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

  • 14427 lượt thi

  • 50 câu hỏi

  • 30 phút

Danh sách câu hỏi

Câu 1:

Mark the letter A, B, C, or D on your answer sheet to indicate the word whose underlined part differs from the other three in pronunciation in each of the following questions.

Xem đáp án

Đáp án B

marinate (v) /ˈmærɪneɪt/: ướp

shallot (n) /ʃəˈlɒt/: hành khô

inaccessible (adj) /ˌɪnækˈsesəbl/: không thể vào/ tiếp cận được

manual (adj) /ˈmænjuəl/: làm (gì đó) bằng tay


Câu 2:

Mark the letter A, B, C, or D on your answer sheet to indicate the word whose underlined part differs from the other three in pronunciation in each of the following questions

Xem đáp án

Đáp án D

dialect (n) /ˈdaɪəlekt/ tiếng địa phương

bilingual (n/adj) /ˌbaɪˈlɪŋɡwəl/: người sử dụng được hai thứ tiếng; sử dụng được hai thứ tiếng

paradise (n) /ˈpærədaɪs/: thiên đường

simmer (v) /ˈsɪmə(r)/: om


Câu 3:

Mark the letter A, B, C, or D on your answer sheet to indicate the word that differs from the other three in the position of primary stress in each of the following questions

Xem đáp án

Đáp án B

habitable (adj) /ˈhæbɪtəbl/: có đủ điều kiện cho sự sống

astronomy (n) /əˈstrɒnəmi/: thiên văn học

meteorite (n) /ˈmiːtiəraɪt/: thiên thạch

stimulating (adj) /ˈstɪmjuleɪtɪŋ/: thú vị, đầy phấn khích


Câu 4:

Mark the letter A, B, C, or D on your answer sheet to indicate the word that differs from the other three in the position of primary stress in each of the following questions

Xem đáp án

Đáp án A

picturesque /ˌpɪktʃəˈresk/ (adj): đẹp như tranh, gây ấn tượng mạnh (phong cảnh)

exotic (adj) /ɪɡˈzɒtɪk/: kì lạ

attractive (adj) /əˈtræktɪv/: hấp dẫn

delighted (adj) /dɪˈlaɪtɪd/: vui sướng


Câu 5:

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

It's been five months_____________I last went fishing

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Đáp án A

- Since + mốc thời gian thường được dùng trong thì hiện tại hoàn thành

- Cấu trúc: It's been + time + since...: được dùng để nhấn mạnh độ dài thời gian đã trôi qua kể từ một sự kiện trong quá khứ

"Đã 5 tháng kể từ lần cuối tôi đi câu cá."


Câu 6:

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

He was_____________of himself for having stolen money from his mother

Xem đáp án

Đáp án B

- shy /ʃaɪ/ (adj)

+ shy of/about (doing) something: afraid of doing something or being involved in something: sợ, dè dặt, e ngại (làm gì đó)    

- ashamed /əˈʃeɪmd/ (adj (of): xấu hổ

- timid /ˈtɪmɪd/ (adj): nhút nhát

- embarrassed /ɪmˈbærəst/ (adj): lúng túng, bối rối, ngượng   

"Anh ấy thấy xấu hổ vì đã lấy trộm tiền của mẹ anh ấy."


Câu 7:

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

Nothing can_____________the loss of the child

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Đáp án B

- make up with: làm lành, làm hòa với      

- make up for: đền bù, bồi thường

- do with: VIIi lòng, vừa ý với          

- come up with: tìm ra, nảy ra (ý kiến, ý tưởng)

"Không thứ gì có thể đền bù được việc mất con


Câu 8:

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

Not only_____________the exam but she also got a scholarship.

Xem đáp án

Đáp án A

Cấu trúc đảo ngữ với "not only":

- Not only + trợ động từ/ động từ to be + S + V ...but + S + also + V... (không những... mà còn...)

E.g: Not only does he sing well but he also plays the piano perfectly.

B, C sai cấu trúc

D. sai "thì" của động từ

"Cô ấy không những đã thi đậu mà còn được học bổng."


Câu 9:

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

It was_____________we couldn't stop laughing

Xem đáp án

Đáp án A

Cấu trúc: S + V + such + (a/an) + adj + N + that + a clause (quá... đến nỗi mà)

B, C, D sai ngữ pháp

"Đó là một câu chuyện buồn cười đến nỗi mà chúng tôi không ngừng cười được."


