20 Đề thi thử THPTQG môn Tiếng Anh cực hay có đáp án (Đề số 20)

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Câu 28:

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.

        Very few people in the modem world obtain their food supply by hunting and gathering in the natural environment surrounding their homes. This method of harvesting from nature s provision is the oldest subsistence strategy, and has been practiced for at least two million years. It was, indeed, the only way to obtain food until rudimentary farming and the domestication of animals were introduced about 10,000 years ago.

                   Because hunter-gathers have fared poorly in comparison with their agricultural cousins, their numbers have dwindled, and they have been forced to live in marginal environments such as deserts forests or arctic wasteland. In higher latitudes, the shorter growing season has restricted the availability of plant life. Such conditions have caused a greater independence on hunting, and along the coasts and waterways, on fishing. The abundance of vegetation in the lower latitudes of the tropics, on the other hand, has provided a greater opportunity for gathering a variety of plants. In short, the environmental differences have restricted the diet and have limited possibilities for the development of subsistence societies. Contemporary hunter-gathers may help us understand our prehistoric ancestors. We know from observation of modem hunter- gathers in both Africa and Alaska that society based on hunting and gathering must be very mobile. While the entire community camps in a central location, a smaller party harvests the food within a reasonable distance from the camp. When the food in the area is exhausted, the community moves on to exploit another site. We also notice a seasonal migration on pattern evolving for most hunter gathers, along with a restrict division of labor between sexes. These patterns of behavior may be similar to those practiced by mankind during the Paleolithic Period.

With which of the following topics is the passage primarily concerned?

Câu 29:

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.

        Very few people in the modem world obtain their food supply by hunting and gathering in the natural environment surrounding their homes. This method of harvesting from nature s provision is the oldest subsistence strategy, and has been practiced for at least two million years. It was, indeed, the only way to obtain food until rudimentary farming and the domestication of animals were introduced about 10,000 years ago.

                   Because hunter-gathers have fared poorly in comparison with their agricultural cousins, their numbers have dwindled, and they have been forced to live in marginal environments such as deserts forests or arctic wasteland. In higher latitudes, the shorter growing season has restricted the availability of plant life. Such conditions have caused a greater independence on hunting, and along the coasts and waterways, on fishing. The abundance of vegetation in the lower latitudes of the tropics, on the other hand, has provided a greater opportunity for gathering a variety of plants. In short, the environmental differences have restricted the diet and have limited possibilities for the development of subsistence societies. Contemporary hunter-gathers may help us understand our prehistoric ancestors. We know from observation of modem hunter- gathers in both Africa and Alaska that society based on hunting and gathering must be very mobile. While the entire community camps in a central location, a smaller party harvests the food within a reasonable distance from the camp. When the food in the area is exhausted, the community moves on to exploit another site. We also notice a seasonal migration on pattern evolving for most hunter gathers, along with a restrict division of labor between sexes. These patterns of behavior may be similar to those practiced by mankind during the Paleolithic Period.

The word “rudimentary” is closest in meaning to _________.

Câu 30:

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.

        Very few people in the modem world obtain their food supply by hunting and gathering in the natural environment surrounding their homes. This method of harvesting from nature s provision is the oldest subsistence strategy, and has been practiced for at least two million years. It was, indeed, the only way to obtain food until rudimentary farming and the domestication of animals were introduced about 10,000 years ago.

