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

Each of the musicians (A) in the orchestra were (B) rehearsing daily before (C) the concert tour began. (D)

A. musicians

B. were

C. daily before

D. began

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

Each of the musicians in the orchestra were rehearsing daily before the concert began.

A. musicians

B. were

C. daily before

D. began

Question VI. Read the passage and circle the best answer to each of the following questions about it (1,0p)

Almost a hundred thousand people were killed and half a million homes destroyed as a result of an earthquake in Tokyo in 1923. The earthquake began a minute before the noon when the inhabitants of Tokyo were cooking their midday meals. Thousands of stoves were overturned as soon as the earth began to shake. As a result, small fires broke out everywhere and quickly spread. The fire engines were prevented from going to help because many of the roads had cracked open. It was impossible to use fire fighting equipment as most of the water pipes had burst. Consequently, over ninety percent of the damage caused by fire rather than by the collapse of the buildings.

1. How many people were killed in the earthquake in Tokyo in 1923?

A. Ten thousand people B. Almost a hundred thousand people

C. Thousands of people D. Many people

2. When did the earthquake begin?

A. began a minute before the noon in 1923 B. began a minute before the noon in 1924

C. began a minute before the noon in 1925 C. began a minute before the noon in 1922

3. What happened as soon as the earth began to shake?

A. people died B. the water pipes had burst

C. Thousands of stoves were overturned D. the roads had cracked open

4. Why was the fire engines prevented from going to help?

A. because the water pipes had burst B. because no one helped

C. because small fires broke out everywhere D. because many of the roads had cracked open

5. What was most of the damage caused by?

A. fire B. the roads C. water pipes D. the collapse of the buildings

Read the following passage and mark the letter A, B, C or D on you answer sheet to indicate the correct answer to each of the questions

When jazz began to lose its reputation as “low-down” music and to gain well-deserved acclaim among intellectuals, musicians began to feature many instruments previously considered inappropriate for jazz. Whereas before the 1950s, jazz musicians played only eight basic instruments in strict tempo, in this decade they started to improvise on the flute, electric organ, piccolo, accordion, cello, and even bagpipes, with the rhythm section composed for strings or piano. Big bands no longer dominated jazz, and most changes emerged from small combos, such as the Dave Brubeck Quartet and the Gerry Mulligan Quartet. The Gerry Mulligan Quartet proved that a small, modern band could sound complete without a piano; the rhythm section consisted only of a set of drums and a string bass.

Jazz continued to move in new directions during the 1960s. Saxophonist and composer Ornette Coleman led a quartet playing “free” jazz that was atonal. Pianist Cecil Taylor also conducted similar experiments with music, and John Coltrane included melodies from India in his compositions. In the 1970s, musicians blended jazz and rock music into fusion jazz which combined the melodies and the improvisations of jazz with the rhythmic qualities of rock ‘n’ roll, with three or five beats to the bar and in other meter. The form of jazz music was greatly affected by electric instruments and electronic implements to intensify, distort, or amplify their sounds. However, the younger musicians of the time felt compelled to include a steady, swinging rhythm which they saw as a permanent and essential element in great jazz.

The author of the passage implies that in the 1950s, jazz musicians _______

A. strictly adhered to its traditions and compositions

B. probably continued with its tempo and instrumentation

C. experimented with rhythm and instrument

D. increased the tempo to keep up with the changes

Almost a hundred thousand people were killed and half a million homes destroyed as a result of an earthquake in Tokyo in 1923. The earthquake began a minute before noon when the habitants of Tokyo were cooking their midday meals. Thousand of stoves were overturned as soon as the earth began to shake. As a result , small fires broke out everywhere and quickly spread. The fire engines were prevented from going to help because many of the roads had cracked open. It was impossible to use fire fighting equipment as most of the water pipes had burts. Consequently, over ninety percent of the damage was caused by fire rather than by the collapse of buildings

These sentences are T or F

1. A hundred thousand people were killed in Tokyo in 1923 because of an earthquake

2. The earthquake began a minute before midnight

3. The fire engines were prevented from going to help because most of the water pipes had burts

4. Over ninety percent of the damage was caused by fire

Read the following passage and mark the letter A, B, C or D on you answer sheet to indicate the correct answer to each of the questions

When jazz began to lose its reputation as “low-down” music and to gain well-deserved acclaim among intellectuals, musicians began to feature many instruments previously considered inappropriate for jazz. Whereas before the 1950s, jazz musicians played only eight basic instruments in strict tempo, in this decade they started to improvise on the flute, electric organ, piccolo, accordion, cello, and even bagpipes, with the rhythm section composed for strings or piano. Big bands no longer dominated jazz, and most changes emerged from small combos, such as the Dave Brubeck Quartet and the Gerry Mulligan Quartet. The Gerry Mulligan Quartet proved that a small, modern band could sound complete without a piano; the rhythm section consisted only of a set of drums and a string bass.

Jazz continued to move in new directions during the 1960s. Saxophonist and composer Ornette Coleman led a quartet playing “free” jazz that was atonal. Pianist Cecil Taylor also conducted similar experiments with music, and John Coltrane included melodies from India in his compositions. In the 1970s, musicians blended jazz and rock music into fusion jazz which combined the melodies and the improvisations of jazz with the rhythmic qualities of rock ‘n’ roll, with three or five beats to the bar and in other meter. The form of jazz music was greatly affected by electric instruments and electronic implements to intensify, distort, or amplify their sounds. However, the younger musicians of the time felt compelled to include a steady, swinging rhythm which they saw as a permanent and essential element in great jazz.

