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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.   An air pollutant is defined as a compound added directly or indirectly by humans to the atmosphere in such quantities as to affect humans, animals, vegetation, or materials adversely. Air pollution requires a very flexible definition that permits continuous change. When the first air pollution laws were established in England in the fourteenth century, air pollutants were limited to compounds that could be seen or smelled - a far cry from the extensive list of harmful substances known today. As technology has developed and knowledge of the health aspects of various chemicals has increased, the list of air pollutants has lengthened. In the future, even water vapor might be considered an air pollutant under certain conditions.   Many of the more important air pollutants, such as sulfur oxides, carbon monoxide, and nitrogen oxides, are found in nature. As the Earth developed, the concentration of these pollutants was altered by various chemical reactions; they became components in biogeochemical cycles. These serve as an air purification scheme by allowing the compounds to move from the air to the water or soil. On a global basis, nature's output of these compounds dwarfs that resulting from human activities.           However, human production usually occurs in a localized area, such as a city. In such a region, human output may be dominant and may temporarily overload the natural purification scheme of the cycles. The result is an increased concentration of noxious chemicals in the air. The concentrations at which the adverse effects appear will be greater than the concentrations that the pollutants would have in the absence of human activities. The actual concentration need not be large for a substance to be a pollutant; in fact, the numerical value tells us little until we know how much of an increase this represents over the concentration that would occur naturally in the area. For example, sulfur dioxide has detectable health effects at 0.08 parts per million (ppm), which is about 400 times its natural level. Carbon monoxide, however, has a natural level of 0.1 ppm and is not usually a pollutant until its level reaches about 15 ppm. According to the passage, the numerical value of the concentration level of a substance is only useful if ___________.

Xem chi tiết 4 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.   An air pollutant is defined as a compound added directly or indirectly by humans to the atmosphere in such quantities as to affect humans, animals, vegetation, or materials adversely. Air pollution requires a very flexible definition that permits continuous change. When the first air pollution laws were established in England in the fourteenth century, air pollutants were limited to compounds that could be seen or smelled - a far cry from the extensive list of harmful substances known today. As technology has developed and knowledge of the health aspects of various chemicals has increased, the list of air pollutants has lengthened. In the future, even water vapor might be considered an air pollutant under certain conditions.   Many of the more important air pollutants, such as sulfur oxides, carbon monoxide, and nitrogen oxides, are found in nature. As the Earth developed, the concentration of these pollutants was altered by various chemical reactions; they became components in biogeochemical cycles. These serve as an air purification scheme by allowing the compounds to move from the air to the water or soil. On a global basis, nature's output of these compounds dwarfs that resulting from human activities.           However, human production usually occurs in a localized area, such as a city. In such a region, human output may be dominant and may temporarily overload the natural purification scheme of the cycles. The result is an increased concentration of noxious chemicals in the air. The concentrations at which the adverse effects appear will be greater than the concentrations that the pollutants would have in the absence of human activities. The actual concentration need not be large for a substance to be a pollutant; in fact, the numerical value tells us little until we know how much of an increase this represents over the concentration that would occur naturally in the area. For example, sulfur dioxide has detectable health effects at 0.08 parts per million (ppm), which is about 400 times its natural level. Carbon monoxide, however, has a natural level of 0.1 ppm and is not usually a pollutant until its level reaches about 15 ppm. According to the passage, human-generated air pollution in localized regions _________