                   Because hunter-gathers have fared poorly in comparison with their agricultural cousins, their numbers have dwindled, and they have been forced to live in marginal environments such as deserts forests or arctic wasteland. In higher latitudes, the shorter growing season has restricted the availability of plant life. Such conditions have caused a greater independence on hunting, and along the coasts and waterways, on fishing. The abundance of vegetation in the lower latitudes of the tropics, on the other hand, has provided a greater opportunity for gathering a variety of plants. In short, the environmental differences have restricted the diet and have limited possibilities for the development of subsistence societies. Contemporary hunter-gathers may help us understand our prehistoric ancestors. We know from observation of modem hunter- gathers in both Africa and Alaska that society based on hunting and gathering must be very mobile. While the entire community camps in a central location, a smaller party harvests the food within a reasonable distance from the camp. When the food in the area is exhausted, the community moves on to exploit another site. We also notice a seasonal migration on pattern evolving for most hunter gathers, along with a restrict division of labor between sexes. These patterns of behavior may be similar to those practiced by mankind during the Paleolithic Period.

The word “abundance” is closest in meaning to _________.

Câu 31:

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.

        Very few people in the modem world obtain their food supply by hunting and gathering in the natural environment surrounding their homes. This method of harvesting from nature s provision is the oldest subsistence strategy, and has been practiced for at least two million years. It was, indeed, the only way to obtain food until rudimentary farming and the domestication of animals were introduced about 10,000 years ago.

                   Because hunter-gathers have fared poorly in comparison with their agricultural cousins, their numbers have dwindled, and they have been forced to live in marginal environments such as deserts forests or arctic wasteland. In higher latitudes, the shorter growing season has restricted the availability of plant life. Such conditions have caused a greater independence on hunting, and along the coasts and waterways, on fishing. The abundance of vegetation in the lower latitudes of the tropics, on the other hand, has provided a greater opportunity for gathering a variety of plants. In short, the environmental differences have restricted the diet and have limited possibilities for the development of subsistence societies. Contemporary hunter-gathers may help us understand our prehistoric ancestors. We know from observation of modem hunter- gathers in both Africa and Alaska that society based on hunting and gathering must be very mobile. While the entire community camps in a central location, a smaller party harvests the food within a reasonable distance from the camp. When the food in the area is exhausted, the community moves on to exploit another site. We also notice a seasonal migration on pattern evolving for most hunter gathers, along with a restrict division of labor between sexes. These patterns of behavior may be similar to those practiced by mankind during the Paleolithic Period.

When was hunting and gathering introduced?

Câu 32:

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.

        Very few people in the modem world obtain their food supply by hunting and gathering in the natural environment surrounding their homes. This method of harvesting from nature s provision is the oldest subsistence strategy, and has been practiced for at least two million years. It was, indeed, the only way to obtain food until rudimentary farming and the domestication of animals were introduced about 10,000 years ago.

                   Because hunter-gathers have fared poorly in comparison with their agricultural cousins, their numbers have dwindled, and they have been forced to live in marginal environments such as deserts forests or arctic wasteland. In higher latitudes, the shorter growing season has restricted the availability of plant life. Such conditions have caused a greater independence on hunting, and along the coasts and waterways, on fishing. The abundance of vegetation in the lower latitudes of the tropics, on the other hand, has provided a greater opportunity for gathering a variety of plants. In short, the environmental differences have restricted the diet and have limited possibilities for the development of subsistence societies. Contemporary hunter-gathers may help us understand our prehistoric ancestors. We know from observation of modem hunter- gathers in both Africa and Alaska that society based on hunting and gathering must be very mobile. While the entire community camps in a central location, a smaller party harvests the food within a reasonable distance from the camp. When the food in the area is exhausted, the community moves on to exploit another site. We also notice a seasonal migration on pattern evolving for most hunter gathers, along with a restrict division of labor between sexes. These patterns of behavior may be similar to those practiced by mankind during the Paleolithic Period.

What conditions exist in the lower latitude?

Câu 33:

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.

        Very few people in the modem world obtain their food supply by hunting and gathering in the natural environment surrounding their homes. This method of harvesting from nature s provision is the oldest subsistence strategy, and has been practiced for at least two million years. It was, indeed, the only way to obtain food until rudimentary farming and the domestication of animals were introduced about 10,000 years ago.

