Although noise, commonly defined as unwanted sound, is a widely recognized form of pollution, it is very difficult to measure because the discomfort experienced by different individuals is highly subjective and, therefore, variable. Exposure to lower levels of noise may be slightly irritating, whereas exposure to higher levels may actually cause hearing loss. Particularly in congested urban areas, the noise produced as a by-product of our advancing technology causes physical and psychological harm, and detracts from the quality of life for those who are exposed to it. Unlike the eyes, which can be covered by the eyelids against strong light, the ear has no lid, and is, therefore, always open and vulnerable; noise penetrates without protection. Noise causes effects that the hearer cannot control and to which the body never becomes accustomed. Loud noises instinctively signal danger to any organism with a hearing mechanism, including human beings. In response, heartbeat and respiration accelerate, blood vessels constrict, the skin pales, and muscles tense. In fact, there is a general increase in functioning brought about by the flow of adrenaline released in response to fear, and some of these responses persist even longer than the noise, occasionally as long as thirty minutes after the sound has ceased. Because noise is unavoidable in a complex, industrial society, we are constantly responding in the same way that we would respond to danger. Recently, researchers have concluded that noise and our response may be much more than an annoyance. It may be a serious threat to physical and psychological health and well-being, causing damage not only to the ear and brain but also to the heart and stomach. We have long known that hearing loss is America's number one nonfatal health problem, but now we are learning that some of us with heart disease and ulcers may be victims of noise as well. Fetuses exposed to noise tend to be overactive, they cry easily, and they are more sensitive to gastrointestinal problems after birth. In addition, the psychic effect of noise is very important. Nervousness, irritability, tension, and anxiety increase affecting the quality of rest during sleep, and the efficiency of activities during waking hours, as well as the way that we interact with each other According to the passage, people respond to loud noises in the same way that they respond to ___. annoyance danger damage disease Spoiler: Gợi ý câu trả lời: Kiến thức: Đọc hiểu Giải thích: Theo đoạn văn, con người phản ứng với tiếng ồn lớn giống phản ứng với ______ A. sự khó chịu B. nguy hiểm C. tổn thất D. căn bệnh Dẫn chứng: Because noise is unavoidable in a complex, industrial society, we are constantly responding in the same way that we would respond to danger. Đáp án: B
Although noise, commonly defined as unwanted sound, is a widely recognized form of pollution, it is very difficult to measure because the discomfort experienced by different individuals is highly subjective and, therefore, variable. Exposure to lower levels of noise may be slightly irritating, whereas exposure to higher levels may actually cause hearing loss. Particularly in congested urban areas, the noise produced as a by-product of our advancing technology causes physical and psychological harm, and detracts from the quality of life for those who are exposed to it. Unlike the eyes, which can be covered by the eyelids against strong light, the ear has no lid, and is, therefore, always open and vulnerable; noise penetrates without protection. Noise causes effects that the hearer cannot control and to which the body never becomes accustomed. Loud noises instinctively signal danger to any organism with a hearing mechanism, including human beings. In response, heartbeat and respiration accelerate, blood vessels constrict, the skin pales, and muscles tense. In fact, there is a general increase in functioning brought about by the flow of adrenaline released in response to fear, and some of these responses persist even longer than the noise, occasionally as long as thirty minutes after the sound has ceased. Because noise is unavoidable in a complex, industrial society, we are constantly responding in the same way that we would respond to danger. Recently, researchers have concluded that noise and our response may be much more than an annoyance. It may be a serious threat to physical and psychological health and well-being, causing damage not only to the ear and brain but also to the heart and stomach. We have long known that hearing loss is America's number one nonfatal health problem, but now we are learning that some of us with heart disease and ulcers may be victims of noise as well. Fetuses exposed to noise tend to be overactive, they cry easily, and they are more sensitive to gastrointestinal problems after birth. In addition, the psychic effect of noise is very important. Nervousness, irritability, tension, and anxiety increase affecting the quality of rest during sleep, and the efficiency of activities during waking hours, as well as the way that we interact with each other Look at the verb accelerate in paragraph 3. Which of the following is the closest in meaning to _____. decrease alter increase release Spoiler: Gợi ý câu trả lời: Kiến thức: Từ vựng, đọc hiểu Giải thích: Từ “ accelerate” ở đoạn 3 gần nghĩa với? A. sự kết thúc B. mọc, nhô lên C. chỗ sưng lên D. tăng Đáp án: D
Although noise, commonly defined as unwanted sound, is a widely recognized form of pollution, it is very difficult to measure because the discomfort experienced by different individuals is highly subjective and, therefore, variable. Exposure to lower levels of noise may be slightly irritating, whereas exposure to higher levels may actually cause hearing loss. Particularly in congested urban areas, the noise produced as a by-product of our advancing technology causes physical and psychological harm, and detracts from the quality of life for those who are exposed to it. Unlike the eyes, which can be covered by the eyelids against strong light, the ear has no lid, and is, therefore, always open and vulnerable; noise penetrates without protection. Noise causes effects that the hearer cannot control and to which the body never becomes accustomed. Loud noises instinctively signal danger to any organism with a hearing mechanism, including human beings. In response, heartbeat and respiration accelerate, blood vessels constrict, the skin pales, and muscles tense. In fact, there is a general increase in functioning brought about by the flow of adrenaline released in response to fear, and some of these responses persist even longer than the noise, occasionally as long as thirty minutes after the sound has ceased. Because noise is unavoidable in a complex, industrial society, we are constantly responding in the same way that we would respond to danger. Recently, researchers have concluded that noise and our response may be much more than an annoyance. It may be a serious threat to physical and psychological health and well-being, causing damage not only to the ear and brain but also to the heart and stomach. We have long known that hearing loss is America's number one nonfatal health problem, but now we are learning that some of us with heart disease and ulcers may be victims of noise as well. Fetuses exposed to noise tend to be overactive, they cry easily, and they are more sensitive to gastrointestinal problems after birth. In addition, the psychic effect of noise is very important. Nervousness, irritability, tension, and anxiety increase affecting the quality of rest during sleep, and the efficiency of activities during waking hours, as well as the way that we interact with each other The phrase as well in paragraph 4 is closest in meaning to ___. after all instead also regardless Spoiler: Gợi ý câu trả lời: Kiến thức: Từ vựng, đọc hiểu Giải thích: Từ “as well as” ở đoạn 4 gần nghĩa với? A. sau tất cả B. thay vì C. cũng, và D. bất chấp as well as = also = and Đáp án: C
Although noise, commonly defined as unwanted sound, is a widely recognized form of pollution, it is very difficult to measure because the discomfort experienced by different individuals is highly subjective and, therefore, variable. Exposure to lower levels of noise may be slightly irritating, whereas exposure to higher levels may actually cause hearing loss. Particularly in congested urban areas, the noise produced as a by-product of our advancing technology causes physical and psychological harm, and detracts from the quality of life for those who are exposed to it. Unlike the eyes, which can be covered by the eyelids against strong light, the ear has no lid, and is, therefore, always open and vulnerable; noise penetrates without protection. Noise causes effects that the hearer cannot control and to which the body never becomes accustomed. Loud noises instinctively signal danger to any organism with a hearing mechanism, including human beings. In response, heartbeat and respiration accelerate, blood vessels constrict, the skin pales, and muscles tense. In fact, there is a general increase in functioning brought about by the flow of adrenaline released in response to fear, and some of these responses persist even longer than the noise, occasionally as long as thirty minutes after the sound has ceased. Because noise is unavoidable in a complex, industrial society, we are constantly responding in the same way that we would respond to danger. Recently, researchers have concluded that noise and our response may be much more than an annoyance. It may be a serious threat to physical and psychological health and well-being, causing damage not only to the ear and brain but also to the heart and stomach. We have long known that hearing loss is America's number one nonfatal health problem, but now we are learning that some of us with heart disease and ulcers may be victims of noise as well. Fetuses exposed to noise tend to be overactive, they cry easily, and they are more sensitive to gastrointestinal problems after birth. In addition, the psychic effect of noise is very important. Nervousness, irritability, tension, and anxiety increase affecting the quality of rest during sleep, and the efficiency of activities during waking hours, as well as the way that we interact with each other It can be inferred from the passage that the eye ___. responds to fear enjoys greater protection than the ear increases functions is damaged by noise Spoiler: Gợi ý câu trả lời: Kiến thức: Đọc hiểu Giải thích: Có thể suy ra từ đoạn văn rằng mắt thì ___ A. phản ứng với nỗi sợ B. bảo vệ tốt hơn tai C. tăng chức năng D. bị tổn thương do tiếng ồn => A Dẫn chứng: Unlike the eyes, which can be covered by the eyelids against strong light, the ear has no lid, and is, therefore, always open and vulnerable; noise penetrates without protection. Dịch bài đọc Mặc dù tiếng ồn, thường được định nghĩa là âm thanh không mong muốn, là một hình thức ô nhiễm được thừa nhận rộng rãi, nhưng lại rất khó đo lường bởi vì sự khó chịu của các cá nhân khác nhau là rất chủ quan và do đó có sự biến đổi. Tiếp xúc với mức độ ồn thấp có thể gây khó chịu một chút, trong khi tiếp xúc mức cao hơn có thể gây ra tình trạng nghe kém. Đặc biệt ở các khu đô thị đông đúc, tiếng ồn phát sinh như là sản phẩm phụ của công nghệ tiên tiến gây ra những tổn hại về thể chất và tâm lý, và làm giảm chất lượng cuộc sống của những người tiếp xúc với nó. Không giống như mắt, có thể được phủ bởi mí mắt chống lại ánh sáng mạnh, tai không có nắp, và do đó, luôn luôn mở và dễ bị tổn thương; tiếng ồn xâm nhập mà không có sự bảo vệ. Tiếng ồn gây ra hiệu ứng mà người nghe không thể kiểm soát được và cơ thể không bao giờ trở nên quen với việc đó. Những âm thanh ồn ào theo bản năng báo hiệu sự nguy hiểm cho bất cứ cơ thể nào bằng cơ chế lắng nghe, bao gồm cả con người. Đáp lại thì nhịp tim và hô hấp sẽ tăng lên, các mạch máu co lại, da nhợt nhạt và cơ căng lên. Trên thực tế, có sự gia tăng chung về chức năng do luồng adrenalin phát hành để đáp ứng lại sự sợ hãi, và một số phản ứng vẫn tồn tại lâu hơn tiếng ồn, đôi khi là ba mươi phút sau khi âm thanh dừng lại. Bởi vì tiếng ồn là không thể tránh khỏi trong một xã hội công nghiệp phức tạp, chúng ta liên tục đáp trả theo cách mà chúng ta sẽ đối phó với nguy hiểm. Gần đây, các nhà nghiên cứu đã kết luận rằng tiếng ồn và phản ứng của chúng ta có thể là nhiều hơn đơn thuần là sự khó chịu. Nó có thể là một mối đe dọa nghiêm trọng đối với sức khỏe thể chất và tâm lý và phúc lợi, gây thiệt hại không chỉ đến tai và não mà còn cho tim và dạ dày. Từ lâu chúng ta biết rằng mất thính giác là vấn đề sức khoẻ số một của Hoa Kỳ, nhưng bây giờ chúng ta đang học rằng một số trong chúng ta có bệnh tim và loét cũng có thể là nạn nhân của tiếng ồn. Các bào thai tiếp xúc với tiếng ồn thường có phản ứng quá mức, chúng dễ khóc và nhạy cảm hơn với các vấn đề về đường tiêu hóa sau khi sinh. Ngoài ra, hiệu ứng tâm linh của tiếng ồn là rất quan trọng. Lo lắng, đau khổ, căng thẳng, và lo âu tăng ảnh hưởng đến chất lượng của phần còn lại trong khi ngủ, và hiệu quả của các hoạt động trong thời gian thức, cũng như cách mà chúng ta tương tác với nhau.
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 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. Câu hỏi: It may be inferred from the passage that the first musical cue sheets appeared around _______ . 1896 1909 1915 1927 Spoiler: Gợi ý câu trả lời: 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...) => B
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 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. Câu hỏi: The word “them” refers to _______ . films years pieces hands Spoiler: Gợi ý câu trả lời: Câu cuối của đoạn 2: 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) (Bởi người chỉ huy dàn nhạc hiếm khi được xem những bộ phim và phải tới đêm trước khi những bộ phim được trình chiếu(đó là trong trường hợp người chỉ đạo dàn nhạc may mắn mới được xem bộ phim vào thời điểm đó)) Từ them đóng vai trò tân ngữ trong câu, chỉ những cái đã được nhắc đến phía trước. Do đó ta đọc phần trước của câu đó. Chỉ có danh từ “films” được nhắc đến và hợp lí khi đi cùng với “see”. => A
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 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. Câu hỏi: Which of the following notations is most likely to have been included on a musical cue sheet of the early 1900's? “Key of c major” “Directed by D. w. Griffith” “Calm, peaceful” “Piano, violin” Spoiler: Gợi ý câu trả lời: Những chú thích nào sau đây có nhiều khả năng được đưa vào bảng sắp xếp trình tự xuất hiện của bản nhạc vào đầu những năm 1900? A: "Calm, peaceful": “Bình tĩnh, yên ả”: Đây là biểu thị tâm trạng: Có được thể hiện trên musical cue sheet B: "Piano, violin": “Piano, vi-ô-lông”: Đây là nhạc cụ: Không được thể hiện trên musical cue sheet C: "Key of C major": “khóa Đô trưởng”: Đây là khóa nhạc: Không được thể hiện trên musical cue sheet. D: "Directed by D. W. Griffith's”: “Đạo diễn bởi D. W. Griffith's”: Đây là tên đạo diễn: Không được thể hiện trên musical cue sheet Câu thứ 3 đoạn 3: “...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” ( … vì thế đã xuất hiện những bản sắp xếp trình tự xuất hiện của bản nhạc bao gồm cả tâm trạng được biểu thị, tiêu đề của loại nhạc phù hợp, và các chỉ dẫn chính xác để thể hiện một bản nhạc tiếp theo sẽ dẫn tới đâu.) => 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 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. Câu hỏi: According to the passage, what kind of business was the Edison Company? “Key of c major” It made musical instruments. It distributed films. It produced electricity. Spoiler: Gợi ý câu trả lời: Theo đoạn văn, Công ty Edison theo loại hình kinh doanh nào ? A.It published musical arrangements.: Nó xuất bản những bản bố trí âm nhạc. B. It made musical instruments: Công ty này chế tạo các nhạc cụ. C. It distributed films: Công ty này phân phối những bộ phim. D. It produced electricity: Công ty này sản xuất điện Câu thứ 2 đoạn 3: “In 1909, for example, the Edison Company began issuing with their films...” ( Vào năm 1909, ví dụ, công ty Edision bắt đầu phát hành những bộ phim của họ…) issue: phát hành. Ở câu này issue ≈ distribute: phân phối => 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 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. Câu hỏi: The passage mainly discusses music that was _______ . performed before the showing of a film played during silent films specifically composed for certain movie theaters recorded during film exhibitions Spoiler: Gợi ý câu trả lời: 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…) => B
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 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. Câu hỏi: The word “composed” is closest in meaning to _______ . selected combined played created Spoiler: Gợi ý câu trả lời: Gợi ý câu trả lời: Từ “composed” (sáng tác) gần nghĩa nhất với________. A. selected: chọn B. combined: nối C. played: chơi D. created: sáng tạo => D
