From that time, film makers were prepared to make longer and better films and build special places where only films were shown.
A. appointed
B. equipped
C. arranged
D. trained
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
Đáp án B
Có thể suy luận từ đoạn văn rằng những bản sắp xếp trình tự xuất hiện của bản nhạc đầu tiên xuất hiện trong khoảng ________.
Câu thứ 2 và thứ 3 đoạn 3: “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...” (Ví dụ vào năm 1909, Công ty Edison đã bắt đầu phát hành những bộ phim của họ với những biểu thị tâm trạng ẩn trong đó như “vui”, “buồn”, “sống động”. Những gợi ý này dần trở nên rõ ràng hơn và vì thế đã xuất hiện những bản sắp xếp trình tự xuất hiện của bản nhạc bao gồm cả tâm trạng được biểu thị...)
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
Chọn đáp án B
Có thể suy luận từ đoạn văn rằng những bản sắp xếp trình tự xuất hiện của bản nhạc đầu tiên xuất hiện trong khoảng ________.
Câu thứ 2 và thứ 3 đoạn 3: “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...” (Ví dụ vào năm 1909, Công ty Edison đã bắt đầu phát hành những bộ phim của họ với những biểu thị tâm trạng ẩn trong đó như “vui”, “buồn”, “sống động”. Những gợi ý này dần trở nên rõ ràng hơn và vì thế đã xuất hiện những bản sắp xếp trình tự xuất hiện của bản nhạc bao gồm cả tâm trạng được biểu thị...)
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
Đáp án D
Có thể suy luận ra rằng những người chỉ huy dàn nhạc làm việc trong rạp chiếu phim cần ________.
A. be able to compose original music: có khả năng soạn nhạc nguyên bản
B. Have pleasant voices: có giọng hay.
C. Be able to play many instruments: có khả năng chơi nhiều nhạc cụ.
D. be familiar with a wide variety of music: quen thuộc với các loại nhạc Đáp án dạng khác nhau.
Câu thứ 2 đoạn 2: “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” ( Trong một vài năm việc lựa chọn âm nhạc cho từng chương trình phim hoàn toàn nằm trong quyết định của người chỉ huy hoặc người chỉ đạo dàn nhạc, và rất thường xuyên thì tiêu chuẩn chính để được nắm giữ vị trí này không phải nằm ở kỹ năng hay thẩm âm mà là ở việc sở hữu một kho tàng các bản nhạc đồ sộ riêng)
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
Chọn đáp án D
Có thể suy luận ra rằng những người chỉ huy dàn nhạc làm việc trong rạp chiếu phim cần ________.
A. be able to compose original music: có khả năng soạn nhạc nguyên bản
B. Have pleasant voices: có giọng hay.
C. Be able to play many instruments: có khả năng chơi nhiều nhạc cụ.
D. be familiar with a wide variety of music: quen thuộc với các loại nhạc Đáp án dạng khác nhau.
Câu thứ 2 đoạn 2: “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” ( Trong một vài năm việc lựa chọn âm nhạc cho từng chương trình phim hoàn toàn nằm trong quyết định của người chỉ huy hoặc người chỉ đạo dàn nhạc, và rất thường xuyên thì tiêu chuẩn chính để được nắm giữ vị trí này không phải nằm ở kỹ năng hay thẩm âm mà là ở việc sở hữu một kho tàng các bản nhạc đồ sộ riêng)
C. READING
Choose the word or phrase among A, B, C or D that best fits the blank space in the following passage.
The world’s first film was shown in 1895 by two French brothers, Louis and Auguste Lumiere. Although it only (1) of short, simple scenes, people loved it and films have (2) popular ever since. The first films were silent, with titles on the screen to (3) the story.
Soon the public had (4) favorite actors and actresses and, in this (5) , the first film stars appeared. In the 1927, the first “talkie”, a film with sound, was shown and from then on, the public (6) only accept this kind of film.
Further improvements continued, particularly in America, (7) produced 95% of all films. With the arrival of television in 1950s, (8) people went to see films, but in (9) years audiences have grown again. More countries have started to produce films that influences film-making and there are currently (10) national film industries.
The world’s first film was shown in 1895 by two French brothers, Louis and Auguste Lumiere. Although it only (1)....consisted.... of short, simple scenes, people loved it and films have (2)....been.... popular ever since. The first films were silent, with titles on the screen to (3)....explant.... the story.
Soon the public had (4)....their.... favorite actors and actresses and, in this (5)....result.... , the first film stars appeared. In the 1927, the first “talkie”, a film with sound, was shown and from then on, the public (6)....would.... only accept this kind of film.
Further improvements continued, particularly in America, (7)....which.....produced 95% of all films. With the arrival of television in 1950s, (8)....each.... people went to see films, but in (9)....recent.... years audiences have grown again. More countries have started to produce films that influences film-making and there are currently (10)....many..... national film industries.
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 _______ .
