托福阅读最后一题怎么评分汇总.docx

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1、托福阅读最后一题怎么评分托福阅读最终一题怎么评分 托福阅读最终一题中的六选三满分分值为2分，选对2个得一分，选对一个不得分。 七选五题目满分为3分，选对4个得2分，选对3个得一分，选对两个和两个以下不得分。 托福阅读最终一题技巧： 1.利用细微环节进行解除，那么正确答案就不会很远了。 2.托福阅读的时候做好笔记，理清晰文章思路，整理好所排列出来的论点论据，多留意转折词后边的内容。 3.在阅读的时候建议考生可以跳过首段，首段多为交代背景，而最终一题更多的是有关分话题的内容。重点阅读每段首句，并且划分话题的组成段落。 4.依据自己所选的关键词提取出关键词，然后再找答案。 托福阅读背景：流星与流星雨

2、 什么是流星?外空间的尘埃颗粒闯入地球大气，与大气摩擦，产生大量热，从而使尘埃颗粒气化。在该过程中发光形成流星。尘埃颗粒叫做流星体。 大小在狮子座流星雨中，一颗5等流星通常仅由一个0.00006克、直径0.5毫米的流星体产生。狮子座流星雨中的可见流星的大部分流星，体直径在1毫米到1厘米之间。 速度一个微小的流星体就足以产生在几百公里之外就能望见的亮光，其缘由就在于流星体的高速度。在刚进入地球大气层时狮子座流星雨中流星体的速度可达71公里/每秒。 光之来源当流星体闯入地球大气时，它与大量的空气分子相碰撞，使颗粒的外层微粒被撞离母体。在碰撞的过程中，一些空气分子发生电离。当被离解的电子再次被原子俘

3、获时便会产生发光现象。 流星的颜色大部分的狮子座流星颜色，像钠灯燃烧时的色调。一个流星的颜色是流星体的化学成分及反应温度的体现：钠原子发出橘黄色的光，铁为黄色，镁是蓝绿色，钙为紫色，硅是红色。 声音流星通常不会发出可以听见的声音。假如你没有看到它的话，它就会悄无声息的一扫而过。对于特别亮的流星，曾经有人听到过声音。这些声响主要集中在低频波段。一个特别亮的流星，如火流星，可能会听到声音。假如流星体的直径大于大气分子的平均自由程，则在流星体的前边会产生大量的激波。偶然状况下，这些激波会深化到大气的底层从而被我们听到。听起来像远处发出的隆隆声。 长久余迹流星有时会在它通过的轨道上留下一条长久的余迹。

4、余迹主体颜色多为绿色，是中性的氧原子。持续时间通常为1到10秒。可见余迹亮度快速下降，在极限星等为4到5等的状况下，一般可持续1到30分钟。这些亮光来自炙热空气和流星体中的金属原子。 火流星质量较大的流星体，有机会造成火流星，亮度至少比金星(-4等星)亮，出现时间可持续23秒。有时火流星可接近至地表一、二十公里处才消逝，我们可听到火流星发出的声音 流星雨 在一年中的某些天，可以看到大量的流星从同一个天区划落下来。这就是流星雨。狮子座流星雨就是其中之一。 辐射点流星雨中的全部流星仿佛是从天空同一处散开的，这点就称为辐射点。狮子座流星雨的辐射点位于狮子座。辐射点是一种透视效果。流星从一个观测者的前

5、后左右扫过天空，然而它们的反向延长线交汇一处，即辐射点。 流星雨从何而来流星雨是由于彗星的破裂而形成的。狮子座流星雨的流星体与坦普尔-塔特尔彗星的轨道相同，所以一般认为坦普尔-塔特尔彗星是狮子座流星雨的母体。 流星体因何离开母彗星彗星主要由冰和尘埃组成。当彗星渐渐靠近太阳时，冰气化，使尘埃颗粒像喷泉之水一样，被喷出母体而进入彗星轨道。 彗尾大颗粒仍保留在母彗星的四周形成尘埃彗发;小颗粒被太阳的辐射压力吹散，形成彗尾。剩余物质接着留在彗星轨道旁边。然而即使是小的喷发速度，也会引起微粒公转周期的很大不同。因此，在下次彗星回来时，小微粒将滞后母体，而大颗粒将超前于母体。当地球穿过尘埃尾轨道时，我们就

