增題型,給出一句話讓我們來判斷這句話應加入一個段落四個方塊的哪個部分用鼠標雙擊所選的黑色方塊即可.這種題目本身不難做,因為需要加入的句子有明確的提示,如This is a question that has puzzled scientists for 要求將這句話插入一段話中.我們只需要找到關健詞question就可以直接去找哪句話可能是作者提出的問題,將這句話加在那句話之后即可.

托福閱讀答題技巧：

擴大托福詞匯量

從某種意義上來講，詞匯量的大小是TOEFL閱讀理解高分的基礎和關鍵。如果詞匯量沒有達到基本要求(五千以上)，縱然你有"葵花寶典"在手，也只能命喪ETS的“毒招”之下。所以，以犧牲詞匯量為代價的技巧練習簡直是一味巨毒無比的“五毒散”。

通過練習使學生養成高效的閱讀方法--即所謂的托福閱讀技巧

TOEFL的閱讀量非常大，一般的中國考生根本無法把文章全部讀完，所謂的“掃讀法”、“跳讀法”和“略讀法”也只能適用于少數類型的文章，根本不能解決本質問題。那么，文章到底應該怎么讀法呢?一句話，主動地閱讀文章的關鍵部位。所謂主動是指不能象一般的閱讀那樣完全被動地接受信息，而應該不斷的進行思考和預測;所謂關鍵部位，主要是每一段的開頭和結尾部分。由于TOEFL的閱讀理解文章全部選自于正式出版物，文章的邏輯結構非常完整和嚴謹，而且出現的邏輯模式也是屈指可數。經過系統的訓練，考生的預測可以做到非常準確的程度。這樣，通過閱讀文章的幾處關鍵部位，就能很快地把握整個文章的結構和內在的邏輯關系，也就解決了問題的70%。

解題訓練

排除法恐怕是一直以來大多數學生在解閱讀理題目時使用最多的方法。事實上，這種方法具有致命的缺點：干擾大、費時間。更有效和迅速的辦法是讀完題干之后，就在腦子反映出一個模糊的或者是不完整的答案，然后直接在選項中尋找接近的答案進行判斷。這種能力必須在平時的訓練和講解中逐漸養成和加強，決非什么技巧之類的東西可以替代。

新托福真題（12）

熱帶雨林生物多樣性

20XX年4月23日托福閱讀內容回顧：

講熱帶雨林生物多樣性的，就說這里為什么會有這么多樣的植物，因為經歷過物種隔離所以這些植物就各長各的，而且這里不存在某一個物種的dominant或是 suppress其他物種，因為有一些吃幼苗的蟲子會把離它們最近的同一類植物的幼苗吃掉，所以沒有出現某類植物數量明顯多于其他類的現象，再有就是因為植物多啊之類的原因所以生物也多。

熱帶雨林生物多樣性原因，經歷過物種隔離，不存在某一個物種占主導或者壓制另一個物種的生長;又一些吃幼苗的蟲子會把理它們最近的同一類植物的幼苗吃掉，沒有出現植物數量明顯多于其他種類的情況。雨林中植物種類本身也多。

參考練習：

官方真題Official 03：The Long-Term Stability of Ecosystems

官方真題Official 17：Animal Signals In The Rain Forest

官方真題Official 19：Succession, Climax, and Ecosystems

官方真題Official 26：Survival of Plants and Animals in Desert Conditions

新托福真題（13）

托福閱讀題目考試日期：

20XX年10月21日

新托福閱讀題目

Plant and Animal Life of the Pacific Islands

太平洋物種多樣性。有關太平洋群島上的物種, 給了一幅圖影響群島上的物種的因素有land size、經度(越東越isolated species越少)、緯度(緯度高的不易有tropical plants)、wind，wind獨立一段討論。之后又說一些islands雖然isolated，但是形成了周游本島才能生存的物種。舉了一個例子是新西蘭。后來講了這些物種的幾個特點，有題問哪個特點是沒有提到。