                   Because hunter-gathers have fared poorly in comparison with their agricultural cousins, their numbers have dwindled, and they have been forced to live in marginal environments such as deserts forests or arctic wasteland. In higher latitudes, the shorter growing season has restricted the availability of plant life. Such conditions have caused a greater independence on hunting, and along the coasts and waterways, on fishing. The abundance of vegetation in the lower latitudes of the tropics, on the other hand, has provided a greater opportunity for gathering a variety of plants. In short, the environmental differences have restricted the diet and have limited possibilities for the development of subsistence societies. Contemporary hunter-gathers may help us understand our prehistoric ancestors. We know from observation of modem hunter- gathers in both Africa and Alaska that society based on hunting and gathering must be very mobile. While the entire community camps in a central location, a smaller party harvests the food within a reasonable distance from the camp. When the food in the area is exhausted, the community moves on to exploit another site. We also notice a seasonal migration on pattern evolving for most hunter gathers, along with a restrict division of labor between sexes. These patterns of behavior may be similar to those practiced by mankind during the Paleolithic Period.

How cun we know more about the hunter- gathers of prehistoric time?

Câu 34:

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.

        Very few people in the modem world obtain their food supply by hunting and gathering in the natural environment surrounding their homes. This method of harvesting from nature s provision is the oldest subsistence strategy, and has been practiced for at least two million years. It was, indeed, the only way to obtain food until rudimentary farming and the domestication of animals were introduced about 10,000 years ago.

                   Because hunter-gathers have fared poorly in comparison with their agricultural cousins, their numbers have dwindled, and they have been forced to live in marginal environments such as deserts forests or arctic wasteland. In higher latitudes, the shorter growing season has restricted the availability of plant life. Such conditions have caused a greater independence on hunting, and along the coasts and waterways, on fishing. The abundance of vegetation in the lower latitudes of the tropics, on the other hand, has provided a greater opportunity for gathering a variety of plants. In short, the environmental differences have restricted the diet and have limited possibilities for the development of subsistence societies. Contemporary hunter-gathers may help us understand our prehistoric ancestors. We know from observation of modem hunter- gathers in both Africa and Alaska that society based on hunting and gathering must be very mobile. While the entire community camps in a central location, a smaller party harvests the food within a reasonable distance from the camp. When the food in the area is exhausted, the community moves on to exploit another site. We also notice a seasonal migration on pattern evolving for most hunter gathers, along with a restrict division of labor between sexes. These patterns of behavior may be similar to those practiced by mankind during the Paleolithic Period.

Which of the following is not true according the passage?

Câu 35:

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.

        It may seem as if the art of music by its nature would not lend itself to the exploration and expression of reality characteristic of Romanticism, but that is not so. True, music does not tell stories or paint pictures, but it stirs feelings and evokes moods, through both of which various kinds of reality can be suggested or expressed. It was in the rationalist 18"¹ century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally tailed, and the Romanticists profited from the error. Their discovery of new realms of experience proved communicable in the first place because they were in touch with the spirit of renovation, particularly through poetry. What Goethe meant to Beethoven and Berlioz and what Gennan folk tales and contemporary lyricists meant to Weber, Schumann, and Schubert are familiar to all who are acquainted with the music of these men.

        There is, of course, no way to demonstrate that Beethoven’s Egrnont music or, indeed, its overture alone corresponds to Goethe’s drama and thereby enlarges the hearer’s consciousness of it; but it cannot be an accident or an aberration that the greatest composers of the period employed the resources of their art for the creation of works expressly related to such lyrical and dramatic subjects. Similarly, the love of nature stirred Beethoven, Weber, and Berlioz, and here too the correspondence is felt and persuades the fit listener that his own experience is being expanded. The words of-the creators themselves record this new comprehensiveness. Beethoven referred to his activity of mingled contemplation and composition as dichten, making a poem; and Berlioz tells in his Memoires of the impetus given to his genius by the music of Beethoven and Weber, by the poetry of Goethe and Shakespeare, and not least by the spectacle of nature. Nor did the public that ultimately understood their works gainsay their claims.

