【导语】“peiiiikuow”通过精心收集，向本站投稿了5篇托福阅读在错几个的情况下能够达到25分呢，下面是小编给大家带来托福阅读在错几个的情况下能够达到25分呢，一起来阅读吧，希望对您有所帮助。
篇1：托福阅读在错几个的情况下能够达到25分呢
托福阅读在错几个的情况下能够达到25分呢?这是许多考生比较在意的一个问题。本文将从几个点来解答在托福考试中，如何达到托福阅读25分，而在托福写作25分只能错几道题呢?本文将一一解答。
托福阅读在错几个的情况下能够达到25分呢
托福阅读在错几个的情况下能够达到25分呢?很多考生以及托福大神给出了这么几种不同的观点，有人说要保证托福阅读25分以上最多错6-8个;也有人认为在总题目44-45分的基础上，对39个错5-6个，托福阅读就可以拿到25分;也有人说在没有空题的情况下可以错3-6个;也有人说要看题目难度和考生整体水平即平均分，每次考试容差率不同。说到这里，小编先给大家解释什么是容差?
托福阅读容差就是指根据题目的难度允许错却不扣分的题目。一般来说除了最后一道题，容差为一题。以上几种观点到底是否准确呢?
我们说过托福阅读有三篇文章，总共42道题。除每篇文章的最后一题每题2分之外，其他题目都是每题一分。所以说托福阅读部分的原始总分是45分。而原始分与最终成绩之间有个对应关系。
托福阅读25分错几个?托福阅读想要拿到25分，根据表格原始分就要拿到39分。原始分要拿到39分最多可以错几道题呢?这里分为几种情况。
首先，在每篇文章最后一道题全部作对的情况下，原始分要39分那么基础题可以错6道题，也就是说在这种情况下托福阅读25分错6个题目。
其次，在每篇文章最后一道题全部做错的情况下，已经扣6分，原始分得分为39分，转换成最终成绩恰好是25分。在这种情况下托福阅读25分只能错3道大题，基础题一道都不能错。
第三种就是比较复杂的情况了。三道“6选3”大题，如果其中一道题选错一个选项即扣一分，而其他两道题没错，那么错5个基础题就能拿到托福阅读25分;如果错两个选项此题没法即扣两分，其他两道题没错，那么错4个基础题也能拿到托福阅读25分。三道题中一题全对、一题全错、一题错一个选项，或者是每题选错一个选项，都要扣3分，那么基础题则错3个托福阅读即可得25分。以此类推，想要托福阅读25分，原始分必须为39分，错3-6个题，所以说最多可错6道题。
托福阅读考试有哪些陷阱?
陷阱一：熟词僻义
词汇类问题(Vocabulary Questions)是新托福阅读考试每次必练习题型，而且题量较多，每篇文章通常出现3-5题，它要求考生确定文章中个别单词或短语的具体意思(一个单词可能有多个意思，但在给定选项中只有一个选项与该单词在阅读文章中的意思相符)。这种题型总的来说还是比较简单的，但这种题型中的“陷阱”即“熟词僻义” 让考生们头痛不已。
所谓“熟词僻义”也就是词汇题中所考查的单词尽管考生比较熟悉，对其常用含义也了解，但恰恰题目中考查的是该单词在阅读文章中的意思，而该意思是考生所不熟的。而往往考生们受该单词常用含义的影响，导致选错答案。比如“calling”一词的常用含义为“呼喊、召唤”，而新托福阅读中则可能考到该词的“职业、天职”的含义。
欲应对此“陷阱”，建议考生们在备考中扩大自己词汇量的同时，掌握猜测单词意思的技巧(利用上下文、构词法等)，同时注意这种题型主要考查单词在文章里面的意思，建议考生们在选出答案后把答案放回原文进行检验。
陷阱二：题干中设陷阱
有很多人仗着知道不少托福阅读技巧很轻松地就中招了，题干中的陷阱主要出现在否定排除题，即俗称的“三缺一”题型中，题目4个选项中有3个符合文章内容，剩下一个不符合，题目便是要求选出这个不符合文章内容的选项。该题题干中要么会出现大写的“NOT”，要么会出现大写的“EXCEPT”，比如：
According to the passage, which of the following is NOT true of X?
