Đề thi thử THPT QG năm 2022 môn Tiếng Anh Trường THPT Ông Ích Khiêm

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

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

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

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

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

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 31 to 35

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

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 18^th 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 19^th 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.

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