Xem chi tiết 1.8 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.   An air pollutant is defined as a compound added directly or indirectly by humans to the atmosphere in such quantities as to affect humans, animals, vegetation, or materials adversely. Air pollution requires a very flexible definition that permits continuous change. When the first air pollution laws were established in England in the fourteenth century, air pollutants were limited to compounds that could be seen or smelled - a far cry from the extensive list of harmful substances known today. As technology has developed and knowledge of the health aspects of various chemicals has increased, the list of air pollutants has lengthened. In the future, even water vapor might be considered an air pollutant under certain conditions.   Many of the more important air pollutants, such as sulfur oxides, carbon monoxide, and nitrogen oxides, are found in nature. As the Earth developed, the concentration of these pollutants was altered by various chemical reactions; they became components in biogeochemical cycles. These serve as an air purification scheme by allowing the compounds to move from the air to the water or soil. On a global basis, nature's output of these compounds dwarfs that resulting from human activities.           However, human production usually occurs in a localized area, such as a city. In such a region, human output may be dominant and may temporarily overload the natural purification scheme of the cycles. The result is an increased concentration of noxious chemicals in the air. The concentrations at which the adverse effects appear will be greater than the concentrations that the pollutants would have in the absence of human activities. The actual concentration need not be large for a substance to be a pollutant; in fact, the numerical value tells us little until we know how much of an increase this represents over the concentration that would occur naturally in the area. For example, sulfur dioxide has detectable health effects at 0.08 parts per million (ppm), which is about 400 times its natural level. Carbon monoxide, however, has a natural level of 0.1 ppm and is not usually a pollutant until its level reaches about 15 ppm. For which of the following reasons can natural pollutants play an important role in controlling air pollution?

Xem chi tiết 250 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.   An air pollutant is defined as a compound added directly or indirectly by humans to the atmosphere in such quantities as to affect humans, animals, vegetation, or materials adversely. Air pollution requires a very flexible definition that permits continuous change. When the first air pollution laws were established in England in the fourteenth century, air pollutants were limited to compounds that could be seen or smelled - a far cry from the extensive list of harmful substances known today. As technology has developed and knowledge of the health aspects of various chemicals has increased, the list of air pollutants has lengthened. In the future, even water vapor might be considered an air pollutant under certain conditions.   Many of the more important air pollutants, such as sulfur oxides, carbon monoxide, and nitrogen oxides, are found in nature. As the Earth developed, the concentration of these pollutants was altered by various chemical reactions; they became components in biogeochemical cycles. These serve as an air purification scheme by allowing the compounds to move from the air to the water or soil. On a global basis, nature's output of these compounds dwarfs that resulting from human activities.           However, human production usually occurs in a localized area, such as a city. In such a region, human output may be dominant and may temporarily overload the natural purification scheme of the cycles. The result is an increased concentration of noxious chemicals in the air. The concentrations at which the adverse effects appear will be greater than the concentrations that the pollutants would have in the absence of human activities. The actual concentration need not be large for a substance to be a pollutant; in fact, the numerical value tells us little until we know how much of an increase this represents over the concentration that would occur naturally in the area. For example, sulfur dioxide has detectable health effects at 0.08 parts per million (ppm), which is about 400 times its natural level. Carbon monoxide, however, has a natural level of 0.1 ppm and is not usually a pollutant until its level reaches about 15 ppm. The word "These" in the second paragraph is closest in meaning to _________.

Xem chi tiết 695 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.   An air pollutant is defined as a compound added directly or indirectly by humans to the atmosphere in such quantities as to affect humans, animals, vegetation, or materials adversely. Air pollution requires a very flexible definition that permits continuous change. When the first air pollution laws were established in England in the fourteenth century, air pollutants were limited to compounds that could be seen or smelled - a far cry from the extensive list of harmful substances known today. As technology has developed and knowledge of the health aspects of various chemicals has increased, the list of air pollutants has lengthened. In the future, even water vapor might be considered an air pollutant under certain conditions.   Many of the more important air pollutants, such as sulfur oxides, carbon monoxide, and nitrogen oxides, are found in nature. As the Earth developed, the concentration of these pollutants was altered by various chemical reactions; they became components in biogeochemical cycles. These serve as an air purification scheme by allowing the compounds to move from the air to the water or soil. On a global basis, nature's output of these compounds dwarfs that resulting from human activities.           However, human production usually occurs in a localized area, such as a city. In such a region, human output may be dominant and may temporarily overload the natural purification scheme of the cycles. The result is an increased concentration of noxious chemicals in the air. The concentrations at which the adverse effects appear will be greater than the concentrations that the pollutants would have in the absence of human activities. The actual concentration need not be large for a substance to be a pollutant; in fact, the numerical value tells us little until we know how much of an increase this represents over the concentration that would occur naturally in the area. For example, sulfur dioxide has detectable health effects at 0.08 parts per million (ppm), which is about 400 times its natural level. Carbon monoxide, however, has a natural level of 0.1 ppm and is not usually a pollutant until its level reaches about 15 ppm. It can be inferred from the first paragraph that __________.