The author’s deion of X mentions all of the following EXCEPT…
而考生们在做题过程中往往会遗忘掉题干中的“NOT”和“EXCEPT”，选出一个和文章内容相符的选项，最终在不知不觉中已经丢掉唾手可得的分数。
建议考生考试时一定要细心、镇静，尤其要特别注意这种题型中的“NOT”或“EXCEPT”，并且谨记：这种题目的答案要么是选项内容原文没提到，要么根据原文内容选项是错误的。
陷阱三：定位信息陷阱
新托福阅读题的定位其实不难，但前提是定位信息要选准，也就是定位的点要对。通常情况下我们优先选择作为定位信息的是：专有名词、术语、物质名词、特殊名称等，但在做题过程中要具体情况具体分析，考生们千万不可以一刀切。如备考指导 Practice Test 2的第七题中题干为“Paragraph 2 suggests that which ofthe following is one of the most important factors in determining differences in feedingpreferences of East African herbivores?” 该题干中有专有名词“East African”，如果考生们用该词定位，肯定会导致无法定位到该题对应文章内容的准确位置。无法准确定位，必然耗时，而且影响考试心情。实际上考生们在考试时应该注意该篇文章的标题为“FEEDING HABITS OF EAST AFRICAN HERBIVORES”，标题中已经出现“EAST AFRICAN HERBIVORES”，因此我们可以得知该篇文章整篇都是关于EAST AFRICANHERBIVORES的，如果还是以它为定位词，肯定定位不到所需信息的准确位置。而该题的定位信息应该为“differences in feeding preferences”。
陷阱四：选项中陷阱重重
这也是给托福提高成绩造成最大麻烦的地方。直接事实题中，有的选项重复文章中的信息，但并没有回答问题。这样的选项最容易迷惑考生。对此，建议考生们在做直接事实题时直接排除那些本身就矛盾的选项，同时千万不要因为某个选项内容在文章中出现过就选择该选项，一定要回答问题。
句子简化题中有的选项内容和原文相符，但忽略了原文重要信息，这样的选项最容易误导考生。建议考生在做题时要仔细研读文章中所标识的句子，根据标点和关联词把句子按照义群拆分为几个部分，学会长句短读，迅速找出句子的主句，也就是主谓宾或者主系表。
修辞目的题中，选项中出现的是例子，即作者说了什么，但这种题考查的是作者为什么这样说。建议考生们在做题时注意字眼definition、example、to illustrate、to explain、to criticize等。
推论类问题中，选项重复原文信息，也就是选项为原文直接清楚表述的内容，这样的选项也容易误导考生。建议考生们注意在解答此类问题时，不仅要理解作者所写出的句子的字面意思，还必须搞清楚这些句子之间的逻辑性暗示。正确答案一定是从原文中已经给出的内容推论出来的。
托福阅读如何拿到28分
分数要求
想得28分以上，一般就是错3个左右，也就是不含加试一篇一个。我给自己的要求：不能错词汇题以外的任何题
阅读时间：
15分钟一篇，一篇13/14道题。(官方要求是20分钟一篇)
13道题中除了4道词汇题(30‘’)1道多选题(1’30‘’)之外，其他题目基本(1‘)一般是在第三段/第四段，大概第8题/第9题的样子，是一段会出2道理解题的段落。题目编排，近几年的TPO一般第一篇第二篇文章偏难，生词多，第三篇简单难度类似早期TPO。
在题目上一般是(细节 词汇，细节 作用， 细节 词汇， 细节 词汇 改写， 细节 词汇， 黑点 大意)规律就是每一段都会出细节题(In paragraph n...)再加一道其他题，早期一段只有一道题的情况几乎不存在了。
简单的文章可能会出比较难的大意题，尤其是对比型的简单文章。用上面的标准控制时间，用下面的方法去读的话，20分钟一般都是够用的。
我的阅读障碍：
速度：1’大概150-170字，生词量一般而且前后不出现感觉自相矛盾需要停下来想的情况下。
选项：词汇量一般，有时词汇题的相似词汇不造句都感觉不出区别。
新托福阅读真题训练技巧：
1，粗看下文章的段数，对每段大概几道题有个预期。(比如只有5段，那长段肯定是3道题)粗看每段第一句话，对文章的整体意思心中有数。
2，每段段首变成中文理解，以迅速的进入状态，并记忆主要意思。(就算只有一道词汇题，这段的段首也要读)
3，每读一段整理一次逻辑，A支持的观点是，A的观点的问题是B的观点是。。。(记忆法，图像帮助理解，逻辑帮助记忆，生成图像来理解含义，对逻辑部分用色彩记忆红黄绿记忆法，每一段的第一句作为逻辑中心标记黄色，这段如果讲倒推如原因，在脑中的逻辑框架就在红色的区域生成记忆，如果正推将后果等就在绿色区域生成图像，读完全文留下来的会是每一排都是红黄绿三色的逻辑关系，每一段都纵向罗列，如下)红——黄——绿
