托福听力备考经验分享

若水1147由分享时间：2020-08-23 16:04:43

托福听力备考经验分享,从4到23的华丽蜕变，今天小编给大家带来托福听力备考经验分享，下面小编就和大家分享，来欣赏一下吧。

托福听力备考经验分享丨从4到23的华丽蜕变

背景为高三党，万恶苦逼的高三党啊!一共考了四次：

13年10月20日：16+4+17+16=53(是的没错，你没看错，听力确实就只有4分!)

14年5月25日：21+16+18+24=79

14年9月14日：26+19+20+24=89

14年12月6日：27+23+20+25=95

这里分享一下我托福听力从4分到16分再到23分的逆袭经历。像听力4分这样子要不就是数据传输的时候出了问题，要不就是真的听力够差。我一定是属于后者的…反正我记得我裸考的时候真的是毛都没挨到，也不知道加试是什么。就感觉一直在听，根本停不下来的节奏啊!

从4分到16分，我一开始就听的是官方真题Official听力，听完一遍以后做题，做完题就听写。每句要听5遍差不多才能听出来，而且有的时候是几个单词一断。当时lecture和conversation都会做笔记，而且是听到什么就记什么，像什么哪个哪个teacher啊，数字啊，甚至是about这种简单词也会记。后来事实证明这种做笔记的方法是绝对错误的。二战的时候也恶心到我了，我以为一篇lecture是经典加试，所以很欢乐的在剥手!结果看到题目的时候华丽丽地跪了。

从16到23分这样子，其实一直做的就是精听。同样是在暑假的时候，开始再次准备托福。听力一开始也意识到自己的水平实在太low，乖乖地就先听写了40篇老托。后来发现老托略简单，直接听也能知道professor在说什么，就开始转战精听官方真题Official了。精听也懒啊TTT做完了题以后精听几遍还要看心情。心情好就不怎么听了，心情不好就听了2-3遍，然后同时拨拨手指啊，想点心事，打个瞌睡啊，反正就是走神。所以别学我，我是反例。9月开学以后，我只能每天晚上练听力，听力已经对于我来说是重中之重，晚上要专门花2个半小时听，白天没事的时候也会挂个耳机在耳朵上(其实我觉得白天这样子没什么用)。一到晚上8点15，准时要睡个15分钟再起来继续听。听力绝对对于这种白天在学校苦受老师折磨，身心俱疲的人是催眠剂啊!

我试过各种论坛里大神们说过的方法，加速多少多少倍啊，又是读几十几十遍啊，后期的时候听sss啊。或许这些方法对大神们挺有用的，不得不说在我身上收益甚微。

加速：第一太麻烦，不知道是不是人蠢。总之我在aboboo里面找不到大多数官方真题Official听力的音频和文本，所以太懒也不愿意再去下一个再播放。第二不得不说听完加速以后再听原速的很爽，但是原速的总让我觉得慢得有点奇怪，好想让他说快一点。

跟读：有看到很多人说过，一旦跟上了professor，你就能听懂很多，也会适应她的语速。这是对的，但是，第一浪费时间，读多了没那么多时间，读少了又没什么作用，效率太低。第二，我在我身上看到的作用是嘴皮子变快了好多而已。对听力帮助不是特别大。

SSS：这种大神听力，我这种小渣渣是高攀不起的唉。

做笔记方法

我的方法是conversation不记，因为一记就会漏掉很多东西。反正就那么3分钟，也不会走神到哪里去。Lecture会做笔记，但是是有目标地去做。在professor的信号词出现后，就会狂记不已。当然，还是以听为主。平时精听，听清楚每一个句子，连接词。也要分析出题点，这样就能找到信号词。像什么pro加重语气，提出一个新term，转折，下结论。这些都是很重要的，如果在听的时候就知道这是重点的话，就不会毫无方向。

托福阅读真题原题+题目

The term folk song has been current for over a hundred years, but there is still a good deal of disagreement as to what it actually means. The definition provided by the International Folk Music Council states that folk music is the music of ordinary people, which is passed on from person to person by being listened to rather than learned from the printed page. Other factors that help shape a folk song include: continuity (many performances over a number of years); variation (changes in words and melodies either through artistic interpretation or failure of memory); and selection (the acceptance of a song by the community in which it evolves).