Xem chi tiết 1.5 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.   An air pollutant is defined as a compound added directly or indirectly by humans to the atmosphere in such quantities as to affect humans, animals, vegetation, or materials adversely. Air pollution requires a very flexible definition that permits continuous change. When the first air pollution laws were established in England in the fourteenth century, air pollutants were limited to compounds that could be seen or smelled - a far cry from the extensive list of harmful substances known today. As technology has developed and knowledge of the health aspects of various chemicals has increased, the list of air pollutants has lengthened. In the future, even water vapor might be considered an air pollutant under certain conditions.   Many of the more important air pollutants, such as sulfur oxides, carbon monoxide, and nitrogen oxides, are found in nature. As the Earth developed, the concentration of these pollutants was altered by various chemical reactions; they became components in biogeochemical cycles. These serve as an air purification scheme by allowing the compounds to move from the air to the water or soil. On a global basis, nature's output of these compounds dwarfs that resulting from human activities.           However, human production usually occurs in a localized area, such as a city. In such a region, human output may be dominant and may temporarily overload the natural purification scheme of the cycles. The result is an increased concentration of noxious chemicals in the air. The concentrations at which the adverse effects appear will be greater than the concentrations that the pollutants would have in the absence of human activities. The actual concentration need not be large for a substance to be a pollutant; in fact, the numerical value tells us little until we know how much of an increase this represents over the concentration that would occur naturally in the area. For example, sulfur dioxide has detectable health effects at 0.08 parts per million (ppm), which is about 400 times its natural level. Carbon monoxide, however, has a natural level of 0.1 ppm and is not usually a pollutant until its level reaches about 15 ppm. The word "adversely" in the first paragraph is closest in meaning to .

Xem chi tiết 436 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.   An air pollutant is defined as a compound added directly or indirectly by humans to the atmosphere in such quantities as to affect humans, animals, vegetation, or materials adversely. Air pollution requires a very flexible definition that permits continuous change. When the first air pollution laws were established in England in the fourteenth century, air pollutants were limited to compounds that could be seen or smelled - a far cry from the extensive list of harmful substances known today. As technology has developed and knowledge of the health aspects of various chemicals has increased, the list of air pollutants has lengthened. In the future, even water vapor might be considered an air pollutant under certain conditions.   Many of the more important air pollutants, such as sulfur oxides, carbon monoxide, and nitrogen oxides, are found in nature. As the Earth developed, the concentration of these pollutants was altered by various chemical reactions; they became components in biogeochemical cycles. These serve as an air purification scheme by allowing the compounds to move from the air to the water or soil. On a global basis, nature's output of these compounds dwarfs that resulting from human activities.           However, human production usually occurs in a localized area, such as a city. In such a region, human output may be dominant and may temporarily overload the natural purification scheme of the cycles. The result is an increased concentration of noxious chemicals in the air. The concentrations at which the adverse effects appear will be greater than the concentrations that the pollutants would have in the absence of human activities. The actual concentration need not be large for a substance to be a pollutant; in fact, the numerical value tells us little until we know how much of an increase this represents over the concentration that would occur naturally in the area. For example, sulfur dioxide has detectable health effects at 0.08 parts per million (ppm), which is about 400 times its natural level. Carbon monoxide, however, has a natural level of 0.1 ppm and is not usually a pollutant until its level reaches about 15 ppm. What does the passage mainly discuss?