6、有机会看到流星雨。 流星雨活动性位于彗星轨道的尘埃粒子云被称为“流星体群”。当流星体颗粒刚从彗星喷出时，它们的分布是比较规则的。由于大行星引力的作用，这些颗粒便渐渐散布于整个彗星轨道。目前，这个过程还不是非常清晰。在地球穿过流星体群时，各种形式的流星雨就有可能发生了。 周期性的流星雨每年地球都要穿过很多彗星的轨道。假如轨道上存在流星体颗粒，便会发生周期性的流星雨。大部分年份，狮子座流星雨的数量都不是很大。坦普尔-塔特尔彗星的回来周期是33.2年。当它运行到近日点时，地球穿过它的轨道就有可能发生大规模的流星暴雨。 近彗型流星雨当只有母彗星运行到近日点时才发生的流星雨，称为近彗型流星雨。这说明流星

7、体群仍在彗星旁边。周期在几百年以内的彗星所形成的流星雨多为该类型。如狮子座流星雨。 远彗型流星雨由于行星的引力摄动作用，长周期彗星的流星体群可能与母彗星相差甚远。在母彗星不在近日点时也有可能发生流星雨，这种流星雨便是远彗型流星雨。如Lyrid就是这种。这种流星雨很难预报 流星暴雨当每小时出现的流星超过1000颗时，我们称为流星暴雨。当然，流星雨和流星暴雨之间并没有严格的界限 托福阅读背景：A Brief History of the Guitar There is evidence that a four string, guitar-like instrument was played by

8、 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,

9、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

10、ud 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 ud influenced the development of the guitar it is not the true ancestor. According to this theory, the Spanish guitar derived from the tanbur of

11、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 ud must have mixed and exerted mutual influences on one another for many centuries. Although there is no specific documentation, it

12、is likely that makers of uds and citharas 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 guitarra morisca (Moorish guitar) which had a rounded back, wide fingerboard and several soundhol

13、es, and the guitarra latina (Latin guitar) which resembled the modern guitar with one soundhole and a narrower neck. In the late 1400's, the vihuela 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 c

14、m) with ten or eleven frets and six courses. It was the vihuela 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 pe

15、riod, the vihuela 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 vihuela was slowly replaced by the four and five course guitars (which had seven and nine strings respectively: one single high string,

16、 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 beginni

17、ng 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 inclu

18、ded 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 sou

19、ndboard 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 Guiterrez from Spain and other European makers in

20、cluding Rene Lacote, and Johann Staufer, 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 Jurado. With the encouragement of Julian Arcas and his own brilliant intuition

21、s, 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 te

22、chnique 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 re

23、ached 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! 托福阅读背景：Lava Lava is magma that breaks the sur

24、face and erupts from a volcano. If the magma is very fluid, it flows rapidly down the volcanos slopes. Lava that is more sticky and less fluid moves slower. Lava flows that have a continuous, smooth, ropy, or billowy surface are called pahoehoe (pronounced pah HOH ee hoh ee) flows; while a a (pronou

25、nced ah ah) flows have a jagged surface composed of loose, irregularly shaped lava chunks. Once cooled, pahoehoe forms smooth rocks, while a a forms jagged rocks. The words pahoehoe and a a are Hawaiian terms that describe the texture of the lava. Lava may also be described in terms of its compositi

26、on and the type of rock it forms. Basalt, andesite, dacite, and rhyolite are all different kinds of rock that form from lava. Each type of rock, and the lava from which it forms, contains a different amount of the compound silicon dioxide. Basaltic lava has the least amount of silicon dioxide, andesitic and dacitic lava have medium levels of silicon dioxide, while rhyolitic lava has the most. 托福阅读最终一题怎么评分