When songs have been subjected to these processes their origin is usually impossible to trace. For instance, if a farm laborer were to make up a song and sing it to a-couple of friends who like it and memorize it, possibly when the friends come to sing it themselves one of them might forget some of the words and make up new ones to fill the gap, while the other, perhaps more artistic, might add a few decorative touches to the tune and improve a couple of lines of text. If this happened a few times there would be many different versions, the song's original composer would be forgotten, and the song would become common property. This constant reshaping and re-creation is the essence of folk music. Consequently, modem popular songs and other published music, even though widely sung by people who are not professional musicians, are not considered folk music. The music and words have been set by a printed or recorded source, limiting scope for further artistic creation. These songs' origins cannot be disguised and therefore they belong primarily to the composer and not to a community.

The ideal situation for the creation of folk music is an isolated rural community. In such a setting folk songs and dances have a special purpose at every stage in a person's life, from childhood to death. Epic tales of heroic deeds, seasonal songs relating to calendar events, and occupational songs are also likely to be sung.

1. What does the passage mainly discuss?

(A) Themes commonly found in folk music

(B) Elements that define folk music

(D) The standards of the International Folk Music Council

2. Which of the following statements about the term folk song is supported by the passage ?

(A) It has been used for several centuries.

(B) The International Folk Music Council invented it.

(D) There is disagreement about its meaning.

3. The word it in line 8 refers to

(A) community

(B) song

(D) memory

4. Which of the following is NOT mentioned in the passage as a characteristic of the typical folk

song?

(A) It is constantly changing over time.

(B) It is passed on to other people by being performed.

(D) It appeals to many people.

5. The word subjected in line 9 is closest in meaning to

(A) reduced

(B) modified

(D) imitated

6. The author mentions the farm laborer and his friends (lines 10-14) in order to do which of the

following?

(A) Explain how a folk song evolves over time

(B) Illustrate the importance of music to rural workers

(D) Demonstrate how a community, chooses a folk song

7. According to the passage , why would the original composers of folk songs be forgotten?

(A) Audiences prefer songs composed by professional musicians.

(B) Singers dislike the decorative touches in folk song tunes.

(D) Folk songs are not considered an important form of music.

8. The word essence in line 16 is closest in meaning to

(A) basic nature

(B) growing importance

(D) first phase

9. The author mentions that published music is not considered to be folk music because

(A) the original composer can be easily identified

(B) the songs attract only the young people in a community

(D) the composers write the music in rural communities

托福阅读真题原题+题目

Often enough the craft worker's place of employment in ancient Greece was set in rural isolation. Potter, for instance, found it convenient to locate their workshops near their source of clay, regardless of its relation to the center of settlement. At Corinth and Athens, however, two of the best-known potters' quarters were situated on the cities' outskirts, and potters and makers of terra-cotta figurines were also established well within the city of Athens itself. The techniques of pottery manufacture had evolved well before the Greek period, but marked stylistic developments occurred in shape and in decoration, for example, in the interplay of black and other glazes with the red surface of the fired pot. Athenian black-figure and red-figure decoration, which emphasized human figures rather than animal images, was adopted between 630 and 530 B.C.; its distinctive color and luster were the result of the skillful adjustments of the kiln's temperature during an extended three-stage period if firing the clayware. Whether it was the potters or the vase-painters who initiated changes in firing is unclear, the functions of making and decorating were usually divided between them, but neither group can have been so specialized that they did not share in the concerns of the other.

The broad utility of terra-cotta was such that workers in clay could generally afford to confine themselves to either decorated ware and housewares like cooking pots and storage jars or building materials like roof tiles and drainpipes. Some sixth- and fifth-century B.C. Athenian pottery establishments are known to have concentrated on a limited range of fine ware, but a rural pottery establishment on the island of Thasos produced many types of pottery and roof tiles too, presumably to meet local demand. Molds were used to create particular effects for some products, such as relief-decorated vessels and figurines; for other products such as roof tiles, which were in some quantity, they were used to facilitate mass production. There were also a number of poor-quality figurines and painted pots produced in quantity by easy, inexpensive means — as numerous featureless statuettes and unattractive cases testify.

1. The passage mainly discusses ancient Greek pottery and its

(A) production techniques

(B) similarity to other crafts

(D) resemblance to earlier pottery

2. The phrase regardless of in line 3 is closest in meaning to

(A) as a result of

(B) no matter what

(D) according to

3. It can be inferred from the passage that most pottery establishments in ancient Greece were

situated

(A) in city centers

(B) on the outskirts of cities