托福閱讀在錯幾個的情況下能夠達(dá)到25分呢
托福閱讀在錯幾個的情況下能夠達(dá)到25分呢?這是許多考生比較在意的一個問題。本文將從幾個點來解答在托?？荚囍校绾芜_(dá)到托福閱讀25分，而在托福寫作25分只能錯幾道題呢?本文將一一解答。
托福閱讀在錯幾個的情況下能夠達(dá)到25分呢
托福閱讀在錯幾個的情況下能夠達(dá)到25分呢?很多考生以及托福大神給出了這么幾種不同的觀點，有人說要保證托福閱讀25分以上最多錯6-8個;也有人認(rèn)為在總題目44-45分的基礎(chǔ)上，對39個錯5-6個，托福閱讀就可以拿到25分;也有人說在沒有空題的情況下可以錯3-6個;也有人說要看題目難度和考生整體水平即平均分，每次考試容差率不同。說到這里，小編先給大家解釋什么是容差?
托福閱讀容差就是指根據(jù)題目的難度允許錯卻不扣分的題目。一般來說除了最后一道題，容差為一題。以上幾種觀點到底是否準(zhǔn)確呢?
我們說過托福閱讀有三篇文章，總共42道題。除每篇文章的最后一題每題2分之外，其他題目都是每題一分。所以說托福閱讀部分的原始總分是45分。而原始分與最終成績之間有個對應(yīng)關(guān)系。
托福閱讀25分錯幾個?托福閱讀想要拿到25分，根據(jù)表格原始分就要拿到39分。原始分要拿到39分最多可以錯幾道題呢?這里分為幾種情況。
首先，在每篇文章最后一道題全部作對的情況下，原始分要39分那么基礎(chǔ)題可以錯6道題，也就是說在這種情況下托福閱讀25分錯6個題目。
其次，在每篇文章最后一道題全部做錯的情況下，已經(jīng)扣6分，原始分得分為39分，轉(zhuǎn)換成最終成績恰好是25分。在這種情況下托福閱讀25分只能錯3道大題，基礎(chǔ)題一道都不能錯。
第三種就是比較復(fù)雜的情況了。三道“6選3”大題，如果其中一道題選錯一個選項即扣一分，而其他兩道題沒錯，那么錯5個基礎(chǔ)題就能拿到托福閱讀25分;如果錯兩個選項此題沒法即扣兩分，其他兩道題沒錯，那么錯4個基礎(chǔ)題也能拿到托福閱讀25分。三道題中一題全對、一題全錯、一題錯一個選項，或者是每題選錯一個選項，都要扣3分，那么基礎(chǔ)題則錯3個托福閱讀即可得25分。以此類推，想要托福閱讀25分，原始分必須為39分，錯3-6個題，所以說最多可錯6道題。
托福閱讀考試有哪些陷阱?
