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Danh sách câu hỏi:

Câu 1:

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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Câu 2:

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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Câu 3:

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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Câu 4:

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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Câu 5:

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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Câu 6:

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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Câu 7:

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 “scores” most likely mean _______ .

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Câu 8:

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 can be inferred that orchestra conductors who worked in movie theaters needed to _______ .

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Câu 9:

Mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the following questions from 9 to 20

My mother always tells me _______.

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Câu 16:

Mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the following questions from 9 to 20

He asked his sister _______.

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Câu 26:

Mark the letter A, B, C or D on your answer sheet to indicate the sentence that is closest in meaning to each of the following questions from 26 to 28.

The noise next door did not stop until after midnight.

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Câu 27:

Mark the letter A, B, C or D on your answer sheet to indicate the sentence that is closest in meaning to each of the following questions from 26 to 28.

This is the first time I have ever gone out for a picnic.

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Câu 28:

Mark the letter A, B, C or D on your answer sheet to indicate the sentence that is closest in meaning to each of the following questions from 26 to 28.

He started working as an engineer 5 years ago.

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Câu 36:

Mark the letter A, B, C or D on your answer sheet to indicate the sentence that best combines each pair of sentences in the following questions from 36 to 37.

Anna jogs every morning. It is very good for her health.

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Câu 37:

Mark the letter A, B, C or D on your answer sheet to indicate the sentence that best combines each pair of sentences in the following questions from 36 to 37.

Jack took a taxi. However, he still arrived late for class.

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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 40 to 46.

At the beginning of the nineteenth century, the American educational system was desperately in need of reform. Private schools existed, but only for the very rich. There were very few public schools because of the strong sentiment that children who would grow up to be laborers should not “waste” their time on education but should instead prepare themselves for their life’s work. It was in the face of this public sentiment that educational reformers set about their task. Horace Mann, probably the most famous of the reformers, felt that there was no excuse in a republic for any citizen to be uneducated. As Manager of Education in the state of Massachusetts from 1837 to 1848, he initiated various changes, which were soon matched in other school districts around the country. He extended the school year from five to six months and improved the quality of teachers by instituting teacher education and raising teacher salaries. Although these changes did not bring about a sudden improvement in the educational system, they at least increased public awareness as to the need for a further strengthening of the system.

According to the passage, Horace Mann wanted a better educational system for Americans because _______ .

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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 40 to 46.

At the beginning of the nineteenth century, the American educational system was desperately in need of reform. Private schools existed, but only for the very rich. There were very few public schools because of the strong sentiment that children who would grow up to be laborers should not “waste” their time on education but should instead prepare themselves for their life’s work. It was in the face of this public sentiment that educational reformers set about their task. Horace Mann, probably the most famous of the reformers, felt that there was no excuse in a republic for any citizen to be uneducated. As Manager of Education in the state of Massachusetts from 1837 to 1848, he initiated various changes, which were soon matched in other school districts around the country. He extended the school year from five to six months and improved the quality of teachers by instituting teacher education and raising teacher salaries. Although these changes did not bring about a sudden improvement in the educational system, they at least increased public awareness as to the need for a further strengthening of the system.

The word “reformers” in the passage mostly means _______ .

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Câu 43:

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 40 to 46.

At the beginning of the nineteenth century, the American educational system was desperately in need of reform. Private schools existed, but only for the very rich. There were very few public schools because of the strong sentiment that children who would grow up to be laborers should not “waste” their time on education but should instead prepare themselves for their life’s work. It was in the face of this public sentiment that educational reformers set about their task. Horace Mann, probably the most famous of the reformers, felt that there was no excuse in a republic for any citizen to be uneducated. As Manager of Education in the state of Massachusetts from 1837 to 1848, he initiated various changes, which were soon matched in other school districts around the country. He extended the school year from five to six months and improved the quality of teachers by instituting teacher education and raising teacher salaries. Although these changes did not bring about a sudden improvement in the educational system, they at least increased public awareness as to the need for a further strengthening of the system.

From 1837 to 1848, Horace Mann _______ .

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Câu 46:

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 40 to 46.

At the beginning of the nineteenth century, the American educational system was desperately in need of reform. Private schools existed, but only for the very rich. There were very few public schools because of the strong sentiment that children who would grow up to be laborers should not “waste” their time on education but should instead prepare themselves for their life’s work. It was in the face of this public sentiment that educational reformers set about their task. Horace Mann, probably the most famous of the reformers, felt that there was no excuse in a republic for any citizen to be uneducated. As Manager of Education in the state of Massachusetts from 1837 to 1848, he initiated various changes, which were soon matched in other school districts around the country. He extended the school year from five to six months and improved the quality of teachers by instituting teacher education and raising teacher salaries. Although these changes did not bring about a sudden improvement in the educational system, they at least increased public awareness as to the need for a further strengthening of the system.

According to the passage, which sentence is NOT TRUE?

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