2023年托福高分作文 托福写作 满分汇聚

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托福高分作文 托福写作 满分篇1

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the ancestry of the piano can be traced to the early keyboard instruments of the fifteenth and sixteenth centuries --- the spinet， the dulcimer， and the virginal. in the seventeenth century the organ， the clavichord， and the harpsichord became the chief instruments of the keyboard group， a supremacy they maintained until the piano supplanted them at the end of the eighteenth century. the clavichord’s tone was metallic and never powerful; nevertheless， because of the variety of tone possible to it， many composers found the clavichord a sympathetic instrument for intimate chamber music. the harpsichord with its bright， vigorous tone was the favorite instrument for supporting the bass of the small orchestra of the period and for concert use， but the character of the tone could not be varied save by mechanical or structural devices.

the piano was perfected in the early eighteenth century by a harpsichord maker in italy (though musicologists point out several previous instances of the instrument)。 this instrument was called a piano e forte (sort and loud)， to indicate its dynamic versatility; its strings were struck by a recoiling hammer with a felt-padded head. the wires were much heavier in the earlier instruments. a series of mechanical improvements continuing well into the nineteenth century， including the introduction of pedals to sustain tone or to soften it， the perfection of a metal frame， and steel wire of the finest quality， finally produced an instrument capable of myriad tonal effects from the most delicate harmonies to an almost orchestral fullness of sound， from a liquid， singing tone to a sharp， percussive brilliance.

a painter hangs his or her finished pictures on a wall, and everyone can see it. a composer writes a work, but no one can hear it until it is performed. professional singers and players have great responsibilities, for the composer is utterly dependent on them. a student of music needs as long and as arduous a training to become a performer as a medical student needs to become a doctor. most training is concerned with technique, for musicians have to have the muscular proficiency of an athlete or a ballet dancer. singers practice breathing every day, as their vocal chords would be inadequate without controlled muscular support. string players practice moving the fingers of the left hand up and down, while drawing the bow to and fro with the right arm-two entirely different movements.

singers and instruments have to be able to get every note perfectly in tune. pianists are spared this particular anxiety, for the notes are already there, waiting for them, and it is the piano tuner’s responsibility to tune the instrument for them. but they have their own difficulties; the hammers that hit the string have to be coaxed not to sound like percussion, and each overlapping tone has to sound clear.

this problem of getting clear texture is one that confronts student conductors: they have to learn to know every note of the music and how it should sound, and they have to aim at controlling these sounds with fanatical but selfless authority.

technique is of no use unless it is combined with musical knowledge and understanding. great artists are those who are so thoroughly at home in the language of music that they can enjoy performing works written in any century. the language of music

a painter hangs his or her finished pictures on a wall, and everyone can see it. a composer writes a work, but no one can hear it until it is performed. professional singers and players have great responsibilities, for the composer is utterly dependent on them. a student of music needs as long and as arduous a training to become a performer as a medical student needs to become a doctor. most training is concerned with technique, for musicians have to have the muscular proficiency of an athlete or a ballet dancer. singers practice breathing every day, as their vocal chords would be inadequate without controlled muscular support. string players practice moving the fingers of the left hand up and down, while drawing the bow to and fro with the right arm-two entirely different movements.

singers and instruments have to be able to get every note perfectly in tune. pianists are spared this particular anxiety, for the notes are already there, waiting for them, and it is the piano tuner’s responsibility to tune the instrument for them. but they have their own difficulties; the hammers that hit the string have to be coaxed not to sound like percussion, and each overlapping tone has to sound clear.

this problem of getting clear texture is one that confronts student conductors: they have to learn to know every note of the music and how it should sound, and they have to aim at controlling these sounds with fanatical but selfless authority.

technique is of no use unless it is combined with musical knowledge and understanding. great artists are those who are so thoroughly at home in the language of music that they can enjoy performing works written in any century.

it seems that people always have a desire to compare: am i prettier than others? are we living in a better age? or, as the question goes, is our life easier and more enjoyable than it was several decades ago? i would say no, as i have witnessed the struggle and paradox of our generation.

first of all, we are now living in an age of revolution with no previous human experience that could be referred to. living in such a fast-changing world would not be easy and comfortable at all; with everything keeps changing, everyone has to move fast in order to catch up with the majority. however, people were much more stable and care-free when our grandparents were children; they did not have to learn a second language in order to get a better job, or read a lot in order to get informed. yet in our age, these are supposed to be the responsibility of young people.

another discomfort of our age is that we are experiencing interpersonal alienation. with the development of communication technology, people in fact become alienated with friends and relatives since they could be so easily accessed via phone or email. too often we feel that few of our friends are true friends, without the traditional feeling of mutual affection which could only be created by longtime apart. but several decades ago, people treasured their friends and maintained relatively close interpersonal relations, which is much more enjoyable than the estrangements we are experiencing.

the last factor that has made our age so uncomfortable is the abusive use of technology. although it brings much convenience, it essentially changes human – we are no longer the master of tools, but instead the slaves of devices. we rush to metro station in order to catch an early train, sit in front of radioactive computers all day long in order to get our work done, and stay in air-conditioned rooms all summer without experiencing the natural changes outside thick cement walls. several decades ago, people could still live closer to nature and make rational use of modern technology, which to me is the essence of human living experience.

however, the comparison between different times is itself ridiculous. the criteria could not be easily determined, and opinions are highly personal. anyway, we have a longer life span, more advanced medical facilities, and easier traffic than our grandparent when they were children, and we should treasure the present experience. imagination of the past might only be nostalgia – if i ask my grandparents the same question, they might as well say that our life is much better than the past generations. who knows? as long as the world is still peaceful, life at any time would not become too difficult to handle.

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