托福聽(tīng)力如何增強(qiáng)辨音能力

1、托福聽(tīng)力如何增強(qiáng)辨音能力 托福聽(tīng)力備考中提高辨音能力至關(guān)重要，因?yàn)橥懈Ｂ?tīng)力考試不僅考察大家能否把握聽(tīng)力材料主旨，還會(huì)考察到一些細(xì)節(jié)內(nèi)容。今天給大家?guī)?lái)了托福聽(tīng)力如何增強(qiáng)辨音能力,希望能夠幫助到大家，一起來(lái)學(xué)習(xí)吧。托福聽(tīng)力如何增強(qiáng)辨音能力一.托福聽(tīng)力中的連讀托福聽(tīng)力部分語(yǔ)速非常快，聽(tīng)起來(lái)很模糊。而實(shí)際上，這不單單是語(yǔ)速快慢問(wèn)題，更重要的是諸如連讀、失爆、重音、弱化、縮讀等美音中常見(jiàn)的音變問(wèn)題。若是解決了這些問(wèn)題，想必托福聽(tīng)力讀得再快、再模糊，我們也能“庖丁解?！?、反應(yīng)機(jī)敏。 所謂連讀，指的詞與詞之間交界的兩個(gè)音會(huì)經(jīng)常連在一起，發(fā)音時(shí)好象連成了一個(gè)較長(zhǎng)的單詞。連讀有助于完整意義的表達(dá)，并使整句話具

2、有強(qiáng)烈的粘著感，體現(xiàn)句子的整體性，充分體現(xiàn)美語(yǔ)語(yǔ)言的自然流暢。二.托福聽(tīng)力中的重讀深入剖析托福聽(tīng)力考試的發(fā)音，不難發(fā)現(xiàn)給我們?cè)斐陕?tīng)覺(jué)障礙的原因還在于：托福聽(tīng)力不是把個(gè)別詞句發(fā)得字正腔圓，而是把所有單詞和詞組結(jié)合起來(lái)，使它們的語(yǔ)音連貫而形成語(yǔ)流，just like a river flow.如此一來(lái)，要想真正撥開(kāi)迷霧，領(lǐng)會(huì)托福聽(tīng)力的含義，必須正確把握美語(yǔ)的節(jié)奏和旋律，而說(shuō)慣了漢語(yǔ)的我們顯然對(duì)此難以適應(yīng)。三.托福聽(tīng)力中的弱讀托福聽(tīng)力中的美語(yǔ)總給我們一種高低起伏、抑揚(yáng)頓挫、輕重緩急的感覺(jué)。這是因?yàn)橹刈x和弱化的存在。托福聽(tīng)說(shuō)交流中，不可能所有的詞都同等重要，也不可能將時(shí)間平均分配給每一個(gè)詞，否則就會(huì)令

3、聽(tīng)者覺(jué)得說(shuō)話人輕重不分、主次不明。因而在一句話中，必然有些詞較為關(guān)鍵，發(fā)音響亮清晰，時(shí)間拖長(zhǎng)，這就需要重讀;有些詞則相應(yīng)對(duì)次要一些，發(fā)音時(shí)間縮短，同時(shí)加以弱化，這樣整個(gè)句子就顯得分配得當(dāng)。實(shí)際上，在朗讀句子的時(shí)候，只要我們注意到了弱讀，重讀也就自然而然地體現(xiàn)出來(lái)了。四.托福聽(tīng)力中的縮讀在托福聽(tīng)力中，還有一個(gè)造成應(yīng)試者聽(tīng)覺(jué)障礙的大敵是美語(yǔ)的縮讀現(xiàn)象，掌握了這種現(xiàn)象的規(guī)律就等于掌握了攻克托福聽(tīng)力的另一大訣竅。由于托福聽(tīng)力中含有大量的口語(yǔ)素材，使得講話人使用大量非正式的口語(yǔ)體，所以在發(fā)音中，不僅會(huì)把弱讀的詞弱讀，有時(shí)會(huì)省略某些音，使說(shuō)話和朗讀更自然流暢，達(dá)到更加smoothly and softly

4、的效果，這種現(xiàn)象稱作縮讀。綜上所述，我們可以看到托福聽(tīng)力中常見(jiàn)的發(fā)音習(xí)慣有四類，分別是連讀、重讀、弱讀和縮讀，如果大家在平時(shí)練習(xí)托福聽(tīng)力的時(shí)候能注意一下這幾類特殊發(fā)音習(xí)慣，托福聽(tīng)力辨音能力肯定會(huì)有不錯(cuò)的提升。托福聽(tīng)力練習(xí)對(duì)照文so, why did what is now called modern dance begin in the united states?那么,現(xiàn)在被稱作“現(xiàn)代舞”的為什么始于美國(guó)?to begin to answer this question, ill need to backtrack a little bit and talk about classical

5、ballet.要開(kāi)始回答這個(gè)問(wèn)題，我將需要回溯一點(diǎn)點(diǎn)，并且談?wù)劰诺浒爬佟y the late 1800s, ballet had lost a lot of its popularity.在十九世紀(jì)晚期，芭蕾舞失去了許多它的普及度。most of the ballet dancers who performed in the united states were brought over from europe.大多數(shù)在美國(guó)表演的芭蕾舞蹈家是從歐洲轉(zhuǎn)入的。they performed using the rigid techniques that had been passed down t