                   It must be added that the Romantic musicians including Chopin, Mendelssohn, Glinka, and Liszt-had at their disposal greatly improved instruments. The beginning of the 19th century produced the modem piano, of greater range and dynamics than theretfore, and made all wind instruments more exact and powerful by the use of keys and valves. The modem full orchestra was the result. Berlioz, whose classic treatise on instrumentation and orchestration helped to give it definitive form, was also the first to exploit its resources to the full, in the Symphonic fantastique of 1830. This work, besides its technical significance just mentioned, can also be regarded as uniting the characteristics of Romanticism in music, it is both lyrical and dramatic, and, although it makes use of a “story,” that use is not to describe the scenes but to connect them; its slow movement is a “nature poem” in the Beethovenian manner; the second, fourth, and fifth movements include “realistic” detail of the most vivid kind; and the opening one is an introspective reverie.

Music can suggest or express various kinds of reality by _________.

Câu 36:

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.

        It may seem as if the art of music by its nature would not lend itself to the exploration and expression of reality characteristic of Romanticism, but that is not so. True, music does not tell stories or paint pictures, but it stirs feelings and evokes moods, through both of which various kinds of reality can be suggested or expressed. It was in the rationalist 18"¹ century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally tailed, and the Romanticists profited from the error. Their discovery of new realms of experience proved communicable in the first place because they were in touch with the spirit of renovation, particularly through poetry. What Goethe meant to Beethoven and Berlioz and what Gennan folk tales and contemporary lyricists meant to Weber, Schumann, and Schubert are familiar to all who are acquainted with the music of these men.

        There is, of course, no way to demonstrate that Beethoven’s Egrnont music or, indeed, its overture alone corresponds to Goethe’s drama and thereby enlarges the hearer’s consciousness of it; but it cannot be an accident or an aberration that the greatest composers of the period employed the resources of their art for the creation of works expressly related to such lyrical and dramatic subjects. Similarly, the love of nature stirred Beethoven, Weber, and Berlioz, and here too the correspondence is felt and persuades the fit listener that his own experience is being expanded. The words of-the creators themselves record this new comprehensiveness. Beethoven referred to his activity of mingled contemplation and composition as dichten, making a poem; and Berlioz tells in his Memoires of the impetus given to his genius by the music of Beethoven and Weber, by the poetry of Goethe and Shakespeare, and not least by the spectacle of nature. Nor did the public that ultimately understood their works gainsay their claims.

                   It must be added that the Romantic musicians including Chopin, Mendelssohn, Glinka, and Liszt-had at their disposal greatly improved instruments. The beginning of the 19th century produced the modem piano, of greater range and dynamics than theretfore, and made all wind instruments more exact and powerful by the use of keys and valves. The modem full orchestra was the result. Berlioz, whose classic treatise on instrumentation and orchestration helped to give it definitive form, was also the first to exploit its resources to the full, in the Symphonic fantastique of 1830. This work, besides its technical significance just mentioned, can also be regarded as uniting the characteristics of Romanticism in music, it is both lyrical and dramatic, and, although it makes use of a “story,” that use is not to describe the scenes but to connect them; its slow movement is a “nature poem” in the Beethovenian manner; the second, fourth, and fifth movements include “realistic” detail of the most vivid kind; and the opening one is an introspective reverie.

The word “error” in paragraph 1 refers to _________.

Câu 37:

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.

        It may seem as if the art of music by its nature would not lend itself to the exploration and expression of reality characteristic of Romanticism, but that is not so. True, music does not tell stories or paint pictures, but it stirs feelings and evokes moods, through both of which various kinds of reality can be suggested or expressed. It was in the rationalist 18"¹ century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally tailed, and the Romanticists profited from the error. Their discovery of new realms of experience proved communicable in the first place because they were in touch with the spirit of renovation, particularly through poetry. What Goethe meant to Beethoven and Berlioz and what Gennan folk tales and contemporary lyricists meant to Weber, Schumann, and Schubert are familiar to all who are acquainted with the music of these men.

