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托福阅读真题1
Glass fibers have a long history. The Egyptians made coarse fibers by 1600B.C., and fibers survive as decorations on Egyptian pottery dating back to 1375B.C. During the Renaissance (fifteenth and sixteenth centuries A.D.),glassmakers from Venice used glass fibers to decorate the surfaces of plainglass vessels. However, glassmakers guarded their secrets so carefully that noone wrote about glass fiber production until the early seventeenth century.
The eighteenth century brought the invention of spun glass fibers. R éne-Antoine de R é a French scientist, tried to make artificial feathers fromglass. He made fibers by rotating a wheel through a pool of molten glass,pulling threads of glass where the hot thick liquid stuck to the wheel. Hisfibers were short and fragile, but he predicted that spun glass fibers as thinas spider silk would be flexible and could be woven into fabric.
By the start of the nineteenth century, glassmakers learned how to makelonger, stronger fibers by pulling them from molten glass with a hot glass tube.Inventors wound the cooling end of the thread around a yarn reel, then turnedthe reel rapidly to pull more fiber from the molten glass. Wanderingtradespeople began to spin glass fibers at fairs, making decorations andornaments as novelties for collectors, but this material was of little practicaluse; the fibers were brittle, ragged, and no longer than ten feet, thecircumference of the largest reels. By the mid-1870's, however, the best glassfibers were finer than silk and could be woven into fabrics or assembled intoimitation ostrich feathers to decorate hats. Cloth of white spun glass resembledsilver; fibers drawn from yellow-orange glass looked golden.
Glass fibers were little more than a novelty until the 1930's, when theirthermal and electrical insulating properties were appreciated and methods forproducing continuous filaments were developed. In the modern manufacturingprocess, liquid glass is fed directly from a glass-melting furnace into abushing, a receptacle pierced with hundreds of fine nozzles, from which theliquid issues in fine streams. As they solidify, the streams of glass aregathered into a single strand and wound onto a reel.
1. Which of the following aspects of glass fiber does the passage mainlydiscuss?
(A) The major developments in its production
(B) Its relationship with pottery making
(C) Important inventors in its long history
(D) The variety of its uses in modern industry
2. The word coarse in line 1 is closest in meaning to
(A) decorative
(B) natural
(C) crude
(D) weak
3. Why was there nothing written about the making of Renaissance glassfibers until the seventeenth century?
(A) Glassmakers were unhappy with the quality of the fibers they couldmake.
(B) Glassmakers did not want to reveal the methods they used.
(C) Few people were interested in the Renaissance style of glassfibers.
(D) Production methods had been well known for a long time.
4. According to the passage , using a hot glass tube rather than a wheel topull fibers from molten
glass made the fibers
(A) quicker to cool
(B) harder to bend
(C) shorter and more easily broken
(D) longer and more durable
5. The phrase this material in line 16 refers to
(A) glass fibers
(B) decorations
(C) ornaments
(D) novelties for collectors
6. The word brittle in line 17 is closest in meaning to
(A) easily broken
(B) roughly made
(C) hairy
(D) shiny
7. The production of glass fibers was improved in the nineteenth century bywhich of the
following
(A) Adding silver to the molten glass
(B) Increasing the circumference of the glass tubes
(C) Putting silk thread in the center of the fibers
(D) Using yarn reels
8. The word appreciated in line 23 is closest in meaning to
(A) experienced
(B) recognized
(C) explored
(D) increased
9. Which of the following terms is defined in the passage ?
(A) invention (line 7)
(B) circumference (line 17)
(C) manufacturing process (line 24)
(D) bushing (line 25)
PASSAGE 53 ACBDA ADBD
托福阅读真题2
Composers today use a wider variety of sounds than ever before, includingmany that were once considered undesirable noises. Composer Edgard Varèse(1883-1965) called thus the liberation of sound...the right to make music with anyand all sounds. Electronic music, for example — made with the aid of computers,synthesizers, and electronic instruments — may include sounds that in the pastwould not have been considered musical. Environmental sounds, such as thunder,and electronically generated hisses and blips can be recorded, manipulated, andthen incorporated into a musical composition. But composers also draw novelsounds from voices and nonelectronic instruments. Singers may be asked toscream, laugh, groan, sneeze, or to sing phonetic sounds rather than words. Windand string players may lap or scrape their instruments. A brass or woodwindplayer may hum while playing, to produce two pitches at once; a pianist mayreach inside the piano to pluck a string and then run a metal blade along it. Inthe music of the Western world, the greatest expansion and experimentation haveinvolved percussion instruments, which outnumber strings and winds in manyrecent compositions. Traditional percussion instruments are struck with newtypes of beaters; and instruments that used to be couriered unconventional inWestern music — tom-toms, bongos, slapsticks, maracas—are widely used.

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