Câu 10:

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_____________.

Xem đáp án

Đáp án B

- cats and dogs: dùng để diễn tả trời mưa to

E. g: It's raining cats and dogs. = It's raining heavily.

- chalk and cheese: khác biệt hoàn toàn, khác nhau một trời một vực

E.g: They are twins but they are different as chalk and cheese.

- salt and pepper: màu muối tiêu

E.g: She's only 30 but she looks so distinguished with her salt and pepper hair.

- turn a deaf ear (to sb/ sth): làm thinh như không nghe thấy, làm ngơ

E.g: He turned a deaf ear to the rumours.

"Tôi và anh tôi sẽ không bao giờ hòa hợp được. Chúng tôi khác nhau hoàn toàn."


Câu 11:

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.

Xem đáp án

Đáp án A

- press ahead/ on (with sth): to continue doing sth in a determined way; to hurry forward: miệt mài làm, thúc giục, thúc gấp

E.g: The company is pressing ahead with its plans for a new warehouse.

- hold on: nắm chặt, giữ máy, đợi

E.g: Hold on a minute while I get my breath back.

- stick at sth: miệt mài làm, bền bỉ tiếp tục

- hang out: dành thời gian ở một địa điểm nào đó

E.g: The local kids hang out at the mall.

"Mặc dù có những sự gián đoạn nhưng cô ấy vẫn kiên trì với công việc của mình."


Câu 12:

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

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Đáp án C

- in terms of: về mặt

E.g: The job is great in terms of salary, but it has its disadvantages.

- by means of: nhờ vào

E.g: The load was lifted by means of a crane.

- with a view to doing something: với ý định hoặc hi vọng làm gì

E.g: He's painting the house with a view to selling it.

- in view of: xét thấy, vì lí do, bởi vì

E.g: In view of the weather, the event will now be held indoors.

"Tôi đã trang trí lại ngôi nhà với ý định bán nó."


Câu 13:

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.

Xem đáp án

Đáp án B

Đây là cấu trúc thể giả định: S + V + that + S + V (bare-inf)...

- Một số động từ hay được sử dụng trong câu giả định: advise, demand, insist, command, suggest, request, propose,...

E.g: I suggest that you work harder.

"Cô gái đề nghị lãnh đạo nhóm tổ chức một chuyến đi dã ngoại cắm trại


Câu 14:

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

Xem đáp án

Đáp án A

- crude (adj): thô; chưa chính xác (đưa ra những ý tưởng chung về cái gì đó)

- blunt (adj): cùn

- rude (adj): thô lỗ

- raw (adj): thô, sống

+ crude calculations: tính toán chưa chính xác, sơ bộ

"Những tính toán sơ bộ chỉ ra rằng nguồn tài nguyên của trái đất có thể cạn kiệt trước khi kết thúc thế kỉ tới."


Câu 15:

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

Xem đáp án

Đáp án B

Cấu trúc: No matter how + adj + S + be/ seem/ look/...: Dù cho... đi chăng nữa... thì

"Dù cho điều đó có vẻ đặc biệt đi chăng nữa thì ông ấy đã là một nhà soạn nhạc tài năng khi còn là một đứa trẻ


Câu 16:

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

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Đáp án D

accuse sb of sth: buộc tội, kết tội ai làm gì

- charge (v): buộc tội

E.g: to be charged with murder (bị buộc tội giết người)

- sue (v): kiện

E.g: to sue to somebody for damages (kiện ai đòi bồi thường)

- blame sb for sth = blame sth on sb: đổ lỗi/ quy trách nhiệm cho ai về việc gì

"Quan tòa đã quy trách nhiệm cho người đi bộ về vụ tai nạn."


Câu 17:

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.

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Đáp án B

- Because of + N/ V-ing: bởi vì         

- In spite of + N/ V-ing: mặc dù

- Even though + a clause: mặc dù    

- As a result: kết quả là, vì vậy

"Mặc dù cách cư xử và thái độ làm việc tốt nhưng anh ấy vẫn không được thăng tiến."


Câu 18:

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?

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Đáp án D

- write to sb: viết thư cho ai

- "which, what, who, whom" có thể được sử dụng trong các câu hỏi:

+ which: cái nào, nào               + what: cái gì

+ who: ai                       + whom: ai (tân ngữ)

- Vì phía trước chỗ trống có giới từ "to" nên từ cần điền vào là "whom" chứ không phải "who" (giới từ + whom)

- A, B loại vì không phù hợp về nghĩa

Lưu ý: To whom should I write if I want to make a complaint? (very formal) ~ Who should I write to if I want to make a complaint? (informal)

"Tôi nên viết thư cho ai nếu tôi có phàn nàn?"


Câu 19:

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, _____________?

Xem đáp án

Đáp án B

- Vế trước có chứa "little" mang nghĩa phủ định nên phần hỏi đuôi ở dạng khẳng định

- Vế trước bắt đầu bằng "there has + PP.." thì phần hỏi đuôi sẽ là "has there"

"Hầu như có rất ít mưa ở vùng này vài tháng rồi, có phải không?"


Câu 20:

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

Xem đáp án

Đáp án A

- attentive (adj): lắng nghe chăm chú          

- restless (adj): không yên, bồn chồn

- silent (adj): im lặng                                  

- smiling (adj): mỉm cười

- be all ears: lắng nghe chăm chú, cẩn thận; dỏng tai lên nghe

Do đó: all ears ~ attentive

"Tất cả học sinh lắng nghe chăm chú khi giáo viên bắt đầu nói về những thay đổi trong kì thi sắp tới."


Câu 21:

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.

Xem đáp án

Đáp án C

- control (v): kiểm soát, kiềm chế     

- banish (v): đày đi, xua đuối

- get rid of: tống khứ                         

- figure out: hiểu được, luận ra

- get clear: làm rõ ràng, hiểu được

Do đó: get clear ~ figure out

"Nói chuyện về cảm giác cùa mình sẽ giúp bạn hiểu được mình cảm thấy như thế nào."


Câu 22:

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.

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Đáp án A

- play it by ear: tùy cơ ứng biến, không lên kế hoạch trước # plan well in advance: lên kế hoạch trước rất kĩ

B. cẩn thận về điều đó

C. lắng nghe những người khác nói

D. không lên kế hoạch trước

"Cô ấy không biết họ sẽ hỏi gì trong cuộc phỏng vấn xin việc. Cô ấy sẽ tùy co ứng biến."


Câu 23:

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

Xem đáp án

Đáp án D

- console (v): an ủi, giải khuây # discomfort (v); làm lo lắng, làm buồn phiền

A. làm hài lòng

B. khuyến khích

C. làm vui lòng

"Không gì có thể an ủi anh ấy khi vợ qua đời."


Câu 24:

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:" _____________".

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Đáp án D

Cô Hoa đang nói chuyện điện thoại.

Cô Hoa: "Xin lỗi, giám đốc không có ở đây." - Lan: "Em có thể để lại lời nhắn được không ạ?"

A. Em biết ông ấy nhiều năm rồi.

B. Nhưng em có thể tự làm công việc này được.

C. Cô có nhắn lại gì không ạ?


Câu 25:

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:" _____________."

Xem đáp án

Đáp án B

Ông Nam: "ông có phiền vặn nhỏ cái đài được không?" - "_____________”

A. Tôi thật sự xin lỗi! Hôm qua tôi đã không giúp được ông.

B. Ồ! Tôi xin lỗi! Tôi không nhận ra điều đó.

C. Không, tôi không.

D. Vâng, tôi sẽ không.


Câu 27:

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.

Xem đáp án

Đáp án D

- keep sb/ sth out of: ngăn ai/ cái gì vào

"The ancient Chinese built the wall to keep invaders from the west out of their country." (Người Trung Quốc cố đại đã xây dựng bức tường để ngăn chặn những kẻ xâm lược từ phương Tây vào đất nước của họ.)


Câu 28:

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.

Xem đáp án

Đáp án B

- be connected with: được kết nối với

The Great Wall began as a series of many smaller walls that were not connected with each other". (Vạn Lý Trường Thành bắt đầu là một loạt các bức tường nhỏ hơn không được kết nối với nhau.)


Câu 29:

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.

Xem đáp án

Đáp án D

- race (n): loài, chủng tộc                  

- sect (n): môn phái

- crowd (n): đám đông                      

- tribe (n): bộ lạc, bộ tộc

Thông tin trong bài: "As time went on Chinese emperors connected them together to keep Huns, Mongols and other tribes away. (Khi thời gian trôi qua, các hoàng đếTrung Quốc đã kết nối chúng lại với nhau để ngăn chặn người Hung, người Mông cổ và các bộ tộc khác.)


Câu 30:

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.

Xem đáp án

Đáp án C

- be made of: được làm từ nguyên liệu gì

"The Chinese wall is made of dirt, mud, stone and brick. It is between 5 and 9 metres tall and up to 8 metres wide." (Bức tường của Trung Quốc được làm bằng đất, bùn, đá và gạch. Nó cao từ 5 đến 9 mét và rộng tới 8 mét.)


Câu 31:

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

Xem đáp án

Đáp án C

A, B, D đúng: "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"

C không đúng: "She thinks that in the United Kingdom teenagers pay no attention to adults."


Câu 32:

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_____________.

Xem đáp án

Đáp án B

- explore ~ investigate: khám phá, điều tra         

- invent: phát minh

- look: nhìn                                      

- give: đưa ra

"A recent BBC television series explores these questions. (Một loạt chương trình truyền hình BBC gần đây điều tra nghiên cứu những câu hỏi này.)


Câu 33:

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_____________.

Xem đáp án

Đáp án D

Thông tin trong bài: "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'."


Câu 34:

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?

Xem đáp án

Đáp án C

Thông tin trong bài: "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."


Câu 35:

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_____________.

Xem đáp án

Đáp án A

- celebrities ~ famous people: những người nổi tiếng

- talented people: những người tài năng

- rich people: những người giàu

- good people: những người tốt.


Câu 36:

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_____________.

Xem đáp án

Đáp án D

Từ "error" trong đoạn 1 đề cập đến_____________.

- error (n): lỗi, sai lầm

A. cảm xúc và tâm trạng của những nhạc sĩ theo chủ nghĩa lãng mạn.

B. sự khám phá và thể hiện thực tế của chủ nghĩa lãng mạn

C. những tác phẩm của các nhạc sĩ theo chủ nghĩa lãng mạn vào thế kỷ 18.

D. sự tái tạo những câu chuyện và đề tài của các nhạc sĩ một cách máy móc.

Thông tin trong bài: "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."


Câu 37:

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_____________

Xem đáp án

Đáp án B

Tác giả nêu lên trong bài đọc rằng những người theo chủ nghĩa lãng mạn bị ảnh hưởng bởi_____________      

A. tác phẩm của những nhạc sĩ theo chủ nghĩa duy lý trong thế kỷ thứ 18

B. viện Goethe, những câu chuyện dân gian Đức và các nhà thơ trữ tình đương đại

C. những suy nghĩ của Bethoven, Weber và Berlioz

D. nghệ thuật âm nhạc của các nhạc sĩ duy lý

Thông tin trong bài: "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"


Câu 38:

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_____________.

Xem đáp án

Đáp án C

Bài đọc chỉ ra rằng các nhà soạn nhạc chủ nghĩa lãng mạn lấy cảm hứng không chỉ từ những chủ đề về kịch và thơ trữ tình mà còn từ_______________.

A. những người theo chủ nghĩa duy lý        B. sự sáng tác tác phẩm

C. tình yêu thiên nhiên                      D. thơ ca của Goethe

Thông tin trong bài: "Similarly, the love of nature stirred Beethoven, Weber, and Berlioz, and here too the correspondence is feltj and persuades the fit listener that his own experience is being expanded."


Câu 39:

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_____________.

Xem đáp án

Đáp án A

Những nhạc sĩ lãng mạn cũng đã tận dụng công nghệ hiện đại như ______________.

A. những nhạc cụ được cải thiện      

B. những phím và cần bấm mạnh

C. phạm vi lớn hơn và động lực học

D. sự phối dàn nhạc và sự soạn lại dàn nhạc

Thông tin trong bài: "It must be added that the Romantic musicians including Chopin, Mendelssohn, Glinka, and Liszt-had at their disposal greatly improved instruments.”


Câu 40:

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_____________.

Xem đáp án

Đáp án D

Chủ nghĩa lãng mạn trong âm nhạc được mô tả______________.

A. chính xác và mạnh mẽ                 

B. thực tế và sinh động

C. tuyệt vời và năng động                

D. thơ trữ tình và kịch

Thông tin trong bài: "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"


Câu 41:

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_____________.

Xem đáp án

Đáp án B

Tất cả các câu sau thì đúng về Symphonic fantastique NGOẠI TRỪ_________________

A. Nó thì vừa là thuộc thơ trữ tình và kịch (it is both lyrical and dramatic)

B. Nó được Beethoven soạn nhạc

C. Nó được phát hình vào năm 1830. (the Symphonic fantastique of 1830)

D. Nó hợp nhất những đặc điểm của chủ nghĩa lãng mạn. (This work, besides its technical significance just mentioned, can also be regarded as uniting the characteristics of Romanticism in music)


Câu 42:

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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Đáp án C

Theo đoạn văn, chủ nghĩa lãng mạn trong âm nhạc mở rộng khắp_______________.

A. thế kỷ 18 và 19                  

B. cuối thế kỷ 19

C. đầu thế kỷ 19           

D. đầu thế kỷ 20

Thông tin trong bài: "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"


Câu 43:

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

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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Đáp án C 

Cấu trúc: hình thức so sánh hơn + than

"Trong số những loại máy móc quan trọng nhất được phát minh vào cuối thế kỉ thứ 19, không máy móc nào có tác động lớn hơn đến nền kinh tế Hoa Kỳ hơn ô tô."


Câu 44:

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

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

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Đáp án B 

- Cấu trúc: adv + V

"Một vài người dường như đã cố gắng thay đổi quyết định của anh ấy, nhưng anh ấy không nghe."


Câu 46:

Mark the letter A, B, C, or D on your answer sheet to indicate the sentence that is closest in meaning to each of the following questions

This is the first time she has seen this movie

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Đáp án C

"Đây là lần đầu tiên cô ấy xem bộ phim này. _Trước đây cô ấy chưa bao giờ xem bộ phim này."

Lưu ý: This/ It is the first time + a clause (present perfect tense)


Câu 47:

Mark the letter A, B, C, or D on your answer sheet to indicate the sentence that is closest in meaning to each of the following questions

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

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Đáp án D

"Nếu tôi là bạn, tôi sẽ lấy anh ấy", cô ấy đã nói với tôi. _ đây là lời khuyên (Cô ấy đã khuyên tôi lấy anh ấy.)

Cấu trúc: advise sb to do sth (khuyên ai làm gì)

A, B, C sai ngữ pháp


Câu 48:

Mark the letter A, B, C, or D on your answer sheet to indicate the sentence that is closest in meaning to each of the following questions

You feel unhealthy because you don't take any exercise

 

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Đáp án D

"Bạn cảm thấy không khỏe vì bạn không tập thể dục. _ Nếu bạn tập thể dục hơn, bạn sẽ cảm thấy khỏe hơn." 


Câu 49:

Mark the letter A, B, C, or D on your answer sheet to indicate the sentence that best combines each pair of sentences in the following questions

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

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Đáp án C

"Hùng đã bỏ học Đại học sau năm đầu tiên. Bây giờ cậu ấy hối tiếc." _ Hùng hối tiếc đã bỏ học Đại học sau năm đầu tiên.

A. Hùng đã hối tiếc đã bỏ học Đại học sau năm đầu tiên, (sai _ regrets)

B. sai cấu trúc câu ước cho quá khứ _ hadn't dropped

D. Giá như Hùng đã bỏ học Đại học sau năm đầu tiên (sai nghĩa)


Câu 50:

Mark the letter A, B, C, or D on your answer sheet to indicate the sentence that best combines each pair of sentences in the following questions

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

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Đáp án C

"Bố tôi tập thể dục nhiều, ông ấy vẫn rất béo."

_ Mặc dù Bố tôi tập thể dục nhiều nhưng ông ấy vẫn béo.

Cấu trúc: Despite/ In spite of + N/the fact that + S + V,.. Mặc dù... nhưng...

E.g: Despite his illness, he still works overtime.

_ Despite the fact that he is ill,... = Although/ Even though/ Though he is ill,...


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