Đáp án C
Kiến thức: Cụm từ, từ vựng
Giải thích:
Ta có cụm “reduce sb to tears” = make sb cry: làm ai khóc
Tạm dịch: Nó thật là một bộ phim buồn đến mức vào phút cuối tất cả chúng tôi đều khóc. Đáp án:C
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 _______ .
A. be able to compose original music
B. have pleasant voices
C. be able to play many instruments
D. be familiar with a wide variety of music
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 _______ .
A. be able to compose original music
B. have pleasant voices
C. be able to play many instruments
D. be familiar with a wide variety of music
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 _______ .
A. 1896
B. 1909
C. 1915
D. 1927
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 _______ .
A. 1896
B. 1909
C. 1915
D. 1927
Read the following passage carefully and complete the sentences that follow by circling letter A, B, C or D as the correct answers I then mark your choice on the answer sheet.
Most fairy tales in the world begin with "Once upon a time" and end with "They lived happily ever after," so we will begin in the same way. Once upon a time, there was a girl called Cinderella who did all the work in the kitchen while her lazy sister did nothing. One night, her sister went to a ball at the palace. Cinderella was left home, very sad. After a time, her fairy godmother appeared and told Cinderella that she could go to the ball — but to return home by midnight.
So she went to the ball in a beautiful dress in a wonderful coach. She danced with the prince but at midnight she ran back home, leaving one of her shoes on her dancing floor. The prince wanted to see her again and went to every house in the capital until he found that the shoe was the right size for Cinderella. She and the prince were married and lived happily ever after.
Cinderella was very sad because ______ .
A. her sister did nothing
B. her sister went to a ball and left her at hom
C. she did all the work in the kitchen
D. her sister was invited to a ball
Read the following passage and mark the letter A, B, C or B on your answer sheet to indicate the correct answer to each of the questions from 30 to 37.
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 specialscores 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 _________.
A. be able to compose original music
B. have pleasant voices
C. be able to play many instruments
D. be familiar with a wide variety of music
Read the following passage and mark the letter A, B, C or B on your answer sheet to indicate the correct answer to each of the questions from 30 to 37.
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 specialscores 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 _________.
A. 1896
B. 1909
C. 1915
D. 1927
Read the following passage carefully and complete the sentences that follow by circling letter A, B, C or D as the correct answers I then mark your choice on the answer sheet.
Most fairy tales in the world begin with "Once upon a time" and end with "They lived happily ever after," so we will begin in the same way. Once upon a time, there was a girl called Cinderella who did all the work in the kitchen while her lazy sister did nothing. One night, her sister went to a ball at the palace. Cinderella was left home, very sad. After a time, her fairy godmother appeared and told Cinderella that she could go to the ball — but to return home by midnight.
So she went to the ball in a beautiful dress in a wonderful coach. She danced with the prince but at midnight she ran back home, leaving one of her shoes on her dancing floor. The prince wanted to see her again and went to every house in the capital until he found that the shoe was the right size for Cinderella. She and the prince were married and lived happily ever after.
At the end of the story, _________ .
A. Cinderella could go to the ball and its meaning is clear that she all(I the prince were married
B. Cinderella's godmother came to comfort her
C. one of Cinderella's sisters was married to the prince
D. the prince invited Cinderella to the ball
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.
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 they 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 orchestras conductors who worked in movie theaters needed to ________.
A. be able to play many instruments
B. have pleasant voices
C. be familiar with a wide variety of music
D. be able to compose original music