        There is, of course, no way to demonstrate that Beethoven’s Egrnont music or, indeed, its overture alone corresponds to Goethe’s drama and thereby enlarges the hearer’s consciousness of it; but it cannot be an accident or an aberration that the greatest composers of the period employed the resources of their art for the creation of works expressly related to such lyrical and dramatic subjects. Similarly, the love of nature stirred Beethoven, Weber, and Berlioz, and here too the correspondence is felt and persuades the fit listener that his own experience is being expanded. The words of-the creators themselves record this new comprehensiveness. Beethoven referred to his activity of mingled contemplation and composition as dichten, making a poem; and Berlioz tells in his Memoires of the impetus given to his genius by the music of Beethoven and Weber, by the poetry of Goethe and Shakespeare, and not least by the spectacle of nature. Nor did the public that ultimately understood their works gainsay their claims.

                   It must be added that the Romantic musicians including Chopin, Mendelssohn, Glinka, and Liszt-had at their disposal greatly improved instruments. The beginning of the 19th century produced the modem piano, of greater range and dynamics than theretfore, and made all wind instruments more exact and powerful by the use of keys and valves. The modem full orchestra was the result. Berlioz, whose classic treatise on instrumentation and orchestration helped to give it definitive form, was also the first to exploit its resources to the full, in the Symphonic fantastique of 1830. This work, besides its technical significance just mentioned, can also be regarded as uniting the characteristics of Romanticism in music, it is both lyrical and dramatic, and, although it makes use of a “story,” that use is not to describe the scenes but to connect them; its slow movement is a “nature poem” in the Beethovenian manner; the second, fourth, and fifth movements include “realistic” detail of the most vivid kind; and the opening one is an introspective reverie.

It is stated in the passage that the Romanticists were influenced by _________.

Câu 38:

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.

        It may seem as if the art of music by its nature would not lend itself to the exploration and expression of reality characteristic of Romanticism, but that is not so. True, music does not tell stories or paint pictures, but it stirs feelings and evokes moods, through both of which various kinds of reality can be suggested or expressed. It was in the rationalist 18"¹ century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally tailed, and the Romanticists profited from the error. Their discovery of new realms of experience proved communicable in the first place because they were in touch with the spirit of renovation, particularly through poetry. What Goethe meant to Beethoven and Berlioz and what Gennan folk tales and contemporary lyricists meant to Weber, Schumann, and Schubert are familiar to all who are acquainted with the music of these men.

        There is, of course, no way to demonstrate that Beethoven’s Egrnont music or, indeed, its overture alone corresponds to Goethe’s drama and thereby enlarges the hearer’s consciousness of it; but it cannot be an accident or an aberration that the greatest composers of the period employed the resources of their art for the creation of works expressly related to such lyrical and dramatic subjects. Similarly, the love of nature stirred Beethoven, Weber, and Berlioz, and here too the correspondence is felt and persuades the fit listener that his own experience is being expanded. The words of-the creators themselves record this new comprehensiveness. Beethoven referred to his activity of mingled contemplation and composition as dichten, making a poem; and Berlioz tells in his Memoires of the impetus given to his genius by the music of Beethoven and Weber, by the poetry of Goethe and Shakespeare, and not least by the spectacle of nature. Nor did the public that ultimately understood their works gainsay their claims.