红——黄——绿
4，鉴于每段都会出细节题，如果有词汇题等先只看一句话，做完了要看到细节题问的什么再看文章，鉴于有四个选项，选一个对的或者不对的，看的时候自己要边看边总结，比如总结出三个步骤， 解释了三个方面的问题，或者其他。5，要检查，每个不确定的题都标上guess回来看，我不确定的题错的概率还是非常高的。如果不走神的理解全文，一般15分钟是够的，还能剩下几分钟检查。
新托福阅读真题做题策略：
词汇题、句子改写题——只读该句不读完整段(30‘ _ + 1’_1)耗时3分钟
词汇题看好单词的词性、发出者(是人，是物)，保持一致的最对，看这一句即可。
In the past,whole cities grew from the arduoustask of cutting and piling stone upon. Some of the world’s finest stonearchitecture can be seen in the ruins of the ancient Inca city of Machu Picchu high in the eastern Andes
Mountains
of Peru.猜词是保证不了完全准了，根据意思，这道题排除BD，剩下AC很是纠结，但是看task本身，skilled task这种说法小奇怪，一般是skilled workers，所以选A
The word “arduous” in the passage is closest inmeaning to
○Difficult○Necessary○Skilled○Shared
词汇题对于我一直是难点超爱错，猜出来的，如果有时间检查一定要再看一下，从ETS出题的角度考虑。
托福阅读练习：jazz的完整历史
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.
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 cornetists Buddy Bolden and King Oliver, cornetist and trumpeter Louis Armstrong, saxophonist and clarinetist Sidney Bechet, and pianist Jelly Roll Morton.
Jazz soon spread from New Orleans to other parts of the country. Fate Marable 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 themselves 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 McPartland and Muggsy Spanier; cornetist Bix Beiderbecke; clarinetists Frank Teschemacher, Pee Wee Russell, Mezz Mezzrow, and Benny Goodman; saxophonists Frankie Trumbauer and Bud Freeman; drummers Dave Tough, George Wettling, and Gene Krupa; 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 chordal 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 “Fatha” 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 Venuti 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's. In 1932, Duke Ellington recorded his composition “It Don't Mean a Thing If It Ain'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 Lunceford, 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.
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 Ammons, Pete Johnson, Meade Lux 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.