新托福真題（14）

金三角一：對于詞匯量的要求較為嚴格

從某種意義上來講，你積累的英語詞匯量的多少，影響著你在托福閱讀考試中取得的成績。如果說你具備的詞匯量達不到最基本的要求，即使你的語言能力再強也過不了托福難關。

金三角二：閱讀大量英語文章，增加自己的知識面

當一個人知道的東西多了后，在面臨問題時，就會顯得更有自信，解決問題也會有自己的路子。這樣方式在托福閱讀考試能力訓練中也同樣適用，建議考生利用業余時間豐富自己的知識面，對各國或各地區等相關文化及常識有一定了解后。

金三角三：注意解題要領，無需閱讀全篇文章

考生在解答托福閱讀試題時往往會存在一定的誤區，認為想要解答試題必須要閱讀整片文章。提醒各位，這種理念是錯誤的。閱讀文章的做種目的還不就是為了解答試題?只要能夠準確的解答試題，不完全閱讀文章頁是可以的，有沒有人會問你，全篇文章的詳細內容，所以說，閱讀時要秉著做題去閱讀，而不是為了閱讀而去閱讀。

新托福真題（15）

一、列舉和并列句

列舉指的是： First, Second, Third,.。。等逐條列出。并列句是指：A ，B and C，即逐項列出。它們共同的特征是列出二點或三點以上的條目。該類型語言點常考的題型是“細節性問題”，主要有兩種：

Which 題型

該題型只要求從并列的三頂中選一項作為答案，其它條目與題目無關。在這種情況下，往往題目的答案出自最后一個選項。

2 . EXCEPT 題型

該題型俗稱“三缺一”題型，即題目 4 個選項中有三個符合文章內容，剩下一個不符合，題目便是要求選出這個不符合文章內容的選項。

例如： All of the following are mentioned as types of evidence concerning handedness EXCEPT 這種題型只適合于考并列、列舉句，這是因為它要求其三個選項一定是文章中出現的，也就是并列或列舉之處。利用這一特點。我們在讀文章的時候就可多留意，如 看到并列、列舉句，可預想其有可能被考到;如發現題目中有“三缺一”題型，則應到并列、列舉處找答案。

二、否定及轉折句

否定句是指帶有 NO 或 NOT ， NEVER 等否定詞的句子，而轉折句則指帶有 HOWEVER ， BUT 或RATHER 等關聯詞引導的句子，它們可以用下面的句型說明： A is not B ， as C ， but is D 。對于以上的句型常出“推斷性問題”。

三、舉例句

句中由 as 或 such as ， for example 等引導的短語或句子為舉例句，常考“推斷性問題”和“細節性問題”。上面句型中的 as C 為插入的舉例句。

四、數字與年代

文中的數字、年代、日期等常常是出題者注意的考題點，如 1996 年 10 月第 48 題。

五、最高級及絕對性詞匯

文章中若出現 must ， all ， only ， anyone ， always ， never 等絕對性詞匯或 first ， most beautiful 等最高級詞匯，往往是考題要點，一般出“細節性題目”。這是因為它們都有一個共同的特點，那就是 概念絕對 ， 答案唯一 ，無論是出題還是做題，不會產出歧義和疑問，因此很容易出題，答案絕對正確。相反地，如果文章中出現相對性的詞匯、例如 Some of the people chose red hats,some chose green hats,and others blue 其中 some 為相對性詞匯，如果我們出這樣一道題： What color hats did some people choose 那么就沒有唯一正確的答案，因為有可能為 red,green 或 blue ，給評卷帶來困難。

六、比較級及比喻

如果文中含有 more than 或 as as ，like ( a fly )等句型，則為比較級或比喻句結構，往往也是考題點，一般出“推斷性題目”。

七、同位語及插入語

文章中帶有由 that is ， ，or 等詞匯引導的名詞詞組，放在一個名詞后面，為同位語;插入語是指副詞、不定式、分詞、從句等結構故在句首，句中或句尾，不做句子成分，但修飾整個句子、表 達作者感情的語法結構。 這些用逗號隔開的持殊結構往往也是考查的重點，一般會出“細節性題目”。