                   It must be added that the Romantic musicians including Chopin, Mendelssohn, Glinka, and Liszt-had at their disposal greatly improved instruments. The beginning of the 19th century produced the modem piano, of greater range and dynamics than theretfore, and made all wind instruments more exact and powerful by the use of keys and valves. The modem full orchestra was the result. Berlioz, whose classic treatise on instrumentation and orchestration helped to give it definitive form, was also the first to exploit its resources to the full, in the Symphonic fantastique of 1830. This work, besides its technical significance just mentioned, can also be regarded as uniting the characteristics of Romanticism in music, it is both lyrical and dramatic, and, although it makes use of a “story,” that use is not to describe the scenes but to connect them; its slow movement is a “nature poem” in the Beethovenian manner; the second, fourth, and fifth movements include “realistic” detail of the most vivid kind; and the opening one is an introspective reverie.

The passage indicates that the Romanticist composers were inspired not only by lyrical and dramatic subjects but also by _________.

Câu 39:

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.

        It may seem as if the art of music by its nature would not lend itself to the exploration and expression of reality characteristic of Romanticism, but that is not so. True, music does not tell stories or paint pictures, but it stirs feelings and evokes moods, through both of which various kinds of reality can be suggested or expressed. It was in the rationalist 18"¹ century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally tailed, and the Romanticists profited from the error. Their discovery of new realms of experience proved communicable in the first place because they were in touch with the spirit of renovation, particularly through poetry. What Goethe meant to Beethoven and Berlioz and what Gennan folk tales and contemporary lyricists meant to Weber, Schumann, and Schubert are familiar to all who are acquainted with the music of these men.

        There is, of course, no way to demonstrate that Beethoven’s Egrnont music or, indeed, its overture alone corresponds to Goethe’s drama and thereby enlarges the hearer’s consciousness of it; but it cannot be an accident or an aberration that the greatest composers of the period employed the resources of their art for the creation of works expressly related to such lyrical and dramatic subjects. Similarly, the love of nature stirred Beethoven, Weber, and Berlioz, and here too the correspondence is felt and persuades the fit listener that his own experience is being expanded. The words of-the creators themselves record this new comprehensiveness. Beethoven referred to his activity of mingled contemplation and composition as dichten, making a poem; and Berlioz tells in his Memoires of the impetus given to his genius by the music of Beethoven and Weber, by the poetry of Goethe and Shakespeare, and not least by the spectacle of nature. Nor did the public that ultimately understood their works gainsay their claims.

                   It must be added that the Romantic musicians including Chopin, Mendelssohn, Glinka, and Liszt-had at their disposal greatly improved instruments. The beginning of the 19th century produced the modem piano, of greater range and dynamics than theretfore, and made all wind instruments more exact and powerful by the use of keys and valves. The modem full orchestra was the result. Berlioz, whose classic treatise on instrumentation and orchestration helped to give it definitive form, was also the first to exploit its resources to the full, in the Symphonic fantastique of 1830. This work, besides its technical significance just mentioned, can also be regarded as uniting the characteristics of Romanticism in music, it is both lyrical and dramatic, and, although it makes use of a “story,” that use is not to describe the scenes but to connect them; its slow movement is a “nature poem” in the Beethovenian manner; the second, fourth, and fifth movements include “realistic” detail of the most vivid kind; and the opening one is an introspective reverie.

The Romantic musicians also made use of modem technologies such as _________.

Câu 40:

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.

        It may seem as if the art of music by its nature would not lend itself to the exploration and expression of reality characteristic of Romanticism, but that is not so. True, music does not tell stories or paint pictures, but it stirs feelings and evokes moods, through both of which various kinds of reality can be suggested or expressed. It was in the rationalist 18"¹ century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally tailed, and the Romanticists profited from the error. Their discovery of new realms of experience proved communicable in the first place because they were in touch with the spirit of renovation, particularly through poetry. What Goethe meant to Beethoven and Berlioz and what Gennan folk tales and contemporary lyricists meant to Weber, Schumann, and Schubert are familiar to all who are acquainted with the music of these men.