Bebop
In the early 1940's, a group of young musicians began experimenting with more complicated chord patterns and melodic ideas in a combo setting. The group included trumpeter Dizzy Gillespie, alto saxophonist Charlie Parker, pianists Bud Powell and Thelonious Monk, and drummers Kenny Clarke and Max Roach. The style they developed became known as bebop or bop.
Most bop musicians had an exceptional technique. They played long, dazzling phrases with many notes, difficult intervals, unexpected breaks, and unusual turns in melodic direction. On slower tunes, they displayed a keen ear for subtle changes of harmony. Only extremely skilled musicians were able to play bebop well, and only sophisticated listeners at first appreciated it.
In bebop performances, musicians usually played an intricate melody, followed with long periods of solo improvisation, and restated the theme at the end. The bassist presented the basic beat for the group by plucking a steady, moving bass line. The drummer elaborated the beat with sticks or brushes on cymbals, snare drum, and tom-tom. The bass drum was reserved for unexpected accents called “bombs.” The pianist inserted complex chords at irregular intervals to suggest, rather than state, the complete harmonies of the piece.
Hard bop
Bebop was followed in the 1950's by hard bop, or funk, jazz. This form emphasized some of the traditional values of jazz derived from gospel and blues music, including rhythmic drive, uninhibited tone and volume, and freedom from restricting arrangements. The hard bop leaders were drummer Art Blakey and pianist Horace Silver. Blakey led a combo called the Jazz Messengers from the mid-1950's until his death in 1990. The Jazz Messengers served as a training ground for many of the greatest soloists in jazz history. Trumpeter Clifford Brown and drummer Max Roach were co-leaders of another outstanding hard bop combo.
Cool jazz
Cool jazz originated in the works of such musicians as tenor saxophonist Lester Young, who starred with Count Basie, and guitarist Charlie Christian, who played with Benny Goodman. In the late 1930's and early 1940's, these musicians made changes in the sound and style of jazz improvisation. For example, they softened the tones of their instruments, used syncopation more subtly, and played with a more even beat.
In 1948, tenor saxophonist Stan Getz recorded a slow, romantic solo of Ralph Burns's composition “Early Autumn” with the Woody Herman band. This work profoundly influenced many younger musicians. In 1949 and 1950, a group of young musicians that included trumpeter Miles Davis, alto saxophonist Lee Konitz, baritone saxophonist Gerry Mulligan, and arranger Gil Evans recorded several new compositions. These recordings emphasized a lagging beat, soft instrumental sounds, and unusual orchestrations that included the first successful use of the French horn and the tuba in modern jazz. The recordings, with Davis as leader, were later released as Birth of the Cool.
During the 1950's, many combos became identified with the cool movement. Some of the most successful combos were the Gerry Mulligan Quartet, the Modern Jazz Quartet, and the Dave Brubeck Quartet.
The spread of jazz.
In the 1940's and 1950's, the sophisticated forms of bebop and cool jazz began to gain wide acceptance among intellectuals and college students. Jazz concerts became popular. Groups of jazz stars made a series of international tours called Jazz at the Philharmonic. The international growth of jazz resulted in many successful overseas tours by U.S. bands and combos.
The introduction of the 331/3 rpm long-playing (LP) record, which was first produced commercially in 1948, also helped spread the popularity of jazz. For 30 years, jazz recordings had been limited to 78 rpm records that restricted performances to about 3 minutes in length. The LP allowed recorded performances to run many minutes. The LP also permitted a number of shorter performances to be issued on a single record.
During the 1950's, musicians in other countries began to improve greatly as jazz performers as they were exposed to performances by American musicians through recordings and concerts. Sweden, France, Germany, Japan, and other countries developed players and composers whose work compared favorably with that of the leading Americans. The first foreign jazz musicians to influence Americans were Belgian-born guitarist Django Reinhardt in the late 1930's, and George Shearing, a blind, English-born pianist who immigrated to the United States in 1947.