陷阱一：熟詞僻義
詞匯類問題(Vocabulary Questions)是新托福閱讀考試每次必練習(xí)題型，而且題量較多，每篇文章通常出現(xiàn)3-5題，它要求考生確定文章中個別單詞或短語的具體意思(一個單詞可能有多個意思，但在給定選項中只有一個選項與該單詞在閱讀文章中的意思相符)。這種題型總的來說還是比較簡單的，但這種題型中的“陷阱”即“熟詞僻義” 讓考生們頭痛不已。
所謂“熟詞僻義”也就是詞匯題中所考查的單詞盡管考生比較熟悉，對其常用含義也了解，但恰恰題目中考查的是該單詞在閱讀文章中的意思，而該意思是考生所不熟的。而往往考生們受該單詞常用含義的影響，導(dǎo)致選錯答案。比如“calling”一詞的常用含義為“呼喊、召喚”，而新托福閱讀中則可能考到該詞的“職業(yè)、天職”的含義。
欲應(yīng)對此“陷阱”，建議考生們在備考中擴(kuò)大自己詞匯量的同時，掌握猜測單詞意思的技巧(利用上下文、構(gòu)詞法等)，同時注意這種題型主要考查單詞在文章里面的意思，建議考生們在選出答案后把答案放回原文進(jìn)行檢驗。
陷阱二：題干中設(shè)陷阱
有很多人仗著知道不少托福閱讀技巧很輕松地就中招了，題干中的陷阱主要出現(xiàn)在否定排除題，即俗稱的“三缺一”題型中，題目4個選項中有3個符合文章內(nèi)容，剩下一個不符合，題目便是要求選出這個不符合文章內(nèi)容的選項。該題題干中要么會出現(xiàn)大寫的“NOT”，要么會出現(xiàn)大寫的“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…
而考生們在做題過程中往往會遺忘掉題干中的“NOT”和“EXCEPT”，選出一個和文章內(nèi)容相符的選項，最終在不知不覺中已經(jīng)丟掉唾手可得的分?jǐn)?shù)。
建議考生考試時一定要細(xì)心、鎮(zhèn)靜，尤其要特別注意這種題型中的“NOT”或“EXCEPT”，并且謹(jǐn)記：這種題目的答案要么是選項內(nèi)容原文沒提到，要么根據(jù)原文內(nèi)容選項是錯誤的。
陷阱三：定位信息陷阱
新托福閱讀題的定位其實不難，但前提是定位信息要選準(zhǔn)，也就是定位的點要對。通常情況下我們優(yōu)先選擇作為定位信息的是：專有名詞、術(shù)語、物質(zhì)名詞、特殊名稱等，但在做題過程中要具體情況具體分析，考生們千萬不可以一刀切。如備考指導(dǎo) Practice Test 2的第七題中題干為“Paragraph 2 suggests that which ofthe following is one of the most important factors in determining differences in feedingpreferences of East African herbivores?” 該題干中有專有名詞“East African”，如果考生們用該詞定位，肯定會導(dǎo)致無法定位到該題對應(yīng)文章內(nèi)容的準(zhǔn)確位置。無法準(zhǔn)確定位，必然耗時，而且影響考試心情。實際上考生們在考試時應(yīng)該注意該篇文章的標(biāo)題為“FEEDING HABITS OF EAST AFRICAN HERBIVORES”，標(biāo)題中已經(jīng)出現(xiàn)“EAST AFRICAN HERBIVORES”，因此我們可以得知該篇文章整篇都是關(guān)于EAST AFRICANHERBIVORES的，如果還是以它為定位詞，肯定定位不到所需信息的準(zhǔn)確位置。而該題的定位信息應(yīng)該為“differences in feeding preferences”。
陷阱四：選項中陷阱重重
這也是給托福提高成績造成最大麻煩的地方。直接事實題中，有的選項重復(fù)文章中的信息，但并沒有回答問題。這樣的選項最容易迷惑考生。對此，建議考生們在做直接事實題時直接排除那些本身就矛盾的選項，同時千萬不要因為某個選項內(nèi)容在文章中出現(xiàn)過就選擇該選項，一定要回答問題。
句子簡化題中有的選項內(nèi)容和原文相符，但忽略了原文重要信息，這樣的選項最容易誤導(dǎo)考生。建議考生在做題時要仔細(xì)研讀文章中所標(biāo)識的句子，根據(jù)標(biāo)點和關(guān)聯(lián)詞把句子按照義群拆分為幾個部分，學(xué)會長句短讀，迅速找出句子的主句，也就是主謂賓或者主系表。