        There is, of course, no way to demonstrate that Beethoven’s Egrnont music or, indeed, its overture alone corresponds to Goethe’s drama and thereby enlarges the hearer’s consciousness of it; but it cannot be an accident or an aberration that the greatest composers of the period employed the resources of their art for the creation of works expressly related to such lyrical and dramatic subjects. Similarly, the love of nature stirred Beethoven, Weber, and Berlioz, and here too the correspondence is felt and persuades the fit listener that his own experience is being expanded. The words of-the creators themselves record this new comprehensiveness. Beethoven referred to his activity of mingled contemplation and composition as dichten, making a poem; and Berlioz tells in his Memoires of the impetus given to his genius by the music of Beethoven and Weber, by the poetry of Goethe and Shakespeare, and not least by the spectacle of nature. Nor did the public that ultimately understood their works gainsay their claims.

                   It must be added that the Romantic musicians including Chopin, Mendelssohn, Glinka, and Liszt-had at their disposal greatly improved instruments. The beginning of the 19th century produced the modem piano, of greater range and dynamics than theretfore, and made all wind instruments more exact and powerful by the use of keys and valves. The modem full orchestra was the result. Berlioz, whose classic treatise on instrumentation and orchestration helped to give it definitive form, was also the first to exploit its resources to the full, in the Symphonic fantastique of 1830. This work, besides its technical significance just mentioned, can also be regarded as uniting the characteristics of Romanticism in music, it is both lyrical and dramatic, and, although it makes use of a “story,” that use is not to describe the scenes but to connect them; its slow movement is a “nature poem” in the Beethovenian manner; the second, fourth, and fifth movements include “realistic” detail of the most vivid kind; and the opening one is an introspective reverie.

Romanticism in music is characterized as being _________.

Câu 41:

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.

        It may seem as if the art of music by its nature would not lend itself to the exploration and expression of reality characteristic of Romanticism, but that is not so. True, music does not tell stories or paint pictures, but it stirs feelings and evokes moods, through both of which various kinds of reality can be suggested or expressed. It was in the rationalist 18"¹ century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally tailed, and the Romanticists profited from the error. Their discovery of new realms of experience proved communicable in the first place because they were in touch with the spirit of renovation, particularly through poetry. What Goethe meant to Beethoven and Berlioz and what Gennan folk tales and contemporary lyricists meant to Weber, Schumann, and Schubert are familiar to all who are acquainted with the music of these men.

        There is, of course, no way to demonstrate that Beethoven’s Egrnont music or, indeed, its overture alone corresponds to Goethe’s drama and thereby enlarges the hearer’s consciousness of it; but it cannot be an accident or an aberration that the greatest composers of the period employed the resources of their art for the creation of works expressly related to such lyrical and dramatic subjects. Similarly, the love of nature stirred Beethoven, Weber, and Berlioz, and here too the correspondence is felt and persuades the fit listener that his own experience is being expanded. The words of-the creators themselves record this new comprehensiveness. Beethoven referred to his activity of mingled contemplation and composition as dichten, making a poem; and Berlioz tells in his Memoires of the impetus given to his genius by the music of Beethoven and Weber, by the poetry of Goethe and Shakespeare, and not least by the spectacle of nature. Nor did the public that ultimately understood their works gainsay their claims.

                   It must be added that the Romantic musicians including Chopin, Mendelssohn, Glinka, and Liszt-had at their disposal greatly improved instruments. The beginning of the 19th century produced the modem piano, of greater range and dynamics than theretfore, and made all wind instruments more exact and powerful by the use of keys and valves. The modem full orchestra was the result. Berlioz, whose classic treatise on instrumentation and orchestration helped to give it definitive form, was also the first to exploit its resources to the full, in the Symphonic fantastique of 1830. This work, besides its technical significance just mentioned, can also be regarded as uniting the characteristics of Romanticism in music, it is both lyrical and dramatic, and, although it makes use of a “story,” that use is not to describe the scenes but to connect them; its slow movement is a “nature poem” in the Beethovenian manner; the second, fourth, and fifth movements include “realistic” detail of the most vivid kind; and the opening one is an introspective reverie.