6、hrough the centuries.他們用傳承了幾個(gè)世紀(jì)的死板的技巧表演。audiences and dancers in the united states were eager for their own, contemporary dance form.美國(guó)的觀眾和舞蹈家渴望他們自己的 “現(xiàn)代的”舞蹈形式。and so, around 1900, dancers created one.因此，大約到1900，舞蹈家創(chuàng)造了一種(現(xiàn)代舞)。so, how was this modern dance so different from classical ballet?那么，這種“現(xiàn)代”

7、舞蹈同古典芭蕾是多么的不一樣?well, most notably, it wasnt carefully choreographed.好，最顯著的是，它不是刻意精心設(shè)計(jì)的。instead, the dance depended on the improvisation and free, personal expression of the dancers.相反，這種舞蹈依靠即興創(chuàng)作和舞蹈家自由的，個(gè)人表現(xiàn)力。music and scenery were of little importance to the modern dance, and lightness of movement w

8、asnt important either.音樂(lè)和舞臺(tái)布景對(duì)“現(xiàn)代”舞不那么重要，而且輕盈的動(dòng)作也不那么重要。in fact, modern dancers made no attempt at all to conceal the effort involved in a dance step.事實(shí)上，當(dāng)代的舞者根本沒(méi)有嘗試去隱蔽包含在舞步中的力(量感)。but even if improvisation appealed to audiences, many dance critics were less than enthusiastic about the performances.但

9、即使即興表演對(duì)觀眾有吸引力，許多舞蹈評(píng)論家對(duì)表演的熱情沒(méi)有那么高。they questioned the artistic integrity of dancers who were not professionally trained and the artistic value of works that had no formal structure.他們懷疑沒(méi)有受過(guò)專業(yè)訓(xùn)練的舞者的藝術(shù)完整性以及沒(méi)有正式結(jié)構(gòu)的作品的藝術(shù)價(jià)值。loie fuller, after performing fire dance, was described as doing little more than

10、turning round and round like an eggbeater.loie fuller, 在表演完火焰舞之后，被描述為比“轉(zhuǎn)來(lái)轉(zhuǎn)去的像個(gè)打蛋器”強(qiáng)不了多少。yet, the free, personal expression of the pioneer dancers is the basis of the controlled freedom of modern dance today.然而，這種舞者先驅(qū)們自由的，個(gè)人的表達(dá)，是今天“受限制的自由”的現(xiàn)代舞的基礎(chǔ)。托福聽(tīng)力練習(xí)對(duì)照文本as you probably know, log structures are gai

11、ning in popularity.你們可能知道，原木結(jié)構(gòu)正在獲得普及(越來(lái)越受歡迎)。they are no longer just the simple country homes that we think of as the traditional log cabin.它們不再僅僅是我們當(dāng)作傳統(tǒng)的小木屋來(lái)想象的簡(jiǎn)單的鄉(xiāng)間住宅。some upscale homes now incorporate natural round logs in ceiling beams and walls.現(xiàn)在一些高檔住宅在平頂梁和墻壁中包含了自然的圓木。people seem to think the

12、rounded logs give their homes a cozy, warm atmosphere.人們似乎認(rèn)為圓形的原木給予他們的家一個(gè)舒適的，溫暖的氣氛。and even people who want to build a traditional log cabin on their own can buy a kit with precut logs that fit together like pieces of a jigsaw puzzle.以至于想憑他們自己建造一個(gè)傳統(tǒng)小木屋的人，能買一套組裝在一起像拼圖游戲的部件，按規(guī)格裁切好的原木配件。before showing

13、you some slides of modern log houses, id like to give a little historical background on the subject: log cabins were first built in the late 1600s along the delaware river valley.在給你們展示一些現(xiàn)代原木房屋的幻燈片之前，我想給(你們)一點(diǎn)關(guān)于這個(gè)話題的歷史性背景。原木小屋首先建立在十七世紀(jì)晚期，沿著delaware河谷。the european immigrants who settled there brought

14、 centuries-old traditions of working with logs.定居在那里的歐洲移民者帶來(lái)了悠久的使用原木的傳統(tǒng)。and in this heavily wooded area, logs were the material at hand.并且在這個(gè)濃密地樹(shù)木茂盛的地區(qū)，原木是唾手可得的原料。log cabins were most popular in the early 1800s with the settlers who were moving west.隨著定居者向西部遷移，原木小屋在十九世紀(jì)早期是最流行的。they provided the answ

15、er to the pioneers need for a safe and sturdy home that an ordinary family could build quickly: they had dirt floors and sliding boards for windows.他們提供了符合拓荒者的對(duì)一個(gè)安全的和堅(jiān)固的住宅的需要，一個(gè)普通的家庭能夠迅速地構(gòu)建起來(lái):它們有泥土地面和滑板窗戶。but the log buildings that have probably had most influence on modern architects are those of the mountain retreats of wea