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Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the following questions from 1 to 8. Accustomed though we are to speaking of the films made before 1927 as “silent”, the film has never been, in the full sense of the word, silent. From the very beginning, music was regarded as an indispensable accompaniment; when the Lumiere films were shown at the first public film exhibition in the United States in February 1896, they were accompanied by piano improvisations on popular tunes. At first, the music played bore no special relationship to the films; an accompaniment of any kind was sufficient. Within a very short time, however, the incongruity of playing lively music to a solemn film became apparent, and film pianists began to take some care in matching their pieces to the mood of the film. As movie theaters grew in number and importance, a violinist, and perhaps a cellist, would be added to the pianist in certain cases, and in the larger movie theaters small orchestras were formed. For a number of years the selection of music for each film program rested entirely in the hands of the conductor or leader of the orchestra, and very often the principal qualification for holding such a position was not skill or taste so much as the ownership of a large personal library of musical pieces. Since the conductor seldom saw the films until the night before the y were to be shown (if, indeed, the conductor was lucky enough to see them then), the musical arrangement was normally improvised in the greatest hurry. To help meet this difficulty, film distributing companies started the practice of publishing suggestions for musical accompaniments. In 1909, for example, the Edison Company began issuing with their films such indications of mood as “pleasant’, “sad”, “lively”. The suggestions became more explicit, and so emerged the musical cue sheet containing indications of mood, the titles of suitable pieces of music, and precise directions to show where one piece led into the next. Certain films had music especially composed for them. The most famous of these early special scores was that composed and arranged for D. w. Griffith’s film Birth of a Nation, which was released in 1915. The word “composed” is closest in meaning to _______ .

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Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the following questions from 1 to 8. Accustomed though we are to speaking of the films made before 1927 as “silent”, the film has never been, in the full sense of the word, silent. From the very beginning, music was regarded as an indispensable accompaniment; when the Lumiere films were shown at the first public film exhibition in the United States in February 1896, they were accompanied by piano improvisations on popular tunes. At first, the music played bore no special relationship to the films; an accompaniment of any kind was sufficient. Within a very short time, however, the incongruity of playing lively music to a solemn film became apparent, and film pianists began to take some care in matching their pieces to the mood of the film. As movie theaters grew in number and importance, a violinist, and perhaps a cellist, would be added to the pianist in certain cases, and in the larger movie theaters small orchestras were formed. For a number of years the selection of music for each film program rested entirely in the hands of the conductor or leader of the orchestra, and very often the principal qualification for holding such a position was not skill or taste so much as the ownership of a large personal library of musical pieces. Since the conductor seldom saw the films until the night before the y were to be shown (if, indeed, the conductor was lucky enough to see them then), the musical arrangement was normally improvised in the greatest hurry. To help meet this difficulty, film distributing companies started the practice of publishing suggestions for musical accompaniments. In 1909, for example, the Edison Company began issuing with their films such indications of mood as “pleasant’, “sad”, “lively”. The suggestions became more explicit, and so emerged the musical cue sheet containing indications of mood, the titles of suitable pieces of music, and precise directions to show where one piece led into the next. Certain films had music especially composed for them. The most famous of these early special scores was that composed and arranged for D. w. Griffith’s film Birth of a Nation, which was released in 1915. The passage mainly discusses music that was _______ .

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Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the following questions from 1 to 8. Accustomed though we are to speaking of the films made before 1927 as “silent”, the film has never been, in the full sense of the word, silent. From the very beginning, music was regarded as an indispensable accompaniment; when the Lumiere films were shown at the first public film exhibition in the United States in February 1896, they were accompanied by piano improvisations on popular tunes. At first, the music played bore no special relationship to the films; an accompaniment of any kind was sufficient. Within a very short time, however, the incongruity of playing lively music to a solemn film became apparent, and film pianists began to take some care in matching their pieces to the mood of the film. As movie theaters grew in number and importance, a violinist, and perhaps a cellist, would be added to the pianist in certain cases, and in the larger movie theaters small orchestras were formed. For a number of years the selection of music for each film program rested entirely in the hands of the conductor or leader of the orchestra, and very often the principal qualification for holding such a position was not skill or taste so much as the ownership of a large personal library of musical pieces. Since the conductor seldom saw the films until the night before the y were to be shown (if, indeed, the conductor was lucky enough to see them then), the musical arrangement was normally improvised in the greatest hurry. To help meet this difficulty, film distributing companies started the practice of publishing suggestions for musical accompaniments. In 1909, for example, the Edison Company began issuing with their films such indications of mood as “pleasant’, “sad”, “lively”. The suggestions became more explicit, and so emerged the musical cue sheet containing indications of mood, the titles of suitable pieces of music, and precise directions to show where one piece led into the next. Certain films had music especially composed for them. The most famous of these early special scores was that composed and arranged for D. w. Griffith’s film Birth of a Nation, which was released in 1915. According to the passage, what kind of business was the Edison Company?

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Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the following questions from 1 to 8. Accustomed though we are to speaking of the films made before 1927 as “silent”, the film has never been, in the full sense of the word, silent. From the very beginning, music was regarded as an indispensable accompaniment; when the Lumiere films were shown at the first public film exhibition in the United States in February 1896, they were accompanied by piano improvisations on popular tunes. At first, the music played bore no special relationship to the films; an accompaniment of any kind was sufficient. Within a very short time, however, the incongruity of playing lively music to a solemn film became apparent, and film pianists began to take some care in matching their pieces to the mood of the film. As movie theaters grew in number and importance, a violinist, and perhaps a cellist, would be added to the pianist in certain cases, and in the larger movie theaters small orchestras were formed. For a number of years the selection of music for each film program rested entirely in the hands of the conductor or leader of the orchestra, and very often the principal qualification for holding such a position was not skill or taste so much as the ownership of a large personal library of musical pieces. Since the conductor seldom saw the films until the night before the y were to be shown (if, indeed, the conductor was lucky enough to see them then), the musical arrangement was normally improvised in the greatest hurry. To help meet this difficulty, film distributing companies started the practice of publishing suggestions for musical accompaniments. In 1909, for example, the Edison Company began issuing with their films such indications of mood as “pleasant’, “sad”, “lively”. The suggestions became more explicit, and so emerged the musical cue sheet containing indications of mood, the titles of suitable pieces of music, and precise directions to show where one piece led into the next. Certain films had music especially composed for them. The most famous of these early special scores was that composed and arranged for D. w. Griffith’s film Birth of a Nation, which was released in 1915. Which of the following notations is most likely to have been included on a musical cue sheet of the early 1900's?

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Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the following questions from 1 to 8. Accustomed though we are to speaking of the films made before 1927 as “silent”, the film has never been, in the full sense of the word, silent. From the very beginning, music was regarded as an indispensable accompaniment; when the Lumiere films were shown at the first public film exhibition in the United States in February 1896, they were accompanied by piano improvisations on popular tunes. At first, the music played bore no special relationship to the films; an accompaniment of any kind was sufficient. Within a very short time, however, the incongruity of playing lively music to a solemn film became apparent, and film pianists began to take some care in matching their pieces to the mood of the film. As movie theaters grew in number and importance, a violinist, and perhaps a cellist, would be added to the pianist in certain cases, and in the larger movie theaters small orchestras were formed. For a number of years the selection of music for each film program rested entirely in the hands of the conductor or leader of the orchestra, and very often the principal qualification for holding such a position was not skill or taste so much as the ownership of a large personal library of musical pieces. Since the conductor seldom saw the films until the night before the y were to be shown (if, indeed, the conductor was lucky enough to see them then), the musical arrangement was normally improvised in the greatest hurry. To help meet this difficulty, film distributing companies started the practice of publishing suggestions for musical accompaniments. In 1909, for example, the Edison Company began issuing with their films such indications of mood as “pleasant’, “sad”, “lively”. The suggestions became more explicit, and so emerged the musical cue sheet containing indications of mood, the titles of suitable pieces of music, and precise directions to show where one piece led into the next. Certain films had music especially composed for them. The most famous of these early special scores was that composed and arranged for D. w. Griffith’s film Birth of a Nation, which was released in 1915. The word “them” refers to _______ .

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Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the following questions from 1 to 8. Accustomed though we are to speaking of the films made before 1927 as “silent”, the film has never been, in the full sense of the word, silent. From the very beginning, music was regarded as an indispensable accompaniment; when the Lumiere films were shown at the first public film exhibition in the United States in February 1896, they were accompanied by piano improvisations on popular tunes. At first, the music played bore no special relationship to the films; an accompaniment of any kind was sufficient. Within a very short time, however, the incongruity of playing lively music to a solemn film became apparent, and film pianists began to take some care in matching their pieces to the mood of the film. As movie theaters grew in number and importance, a violinist, and perhaps a cellist, would be added to the pianist in certain cases, and in the larger movie theaters small orchestras were formed. For a number of years the selection of music for each film program rested entirely in the hands of the conductor or leader of the orchestra, and very often the principal qualification for holding such a position was not skill or taste so much as the ownership of a large personal library of musical pieces. Since the conductor seldom saw the films until the night before the y were to be shown (if, indeed, the conductor was lucky enough to see them then), the musical arrangement was normally improvised in the greatest hurry. To help meet this difficulty, film distributing companies started the practice of publishing suggestions for musical accompaniments. In 1909, for example, the Edison Company began issuing with their films such indications of mood as “pleasant’, “sad”, “lively”. The suggestions became more explicit, and so emerged the musical cue sheet containing indications of mood, the titles of suitable pieces of music, and precise directions to show where one piece led into the next. Certain films had music especially composed for them. The most famous of these early special scores was that composed and arranged for D. w. Griffith’s film Birth of a Nation, which was released in 1915. It may be inferred from the passage that the first musical cue sheets appeared around _______ .

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Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions. Body postures and movements are frequently indicators of self-confidence, energy, fatigue, or status. Cognitively, gestures operate to clarify, contradict, or replace verbal messages. Gestures also serve an important function with regard to regulating the flow of conversation. For example, if a student is talking about something in front of the class, single nods of the head from the teacher will likely cause that student to continue and perhaps more elaborate. Postures as well as gestures are used to indicate attitudes, status, affective moods, approval, deception, warmth, arid other variables related to conversation interaction. The saying “A picture is worth a thousand words” well describes the meaning of facial expressions. Facial appearance – including wrinkles, muscle tone, skin coloration, and eye color-offers enduring cues that reveal information about age, sex, race, ethnic origin, and status. A less permanent second set of facial cues-including length of hair, hairstyle, cleanliness, and facial hair-relate to an individual’s idea of beauty. A third group of facial markers are momentary expressions that signal that cause changes in the forehead, eyebrows, eyelids, cheeks, nose, lips, and chin, such as raising the eyebrows, wrinkling the brow, curling the lip. Some facial expressions are readily visible, while others are fleeting. Both types can positively or negatively reinforce the spoken words and convey cues concerning emotions and attitudes. A nod of the head from the teacher will likely ask his student to __________ what he is saying

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Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions. Body postures and movements are frequently indicators of self-confidence, energy, fatigue, or status. Cognitively, gestures operate to clarify, contradict, or replace verbal messages. Gestures also serve an important function with regard to regulating the flow of conversation. For example, if a student is talking about something in front of the class, single nods of the head from the teacher will likely cause that student to continue and perhaps more elaborate. Postures as well as gestures are used to indicate attitudes, status, affective moods, approval, deception, warmth, arid other variables related to conversation interaction. The saying “A picture is worth a thousand words” well describes the meaning of facial expressions. Facial appearance – including wrinkles, muscle tone, skin coloration, and eye color-offers enduring cues that reveal information about age, sex, race, ethnic origin, and status. A less permanent second set of facial cues-including length of hair, hairstyle, cleanliness, and facial hair-relate to an individual’s idea of beauty. A third group of facial markers are momentary expressions that signal that cause changes in the forehead, eyebrows, eyelids, cheeks, nose, lips, and chin, such as raising the eyebrows, wrinkling the brow, curling the lip. Some facial expressions are readily visible, while others are fleeting. Both types can positively or negatively reinforce the spoken words and convey cues concerning emotions and attitudes. How many categories of facial expressions are mentioned?

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Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions. Body postures and movements are frequently indicators of self-confidence, energy, fatigue, or status. Cognitively, gestures operate to clarify, contradict, or replace verbal messages. Gestures also serve an important function with regard to regulating the flow of conversation. For example, if a student is talking about something in front of the class, single nods of the head from the teacher will likely cause that student to continue and perhaps more elaborate. Postures as well as gestures are used to indicate attitudes, status, affective moods, approval, deception, warmth, arid other variables related to conversation interaction. The saying “A picture is worth a thousand words” well describes the meaning of facial expressions. Facial appearance – including wrinkles, muscle tone, skin coloration, and eye color-offers enduring cues that reveal information about age, sex, race, ethnic origin, and status. A less permanent second set of facial cues-including length of hair, hairstyle, cleanliness, and facial hair-relate to an individual’s idea of beauty. A third group of facial markers are momentary expressions that signal that cause changes in the forehead, eyebrows, eyelids, cheeks, nose, lips, and chin, such as raising the eyebrows, wrinkling the brow, curling the lip. Some facial expressions are readily visible, while others are fleeting. Both types can positively or negatively reinforce the spoken words and convey cues concerning emotions and attitudes. According to the writer, “A picture is worth a thousand words” means __________.

Xem chi tiết 1.1 K lượt xem 5 năm trước

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions. Body postures and movements are frequently indicators of self-confidence, energy, fatigue, or status. Cognitively, gestures operate to clarify, contradict, or replace verbal messages. Gestures also serve an important function with regard to regulating the flow of conversation. For example, if a student is talking about something in front of the class, single nods of the head from the teacher will likely cause that student to continue and perhaps more elaborate. Postures as well as gestures are used to indicate attitudes, status, affective moods, approval, deception, warmth, arid other variables related to conversation interaction. The saying “A picture is worth a thousand words” well describes the meaning of facial expressions. Facial appearance – including wrinkles, muscle tone, skin coloration, and eye color-offers enduring cues that reveal information about age, sex, race, ethnic origin, and status. A less permanent second set of facial cues-including length of hair, hairstyle, cleanliness, and facial hair-relate to an individual’s idea of beauty. A third group of facial markers are momentary expressions that signal that cause changes in the forehead, eyebrows, eyelids, cheeks, nose, lips, and chin, such as raising the eyebrows, wrinkling the brow, curling the lip. Some facial expressions are readily visible, while others are fleeting. Both types can positively or negatively reinforce the spoken words and convey cues concerning emotions and attitudes. Gestures __________.

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Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions. Body postures and movements are frequently indicators of self-confidence, energy, fatigue, or status. Cognitively, gestures operate to clarify, contradict, or replace verbal messages. Gestures also serve an important function with regard to regulating the flow of conversation. For example, if a student is talking about something in front of the class, single nods of the head from the teacher will likely cause that student to continue and perhaps more elaborate. Postures as well as gestures are used to indicate attitudes, status, affective moods, approval, deception, warmth, arid other variables related to conversation interaction. The saying “A picture is worth a thousand words” well describes the meaning of facial expressions. Facial appearance – including wrinkles, muscle tone, skin coloration, and eye color-offers enduring cues that reveal information about age, sex, race, ethnic origin, and status. A less permanent second set of facial cues-including length of hair, hairstyle, cleanliness, and facial hair-relate to an individual’s idea of beauty. A third group of facial markers are momentary expressions that signal that cause changes in the forehead, eyebrows, eyelids, cheeks, nose, lips, and chin, such as raising the eyebrows, wrinkling the brow, curling the lip. Some facial expressions are readily visible, while others are fleeting. Both types can positively or negatively reinforce the spoken words and convey cues concerning emotions and attitudes. Facial expressions __________.

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