Xem chi tiết 498 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.   Composers today use a wider variety of sounds than ever before, including many that were once considered undesirable noises. Composer Edgard Varese (1883-1965) called thus the "liberation of sound...the right to make music with any and all sounds." Electronic music, for example - made with the aid of computers, synthesizers, and electronic instruments - may include sounds that in the past would not have been considered musical.   Environmental sounds, such as thunder, and electronically generated hisses and blips can be recorded, manipulated, and then incorporated into a musical composition. But composers also draw novel sounds from voices and non-electronic instruments. Singers may be asked to scream, laugh, groan, sneeze, or to sing phonetic sounds rather than words. Wind and string players may lap or scrape their instruments A brass or woodwind player may hum while playing, to produce two pitches at once; a pianist may reach inside the piano to pluck a string and then run a metal blade along it. In the music of the Western world, the greatest expansion and experimentation have involved percussion instruments, which outnumber strings and winds in many recent compositions. Traditional percussion instruments are struck with new types of beaters; and instruments that used to be couriered unconventional in Western music - tom-toms, bongos, slapsticks, maracas - are widely used.           In the search for novel sounds, increased use has been made in Western music of Microtones. Non- Western music typically divides and intervals between two pitches more finely than Western music does, thereby producing a greater number of distinct tones or micro tones, within the same interval. Composers such as Krzysztof Penderecki create sound that borders on electronic noise through tone clusters - closely spaced tones played together and heard as a mass, block, or band of sound. The directional aspect of sound has taken on new importance as well Loudspeakers or groups of instruments may be placed at opposite ends of the stage, in the balcony, or at the back and sides of the auditorium. Because standard music notation makes no provision for many of these innovations, recent music scores may contain graph like diagrams, new note shapes and symbols, and novel ways of arranging notation on the page. In paragraph 3, the author mentions diagrams as an example of a new way to _________

Xem chi tiết 1.5 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.   Composers today use a wider variety of sounds than ever before, including many that were once considered undesirable noises. Composer Edgard Varese (1883-1965) called thus the "liberation of sound...the right to make music with any and all sounds." Electronic music, for example - made with the aid of computers, synthesizers, and electronic instruments - may include sounds that in the past would not have been considered musical.   Environmental sounds, such as thunder, and electronically generated hisses and blips can be recorded, manipulated, and then incorporated into a musical composition. But composers also draw novel sounds from voices and non-electronic instruments. Singers may be asked to scream, laugh, groan, sneeze, or to sing phonetic sounds rather than words. Wind and string players may lap or scrape their instruments A brass or woodwind player may hum while playing, to produce two pitches at once; a pianist may reach inside the piano to pluck a string and then run a metal blade along it. In the music of the Western world, the greatest expansion and experimentation have involved percussion instruments, which outnumber strings and winds in many recent compositions. Traditional percussion instruments are struck with new types of beaters; and instruments that used to be couriered unconventional in Western music - tom-toms, bongos, slapsticks, maracas - are widely used.           In the search for novel sounds, increased use has been made in Western music of Microtones. Non- Western music typically divides and intervals between two pitches more finely than Western music does, thereby producing a greater number of distinct tones or micro tones, within the same interval. Composers such as Krzysztof Penderecki create sound that borders on electronic noise through tone clusters - closely spaced tones played together and heard as a mass, block, or band of sound. The directional aspect of sound has taken on new importance as well Loudspeakers or groups of instruments may be placed at opposite ends of the stage, in the balcony, or at the back and sides of the auditorium. Because standard music notation makes no provision for many of these innovations, recent music scores may contain graph like diagrams, new note shapes and symbols, and novel ways of arranging notation on the page. According to the passage, which of the following would be considered traditional elements of Western music?