In 1954, the first large American jazz festival was held at Newport, Rhode Island. Since then, annual festivals also have been held in Monterey, California; New York City; Chicago; Nice, France; Montreux, Switzerland; Warsaw, Poland; Berlin, Germany; and many other locations throughout the world. These festivals have featured almost all of the most popular jazz musicians and have introduced many extended concert works.
New directions
Beginning in the 1950's, jazz became even more experimental. Jazz music began to feature nontraditional instruments, such as French horn and bass flute. Jazz musicians began to take an interest in non-Western music, especially the modes (different arrangements of scales), melodic forms, and instruments of Africa, India, and the Far East.
In the late 1950's, John Lewis, musical director of the Modern Jazz Quartet, worked with classical musician and composer Gunther Schuller to write and play orchestral works that combined elements of modern jazz and classical concert music. Stan Kenton also played this so-called third stream music when he toured the United States with a 40-piece orchestra.
Also during this period, pianist George Russell developed a jazz theory of modes. In 1959, the Miles Davis combo, with pianist Bill Evans and saxophonists John Coltrane and Cannonball Adderley, recorded compositions and improvised solos based on modes rather than on patterns of chords.
In 1960, saxophonist Ornette Coleman reshaped the thinking of younger jazz musicians when he recorded the album Free Jazz with a double quartet. In this recording, Coleman discarded harmony, melody, and regular rhythms. He substituted unstructured improvisation played atonally (in no definite key). Pianist Cecil Taylor and bassist Charles Mingus conducted similar atonal experiments.
In the 1960's, the influence of the music of India entered jazz through the adaptations of John Coltrane. Jazz musicians also began to use more unusual meters, such as 5/4, 7/4, and 9/8.
Fusion
In the 1970's, many musicians blended jazz and rock music into fusion jazz. Fusion combined the melodic and improvisational aspects of jazz with the rhythms and instruments of rock. Electronic music played an important part in fusion. Jazz pianists began exploring the increased sound potential of synthesizers. Horn and string players began to use electronics to intensify, distort, or multiply their sounds. Many well-known jazz musicians gained new popularity by playing fusion. Some of the best-known fusion musicians were guitarist George Benson, trumpeters Donald Byrd and Miles Davis, pianist Herbie Hancock, and two combos, Weather Report and the Mahavishnu Orchestra.
At the same time, many veteran jazz musicians retained their popularity by leading groups that played in the swing, bebop, and cool styles. These leaders included Stan Getz, Dizzy Gillespie, Woody Herman, Gerry Mulligan, and Oscar Peterson.
Recent developments
During the 1980's, a number of young jazz musicians returned to mainstream jazz. Mainstream jazz includes elements of the swing, cool, and bebop styles. The most widely acclaimed young musician of the 1980's was trumpeter Wynton Marsalis, a performer of both jazz and classical music. Marsalis plays with brilliant technique and tone. He and his brother, saxophonist Branford Marsalis, have led excellent hard bop combos.
Many young musicians continued to forge ahead with fusion groups. Two of the most respected fusion artists are the brothers trumpeter Randy Brecker and saxophonist Michael Brecker. Jane Ira Bloom also displays a mastery of the soprano saxophone and the synthesizer.
In the 1990's, jazz was dominated by a blend of older values and more modern styles. Many musicians favored acoustical over electronic instruments, formal structure over total freedom, and a sense of history over harsh modernity. Music of older artists continued to gain respect and followers. For example, bands devoted to the music of Count Basie and Charles Mingus became popular. Veteran musicians, such as trombonist J. J. Johnson and saxophonists Joe Henderson and Sonny Rollins, found new audiences among younger listeners.
