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31. Use and, but, so, because, and although to connect sentencesThe music of the movie is good. Its content is not interesting.32. Use and, but, so, because, and although to connect sentencesI am interested in watching horror films. I love action films, too.33. Use and, but, so, because, and although to connect sentencesThe documentary films are quite boring to me. I rarely watch them.34. Use and, but, so, because, and although to connect sentencesThis TV program is shown very late at night....
Đọc tiếp

31. Use and, but, so, because, and although to connect sentences
The music of the movie is good. Its content is not interesting.
32. Use and, but, so, because, and although to connect sentences
I am interested in watching horror films. I love action films, too.
33. Use and, but, so, because, and although to connect sentences
The documentary films are quite boring to me. I rarely watch them.
34. Use and, but, so, because, and although to connect sentences
This TV program is shown very late at night. Many people still watch it.
 

35. Use and, but, so, because, and although to connect sentences
I have a lot to do outdoors. I have no time to watch TV.

36. Make up sentences using the words and phrases given
I / turned / to / Movie channel / because / I / wanted / watch / film.
37. Make up sentences using the words and phrases given
She / loves / football / but / she / not / want / watch / football matches / TV.
38. Make up sentences using the words and phrases given
Although / the / film / late / I / will / see / it.
39. Make up sentences using the words and phrases given
You / can / read / Harry Potter / library / or / you / can / borrow / and / read / it / home.
40. Make up sentences using the words and phrases given
Hollywood / full / movie studios / and / movie / stars.

 

1
15 tháng 1 2022

31. The music of the movie is good but its content is not interesting.

32. I am interested in watching horror films and I love action films, too.

33. The documentary films are quite boring to me so I rarely watch them.

34. Although this program is shown very late at night, many people still watch it.

35. I have a lot to do outdoors so I have no time to watch TV.

36. I turned to Movie channel because I wanted to watch a film.

37. She loves football but she doesn't want to watch football matches on TV.

38. Although the film is late, I will see it.

39. You can read Harry Potter in the library or you can borrow and read it at home.

40. Hollywood is full of movie studios and movie stars.

1.We missed the bus, ___so______we walked home.

2.I can’t sleep, ___because_____ I’m going to drink a glass of hot milk.

3.Nga’brother is good at cooking __but___ Nga is not.

4._Although_____ my father has a car, he never drives to work.

5. I can speak English ___and____ Japanese.

6. He worked late last night ___so_ he might be free to go away tomorrow.

7.__Although____ it rained hard, we played the football match.

8.Would you like coffee ___and___ tea?

9.He’s tired __so_____ he went to bed late.

1 tháng 1 2022

1.so

2.because

3.but

4.although

5.and

6.so

7.although

8.and

9.so

12 tháng 1 2022

1. because
2. so
3. and
4. but
5. Although

12 tháng 1 2022

1. because

2. so

3. and

4. but

5. Although

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 35 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....
Đọc tiếp

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 35 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"1 century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally tailed, 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 Gennan 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 Egrnont 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 modem piano, of greater range and dynamics than theretfore, and made all wind instruments more exact and powerful by the use of keys and valves. The modem 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 modem technologies such as _________.

A. improved wind instruments  

B. powerful keys and valves

C. greater range and dynamics

D. instrumenation and orchestration

1
12 tháng 9 2019

Đáp án 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 questions from 35 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....
Đọc tiếp

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 35 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"1 century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally tailed, 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 Gennan 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 Egrnont 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 modem piano, of greater range and dynamics than theretfore, and made all wind instruments more exact and powerful by the use of keys and valves. The modem 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 _________.

A. exact and powerful

B. realistic and vivid

C. great and dynamic 

D. lyrical and dramatic

1
2 tháng 5 2018

Đáp án D

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 35 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....
Đọc tiếp

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 35 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"1 century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally tailed, 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 Gennan 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 Egrnont 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 modem piano, of greater range and dynamics than theretfore, and made all wind instruments more exact and powerful by the use of keys and valves. The modem 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 _________.

A. the 18th and 19th centuries

B. the late 18th century

C. the early 19th century  

D. the beginning of the 20th century

1
14 tháng 4 2019

Đáp án 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 questions from 35 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....
Đọc tiếp

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 35 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"1 century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally tailed, 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 Gennan 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 Egrnont 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 modem piano, of greater range and dynamics than theretfore, and made all wind instruments more exact and powerful by the use of keys and valves. The modem 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.

Music can suggest or express various kinds of reality by _________.

A. telling stories or minting pictures

B. stirring feelings and evoking moods

C. exploring and expressing reality

D. depicting nature and reality

1
16 tháng 7 2019

Đáp án 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 questions from 35 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....
Đọc tiếp

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 35 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"1 century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally tailed, 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 Gennan 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 Egrnont 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 modem piano, of greater range and dynamics than theretfore, and made all wind instruments more exact and powerful by the use of keys and valves. The modem 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 _________.

A. the works of the rationalist musicians in the 18th century

B. Goethe, German folk tales and contemporary lyricists

C. the thoughts of Beethoven, Weber, and Berlioz

D. the art of music by the rationalist musicians

1
13 tháng 12 2019

Đáp án 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 questions from 35 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....
Đọc tiếp

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 35 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"1 century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally tailed, 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 Gennan 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 Egrnont 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 modem piano, of greater range and dynamics than theretfore, and made all wind instruments more exact and powerful by the use of keys and valves. The modem 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 _________.

A. the feelings and moods of the Romanticist musicians

B. the exploration and expression of reality of Romanticism

C. the works of the Romanticist musicians in the 18th century

D. musicians’mechanica! reproduction of stories and subjects

1
19 tháng 11 2018

Đáp án D

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 35 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....
Đọc tiếp

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 35 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"1 century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally tailed, 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 Gennan 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 Egrnont 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 modem piano, of greater range and dynamics than theretfore, and made all wind instruments more exact and powerful by the use of keys and valves. The modem 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 _________.

A. It is both lyrical and dramatic.

B. It was composed by Beethoven.

C. It was issued in 1830.

D. It unites the characteristics of Romanticism.

1
26 tháng 11 2019

Đáp án B