八、因果句

句中若有如下結構或詞匯的稱為因果句：

(1) 因果連詞：because，since，for，as，therefore，so，consequently 等,

(2)表示因果的動詞：cause ，result in ，originate from 等;

(3) 表示因果的名詞： base, basis, result,consequence 等，這些因果句都是指明某兩個事件之間因果關系的，尤為出題者所青陳。因為通過出題可以考查文中兩個事件內在的因果關系。此種句型一般出“推斷性問題”。

九、段落句

文章各段第一句( 段首句 )和末段員后一句( 文尾句 )都是十分重要的地方，往往是文章作者表達中思想，進行總結綜述的地方，因此常出。

(1)主題性問題，(2)細節性問題(3)結構性問題。

十、特殊標點

有一些特殊標點的含義也屬于考查范圍，它們是：

(1) 破折號，表示解釋。考細節性問題;

(2) 括號，表示解釋。考細節性問題;

(3) 冒號，一股同上，有時冒號也表示列舉，則考“ EXCEPT ”題目;

(4) 引號。表示引用，考細節性問題：

(5) 驚嘆號，表示作者感情，考態度性問題。

新托福閱讀真題解析 題目：熱帶雨林生物多樣性相關

新托福真題（16）

The end of the nineteenth century and the early years of the twentieth century were marked by the development of an international Art Nouveau style, characterized by sinuous lines, floral and vegetable motifs, and soft evanescent The Art Nouveau style was an eclectic one, bringing together elements of Japanese art, motifs of ancient cultures, and natural The glass objects of this style were elegant in outline, although often deliberately distorted, with pale or iridescent A favored device of the style was to imitate the iridescent surface seen on ancient glass that had been Much of the Art Nouveau glass produced during the years of its greatest popularity had been generically termed "art " Art glass was intended for decorative purposes and relied for its effect upon carefully chosen color combinations and innovative

France produced a number of outstanding exponents of the Art Nouveau style; among the most celebrated was Emile Galle (1846-1904). In the United States, Louis Comfort Tiffany (1843-1933) was the most noted exponent of this style, producing a great variety of glass forms and surfaces, which were widely copied in their time and are highly prized Tiffany was a brilliant designer, successfully combining ancient Egyptian, Japanese, and Persian

The Art Nouveau style was a major force in the decorative arts from 1895 until 1915, although its influence continued throughout the mid-1920' It was eventually to be overtaken by a new school of thought known as Functionalism that had been present since the turn of the At first restricted to a small avant-garde group of architects and designers, Functionalism emerged as the dominant influence upon designers after the First World The basic tenet of the movement — that function should determine form — was not a new Soon a distinct aesthetic code evolved: form should be simple, surfaces plain, and any ornament should be based on geometric This new design concept, coupled with the sharp postwar reactions to the styles and conventions of the preceding decades, created an entirely new public taste which caused Art Nouveau types of glass to fall out of The new taste demanded dramatic effects of contrast, stark outline and complex textural

題型：

What does paragraph 1 mainly discuss?

(A) Design elements in the Art Nouveau style

(B) The popularity of theArt Nouveau style

(C) Production techniques for art glass

(D) Color combinations typical of the Art Nouveau style

The word "one" in line 4 refers to

(A) century

(B) development

(C) style

(D) coloration

Paragraph 1 mentions that Art Nouveau glass was sometimes similar to which aspect of ancient buried glass?

(A) The distortion of the glass

(B) The appearance of the glass surface

(C) The shapes of the glass objects

(D) The size of the glass objects

What is the main purpose of paragraph 2?

