托福閱讀最后一題怎么評(píng)分
托福閱讀最后一題是托福閱讀考試中分值較高的一部分，所以考生對(duì)于托福閱讀最后一道題一定要盡力做好，否則會(huì)很大程度上影響托?？荚嚦煽?jī)。那么首先我們要了解清楚托福閱讀最后一題是怎么算分的。
托福閱讀最后一題怎么評(píng)分
托福閱讀最后一題中的六選三滿分分值為2分，選對(duì)2個(gè)得一分，選對(duì)一個(gè)不得分。
七選五題目滿分為3分，選對(duì)4個(gè)得2分，選對(duì)3個(gè)得一分，選對(duì)兩個(gè)和兩個(gè)以下不得分。
托福閱讀最后一題技巧：
1.利用細(xì)節(jié)進(jìn)行排除，那么正確答案就不會(huì)很遠(yuǎn)了。
2.托福閱讀的時(shí)候做好筆記，理清楚文章思路，整理好所羅列出來(lái)的論點(diǎn)論據(jù)，多注意轉(zhuǎn)折詞后邊的內(nèi)容。
3.在閱讀的時(shí)候建議考生可以跳過(guò)首段，首段多為交代背景，而最后一題更多的是有關(guān)分話題的內(nèi)容。重點(diǎn)閱讀每段首句，并且劃分話題的組成段落。
4.根據(jù)自己所選的關(guān)鍵詞提取出關(guān)鍵詞，然后再找答案。
托福閱讀背景：流星與流星雨
什么是流星?外空間的塵埃顆粒闖入地球大氣，與大氣摩擦，產(chǎn)生大量熱，從而使塵埃顆粒氣化。在該過(guò)程中發(fā)光形成流星。塵埃顆粒叫做流星體。
大小 在獅子座流星雨中，一顆5等流星通常僅由一個(gè)0.00006克、直徑0.5毫米的流星體產(chǎn)生。獅子座流星雨中的可見(jiàn)流星的大部分流星，體直徑在1毫米到1厘米之間。
速度 一個(gè)微小的流星體就足以產(chǎn)生在幾百公里之外就能看見(jiàn)的亮光，其原因就在于流星體的高速度。在剛進(jìn)入地球大氣層時(shí)獅子座流星雨中流星體的速度可達(dá)71公里/每秒。
光之來(lái)源 當(dāng)流星體闖入地球大氣時(shí)，它與大量的空氣分子相碰撞，使顆粒的外層微粒被撞離母體。在碰撞的過(guò)程中，一些空氣分子發(fā)生電離。當(dāng)被離解的電子再次被原子俘獲時(shí)便會(huì)產(chǎn)生發(fā)光現(xiàn)象。
流星的顏色 大部分的獅子座流星顏色，像鈉燈燃燒時(shí)的色彩。一個(gè)流星的顏色是流星體的化學(xué)成分及反應(yīng)溫度的體現(xiàn)：鈉原子發(fā)出橘黃色的光，鐵為黃色，鎂是藍(lán)綠色，鈣為紫色，硅是紅色。
聲音 流星通常不會(huì)發(fā)出可以聽(tīng)見(jiàn)的聲音。如果你沒(méi)有看到它的話，它就會(huì)悄無(wú)聲息的一掃而過(guò)。對(duì)于非常亮的流星，曾經(jīng)有人聽(tīng)到過(guò)聲音。這些聲響主要集中在低頻波段。一個(gè)非常亮的流星，如火流星，可能會(huì)聽(tīng)到聲音。如果流星體的直徑大于大氣分子的平均自由程，則在流星體的前邊會(huì)產(chǎn)生大量的激波。偶然情況下，這些激波會(huì)深入到大氣的底層從而被我們聽(tīng)到。聽(tīng)起來(lái)像遠(yuǎn)處發(fā)出的隆隆聲。
持久余跡 流星有時(shí)會(huì)在它通過(guò)的軌道上留下一條持久的余跡。余跡主體顏色多為綠色，是中性的氧原子。持續(xù)時(shí)間通常為1到10秒?？梢?jiàn)余跡亮度迅速下降，在極限星等為4到5等的情況下，一般可持續(xù)1到30分鐘。這些亮光來(lái)自熾熱空氣和流星體中的金屬原子。
火流星 質(zhì)量較大的流星體，有機(jī)會(huì)造成火流星，亮度至少比金星(-4等星)亮，出現(xiàn)時(shí)間可持續(xù)2~3秒。有時(shí)火流星可接近至地表一、二十公里處才消失，我們可聽(tīng)到火流星發(fā)出的聲音
流星雨 在一年中的某些天，可以看到大量的流星從同一個(gè)天區(qū)劃落下來(lái)。這就是流星雨。獅子座流星雨就是其中之一。
輻射點(diǎn) 流星雨中的所有流星仿佛是從天空同一處散開(kāi)的，這點(diǎn)就稱(chēng)為輻射點(diǎn)。獅子座流星雨的輻射點(diǎn)位于獅子座。輻射點(diǎn)是一種透視效果。流星從一個(gè)觀測(cè)者的前后左右掃過(guò)天空，然而它們的反向延長(zhǎng)線交匯一處，即輻射點(diǎn)。
流星雨從何而來(lái) 流星雨是由于彗星的破碎而形成的。獅子座流星雨的流星體與坦普爾-塔特爾彗星的軌道相同，所以一般認(rèn)為坦普爾-塔特爾彗星是獅子座流星雨的母體。