Xem chi tiết 1.9 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.   Composers today use a wider variety of sounds than ever before, including many that were once considered undesirable noises. Composer Edgard Varese (1883-1965) called thus the "liberation of sound...the right to make music with any and all sounds." Electronic music, for example - made with the aid of computers, synthesizers, and electronic instruments - may include sounds that in the past would not have been considered musical.   Environmental sounds, such as thunder, and electronically generated hisses and blips can be recorded, manipulated, and then incorporated into a musical composition. But composers also draw novel sounds from voices and non-electronic instruments. Singers may be asked to scream, laugh, groan, sneeze, or to sing phonetic sounds rather than words. Wind and string players may lap or scrape their instruments A brass or woodwind player may hum while playing, to produce two pitches at once; a pianist may reach inside the piano to pluck a string and then run a metal blade along it. In the music of the Western world, the greatest expansion and experimentation have involved percussion instruments, which outnumber strings and winds in many recent compositions. Traditional percussion instruments are struck with new types of beaters; and instruments that used to be couriered unconventional in Western music - tom-toms, bongos, slapsticks, maracas - are widely used.           In the search for novel sounds, increased use has been made in Western music of Microtones. Non- Western music typically divides and intervals between two pitches more finely than Western music does, thereby producing a greater number of distinct tones or micro tones, within the same interval. Composers such as Krzysztof Penderecki create sound that borders on electronic noise through tone clusters - closely spaced tones played together and heard as a mass, block, or band of sound. The directional aspect of sound has taken on new importance as well Loudspeakers or groups of instruments may be placed at opposite ends of the stage, in the balcony, or at the back and sides of the auditorium. Because standard music notation makes no provision for many of these innovations, recent music scores may contain graph like diagrams, new note shapes and symbols, and novel ways of arranging notation on the page. According to the passage, Krzysztof Penderecki is known for which of the following practices?

Xem chi tiết 1.5 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.   Composers today use a wider variety of sounds than ever before, including many that were once considered undesirable noises. Composer Edgard Varese (1883-1965) called thus the "liberation of sound...the right to make music with any and all sounds." Electronic music, for example - made with the aid of computers, synthesizers, and electronic instruments - may include sounds that in the past would not have been considered musical.   Environmental sounds, such as thunder, and electronically generated hisses and blips can be recorded, manipulated, and then incorporated into a musical composition. But composers also draw novel sounds from voices and non-electronic instruments. Singers may be asked to scream, laugh, groan, sneeze, or to sing phonetic sounds rather than words. Wind and string players may lap or scrape their instruments A brass or woodwind player may hum while playing, to produce two pitches at once; a pianist may reach inside the piano to pluck a string and then run a metal blade along it. In the music of the Western world, the greatest expansion and experimentation have involved percussion instruments, which outnumber strings and winds in many recent compositions. Traditional percussion instruments are struck with new types of beaters; and instruments that used to be couriered unconventional in Western music - tom-toms, bongos, slapsticks, maracas - are widely used.           In the search for novel sounds, increased use has been made in Western music of Microtones. Non- Western music typically divides and intervals between two pitches more finely than Western music does, thereby producing a greater number of distinct tones or micro tones, within the same interval. Composers such as Krzysztof Penderecki create sound that borders on electronic noise through tone clusters - closely spaced tones played together and heard as a mass, block, or band of sound. The directional aspect of sound has taken on new importance as well Loudspeakers or groups of instruments may be placed at opposite ends of the stage, in the balcony, or at the back and sides of the auditorium. Because standard music notation makes no provision for many of these innovations, recent music scores may contain graph like diagrams, new note shapes and symbols, and novel ways of arranging notation on the page. The word “thereby” in line 18 is closest in meaning to    .