(A) to compare different Art Nouveau styles

(B) to give examples of famous Art Nouveau artists

(C) to explain why Art Nouveau glass was so popular in the United States

(D) to show the impact Art Nouveau had on other cultures around the world

The word "prized" in line 16 is closest in meaning to

(A) valued

(B) universal

(C) uncommon

(D) preserved

The word "overtaken" in line 20 is closest in meaning to

(A) surpassed

(B) inclined

(C) expressed

(D) applied

What does the author mean by stating that "function should determine form" (lines 23-24)?

(A)A useful object should not be

(B) The purpose of an object should influence its

(C) The design of an object is considered more significant than its

(D) The form of an object should not include decorative

It can be inferred from the passage that one reason Functionalism became popular was that it

(A) clearly distinguished between art and design

(B) appealed to people who liked complex painted designs

(C) reflected a common desire to break from the past

(D) was easily interpreted by the general public

Paragraph 3 supports which of the following statements about Functionalism?

(A) Its design concept avoided geometric

(B) It started on a small scale and then spread

(C) It was a major force in the decorative arts before the First World

(D) It was not attractive to architects and

to the passage , an object made in the Art Nouveau style would most likely include

(A) a flowered design

(B) bright colors

(C) modern symbols

(D) a textured surface

回答：ACBBA ABCBA

新托福真題（17）

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 It had characteristically soft, curved sides--one of the primary features of anything identifiable as a guitar or The Greeks also produced a similar instrument which was later modified by the Romans, though both versions appear to have lacked the curved What is interesting here is that it seems this Roman cithara appeared in Hispania (now known as Spain) centuries before the Moorish

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 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 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

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 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 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

In the late 1400's, the visual was born by adding doubled strings and increasing its It was a large plucked instrument with a long neck (vibrating string length: 72 to 79 cm) with ten or eleven frets and six 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

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

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 These struts were added for structural support to allow thinning of the top for greater resonance and for better distribution of sound across the 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 (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 ) These guitars would be unmistakably recognized by us as early classical

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 By 1850, the guitar was prepared for its most important breakthrough since its inception, the work of Antonio Torres 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 He increased the body size and the width of the neck These improvements allowed for greater volume and bass response as well as the development of a left hand technique for richer The guitar was now prepared for the demands of the solo performer and the concert

Although there have been continued developments since the middle 1800's, our modern guitar retains most of what was developed nearly 150 years 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!

新托福真題（18）

吉他的history

根據格羅夫(Grove)音樂辭典記載，古典吉他為魯特琴族(Lute family)中具有琴格的撥弦樂器。關于吉他起源及其形成之研究，可說是眾說紛紜﹔這些理論包括了：

從古希臘齊特琴(Kithara)及吉他之語源學說(Etymology)中研究得來。

部分學者推論認為吉他是從美索不達米亞(Mesopotamia)， 及安娜多利亞(Anatolia)發現的長頸魯特琴(Lute)所演變而來。

另一部分學者研究發現吉他是由阿拉伯傳入歐洲，因為在埃及發現平扁琴背之哥普魯特琴(Coptic Lute)，或可認為是吉他的前身。由于以上大部分均為推論，且早期音樂文獻多半失散，以至于在缺乏直接證據的狀況下，目前對于吉他真正的起源尚未形成定論，只能從非古典吉他及其他音樂歷史文獻中尋找可靠而相關的蛛絲馬跡。

在中世紀文學中出現和吉他有關的樂器名稱，法國稱之為Interne，英國則是gesturer。法國諾曼底公爵(Duke of Normandy)所擁有樂師名單中，有赫特馬(Jean Haut mar)彈奏Gutierrez Latina及拉貝(Richard Labe)彈奏Gutierrez Porsche等古吉他琴族樂器之記載。馬肅(Guillaume de Mac haut)亦列出Moriches et Gutierrez為魯特琴族之一。由于當時古吉他琴族中的拉丁吉他Guitars Latina，吉他Gutierrez及摩爾吉他uiterreMoresche等音量不能和魯特琴相抗衡，因此在歐洲大陸吉他無法廣為流傳，直到文藝復興時期西班牙出現了比維拉琴(Visual)及四弦吉他(Four-Course Guitar)之后，吉他的地位才開始奠定了雛形。

一般稱古典吉他為西班牙吉他，因為從16世紀以后，比維拉琴及四弦吉他首先在伊比利半島上萌芽發展，隨后才發展成巴羅克時期五弦吉他，六弦吉他，最后六弦吉他亦在西班牙境內孕育出吉他第一黃金時期，到了現代古典吉他大師塞戈維亞(Andres Segovia)手中，更進一步將古典吉他藝朮推廣到歐洲之外的亞洲及美洲，形成古典吉他史上的第二黃金期。在古典吉他的演變時期中，雖然也正是音樂史上巴羅克、古典、浪漫時期，器樂己成為主流﹔然而當時吉他卻因為無法和交響樂團整體音量匹敵，加上其本身之特殊風格，與樂團樂器之配置有所隔閡，因此成為一獨奏樂器。

至于六弦吉他的出現，雖然大部分學者均相信是在法國以及義大利所開始，但卻沒有任何當代文獻證明是由誰最早開始制作。反而有一位德國的小提琴與吉他制琴家雅寇﹒奧古斯特。奧圖(Jacob Augustus Otto)自稱是他在接受了德勒司登的樂團指揮紐曼先生(Herr Neumann)的一張六弦吉他訂單之后，特別為他所設計制造的。這似乎表示六弦吉他是在德國首先出現的，但是有件事絕對不能忽略，這位制琴師奧圖早年均在義大利學習制琴，很有可能當時他就已經在學習過程中見過這種吉他的雛形了。至于西班牙采用六弦吉他的起源，雖然沒有書面的記載，但一般相信大約在1820年左右，因為著名的西班牙吉他作曲家兼演奏家阿瓜多(Dionysius Agued)為六弦吉他所寫的教本于1825年在馬德里出版，足以證明在此之前，六弦吉他已經有部分人開始使用，所以才會需要這樣的教本。 在18世紀末至19世紀初，六弦吉他的發展也逐漸產生一些較為常見的特征，例如由于琴身上下較寬部分又加寬了些，使得曲線更為明顯﹔琴橋固定琴弦的方式是將弦纏在本制插梢上，再插入琴橋上預先挖好的六個小孔中加以固定，取代了這之前直接纏繞在琴橋上的設計﹔到了19世紀早期，在琴橋又加上了狹長的骨片或象牙片，作為下弦枕。此外，指板也繼續延伸到音孔旁。雖然無法查證何時開始采用這種設計，但可以將其歸功于一位德籍制琴家喬治﹒史道弗(George Stauffer)，值得注意的是，他也是后來移民至美國紐約，并成為美國制琴工業先驅的著名制琴師馬汀(Christian Friedrich Martin)的老師。馬汀后來在美國研究發展出本土的鋼弦吉他，也就是現在流行音樂界所廣為使用的民謠吉他鼻祖，有別于當時在歐洲仍采用的羊腸弦吉他。

19世紀早期，吉他形狀漸漸改變發展成接近現代吉他的外觀：金屬弦紐取代木制紐頭﹔挖空的音孔取代玫瑰紋飾的音孔﹔琴橋提高了﹔扁平的背板變成標準形式﹔第十二琴格對準琴頸和音箱聯結處，此外，華麗的裝飾也幾乎完全消失了。在這名家輩出的時代，必須提到這位被稱為近代吉他制作之父的著名人物，西班牙制琴師安東尼奧﹒托雷斯(Antonio de Torres Jordon, 1817～1892)。他所設計出的吉他新形式，可說是凌駕于在這之前所有形態的吉他。他將弦長定為65公分，琴身內部構造以響孔為起點，在音箱內部配置有七根扇形力木，并將原本較為窄小的琴身擴大，這種設計大大地提高吉他的音響效果，引起各著名制琴師的仿效，成為現代古典吉他的制作典范。