托福閱讀題型講解：復(fù)述題
托福閱讀的復(fù)述題又該怎么做呢？為了幫助大家解答這一類問題，下面小編給大家?guī)硗懈ｉ喿x題型講解：復(fù)述題，希望對(duì)大家有所幫助！
托福閱讀題型講解：復(fù)述題
托福閱讀復(fù)述題
Essential(1+2+3)=一個(gè)句子的邏輯
邏輯連接詞(次在選項(xiàng)中會(huì)被同義替換，但關(guān)系不變)
(1)表示轉(zhuǎn)接：
a.轉(zhuǎn)折:前后一次相反 yet/however/whereas/while 代表前后內(nèi)容不一致(注：A+轉(zhuǎn)折+B<強(qiáng)調(diào)的是B>)
b.讓步：although/even though/ even if/in spite of/ despite(although +A+B<強(qiáng)調(diào)B>;A<強(qiáng)調(diào)A>+ although +B )
(2)可互換：
a.因果：because/result in/lead to/for/as/ since/ thus/therefore/hence/consequently 要關(guān)注原因和結(jié)果分別是什么
b.并列：and/as well as/both/or
c.順接遞進(jìn)：further more/moreover
d.總分、舉例：for example/such as/like/considering/including
含有邏輯意味的動(dòng)詞 stimulate，spark，trigger，cause，make，reason，have begin with， then
注：時(shí)間上的先后順序=因果順序
結(jié)論(優(yōu)缺點(diǎn))
Inessential：
例子(觀點(diǎn)仍是essential的) 動(dòng)作的程度(動(dòng)作仍是essential的)
加入沒有任何線索或以上信息，把所有修飾成分去掉，回歸到主謂賓，主干相似就是答案。
去that which 去形容詞、副詞 去介詞詞組
新托福閱讀背景知識(shí)：爵士樂的根源
The roots of jazz
The folk songs and plantation dance music of black Americans contributed much to early jazz. These forms of music occurred throughout the Southern United States during the late 1800's.
Ragtime, a musical style that influenced early jazz, emerged from the St. Louis, Mo., area in the late 1890's. It quickly became the most popular music style in the United States. Ragtime was an energetic and syncopated variety of music, primarily for the piano, that emphasized formal composition.
The blues is a form of music that has always been an important part of jazz. The blues was especially widespread in the American South. Its mournful scale and simple repeated harmonies helped shape the character of jazz. Jazz instrumentalists have long exploited the blues as a vehicle for improvisation.
新托福閱讀背景知識(shí)：Early jazz
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.
新托福閱讀背景知識(shí)：Boogie-woogie
Boogie-woogie
Boogie-woogie was another jazz form that became popular during the 1930's. Chiefly a piano style, it used eight beats to the bar instead of four. Boogie-woogie featured the traditional blues pattern for most themes. The music had an intense quality that created excitement through the repetition of a single phrase. Albert Ammos, Pete Johnson, Meade Lox Lewis, and Pinetop Smith were among its most important artists.
Jazz vocalists came into prominence during the swing era, many singing with big bands. Many fine jazz singers emphasized popular songs. These singers included Mildred Bailey, Ella Fitzgerald, Billie Holiday, Nat "King" Cole, Carmen McRae, and Sarah Vaughan. Blues singing at its best can be heard in recordings by Jimmy Rushing, Jack Teagarden, Joe Turner, and Dinah Washington. In addition to singing, Nat "King" Cole was a superb jazz pianist and Jack Teagarden was a great jazz trombonist. See also Special Reports: Ella Fitzgerald: First Lady of Song.
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