Xem chi tiết 673 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.   Composers today use a wider variety of sounds than ever before, including many that were once considered undesirable noises. Composer Edgard Varese (1883-1965) called thus the "liberation of sound...the right to make music with any and all sounds." Electronic music, for example - made with the aid of computers, synthesizers, and electronic instruments - may include sounds that in the past would not have been considered musical.   Environmental sounds, such as thunder, and electronically generated hisses and blips can be recorded, manipulated, and then incorporated into a musical composition. But composers also draw novel sounds from voices and non-electronic instruments. Singers may be asked to scream, laugh, groan, sneeze, or to sing phonetic sounds rather than words. Wind and string players may lap or scrape their instruments A brass or woodwind player may hum while playing, to produce two pitches at once; a pianist may reach inside the piano to pluck a string and then run a metal blade along it. In the music of the Western world, the greatest expansion and experimentation have involved percussion instruments, which outnumber strings and winds in many recent compositions. Traditional percussion instruments are struck with new types of beaters; and instruments that used to be couriered unconventional in Western music - tom-toms, bongos, slapsticks, maracas - are widely used.           In the search for novel sounds, increased use has been made in Western music of Microtones. Non- Western music typically divides and intervals between two pitches more finely than Western music does, thereby producing a greater number of distinct tones or micro tones, within the same interval. Composers such as Krzysztof Penderecki create sound that borders on electronic noise through tone clusters - closely spaced tones played together and heard as a mass, block, or band of sound. The directional aspect of sound has taken on new importance as well Loudspeakers or groups of instruments may be placed at opposite ends of the stage, in the balcony, or at the back and sides of the auditorium. Because standard music notation makes no provision for many of these innovations, recent music scores may contain graph like diagrams, new note shapes and symbols, and novel ways of arranging notation on the page. According to the passage, which of the following types of instruments has played a role in much of the innovation in Western music?

Xem chi tiết 684 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.   Composers today use a wider variety of sounds than ever before, including many that were once considered undesirable noises. Composer Edgard Varese (1883-1965) called thus the "liberation of sound...the right to make music with any and all sounds." Electronic music, for example - made with the aid of computers, synthesizers, and electronic instruments - may include sounds that in the past would not have been considered musical.   Environmental sounds, such as thunder, and electronically generated hisses and blips can be recorded, manipulated, and then incorporated into a musical composition. But composers also draw novel sounds from voices and non-electronic instruments. Singers may be asked to scream, laugh, groan, sneeze, or to sing phonetic sounds rather than words. Wind and string players may lap or scrape their instruments A brass or woodwind player may hum while playing, to produce two pitches at once; a pianist may reach inside the piano to pluck a string and then run a metal blade along it. In the music of the Western world, the greatest expansion and experimentation have involved percussion instruments, which outnumber strings and winds in many recent compositions. Traditional percussion instruments are struck with new types of beaters; and instruments that used to be couriered unconventional in Western music - tom-toms, bongos, slapsticks, maracas - are widely used.           In the search for novel sounds, increased use has been made in Western music of Microtones. Non- Western music typically divides and intervals between two pitches more finely than Western music does, thereby producing a greater number of distinct tones or micro tones, within the same interval. Composers such as Krzysztof Penderecki create sound that borders on electronic noise through tone clusters - closely spaced tones played together and heard as a mass, block, or band of sound. The directional aspect of sound has taken on new importance as well Loudspeakers or groups of instruments may be placed at opposite ends of the stage, in the balcony, or at the back and sides of the auditorium. Because standard music notation makes no provision for many of these innovations, recent music scores may contain graph like diagrams, new note shapes and symbols, and novel ways of arranging notation on the page. The word “it” in line 11 refers to __________.

Xem chi tiết 818 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.   Composers today use a wider variety of sounds than ever before, including many that were once considered undesirable noises. Composer Edgard Varese (1883-1965) called thus the "liberation of sound...the right to make music with any and all sounds." Electronic music, for example - made with the aid of computers, synthesizers, and electronic instruments - may include sounds that in the past would not have been considered musical.   Environmental sounds, such as thunder, and electronically generated hisses and blips can be recorded, manipulated, and then incorporated into a musical composition. But composers also draw novel sounds from voices and non-electronic instruments. Singers may be asked to scream, laugh, groan, sneeze, or to sing phonetic sounds rather than words. Wind and string players may lap or scrape their instruments A brass or woodwind player may hum while playing, to produce two pitches at once; a pianist may reach inside the piano to pluck a string and then run a metal blade along it. In the music of the Western world, the greatest expansion and experimentation have involved percussion instruments, which outnumber strings and winds in many recent compositions. Traditional percussion instruments are struck with new types of beaters; and instruments that used to be couriered unconventional in Western music - tom-toms, bongos, slapsticks, maracas - are widely used.           In the search for novel sounds, increased use has been made in Western music of Microtones. Non- Western music typically divides and intervals between two pitches more finely than Western music does, thereby producing a greater number of distinct tones or micro tones, within the same interval. Composers such as Krzysztof Penderecki create sound that borders on electronic noise through tone clusters - closely spaced tones played together and heard as a mass, block, or band of sound. The directional aspect of sound has taken on new importance as well Loudspeakers or groups of instruments may be placed at opposite ends of the stage, in the balcony, or at the back and sides of the auditorium. Because standard music notation makes no provision for many of these innovations, recent music scores may contain graph like diagrams, new note shapes and symbols, and novel ways of arranging notation on the page. The passage suggests that Edgard Varese is an example of a composer who __________

Xem chi tiết 1.6 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 from 35 to 42.         According to sociologists, there are several different ways in which a person may become recognized as the leader of a social group in the United States. In the tamily, traditional cultural patterns confer leadership on one or both of the parents. In other cases, such as friendship groups, one or more persons may gradually emerge as leaders, although there is no formal process of selection. In larger groups, leaders are usually chosen formally through election or recruitment.         Although leaders are often thought to be people with unusual personal ubility, decades ot research have failed to produce consistent evidence that there is any category ot “natural leaders”. It seems that there is no set of personal qualities that all leaders have in common; rather, virtually any person may be recognized as a leader if the person has qualities that meet the needs ot that particular group.         Furthermore, although it is commonly supposed that social groups have a single leader, research suggests that there are typically two different leadership roles that are held by different individuals. Instrumental leadership is leadership that emphasizes the completion of tasks by a social group.         Group members look to instrumental leaders to “get things” done.” Expressive leadership, on the other hand, is leadership that emphasizes the collective well-being of a social group’s member. Expressive leaders are less concerned with the overall goals of the group than with providing emotional support to group members and attempting to minimize tension and conflict among them. Group members expect expressive leaders to maintain stable relationships within the group and provide support to individual members.                    Instrumental leaders are likely to have a rather secondary relationship to other group members. They give orders and may discipline group members who inhibit attainment of the group’s goals. Expressive leaders cultivate a more personal or primary relationship to others in the group. They offer sympathy when someone experiences difficulties or is subjected to discipline, are quick to lighten a serious moment with humor, and try to resolve issues that threaten to divide the group. As the differences in these two roles suggest, expressive leaders generally receive more personal affection from group members; instrumental leaders, if they are successful in promoting group goals, may enjoy a more distant respect. What does the passage mainly discuss?

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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 from 28 to 34.         In 1900 the United States had only three cities with more than a million residents-New York, Chicago, and Philadelphia. By 1930, it had ten giant metropolises. The newer ones experienced remarkable growth, which reflected basic changes in the economy. The population of Los Angeles (114,000 in 1900) rose spectacularly in the early decades of the twentieth century, increasing a dramatic 1,400 percent from 1900 to 1930.         A number of circumstances contributed to the meteoric rise of Los Angeles. The agricultural potential of the area was enormous if water for irrigation could be found, and the city founders had the vision and dating to obtain it by constructing a 225-mile aqueduct, completed in 1913, to tap the water of the Owens River. The city had a superb natural harbor, as well as excellent rail connections. The climate made it possible to shoot motion pictures year-round; hence Hollywood not only supplied jobs but also disseminated an image of the good life in Southern California on screens all across the nation. The most important single industry powering the growth of Los Angeles, however, was directly linked to the automobile. The demand for petroleum to fuel gasoline engines led to the opening of the Southern California oil fields, and made Los Angeles North America’s greatest refining center.         Los Angeles was a product of the auto age in another sense as well: its distinctive spatial organization depended on widespread private ownership of automobiles. Los Angeles was a decentralized metropolis, sprawling across the desert landscape over an area of400 square miles.                    It was a city without a real center. The downtown business district did not grow apace with the city as a whole, and the rapid transit system designed to link the center with outlying areas withered away from disuse. Approximately 800,000 cars were registered in Los Angeles County in 1930, one per 2.7 residents. Some visitors from the east coast were dismayed at the endless urban sprawl and dismissed Los Angeles as a mere collection of suburbs in search of a city. But the freedom and mobility of a city built on wheels attracted floods of migrants to the city. The visitors from the east coast mentioned in the passage thought that Los Angeles

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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 from 28 to 34.         In 1900 the United States had only three cities with more than a million residents-New York, Chicago, and Philadelphia. By 1930, it had ten giant metropolises. The newer ones experienced remarkable growth, which reflected basic changes in the economy. The population of Los Angeles (114,000 in 1900) rose spectacularly in the early decades of the twentieth century, increasing a dramatic 1,400 percent from 1900 to 1930.         A number of circumstances contributed to the meteoric rise of Los Angeles. The agricultural potential of the area was enormous if water for irrigation could be found, and the city founders had the vision and dating to obtain it by constructing a 225-mile aqueduct, completed in 1913, to tap the water of the Owens River. The city had a superb natural harbor, as well as excellent rail connections. The climate made it possible to shoot motion pictures year-round; hence Hollywood not only supplied jobs but also disseminated an image of the good life in Southern California on screens all across the nation. The most important single industry powering the growth of Los Angeles, however, was directly linked to the automobile. The demand for petroleum to fuel gasoline engines led to the opening of the Southern California oil fields, and made Los Angeles North America’s greatest refining center.         Los Angeles was a product of the auto age in another sense as well: its distinctive spatial organization depended on widespread private ownership of automobiles. Los Angeles was a decentralized metropolis, sprawling across the desert landscape over an area of400 square miles.                    It was a city without a real center. The downtown business district did not grow apace with the city as a whole, and the rapid transit system designed to link the center with outlying areas withered away from disuse. Approximately 800,000 cars were registered in Los Angeles County in 1930, one per 2.7 residents. Some visitors from the east coast were dismayed at the endless urban sprawl and dismissed Los Angeles as a mere collection of suburbs in search of a city. But the freedom and mobility of a city built on wheels attracted floods of migrants to the city. It can be inferred from the passage that in 1930 the greatest number of people in the Los Angeles area were employed in _________.

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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 from 28 to 34.         In 1900 the United States had only three cities with more than a million residents-New York, Chicago, and Philadelphia. By 1930, it had ten giant metropolises. The newer ones experienced remarkable growth, which reflected basic changes in the economy. The population of Los Angeles (114,000 in 1900) rose spectacularly in the early decades of the twentieth century, increasing a dramatic 1,400 percent from 1900 to 1930.         A number of circumstances contributed to the meteoric rise of Los Angeles. The agricultural potential of the area was enormous if water for irrigation could be found, and the city founders had the vision and dating to obtain it by constructing a 225-mile aqueduct, completed in 1913, to tap the water of the Owens River. The city had a superb natural harbor, as well as excellent rail connections. The climate made it possible to shoot motion pictures year-round; hence Hollywood not only supplied jobs but also disseminated an image of the good life in Southern California on screens all across the nation. The most important single industry powering the growth of Los Angeles, however, was directly linked to the automobile. The demand for petroleum to fuel gasoline engines led to the opening of the Southern California oil fields, and made Los Angeles North America’s greatest refining center.         Los Angeles was a product of the auto age in another sense as well: its distinctive spatial organization depended on widespread private ownership of automobiles. Los Angeles was a decentralized metropolis, sprawling across the desert landscape over an area of400 square miles.                    It was a city without a real center. The downtown business district did not grow apace with the city as a whole, and the rapid transit system designed to link the center with outlying areas withered away from disuse. Approximately 800,000 cars were registered in Los Angeles County in 1930, one per 2.7 residents. Some visitors from the east coast were dismayed at the endless urban sprawl and dismissed Los Angeles as a mere collection of suburbs in search of a city. But the freedom and mobility of a city built on wheels attracted floods of migrants to the city. According to the passage, the initial success of Hollywood’s motion picture industry was due largely to the _________ .

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