流星體因何離開(kāi)母彗星 彗星主要由冰和塵埃組成。當(dāng)彗星逐漸靠近太陽(yáng)時(shí)，冰氣化，使塵埃顆粒像噴泉之水一樣，被噴出母體而進(jìn)入彗星軌道。
彗尾 大顆粒仍保留在母彗星的周?chē)纬蓧m埃彗發(fā);小顆粒被太陽(yáng)的輻射壓力吹散，形成彗尾。剩余物質(zhì)繼續(xù)留在彗星軌道附近。然而即使是小的噴發(fā)速度，也會(huì)引起微粒公轉(zhuǎn)周期的很大不同。因此，在下次彗星回歸時(shí)，小微粒將滯后母體，而大顆粒將超前于母體。當(dāng)?shù)厍虼┻^(guò)塵埃尾軌道時(shí)，我們就有機(jī)會(huì)看到流星雨。
流星雨活動(dòng)性 位于彗星軌道的塵埃粒子云被稱(chēng)為“流星體群”。當(dāng)流星體顆粒剛從彗星噴出時(shí)，它們的分布是比較規(guī)則的。由于大行星引力的作用，這些顆粒便逐漸散布于整個(gè)彗星軌道。目前，這個(gè)過(guò)程還不是十分清楚。在地球穿過(guò)流星體群時(shí)，各種形式的流星雨就有可能發(fā)生了。
周期性的流星雨 每年地球都要穿過(guò)許多彗星的軌道。如果軌道上存在流星體顆粒，便會(huì)發(fā)生周期性的流星雨。大部分年份，獅子座流星雨的數(shù)量都不是很大。坦普爾-塔特爾彗星的回歸周期是33.2年。當(dāng)它運(yùn)行到近日點(diǎn)時(shí)，地球穿過(guò)它的軌道就有可能發(fā)生大規(guī)模的流星暴雨。
近彗型流星雨 當(dāng)只有母彗星運(yùn)行到近日點(diǎn)時(shí)才發(fā)生的流星雨，稱(chēng)為近彗型流星雨。這說(shuō)明流星體群仍在彗星附近。周期在幾百年以?xún)?nèi)的彗星所形成的流星雨多為該類(lèi)型。如獅子座流星雨。
遠(yuǎn)彗型流星雨 由于行星的引力攝動(dòng)作用，長(zhǎng)周期彗星的流星體群可能與母彗星相差甚遠(yuǎn)。在母彗星不在近日點(diǎn)時(shí)也有可能發(fā)生流星雨，這種流星雨便是遠(yuǎn)彗型流星雨。如Lyrid就是這種。這種流星雨很難預(yù)報(bào)
流星暴雨 當(dāng)每小時(shí)出現(xiàn)的流星超過(guò)1000顆時(shí)，我們稱(chēng)為流星暴雨。當(dāng)然，流星雨和流星暴雨之間并沒(méi)有嚴(yán)格的界限
托福閱讀背景：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 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 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 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 soundholes, 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 cm) 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 period, 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, 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 Guiterrez from Spain and other European makers including 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 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!
托福閱讀背景：Lava
Lava is magma that breaks the surface and erupts from a volcano. If the magma is very fluid, it flows rapidly down the volcano’s 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 (pronounced 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 composition 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.
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