All of the following are true about the Symphonic fantastique EXCEPT _________.

Câu 42:

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.

        It may seem as if the art of music by its nature would not lend itself to the exploration and expression of reality characteristic of Romanticism, but that is not so. True, music does not tell stories or paint pictures, but it stirs feelings and evokes moods, through both of which various kinds of reality can be suggested or expressed. It was in the rationalist 18"¹ century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally tailed, and the Romanticists profited from the error. Their discovery of new realms of experience proved communicable in the first place because they were in touch with the spirit of renovation, particularly through poetry. What Goethe meant to Beethoven and Berlioz and what Gennan folk tales and contemporary lyricists meant to Weber, Schumann, and Schubert are familiar to all who are acquainted with the music of these men.

        There is, of course, no way to demonstrate that Beethoven’s Egrnont music or, indeed, its overture alone corresponds to Goethe’s drama and thereby enlarges the hearer’s consciousness of it; but it cannot be an accident or an aberration that the greatest composers of the period employed the resources of their art for the creation of works expressly related to such lyrical and dramatic subjects. Similarly, the love of nature stirred Beethoven, Weber, and Berlioz, and here too the correspondence is felt and persuades the fit listener that his own experience is being expanded. The words of-the creators themselves record this new comprehensiveness. Beethoven referred to his activity of mingled contemplation and composition as dichten, making a poem; and Berlioz tells in his Memoires of the impetus given to his genius by the music of Beethoven and Weber, by the poetry of Goethe and Shakespeare, and not least by the spectacle of nature. Nor did the public that ultimately understood their works gainsay their claims.

                   It must be added that the Romantic musicians including Chopin, Mendelssohn, Glinka, and Liszt-had at their disposal greatly improved instruments. The beginning of the 19th century produced the modem piano, of greater range and dynamics than theretfore, and made all wind instruments more exact and powerful by the use of keys and valves. The modem full orchestra was the result. Berlioz, whose classic treatise on instrumentation and orchestration helped to give it definitive form, was also the first to exploit its resources to the full, in the Symphonic fantastique of 1830. This work, besides its technical significance just mentioned, can also be regarded as uniting the characteristics of Romanticism in music, it is both lyrical and dramatic, and, although it makes use of a “story,” that use is not to describe the scenes but to connect them; its slow movement is a “nature poem” in the Beethovenian manner; the second, fourth, and fifth movements include “realistic” detail of the most vivid kind; and the opening one is an introspective reverie.

According to the passage, Romanticism in music extended over _________.

Câu 43:

Mark the tetter A, B, C, or D on your answer sheet to indicate the sentence that is closest in meaning to each of the following questions.

“I’m sorry for being late again.” said Mai.

Câu 44:

Mark the tetter A, B, C, or D on your answer sheet to indicate the sentence that is closest in meaning to each of the following questions.

She must have had a blackout after the accident.

Câu 45:

Mark the tetter A, B, C, or D on your answer sheet to indicate the sentence that is closest in meaning to each of the following questions.

Tom no longer smokes a lot.

Câu 46:

Mark the letter A, B, C, or D on your answer sheet to indicate the underlined part that needs correction in each of the following questions.

The (A) science and technology industries (B) have grown up (C) steadily over the (D) last decade.

Câu 47:

Mark the letter A, B, C, or D on your answer sheet to indicate the underlined part that needs correction in each of the following questions.

(A) Read the letter (B) from my father, I (C) feel very (D) happy.

Câu 48:

Mark the letter A, B, C, or D on your answer sheet to indicate the underlined part that needs correction in each of the following questions.

They thought that children (A) will learn (B) better through participating (C) in activities rather than through (D) listening to lectures.

Câu 49:

Câu 50: