Đề thi THPT Quốc gia môn Tiếng anh năm 2022 chọn lọc, có lời giải (Đề số 23)

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

My brother and I will never get along. We're_____________.

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

Despite all the interruptions, she_____________with her work.

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

I redecorated the house_____________selling it

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

The girl proposed that their group leader _____________a camping trip.

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

_____________calculations have shown that the earth's resources may run out before the end of the next century

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

No matter_____________, he was an accomplished composer while still a child

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

The judge_____________the pedestrian for the accident

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

_____________his good work and manners, he didn't get a promotion.

Mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the following question

To_____________should I write if I want to make a complaint?

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

There has been little rain in this region for several months, _____________?

Mark the letter A, B, C, or D on your answer sheet to indicate the word(s) CLOSEST in meaning to the underlined word(s) in each of the following questions

All the students were all ears when the teacher started talking about the changes in the next exam

Mark the letter A, B, C, or D on your answer sheet to indicate the word(s) CLOSEST in meaning to the underlined word(s) in each of the following questions

Talking about your feeling can help you get clear about what you feel.

Mark the letter A, B, C, or D on your answer sheet to indicate the word(s) OPPOSITE in meaning to the underlined word(s) in each of the following questions

She doesn't know what they are going to ask in the job interview. She will just play it by ear.

Mark the letter A, B, C, or D on your answer sheet to indicate the word(s) OPPOSITE in meaning to the underlined word(s) in each of the following questions

Nothing could console him when his wife died

Mark the letter A, B, C, or D on your answer sheet to indicate the option that best completes each of the following exchanges

Ms. Hoa is talking on the phone.

Ms. Hoa: "Sorry, the director is not here." - Lan:" _____________".

Mark the letter A, B, C, or D on your answer sheet to indicate the option that best completes each of the following exchanges

Mr. Nam: "Would you mind turning down your radio?" - Mr. Hung:" _____________."

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct word or phrase that best fits each of the numbered blanks from 26 to 30.

The Great Wall of China is the biggest object ever made by humans. It (26) _____________across mountains, deserts and grasslands for over 6,000 kilometres. The ancient Chinese built the wall to keep invaders from the west (27)  _____________of their country. Today tourists from all over the world come and see it. The Great Wall began as a series of many smaller walls that were not (28) _____________with each other. The first sections of the wall were built as early as 600 B.C. As time went on Chinese emperors connected them together to keep Huns, Mongols and other (29) _____________away.

Thousands of soldiers, criminals and peasants worked on building the wall. It was finally completed during the Ming dynasty in the 17 th century. The Chinese wall is (30) _____________of dirt, mud, stone and brick. It is between 5 and 9 metres tall and up to 8 metres wide. A small road runs on the top of the wall. Towers every few hundred metres were built to store military supplies.

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct word or phrase that best fits each of the numbered blanks from 26 to 30.

The Great Wall of China is the biggest object ever made by humans. It (26) _____________across mountains, deserts and grasslands for over 6,000 kilometres. The ancient Chinese built the wall to keep invaders from the west (27)  _____________of their country. Today tourists from all over the world come and see it. The Great Wall began as a series of many smaller walls that were not (28) _____________with each other. The first sections of the wall were built as early as 600 B.C. As time went on Chinese emperors connected them together to keep Huns, Mongols and other (29) _____________away.

Thousands of soldiers, criminals and peasants worked on building the wall. It was finally completed during the Ming dynasty in the 17 th century. The Chinese wall is (30) _____________of dirt, mud, stone and brick. It is between 5 and 9 metres tall and up to 8 metres wide. A small road runs on the top of the wall. Towers every few hundred metres were built to store military supplies.

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct word or phrase that best fits each of the numbered blanks from 26 to 30.

The Great Wall of China is the biggest object ever made by humans. It (26) _____________across mountains, deserts and grasslands for over 6,000 kilometres. The ancient Chinese built the wall to keep invaders from the west (27)  _____________of their country. Today tourists from all over the world come and see it. The Great Wall began as a series of many smaller walls that were not (28) _____________with each other. The first sections of the wall were built as early as 600 B.C. As time went on Chinese emperors connected them together to keep Huns, Mongols and other (29) _____________away.

Thousands of soldiers, criminals and peasants worked on building the wall. It was finally completed during the Ming dynasty in the 17 th century. The Chinese wall is (30) _____________of dirt, mud, stone and brick. It is between 5 and 9 metres tall and up to 8 metres wide. A small road runs on the top of the wall. Towers every few hundred metres were built to store military supplies.

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct word or phrase that best fits each of the numbered blanks from 26 to 30.

The Great Wall of China is the biggest object ever made by humans. It (26) _____________across mountains, deserts and grasslands for over 6,000 kilometres. The ancient Chinese built the wall to keep invaders from the west (27)  _____________of their country. Today tourists from all over the world come and see it. The Great Wall began as a series of many smaller walls that were not (28) _____________with each other. The first sections of the wall were built as early as 600 B.C. As time went on Chinese emperors connected them together to keep Huns, Mongols and other (29) _____________away.

Thousands of soldiers, criminals and peasants worked on building the wall. It was finally completed during the Ming dynasty in the 17 th century. The Chinese wall is (30) _____________of dirt, mud, stone and brick. It is between 5 and 9 metres tall and up to 8 metres wide. A small road runs on the top of the wall. Towers every few hundred metres were built to store military supplies.

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct word or phrase that best fits each of the numbered blanks from 26 to 30.

The Great Wall of China is the biggest object ever made by humans. It (26) _____________across mountains, deserts and grasslands for over 6,000 kilometres. The ancient Chinese built the wall to keep invaders from the west (27)  _____________of their country. Today tourists from all over the world come and see it. The Great Wall began as a series of many smaller walls that were not (28) _____________with each other. The first sections of the wall were built as early as 600 B.C. As time went on Chinese emperors connected them together to keep Huns, Mongols and other (29) _____________away.

Thousands of soldiers, criminals and peasants worked on building the wall. It was finally completed during the Ming dynasty in the 17 th century. The Chinese wall is (30) _____________of dirt, mud, stone and brick. It is between 5 and 9 metres tall and up to 8 metres wide. A small road runs on the top of the wall. Towers every few hundred metres were built to store military supplies.

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 31 to 35.

What's the problem with British teenagers? Many British newspapers and TV programmes are asking this question at the moment. A lot of people are saying that there are problems with teenagers at school, on the streets and in their homes. Why? What, or who, is responsible for these problems? A recent BBC television series explores these questions. It's called 'The world's strictest parents'. Is that because British parents are very strict? Just the opposite, it seems. The director of the programme, Andrea Wiseman, explains why they are making it. She thinks that in the United Kingdom teenagers pay no attention to adults. They don't want to do well at school. They think they can do what they like and they are only interested in new fashions and Hollywood celebrities. Why are British teenagers like this? Wiseman says it's because their parents give their children everything they can. But they give their children no limits, no rules, no discipline because they want their children to be 'free'. They don't tell their children to work hard because they don't want their kids to have any stress. The problem with this is that parents give their sons and daughters no cultural values. When a teenager does something bad and their parents say something, the teenagers immediately say 'My parents are really strict' or 'My parents aren't fair'. So what happens in the TV programme? Some problematic British teenagers go and live with parents in different parts of the world. They live with families that believe in traditional discipline and cultural values. In Ghana, Jamaica, Botswana and the southern us state of Alabama, the teenagers have the experience of living with parents who want and expect good behaviour and hard work. The results are interesting. In the end, the British teenagers seem to prefer having strict parents!

Which of the following is NOT TRUE about British teenagers according to Wiseman

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 31 to 35.

What's the problem with British teenagers? Many British newspapers and TV programmes are asking this question at the moment. A lot of people are saying that there are problems with teenagers at school, on the streets and in their homes. Why? What, or who, is responsible for these problems? A recent BBC television series explores these questions. It's called 'The world's strictest parents'. Is that because British parents are very strict? Just the opposite, it seems. The director of the programme, Andrea Wiseman, explains why they are making it. She thinks that in the United Kingdom teenagers pay no attention to adults. They don't want to do well at school. They think they can do what they like and they are only interested in new fashions and Hollywood celebrities. Why are British teenagers like this? Wiseman says it's because their parents give their children everything they can. But they give their children no limits, no rules, no discipline because they want their children to be 'free'. They don't tell their children to work hard because they don't want their kids to have any stress. The problem with this is that parents give their sons and daughters no cultural values. When a teenager does something bad and their parents say something, the teenagers immediately say 'My parents are really strict' or 'My parents aren't fair'. So what happens in the TV programme? Some problematic British teenagers go and live with parents in different parts of the world. They live with families that believe in traditional discipline and cultural values. In Ghana, Jamaica, Botswana and the southern us state of Alabama, the teenagers have the experience of living with parents who want and expect good behaviour and hard work. The results are interesting. In the end, the British teenagers seem to prefer having strict parents!

The word "explores" in the passage is closest in meaning to_____________.

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 31 to 35.

What's the problem with British teenagers? Many British newspapers and TV programmes are asking this question at the moment. A lot of people are saying that there are problems with teenagers at school, on the streets and in their homes. Why? What, or who, is responsible for these problems? A recent BBC television series explores these questions. It's called 'The world's strictest parents'. Is that because British parents are very strict? Just the opposite, it seems. The director of the programme, Andrea Wiseman, explains why they are making it. She thinks that in the United Kingdom teenagers pay no attention to adults. They don't want to do well at school. They think they can do what they like and they are only interested in new fashions and Hollywood celebrities. Why are British teenagers like this? Wiseman says it's because their parents give their children everything they can. But they give their children no limits, no rules, no discipline because they want their children to be 'free'. They don't tell their children to work hard because they don't want their kids to have any stress. The problem with this is that parents give their sons and daughters no cultural values. When a teenager does something bad and their parents say something, the teenagers immediately say 'My parents are really strict' or 'My parents aren't fair'. So what happens in the TV programme? Some problematic British teenagers go and live with parents in different parts of the world. They live with families that believe in traditional discipline and cultural values. In Ghana, Jamaica, Botswana and the southern us state of Alabama, the teenagers have the experience of living with parents who want and expect good behaviour and hard work. The results are interesting. In the end, the British teenagers seem to prefer having strict parents!

In Wiseman's opinion, British parents_____________.

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 31 to 35.

What's the problem with British teenagers? Many British newspapers and TV programmes are asking this question at the moment. A lot of people are saying that there are problems with teenagers at school, on the streets and in their homes. Why? What, or who, is responsible for these problems? A recent BBC television series explores these questions. It's called 'The world's strictest parents'. Is that because British parents are very strict? Just the opposite, it seems. The director of the programme, Andrea Wiseman, explains why they are making it. She thinks that in the United Kingdom teenagers pay no attention to adults. They don't want to do well at school. They think they can do what they like and they are only interested in new fashions and Hollywood celebrities. Why are British teenagers like this? Wiseman says it's because their parents give their children everything they can. But they give their children no limits, no rules, no discipline because they want their children to be 'free'. They don't tell their children to work hard because they don't want their kids to have any stress. The problem with this is that parents give their sons and daughters no cultural values. When a teenager does something bad and their parents say something, the teenagers immediately say 'My parents are really strict' or 'My parents aren't fair'. So what happens in the TV programme? Some problematic British teenagers go and live with parents in different parts of the world. They live with families that believe in traditional discipline and cultural values. In Ghana, Jamaica, Botswana and the southern us state of Alabama, the teenagers have the experience of living with parents who want and expect good behaviour and hard work. The results are interesting. In the end, the British teenagers seem to prefer having strict parents!