A. performed before the showing of a film
B. played during silent films
C. specifically composed for certain movie theaters
D. recorded during film exhibitions
Đáp án B
Văn bản chủ yếu thảo luận về âm nhạc________.
A. Performed before the showing of a film: được chơi trước khi trình chiếu một bộ phim.
B. Played during silent films: được chơi trong suốt các bộ phim câm.
C. Specifically composed for certain movie: được soạn đặc biệt cho một bộ phim nhất định.
D. Recorded during film exhibitions: được thu lại trong khi triển lãm phim .
Câu đầu và câu thứ hai đoạn 1: “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…” ( Mặc dù chúng ta đã quen thuộc nhắc tới những bộ phim được sản xuất trước năm 1927 là “phim câm’ thì phim chưa bao giờ thực sự im lặng. Ngay từ khi mới bắt đầu, âm nhạc đã được xem là thứ đồng hành không thể thiếu…)
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 _______ .
A. performed before the showing of a film
B. played during silent films
C. specifically composed for certain movie theaters
D. recorded during film exhibitions
Chọn đáp án B
Văn bản chủ yếu thảo luận về âm nhạc________.
A. Performed before the showing of a film: được chơi trước khi trình chiếu một bộ phim.
B. Played during silent films: được chơi trong suốt các bộ phim câm.
C. Specifically composed for certain movie: được soạn đặc biệt cho một bộ phim nhất định.
D. Recorded during film exhibitions: được thu lại trong khi triển lãm phim .
Câu đầu và câu thứ hai đoạn 1: “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…” ( Mặc dù chúng ta đã quen thuộc nhắc tới những bộ phim được sản xuất trước năm 1927 là “phim câm’ thì phim chưa bao giờ thực sự im lặng. Ngay từ khi mới bắt đầu, âm nhạc đã được xem là thứ đồng hành không thể thiếu…)
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.
What can be inferred that the passage about the majority of films made after 1927?
A. They were truly “silent”
B. They were accompanied by symphonic orchestras
C. They incorporated the sound of the actors' voices
D. They coưesponded to specific musical compositions
Đáp án C.
Keywords: inferred (suy luận), the majority of films, after 1927.
Clue: “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..Mặc dù chúng ta đã quen thuộc khi nhắc tới những bộ phim được sản xuất trước năm 1927 là “'phim câm ” thì những phim này chưa bao giờ thực sự là phim câm cả. Ngay từ khi mới bắt đầu, âm nhạc đã được xem là thứ đồng hành không thể thiếu...
Phân tích:
A. They were truly “silent”: Chúng thực sự im lặng.
B. They were accompanied by symphonic orchestras: Chúng được chơi cùng dàn nhạc giao hưởng.
C. They incorporated the sound of the actors’ voices: Chúng được kết hợp chặt chẽ với âm thanh từ giọng của diễn viên.
D. They corresponded to specific musical compositions: Chúng tương ứng với một tác phẩm âm nhạc cụ thể.
Những bộ phim câm trước năm 1927 trên thực tế không hoàn toàn im lặng bởi luôn có âm nhạc đồng hành. Dù cho diễn viên không nói nhưng âm nhạc lại được kết hợp với phần diễn của diễn viên để miêu tả được phần diễn đó. Do đó, sau năm 1927 chắc chắn là film đã được lồng tiếng nên đáp án đúng là C.
Kiến thức cần nhớ |
-accompany (v) / ə'kʌmpəni /: đi kèm đi cùng, kết hợp, (đệm đàn) |
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.
What can be inferred that the passage about the majority of films made after 1927?
A. They were truly “silent”.
B. They were accompanied by symphonic orchestras
C. They incorporated the sound of the actors’ voices
D. They corresponded to specific musical compositions
Đáp án C.
Keywords: inferred (suy luận), the majority of films, after 1927.
Clue: “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…”: Mặc dù chúng ta đã quen thuộc khi nhắc tới những bộ phim được sản xuất trước năm 1927 là “phim câm” thì những phim này chưa bao giờ thực sự là phim câm cả. Ngay từ khi mới bắt đầu, âm nhạc đã được xem là thứ đồng hành không thể thiếu…
Phân tích:
A. They were truly “silent”: Chúng thực sự im lặng.
B. They were accompanied by symphonic orchestras: Chúng được chơi cùng dàn nhạc giao hưởng.
C. They incorporated the sound of the actors’ voices: Chúng được kết hợp chặt chẽ với âm thanh từ giọng của diễn viên.
D. They corresponded to specific musical compositions: Chúng tương ứng với một tác phẩm âm nhạc cụ thể.
Những bộ phim câm trước năm 1927 trên thực tế không hoàn toàn im lặng bởi luôn có âm nhạc đồng hành. Dù cho diễn viên không nói nhưng âm nhạc lại được kết hợp với phần diễn của diễn viên để miêu tả được phần diễn đó. Do đó, sau năm 1927 chắc chắn là film đã được lồng tiếng nên đáp án đúng là C