修辭目的題中，選項中出現(xiàn)的是例子，即作者說了什么，但這種題考查的是作者為什么這樣說。建議考生們在做題時注意字眼definition、example、to illustrate、to explain、to criticize等。
推論類問題中，選項重復(fù)原文信息，也就是選項為原文直接清楚表述的內(nèi)容，這樣的選項也容易誤導(dǎo)考生。建議考生們注意在解答此類問題時，不僅要理解作者所寫出的句子的字面意思，還必須搞清楚這些句子之間的邏輯性暗示。正確答案一定是從原文中已經(jīng)給出的內(nèi)容推論出來的。
托福閱讀如何拿到28分
分?jǐn)?shù)要求
想得28分以上，一般就是錯3個左右，也就是不含加試一篇一個。我給自己的要求：不能錯詞匯題以外的任何題
閱讀時間：
15分鐘一篇，一篇13/14道題。(官方要求是20分鐘一篇)
13道題中除了4道詞匯題(30‘’)1道多選題(1’30‘’)之外，其他題目基本(1‘)一般是在第三段/第四段，大概第8題/第9題的樣子，是一段會出2道理解題的段落。題目編排，近幾年的TPO一般第一篇第二篇文章偏難，生詞多，第三篇簡單難度類似早期TPO。
在題目上一般是(細(xì)節(jié) 詞匯，細(xì)節(jié) 作用， 細(xì)節(jié) 詞匯， 細(xì)節(jié) 詞匯 改寫， 細(xì)節(jié) 詞匯， 黑點 大意)規(guī)律就是每一段都會出細(xì)節(jié)題(In paragraph n...)再加一道其他題，早期一段只有一道題的情況幾乎不存在了。
簡單的文章可能會出比較難的大意題，尤其是對比型的簡單文章。用上面的標(biāo)準(zhǔn)控制時間，用下面的方法去讀的話，20分鐘一般都是夠用的。
我的閱讀障礙：
速度：1’大概150-170字，生詞量一般而且前后不出現(xiàn)感覺自相矛盾需要停下來想的情況下。
選項：詞匯量一般，有時詞匯題的相似詞匯不造句都感覺不出區(qū)別。
新托福閱讀真題訓(xùn)練技巧：
1，粗看下文章的段數(shù)，對每段大概幾道題有個預(yù)期。(比如只有5段，那長段肯定是3道題)粗看每段第一句話，對文章的整體意思心中有數(shù)。
2，每段段首變成中文理解，以迅速的進(jìn)入狀態(tài)，并記憶主要意思。(就算只有一道詞匯題，這段的段首也要讀)
3，每讀一段整理一次邏輯，A支持的觀點是，A的觀點的問題是B的觀點是。。。(記憶法，圖像幫助理解，邏輯幫助記憶，生成圖像來理解含義，對邏輯部分用色彩記憶紅黃綠記憶法，每一段的第一句作為邏輯中心標(biāo)記黃色，這段如果講倒推如原因，在腦中的邏輯框架就在紅色的區(qū)域生成記憶，如果正推將后果等就在綠色區(qū)域生成圖像，讀完全文留下來的會是每一排都是紅黃綠三色的邏輯關(guān)系，每一段都縱向羅列，如下)紅——黃——綠
紅——黃——綠
4，鑒于每段都會出細(xì)節(jié)題，如果有詞匯題等先只看一句話，做完了要看到細(xì)節(jié)題問的什么再看文章，鑒于有四個選項，選一個對的或者不對的，看的時候自己要邊看邊總結(jié)，比如總結(jié)出三個步驟， 解釋了三個方面的問題，或者其他。5，要檢查，每個不確定的題都標(biāo)上guess回來看，我不確定的題錯的概率還是非常高的。如果不走神的理解全文，一般15分鐘是夠的，還能剩下幾分鐘檢查。
新托福閱讀真題做題策略：
詞匯題、句子改寫題——只讀該句不讀完整段(30‘ _ + 1’_1)耗時3分鐘
詞匯題看好單詞的詞性、發(fā)出者(是人，是物)，保持一致的最對，看這一句即可。
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.猜詞是保證不了完全準(zhǔn)了，根據(jù)意思，這道題排除BD，剩下AC很是糾結(jié)，但是看task本身，skilled task這種說法小奇怪，一般是skilled workers，所以選A
The word “arduous” in the passage is closest inmeaning to
○Difficult○Necessary○Skilled○Shared
詞匯題對于我一直是難點超愛錯，猜出來的，如果有時間檢查一定要再看一下，從ETS出題的角度考慮。
托福閱讀練習(xí)：jazz的完整歷史
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.
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