The young musicians who energized jazz in the 1980's had become establishment figures by the end of the 1990's. They included trumpeters Roy Hargrove and Wynton Marsalis, guitarist Pat Metheny, trombonists Steve Turre and Ray Anderson, and pianist Chick Corea. A younger group of musicians also gained popularity, focusing on “straight-ahead jazz” that reflected earlier mainstream styles. They included saxophonists Joshua Redman and Donald Harrison, bassist Christian McBride, trumpeter Terence Blanchard, and pianist Marcus Roberts. At the same time, the free jazz style of the 1960's continued strong throughout the 1990's in the playing of saxophonists Steve Lacy and Roscoe Mitchell, pianist John Zorn, and their young followers.
Today, jazz continues to feature a variety of styles. Many musicians play in historic styles, such as swing and bebop. Others seek a more experimental approach. For example, the Art Ensemble of Chicago blends free jazz, African costumes and makeup, exotic instruments, and surprise techniques into theatrical musical events. Ornette Coleman's group, called Prime Time, mixes free and fusion jazz in new and interesting ways.
Electronics technology is gaining a greater role in jazz music. Such young jazz composers as Michael Daugherty are demonstrating that live musicians can interact creatively with computer-generated sound. Some artists have attempted new fusion sounds that blended jazz with such forms as rap music.
篇2：初中优秀作文阅读在阳光下成长
樱花飞落，花瓣上的露珠，闪耀着，阳光的灿烂。——题记
走在花瓣铺成的小路上，阳光从树叶的缝隙中透了出来，暖暖的。嘴角勾起了一个弧度，笑意也印刻到心中。在阳光下成长的，连树木，都能那么健康。
窗外，樱花飞舞。屋内，却是另一副景象。
紧张的准备，在屋内进行着，大家的心中，在紧张，有激动，几天的辛苦准备，下午便要展现出它的成果。不知何时，悠扬的歌声，在小小的教室中回荡，虽然不嘹亮，却别有一番美。