Which of the following is TRUE according to the passage?

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 31 to 35.

What's the problem with British teenagers? Many British newspapers and TV programmes are asking this question at the moment. A lot of people are saying that there are problems with teenagers at school, on the streets and in their homes. Why? What, or who, is responsible for these problems? A recent BBC television series explores these questions. It's called 'The world's strictest parents'. Is that because British parents are very strict? Just the opposite, it seems. The director of the programme, Andrea Wiseman, explains why they are making it. She thinks that in the United Kingdom teenagers pay no attention to adults. They don't want to do well at school. They think they can do what they like and they are only interested in new fashions and Hollywood celebrities. Why are British teenagers like this? Wiseman says it's because their parents give their children everything they can. But they give their children no limits, no rules, no discipline because they want their children to be 'free'. They don't tell their children to work hard because they don't want their kids to have any stress. The problem with this is that parents give their sons and daughters no cultural values. When a teenager does something bad and their parents say something, the teenagers immediately say 'My parents are really strict' or 'My parents aren't fair'. So what happens in the TV programme? Some problematic British teenagers go and live with parents in different parts of the world. They live with families that believe in traditional discipline and cultural values. In Ghana, Jamaica, Botswana and the southern us state of Alabama, the teenagers have the experience of living with parents who want and expect good behaviour and hard work. The results are interesting. In the end, the British teenagers seem to prefer having strict parents!

The word "celebrities'' in the passage is closest in meaning to_____________.

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 36 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 18th century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally failed, 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 German 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 Egmont 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 modern piano, of greater range and dynamics than ever before, and made all wind instruments more exact and powerful by the use of keys and valves. The modern 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

The word "error" in paragraph 1 refers to_____________.

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 36 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 18th century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally failed, 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 German 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 Egmont 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 modern piano, of greater range and dynamics than ever before, and made all wind instruments more exact and powerful by the use of keys and valves. The modern 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_____________

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 36 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 18th century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally failed, 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 German 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 Egmont 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 modern piano, of greater range and dynamics than ever before, and made all wind instruments more exact and powerful by the use of keys and valves. The modern 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.

The passage indicates that the Romanticist composers were inspired not only by lyrical and dramatic subjects but also by_____________.

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 36 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 18th century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally failed, 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 German 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 Egmont 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 modern piano, of greater range and dynamics than ever before, and made all wind instruments more exact and powerful by the use of keys and valves. The modern 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

The Romantic musicians also made use of modern technologies such as_____________.

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 36 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 18th century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally failed, 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 German 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 Egmont 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 modern piano, of greater range and dynamics than ever before, and made all wind instruments more exact and powerful by the use of keys and valves. The modern 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

Romanticism in music is characterized as being_____________.

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 36 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 18th century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally failed, 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 German 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 Egmont 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 modern piano, of greater range and dynamics than ever before, and made all wind instruments more exact and powerful by the use of keys and valves. The modern 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

All of the following are true about the Symphonic fantastique EXCEPT_____________.

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 36 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 18th century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally failed, 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 German 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 Egmont 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 modern piano, of greater range and dynamics than ever before, and made all wind instruments more exact and powerful by the use of keys and valves. The modern 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_____________.

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Of the most important machines (A) invented in the late nineteenth century, no machine (B) had a (C) great impact (D) on the USA's economy than the automobile

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(A) Several people have (B) apparent tried to change the man's (C) mind, but he refuses (D) to listen

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Tuan (A) has not completed the (B) assignment (C) yet, and Huy (D) hasn't neither

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This is the first time she has seen this movie

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"If I were you, I would marry him", she said to me

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You feel unhealthy because you don't take any exercise

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Hung dropped out of university after his first year. Now he regrets it.

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My father does a lot of exercise. He's still very fat