Đáp án D
Đại từ quan hệ that thay thế cho which trong mệnh đề quan hệ không giới hạn
Tạm dịch: Mặc dù có nhiều phong cách và nhiều nhạc cụ nhưng nhạc đồng quê vẫn có những nét đặc trưng chung nào đó mang đến nét đặc biệt riêng của nó.
Mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the following questions.
Despite its wide range of styles and instrumentation, country music has certain common features _____ its own special character.
A. give it that
B. give which
C. that gives it to
D. that give it
Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct word or phrase for each of the blanks.
Every culture has its own (45)_______list of behavior that is acceptable. Every society (46)_______has its taboos, or types of behavior that are considered 3 violation of (47)_______manners. If you travel to (48)_______country, on business or vacation, it is really (49)_______to learn some of that country's customs so that you (50)_______insult the local people there.
The word “taboo” comes from the Tongan language and it used in (51)_______English to describe verbal and non-verbal behavior that is forbidden or to be ( 52)_______. In spite of people's common thought, taboos are not universal and they tend to be ( 53)_______to certain culture or country, and usually form around a community’s values and beliefs. (54)_______, what is considered acceptable behavior in one country may be a serious taboo in another.
Điền vào vị trí 47
A. wonderful
B. terrific
C. good
D. excellent
Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct word or phrase for each of the blanks.
Every culture has its own (45)_______list of behavior that is acceptable. Every society (46)_______has its taboos, or types of behavior that are considered 3 violation of (47)_______manners. If you travel to (48)_______country, on business or vacation, it is really (49)_______to learn some of that country's customs so that you (50)_______insult the local people there.
The word “taboo” comes from the Tongan language and it used in (51)_______English to describe verbal and non-verbal behavior that is forbidden or to be ( 52)_______. In spite of people's common thought, taboos are not universal and they tend to be ( 53)_______to certain culture or country, and usually form around a community’s values and beliefs. (54)_______, what is considered acceptable behavior in one country may be a serious taboo in another.
Điền vào vị trí 49
A. thankful
B. helpful
C. doubtful
D. grateful
Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct word or phrase for each of the blanks.
Every culture has its own (45)_______list of behavior that is acceptable. Every society (46)_______has its taboos, or types of behavior that are considered 3 violation of (47)_______manners. If you travel to (48)_______country, on business or vacation, it is really (49)_______to learn some of that country's customs so that you (50)_______insult the local people there.
The word “taboo” comes from the Tongan language and it used in (51)_______English to describe verbal and non-verbal behavior that is forbidden or to be ( 52)_______. In spite of people's common thought, taboos are not universal and they tend to be ( 53)_______to certain culture or country, and usually form around a community’s values and beliefs. (54)_______, what is considered acceptable behavior in one country may be a serious taboo in another.
Điền vào vị trí 48
A. another
B. the other
C other
D. one another
Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct word or phrase for each of the blanks.
Every culture has its own (45)_______list of behavior that is acceptable. Every society (46)_______has its taboos, or types of behavior that are considered 3 violation of (47)_______manners. If you travel to (48)_______country, on business or vacation, it is really (49)_______to learn some of that country's customs so that you (50)_______insult the local people there.
The word “taboo” comes from the Tongan language and it used in (51)_______English to describe verbal and non-verbal behavior that is forbidden or to be ( 52)_______. In spite of people's common thought, taboos are not universal and they tend to be ( 53)_______to certain culture or country, and usually form around a community’s values and beliefs. (54)_______, what is considered acceptable behavior in one country may be a serious taboo in another.
Điền vào vị trí: 46
A. also
B. already
C. although
D. always
Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct word or phrase for each of the blanks.
Every culture has its own (45)_______list of behavior that is acceptable. Every society (46)_______has its taboos, or types of behavior that are considered 3 violation of (47)_______manners. If you travel to (48)_______country, on business or vacation, it is really (49)_______to learn some of that country's customs so that you (50)_______insult the local people there.
The word “taboo” comes from the Tongan language and it used in (51)_______English to describe verbal and non-verbal behavior that is forbidden or to be ( 52)_______. In spite of people's common thought, taboos are not universal and they tend to be ( 53)_______to certain culture or country, and usually form around a community’s values and beliefs. (54)_______, what is considered acceptable behavior in one country may be a serious taboo in another.
Điền vào vị trí 45
A. spoken
B. unwritten
C. written
D. unspoken
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 _________.
A. the works of the rationalist musicians in the 18th century
B. Goethe, German folk tales and contemporary lyricists
C. the thoughts of Beethoven, Weber, and Berlioz
D. the art of music by the rationalist musicians
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 _________.
A. the 18th and 19th centuries
B. the late 18th century
C. the early 19th century
D. the beginning of the 20th century
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 _________.
A. telling stories or minting pictures
B. stirring feelings and evoking moods
C. exploring and expressing reality
D. depicting nature and reality