下午，进入后台准备，却发现自己多了份紧张，脚微微颤抖，但我立马控制了，告诉自己：没事。上次的小品表演只有那么几个人都不紧张，这次是整个班级上台，一定没事。为了班级的荣誉，加油！
轮到我们班上台了，调整了一个呼吸，清了一下嗓子，带上自信的微笑，对着台下，只觉得密密麻麻的人，稍有紧张。前奏开始，吸了一口气，开头是我们的部分，轻起双唇，便唱出多日来挂在嘴边的词：“轻轻敲醒沉睡的心灵……”但是话筒却未起效果，微皱了一下眉，便放出比往常更大的声音。男生部分唱完，全班一起唱，却发现下面的同学已经开始交头接耳，但我们还没发现什么，只是唱，尽自己最大的努力，发出最大的声音，心中想的，只是班主任对我们的鼓励，以及台下老师问的：有信心夺冠？那时全班的一声：“有！”鼻尖微酸，眼睛也有些模糊，一层薄雾浮上眼球，但很快被我隐去。不，我不能流泪，今天的场面，根本不应该流泪，只有笑，只要唱，唱出自己的想法，唱出这首歌本应的感情，只要这些都做到了，那便无憾。抬起头自信地望着台下，这可能是我们整个班最后一次一起走上这舞台了，这个充满着艺术的舞台，有多少人曾在这儿挥洒汗水，又有多少人为此而留下汗水……台下，班主任已经到舞台边了，似乎有什么不对。是啊，话筒没声，能没事吗？但是，我们依旧用自己的微笑与歌声，在台上笑着，唱着。是的，我们已不在意是否能夺冠，只是在意，在意我们待在这个舞台上的每一分，每一秒。是它，让我们有了努力的动力，是它，让我们知道，成长的道路，到底需要什么。舞台上，我们奋力歌唱，只为了享受舞台上那一丝丝艺术气息，考场上，我们奋笔疾书，却只是为了那一丝阳光。
与阳光同行吧，虽然时不时会有那么一道黑影，跟随与你，但是，反面，却又那一阵温暖笼罩于你。与阳光同行吧，虽然耀眼，但那，却是正确的方向。
在阳光下成长吧，虽总有那么一道黑影，跟随于你，但是，另一面却又那一丝温暖笼罩于你。在阳光下成长吧，虽然耀眼，但，却总能指引你正确的方向。
篇3：初中优秀作文阅读在阳光下成长
丝丝阳光编织成一个个启迪，使我慢慢长大。 ——题记
温暖的阳光好似穿透了玻璃洒到了地上，漫步在挂满图画的长廊里，油墨拌着阳光的味道飘散在楼道里，沐浴着恬静，触及灵魂，慢慢长大……
进入了紧张的初二下学期，课程被安排得满满的，回家作业多得令人发指。但就在这么一个毫无空隙可言的学习生活中，一场艺术活动悄无声息地来到我们身旁。班主任走过安静的'走廊，手中似乎抱着些什么东西。她吃力地将一堆白纸抱到讲台上，只听“砰”的一声，把我们从忙碌的做作业中带了出来，班主任仔细地打量着我们，动作迟缓地从那堆白纸中抽出一张来，严肃地说：“同学们，将有一个艺术节开展，所以要叫你们都画一幅手抄报……”此时班级里开始交头接耳，有的甚至一声长叹。老师继续说道：“知道你们很累，但是这机会难得，你们要把握好……”老师边发纸边说道。这猝不及防的任务一下子让我头脑一热。
“画什么呢？作业都没空写！瞎画画？”回到家还在纠结着此事。拽着已有些褶皱的画纸，一边又是大堆的作业，一时间无从下手了。企盼着百度上会有些又简单又好看的手抄报，但事实确是像泡沫一样，一触即破。“怎么傻愣着，快写作业啊！”这时母亲洪钟一般的声音吓了我一跳心却依旧像被一块石头压着一样生疼，口吃地解释道：“老师要我画手抄报，可是……可是作业又那么多……”母亲推开放在一旁的作业，拍了拍桌子说：“任务就要认真完成，快画吧！”踌躇不决的我望着空无一字的白纸，那般刺眼，再加上毫无头绪的大脑。那是多么不可能完成的事，但想想母亲的话也是对的，毕竟是为了班级，为了自己，那么也就必须像对待学习一样对待了。这时转动的笔停止了，它开始在白纸上摩擦：清晰的字迹，是那样通灵，细巧……
一晚一晃就过去了，早晨精神百倍的我怀揣着极度激动地心情，亲手把写有名字的手抄报递到老师手里，看见老师微笑着点了点头，那颗悬着的心一时间平静了。
走在走廊里，阳光正洒在一幅幅色彩斑斓的画卷上，抚摸着覆盖着阳光的通灵字迹，又看了看一幅幅细心画出的画，懂得了什么……
伫立在布满画卷、阳光的走廊中，昨日的抱怨一下子烟消云散。扑面的温暖，那样细腻。认真，一心一意，这是我懂得的。就在这永恒的阳光中我慢慢成长。