Which of the following best describes the organization of the passage?

A. Chronological innovations in jazz music

B. Definitions of diverse jazz styles

C. A classifications of prominent jazz musicians

D. Descriptions and examples to illustrate jazz rhythms

Read the following passage and mark the letter A, B, C or D on you answer sheet to indicate the correct answer to each of the questions

When jazz began to lose its reputation as “low-down” music and to gain well-deserved acclaim among intellectuals, musicians began to feature many instruments previously considered inappropriate for jazz. Whereas before the 1950s, jazz musicians played only eight basic instruments in strict tempo, in this decade they started to improvise on the flute, electric organ, piccolo, accordion, cello, and even bagpipes, with the rhythm section composed for strings or piano. Big bands no longer dominated jazz, and most changes emerged from small combos, such as the Dave Brubeck Quartet and the Gerry Mulligan Quartet. The Gerry Mulligan Quartet proved that a small, modern band could sound complete without a piano; the rhythm section consisted only of a set of drums and a string bass.

Jazz continued to move in new directions during the 1960s. Saxophonist and composer Ornette Coleman led a quartet playing “free” jazz that was atonal. Pianist Cecil Taylor also conducted similar experiments with music, and John Coltrane included melodies from India in his compositions. In the 1970s, musicians blended jazz and rock music into fusion jazz which combined the melodies and the improvisations of jazz with the rhythmic qualities of rock ‘n’ roll, with three or five beats to the bar and in other meter. The form of jazz music was greatly affected by electric instruments and electronic implements to intensify, distort, or amplify their sounds. However, the younger musicians of the time felt compelled to include a steady, swinging rhythm which they saw as a permanent and essential element in great jazz.

Which of the following would be the best title of the passage?

A. Popular Beats in Classical and Modern Jazz

B. Quintessential Moments in Jazz Music

C. The Achievements of Famous Jazz Musicians

D. The Rising Prestige and Deversity of Jazz

Read the following passage and mark the letter A, B, C or D on you answer sheet to indicate the correct answer to each of the questions

When jazz began to lose its reputation as “low-down” music and to gain well-deserved acclaim among intellectuals, musicians began to feature many instruments previously considered inappropriate for jazz. Whereas before the 1950s, jazz musicians played only eight basic instruments in strict tempo, in this decade they started to improvise on the flute, electric organ, piccolo, accordion, cello, and even bagpipes, with the rhythm section composed for strings or piano. Big bands no longer dominated jazz, and most changes emerged from small combos, such as the Dave Brubeck Quartet and the Gerry Mulligan Quartet. The Gerry Mulligan Quartet proved that a small, modern band could sound complete without a piano; the rhythm section consisted only of a set of drums and a string bass.

Jazz continued to move in new directions during the 1960s. Saxophonist and composer Ornette Coleman led a quartet playing “free” jazz that was atonal. Pianist Cecil Taylor also conducted similar experiments with music, and John Coltrane included melodies from India in his compositions. In the 1970s, musicians blended jazz and rock music into fusion jazz which combined the melodies and the improvisations of jazz with the rhythmic qualities of rock ‘n’ roll, with three or five beats to the bar and in other meter. The form of jazz music was greatly affected by electric instruments and electronic implements to intensify, distort, or amplify their sounds. However, the younger musicians of the time felt compelled to include a steady, swinging rhythm which they saw as a permanent and essential element in great jazz.

The author of the passage mentions all of the following EXCEPT _______

A. bagpipes

B. percussion

C. string bass

D. harpsichord

Read the following passage and mark the letter A, B, C or D on you answer sheet to indicate the correct answer to each of the questions

When jazz began to lose its reputation as “low-down” music and to gain well-deserved acclaim among intellectuals, musicians began to feature many instruments previously considered inappropriate for jazz. Whereas before the 1950s, jazz musicians played only eight basic instruments in strict tempo, in this decade they started to improvise on the flute, electric organ, piccolo, accordion, cello, and even bagpipes, with the rhythm section composed for strings or piano. Big bands no longer dominated jazz, and most changes emerged from small combos, such as the Dave Brubeck Quartet and the Gerry Mulligan Quartet. The Gerry Mulligan Quartet proved that a small, modern band could sound complete without a piano; the rhythm section consisted only of a set of drums and a string bass.

Jazz continued to move in new directions during the 1960s. Saxophonist and composer Ornette Coleman led a quartet playing “free” jazz that was atonal. Pianist Cecil Taylor also conducted similar experiments with music, and John Coltrane included melodies from India in his compositions. In the 1970s, musicians blended jazz and rock music into fusion jazz which combined the melodies and the improvisations of jazz with the rhythmic qualities of rock ‘n’ roll, with three or five beats to the bar and in other meter. The form of jazz music was greatly affected by electric instruments and electronic implements to intensify, distort, or amplify their sounds. However, the younger musicians of the time felt compelled to include a steady, swinging rhythm which they saw as a permanent and essential element in great jazz.

The author believes that the developments in jazz described in the passage ______

A. should be seen as precocious

B. should be considered influential

C. appear largely suggestive

D. may be perceived as discrete