篇4：初中优秀作文阅读在阳光下成长
缕缕阳光照射到我的心头，阳光的含义到底是什么呢？这个问题困扰着我。然而，我抬眼望去阳光是那么刺眼，可是我却明白了阳光的意义。
“你听说了吗？最近要举办一场唱歌比赛了。”一位同学转过头对我说。“哦。”我趴在桌子上无精打采地说道。反正没有我参加的份儿，因为每次这种比赛我都不会去参加。因为我总是难以面对舞台下面那么多张脸。可一个不幸的消息传到了我的耳朵里：“可是，这一次好像是全班一起上台演唱哦！好像是大合唱的形式呢。”他摆出一副幸灾乐祸的表情并眨巴着眼睛。“什么！要全班同学一起上台！”我惊得大叫。引得全班同学都朝我看来，我不好意思地笑了一笑。然后满脸怒容地问他：“这种事情怎么都不早点告诉我！”“我忘了嘛，反正上个台有什么好怕的，装装样子就可以了……”后面的话我已经没有心思再听下去了。郁闷爬满了我的脸。
突然，我想到一个很严重的问题：什么时候比赛。我拍了拍前面同学的背，问道：“那个，合唱比赛是什么时候比呀？”“嗯……好像是一两个星期后吧，怎么了？”他一脸疑惑的看着我。“没什么。”我赶紧掩饰道。嗯，一两个星期吗？恐怕这周就要开始排练了吧。
我怀着忐忑的心情度过了两周。终于要临近比赛了。我的不安感，顿时翻了好几倍。在排练时我的手已经在颤抖。我想使自己保持冷静，可我还是没有做到。
终于，最可怕的日子还是到来了。在临近比赛的那一节课上，我们又排练了一次，我的手心都已经冒出冷汗了。终于，还是来临了，我们走进了大报告厅。
这时是七年级的开始上去唱了。我看到他们自信的脸上充满阳光，我顿时振奋了起来，我也不应该输给他们，他们能做到，我也能够做到，我也有勇气可以站在那舞台上，我也可以做得很好。
终于到了，我们班级要去唱了，我虽然还有一丝紧张，但我还是勇敢的站在舞台上大声唱出了我的歌声。
呼，结束了，走出大报告厅，抬头望着阳光，刺眼，却给予我勇气，我在阳光下成长
篇5：初中优秀作文阅读在阳光下成长
朝着阳光走，影子总在你身后，它伴随着你的成长，让你一次次的茁壮成长。
春风拂过你的脸颊，它是那样的轻柔，犹如妈妈的抚摸一般，空气中弥漫着淡淡的芬芳，让人陶醉。柳条轻轻飘荡，犹如一位女子的秀发。
在如此惬意的春天里，我们迎来了学校的唱歌比赛。听到这个消息同学叫着跳着，但心里也有几分紧张。内心如波涛翻滚一般，上下起伏，一点信心也没有。渴望能够得到令人满意的成绩，老师的盯促，同学们一次又一次的排练，一次又一次的重复，累了停下来休息会，接着接续，我们犹如一根绷紧的琴弦，为了这一次比赛，大家都拼尽了全力，一心想取得好成绩，来回报这汗水和辛苦的付出。
时间似飞箭，转眼间就迎来了唱歌比赛，我们班是第四个上场。听到这消息，同学们都愣住了，呆呆地站在那，眼睛瞪得大大的，嘴巴张得都能吞下一头大象，表情僵硬。念叨着：“我们为什么是第四个上场啊，该怎么办啊。”手心里不停地冒着汗，心也“砰砰砰”地跳着，我的脑海中一片空白，除了紧张就还是紧张，每个同学都不安地，心情上下起伏，一个又一个班唱完，马上就快轮到我们班了。老师鼓励着我们，说道：“不用太紧张，平时你们练得挺好的，就照平时那样表现就好，无论结果怎么样，我们只要努力付出了，就不会感到后悔。”说是这样说，可心里还是感到紧张。轮到我们了，一个个排好了队上去，好似上刑场一样。周围一切都安静下来，只能听到急促的呼吸声。耀眼的聚光灯照在我们身上，旋律缓缓的奏起，心跳也随着旋律跳的越来越快，这短短的几分钟好似过了一年一样漫长，终于结束了，结果却大不让人满意。
回到教室，气氛变得紧张起来了，大家都低着头，叹着气，面无表情。老师激动地说道：“我们这次失败了，我也有原因。”说着说着留下眼泪，同学们劝着：“老师别哭了。”看到这一幕，同学们既心疼又难过。滚烫的泪水不停地从脸颊滑落，哭泣并不代表懦弱，它是要强的表现，这一次我们失败了，哭了，不代表我们永远都失败。
朝着阳光走，虽然是刺眼的，但那是对的方向，我们犹如一株株小树苗在阳光中茁壮成长。
托福阅读在错几个的情况下能够达到25分呢（精选5篇）
