ĐỀ SƯU TẦM 1( TỈNH AN GIANG)

SECTION A. LISTENING (5.0 POINTS)

Hướng dẫn phần thi nghe hiểu:
 Bài nghe gồm 04 phần, mỗi phần được nghe 02 lần.
 Mở đầu và kết thúc bài nghe có nhạc hiệu.
 Mọi hướng dẫn khác cho thí sinh đã có trong bài nghe.

Part 1. You will hear a tourist talking to a London Tour Company in order to organise a tour of the
popular sights of London. For each Answer write NO MORE THAN ONE WORD AND / OR A
NUMBER.Write answers in YOUR ANSWER part.

Customer Details:
They will be coming to London on (1) _________________ .
He's going with his sister and his (2) _________________.
Tour Details:
Bus Tour
The cost is (3) £ _________________ for adults and (4) £_________________ for children
Tours start at 7 a.m. and finish at (5) _________________.

Your answers:
1. ______________________________
2. ______________________________
3. ______________________________
4. ______________________________
5. ______________________________

Part 2. Listen to four people talking about different business challenges and decide whether the
following statements are TRUE (T) or FALSE (F). Write your answers in the corresponding numbered
boxes provided.
1. Speaker A wanted to show respect by shaking somebody's hand.
2. Speaker A recommends always greeting people in the same way, no matter where you are.
3. According to Speaker B, working in a virtual team is not so different from working in the same location.
4. Creating a team charter helped Speaker B's team to avoid misunderstandings and confusion.
5. Speaker C says the SMART acronym for goal setting stands for: Specific, Measurable, Achievable, Relevant
and Timely.
6. If you're feeling stressed, Speaker C recommends just dropping the tasks that are overloading you.
7. According to Speaker D, flights at the end of each day have a higher chance of being delayed.
8. Speaker D suggests taking your time if your flight is cancelled, since the airline will have to rebook you on
another flight anyway.

Your answers:
1 2 3 4 5 6 7 8

Part 3. You will hear a university librarian giving a talk to new students and then choose the correct
option A, B or C. Write your answers in the corresponding numbered boxes provided.
1. During the first week of term, students are invited to __________
A. be shown round the library by the librarian.
B. listen to descriptions of library resources.
C. do an intensive course in the computer centre.
2. The speaker warns the students that __________
A. internet materials can be unreliable.
B. downloaded information must be acknowledged.
C. computer access may be limited at times.
3. The library is acquiring more CDs as a resource because __________
A. they are a cheap source of information.
B. they take up very little space.
C. they are more up-to-date than the reference books.
4. Students are encouraged to use journals online because __________
A. the articles do not need to be returned to the shelves.
B. reading online is cheaper than photocopying articles.
C. the stock of printed articles is to be reduced.
5. Why might some students continue to use reference books?
A. they can be taken away from the library.
B. they provide information unavailable elsewhere.
C. they can be borrowed for an extended loan period.
6. What is the responsibility of the Training Supervisor?
A. to supervise and support library staff.
B. to provide orientation to the library facilities.
C. to identify needs and inform section managers.

Your answers:
1 2 3 4 5 6

Part 4. You will hear a radio interview with the artist, Madeline Knowles. Choose the answer (A, B, C
or D) which fits best according to what you hear. Write your answers in the corresponding numbered
boxes provided.
1. How are the subjects Madeline Knowles usually chooses when she paints?
A. harsh B. peaceful C. real D. strong
2. What motivates Madeline in her choice of subject?
A. a desire to produce beautiful paintings
B. a rejection of the unpleasantness of life
C. an appreciation of essential qualities
D. a search for her own inner peace
3. What, in Madeline’s view, is the relationship between artists and the world they live in?
A. They want to reveal the patterns in life.
B. They value the supernatural element in art.
C. They have to provide what people want.
D. They have difficulty in communicating with people.
4. Why did Madeline first take up painting?
A. It had been a secret ambition of hers to paint.
B. A change of focus was requested help with their painting.
C. Her students requested help with their painting.
D. She saw it as a fulfilling way of expressing herself.
5. How was the rock star influenced by seeing Madeline’s painting of a path?
A. He was inspired to paint his first picture.
B. He commissioned her to paint a picture of his house.
C. He wanted to introduce a similar feature into his garden.
D. He became interested in a new style of painting.
6. How does Madeline help the rock star with his painting?
A. by providing him with technical tips
B. by discussing his involvement with the subject
C. by suggesting suitable subjects to paint
D. by offering advice on painting the countryside

Your answer
1 2 3 4 5 6

SECTION B. LEXICO-GRAMMAR (2.0 POINTS)

Part 1. Choose the best option A, B, C or D which best completes each sentence. Write your answers in
the corresponding numbered boxes provided.
1. You can't believe a word that woman says. She is a ____________ liar.
A. dedicated B. devoted C. committed D. compulsive
2. When you come down the hill, do drive slowly because it is not _________ obvious where the turning is.
A. immediately B. directly C. instantaneously D. quite
3. The driver consumed enough alcohol to make him ____________.
A. pass off B. pass out C. pass for D. pass up
4. Sarah and I ____________ reserved the room in the same hotel. She was very surprised to see me there.
A. practically B. intentionally C. deliberately D. coincidentally
5. It was a fair result because we played the game ____________ the rules.
A. on account of B. due to C. according to D. apart from
6. Fiona didn’t lie but she did give rather ____________ a picture of the situation.
A. defaced B. distorted C. disfigured D. disguised
7. As Michelle told me the story, tears ____________ up in her eyes.
A. welled B. raised C. filled D. mounted
8. His past behaviour had a definite _________ on what the judges decided.
A. bearing B. weight C. decision D. conclusion
9. On cloudy nights it is not possible to see the stars with ____________ eye.
A. naked B. bare C. flesh D. pure
10. He seemed rather ____________ .Was he upset about something?
A. unsocial B. apathetic C. passive D. subdued

Your answers
1 2 3 4 5 6 7 8 9 10

Part 2. Read the following passage and write the correct forms of bracketed words in YOUR ANSWER
part.
BOOK PUBLICISTS
The courteous smile of an author selling books, signing copies or chatting on television shows can be (1.
DECEIVE) . Behind the scenes of the book tour that has become as much a part of the modern bestseller as
print and paper, the writer may be a (2. CONTEND) for a Golden Dartboard Award.
This is the Oscar for authors (3. ALLEGE) behaving badly, an informal award nominated by the weary,
sometimes (4. TRAUMA), publicists who travel from city to city garnering publicity and sales. They call
themselves (“5. BABY”) and “wet nurse” as they tend to fragile egos and (6. CONVENTION) demands of
authors freed from their word processors.
Among the most feared (7. ASSIGN) for the publicists are the feminist writer who is remembered for yelling
at her publicists in public and in (8. COLOUR) language, and the thriller writer whose publicists report that
they have instructions from his publisher to speak only when spoken to. One (9. SURVIVE) of a tour with
him, who nominated him for a Golden Dartboard, says: “He treats us all as his inferiors.” However, publicists
on his most recent tour say that he was an absolute (10. ENJOY) to work with.

Your answers:
1. ______________________________ 6. ______________________________
2. ______________________________ 7. ______________________________
3. ______________________________ 8. ______________________________
4. ______________________________ 9. ______________________________
5. ______________________________ 10. ______________________________

SECTION C. READING (5.0 POINTS)

Part 1. Read the following passages and decide which answer (A, B, C, or D) best fits each gap. Write
your answer (A, B, C, or D) in corresponding numbered boxes.
THEATRE IN BRITAIN
The theatre has always been very strong in Britain. Its centre is, of course, London, where successful plays can
(1)___________without a break for many years. London has several dozens of theatres, most of them not far
from Trafalgar Square. (2)___________ London even some quite big towns have no public theatre at all, but
every town has its private theatres. British theatre is much admired. There you can (3)___________ the best of
everything – an excellent orchestra, famous conductors, celebrated actors and a well-dressed (4)___________.
Choose a good play, and you’ll enjoy yourself throughout from the moment the curtain (5)___________ to the
end of the last act. Get your seats beforehand, either at the box-office or at the theatre itself. You’ll probably
want to sit as near to the stage as possible.
1. A. show B. perform C. run D. produce
2. A. Inside B. Outside C. In D. Out
3. A. take B. give C. hold D. D. get
4. A. audience B. auditorium C. authority D. publicity
5. A. puts up B. sets up C. makes up D. goes up

SMOG AND AIR POLLUTION

For years London was synonymous with smog, the word coined at the (6)___________ of the 20th century to
describe the city’s characteristic blend of fog and smoke. The capital’s “pea-soupers” were caused by
suspended pollution of smoke and sulfur dioxide from coal fires. The most severely affected area was the 19th-
century residential and industrial (7)___________ of inner London – particularly the East End, which had the
highest density of factory smokestacks and domestic chimney pots and the lowest-(8)____________ land,
inhibiting dispersal. As recently as the early 1960s, the smokier districts of east Inner London experienced a 30
percent reduction in winter sunshine hours. That problem was (9)___________ by parliamentary legislation
(the Clean Air Acts of 1956 and 1968) outlawing the burning of coal, combined with the clearance of older
housing and the loss of manufacturing.
The less visible (10) ___________equally toxic pollutants of carbon monoxide, nitrogen dioxide, ozone,
benzines, and aldehydes continue to spoil London’s air. Traffic fumes and other exhausts are (11)___________
to become trapped between the surrounding hills and below a stagnant capping mass of warm urban air at an
altitude of about 3,000 feet (900 metres), causing immediate increases in eye irritation, asthma, and bronchial
complaints. But London’s weather is too (12)___________ for the development of a full-scale photochemical
smog of the kind that can build up under the more stable weather conditions of cities such as Los Angeles.

6. A. back B. turn C. next D. gap

7. A. ring B. belt C. loop D. tie
8. A. standing B. situating C. lying D. locating
9. A. alleviated B. exalted C. degraded D. abated
10. A. with B. besides C. regarding D. but
11. A. able B. tenable C. liable D. flammable
12. A. wicked B. lethal C. agile D. fickle

Your answers
1 2 3 4 5 6 7 8 9 10 11 12
Part 2. You are going to read an extract from a short story. Seven paragraphs have been removed from
the extract. Choose from the paragraphs A-H the one which best fits each gap (1-7). There is one extra
paragraph that you do not need to use. Write your answers in the corresponding numbered boxes
provided.
Just at that turning between Market Road and the lane leading to the chemist's shop he had his
'establishment'. At eight in the evening you would not see him, and again at ten you would see nothing, but
between those times he arrived, sold his goods and departed. Those who saw him remarked thus, 'Lucky
fellow! He has hardly an hour's work a day and he pockets ten rupees - even graduates are unable to earn that!
Three hundred rupees a month!' He felt irritated when he heard such glib remarks and said, 'What these folks
do not see is that I sit before the oven practically all day frying all this ...'
1  
At about 8.15 in the evening he arrived with a load of stuff. He looked as if he had four arms, so many
things he carried about him. His equipment was the big tray balanced on his head with its assortment of
edibles, a stool stuck in the crook of his arm, a lamp in another hand and a couple of portable legs for mounting
his tray. He lit the lamp, a lantern which consumed six pies' worth of kerosene every day, and kept it near at
hand, since he had to guard a lot of loose cash and a variety of miscellaneous articles.
2  
He always arrived in time to catch the cinema crowd coming out after the evening show. A pretender to
the throne, a young scraggy fellow, sat on his spot until he arrived and did business, but he did not let that
bother him unduly. In fact, he felt generous enough to say, 'Let the poor rat do his business when I am not
there.' This sentiment was amply respected, and the pretender moved off a minute before the arrival of the
prince among caterers.
3  
Though so much probing was going on, he knew exactly who was taking what. He knew by an
extraordinary sense which of the jukta drivers was picking up chappatis at a given moment - he could even
mention the license number. He knew that the stained hand nervously coming up was that of a youngster who
polished the shoes of passers-by. And he knew exactly at what hour he would see the wrestler's arm searching
for the perfect duck's egg. His custom was drawn from the population swarming the pavement: the boot polish
boys, for instance, who wandered to and fro with brush and polish in a bag, endlessly soliciting 'Polish, sir,
polish!' Rama had a soft spot for them.
4  
It rent his heart to see their hungry hollow eyes. It pained him to see the rags they wore. And it made
him very unhappy to see the tremendous eagerness with which they came to him. But what could he do? He
could not run a charity show that was impossible. He measured out heir half-glass of coffee correct to a
fraction of an inch, but they could cling to the glass for as long as they liked.
5  
He lived in the second lane behind the market. His wife opened the door, throwing into the night air the
scent of burnt oil which perpetually hung about their home. She snatched from his hand all the encumbrances
and counted the cash immediately.
6  
After dinner, he tucked a betel leaf and tobacco in his cheek and slept. He had dreams of traffic
constables bullying him to move on and health inspectors saying he was spreading all kinds of disease and
depopulating the city. But fortunately in actual life no one bothered him very seriously. The health officer no
doubt came and said, 'You must put all this under a glass lid, otherwise I shall destroy it some day... Take care!'
7  
Rama no doubt violated all the well-accepted canons of cleanliness and sanitation, but still his
customers not only survived his fare but seemed actually to flourish on it, having consumed it for years without
showing signs of being any the worse for it.
A.  Rama prepared a limited quantity of snacks for sale, but even then he had to carry back remnants. He
consumed some of it himself, and the rest he warmed up and brought out for sale the next day.

B.   All the coppers that men and women of this part of the universe earned through their miscellaneous jobs
ultimately came to him at the end of the day. He put all his money into a little cloth bag dangling from his neck
under his shirt, and carried it home, soon after the night show had started at the theatre.

C.  No one could walk past his display without throwing a look at it. A heap of  bondas, which seemed puffed
and big but melted in one's mouth;  dosais, white, round, and limp, looking like layers of muslin; chappatis so
thin you could lift fifty of them on a little finger; duck's eggs, hard-boiled, resembling a heap of ivory balls;
and perpetually boiling coffee on a stove. He had a separate alluminium pot in which he kept chutney, which
went gratis with almost every item.

D.   His customers liked him. They said in admiration, 'Is there another place where you can get six pies and
four chappatis for one anna?' They sat around his tray, taking what they wanted. A dozen hands hovered
about it every minute, because his customers were entitled to pick up, examine, and accept their stuff after
proper scrutiny.

E.   They gloated over it. 'Five rupees invested in the morning has produced another five...' They ruminated on
the exquisite mystery of this multiplication. Then it was put back for further investment on the morrow and the
gains carefully separated and put away in a little wooden box.

F.  But he was a kindly man in private. 'How the customers survive the food, I can't understand. I suppose
people build up a sort of immunity to such poisons, with all that dust blowing on it and the gutter behind.'

G.  He got up when the cock in the next house crowed. Sometimes it had a habit of waking up at three in the
morning and letting out a shriek. 'Why has the cock lost his normal sleep?' Rama wondered as he awoke, but it
was a signal he could not miss. Whether it was three o'clock or four, it was all the same to him. He had to get
up and start his day.

H.  When he saw some customer haggling, he felt like shouting, 'Give the poor fellow a little more. Don't
begrudge it. If you pay an anna more he can have a dosai and a chappati.'

Your answers
1 2 3 4 5 6 7

Part 3. You are going to read an extract from a novel. For questions 1 – 8, choose the answer (A, B, C or
D) which you think fits best according to the text. Write your answers in the corresponding numbered
boxes provided.
It would be simple enough to follow him. Roger was a man of habits, and even
when his hours of work were irregular, he would still take his mid-day meal, whenever he did take it, at
Percy's. Miss Temple found an antique bookshop across the street where, as she was obliged to purchase
something for standing so long watching through its window, she on impulse selected a complete four-volume
Illustrated Lives of Sea Martyrs. The books were detailed enough for her to spend the time in the window,
apparently examining the books, while actually watching Roger first enter and then, after an hour, exit alone,
from the heavy doors across the street.
He walked straight back to his office in the Ministry courtyard. Miss Temple arranged for her purchase
to be delivered to the Boniface, and walked back into the street, feeling like a fool. She had re-crossed the
square before she convinced herself that she was not so much a fool as an inexperienced observer. It was
pointless to watch from outside the restaurant because only from inside could she have discovered whether or
not Roger dined alone or with others, or with which particular others - all important information.
She had a pretty good feeling that the crime she believed he had committed wasn’t to benefit his work,
which meant she was likely to learn nothing from observing his working day. It was after work that any real
information would be gathered. Abruptly, she entered a store whose windows were thick with all shapes of
luggage, hampers, oilskins, lanterns, telescopes, and a large assortment of walking sticks. She left wearing a
ladies' black traveling cloak, with a deep hood and several well hidden pockets, opera glasses, a leather-bound
notebook and an all-weather pencil. Miss Temple then took her tea.
Between cups of tea and two cakes, she made entries in the notebook, summarizing her plan and then
describing the day's work so far. That she now had a kind of uniform and a set of tools made everything that
much easier and much less about her particular feelings, for tasks requiring clothes and supporting equipment
seemed somehow more objective, even scientific, in nature. In keeping with this, she made a point to write her
entries in a kind of code, replacing proper names and places with synonyms or word-play that hopefully would
not be understood by anyone but herself.
Miss Temple left the tea shop at four o'clock, knowing Roger to leave usually at five, and hired a
carriage. She instructed her driver in a low, direct tone of voice, after assuring him he would be well paid for
his time, that they would be following a gentleman, most likely in another carriage, and that she would knock
on the roof of the coach to indicate the man when he appeared. The driver nodded, but said nothing else. She
took his silence to mean that this was a usual enough thing, and felt all the more sure of herself. When Roger
appeared, some forty minutes later, she nearly missed him, amusing herself for the moment by peering through
the opera glasses into nearby open windows, but a sudden feeling caused her to glance back at the courtyard
gates just in time to see Roger, standing in the road with an air of confidence and purpose that took her breath
away, flag down a coach of his own. Miss Temple knocked sharply on the roof of the coach and they were off.
The thrill of the chase, complicated by the nervousness of seeing Roger, was quickly lost when, after
the first few turns, it became obvious that Roger's destination was nowhere more interesting than his own
home.

1. Miss Temple thought it would be easy to follow Roger because ______________

A. he always took a break at the same time.
B. his work schedule never changed.
C. he always ate lunch at a particular location.
D. she already knew the schedule of his working day.
2. Miss Temple bought a book at the bookshop because ______________
A. she suddenly felt like buying something.
B. she was forced to by the shop owner.
C. she wanted a way to pass the time.
D. she needed an excuse to stay there.
3. What mistake did Miss Temple soon realise she had made?
A. She had waited for Roger in the wrong place.
B. She needn't have made a purchase at the bookshop.
C. She should have followed Roger back to the Ministry when she had had the chance.
D. She had re-crossed the square at the wrong place.
4. Miss Temple decided to follow Roger after work because ______________
A. she believed that was the time she could find out what she wanted to know.
B. she couldn't see what he was doing inside his office.
C. she didn't want to risk him seeing her outside his office.
D. she had other more important things to do during the working day.
5. How did Miss Temple's purchases make her feel about what she was doing?
A. more determined
B. less personally involved
C. better prepared
D. less confused
6. The underlined word 'this' in the text refers to ______________
A. the driver's silence.
B. banging on the hood of the carriage.
C. being asked to follow someone.
D. paying drivers well for their time.
7. When Roger left his office at about five o’clock, Miss Temple ______________
A. watched him through her new opera glasses.
B. saw him just before he got into a carriage.
C. had a sudden feeling of breathlessness.
D. pretended to be looking into an open window.
8. Miss Temple’s excitement at following Roger ______________
A. increased each time she caught sight of him.
B. turnned into boredom after a while.
C. ended when her carriage started following him.
D. disappeared when she realised where he was going.

Your answers
1 2 3 4 5 6 7 8

Part 4. Read the passage and decide whether the following statements are TRUE (T), FALSE (F) OR
NOT GIVEN (NG). Write your answers in the corresponding numbered boxes provided.
APHANTASIA: A LIFE WITHOUT MENTAL IMAGES
Close your eyes and imagine walking along a sandy beach and then gazing over the horizon as the Sun rises.
How clear is the image that springs to mind?
Most people can readily conjure images inside their head - known as their mind's eye. But this year scientists
have described a condition, aphantasia, in which some people are unable to visualise mental images.
Niel Kenmuir, from Lancaster, has always had a blind mind's eye. He knew he was different even in childhood.
"My stepfather, when I couldn't sleep, told me to count sheep, and he explained what he meant, I tried to do it
and I couldn't," he says. "I couldn't see any sheep jumping over fences, there was nothing to count."
Our memories are often tied up in images, think back to a wedding or first day at school. As a result, Niel
admits, some aspects of his memory are "terrible", but he is very good at remembering facts. And, like others
with aphantasia, he struggles to recognise faces. Yet he does not see aphantasia as a disability, but simply a
different way of experiencing life.
Mind's eye blind
Ironically, Niel now works in a bookshop, although he largely sticks to the non-fiction aisles. His condition
begs the question what is going on inside his picture-less mind. I asked him what happens when he tries to
picture his fiancée. "This is the hardest thing to describe, what happens in my head when I think about things,"
he says. "When I think about my fiancée there is no image, but I am definitely thinking about her, I know today
she has her hair up at the back, she's brunette. But I'm not describing an image I am looking at, I'm
remembering features about her, that's the strangest thing and maybe that is a source of some regret."
The response from his mates is a very sympathetic: "You're weird." But while Niel is very relaxed about his
inability to picture things, it is often a cause of distress for others. One person who took part in a study into
aphantasia said he had started to feel "isolated" and "alone" after discovering that other people could see
images in their heads. Being unable to reminisce about his mother years after her death led to him being
"extremely distraught".
The super-visualiser
At the other end of the spectrum is children's book illustrator, Lauren Beard, whose work on the Fairytale
Hairdresser series will be familiar to many six-year-olds. Her career relies on the vivid images that leap into
her mind's eye when she reads text from her author. When I met her in her box-room studio in Manchester, she
was working on a dramatic scene in the next book. The text describes a baby perilously climbing onto a
chandelier.
"Straightaway I can visualise this grand glass chandelier in some sort of French kind of ballroom, and the little
baby just swinging off it and really heavy thick curtains," she says. "I think I have a strong imagination, so I
can create the world and then keep adding to it so it gets sort of bigger and bigger in my mind and the
characters too they sort of evolve. I couldn't really imagine what it's like to not imagine, I think it must be a bit
of a shame really."
Not many people have mental imagery as vibrant as Lauren or as blank as Niel. They are the two extremes of
visualisation. Adam Zeman, a professor of cognitive and behavioural neurology, wants to compare the lives
and experiences of people with aphantasia and its polar-opposite hyperphantasia. His team, based at the
University of Exeter, coined the term aphantasia this year in a study in the journal Cortex.
Prof. Zeman tells the BBC: "People who have contacted us say they are really delighted that this has been
recognised and has been given a name, because they have been trying to explain to people for years that there
is this oddity that they find hard to convey to others." How we imagine is clearly very subjective - one person's
vivid scene could be another's grainy picture. But Prof. Zeman is certain that aphantasia is real. People often
report being able to dream in pictures, and there have been reported cases of people losing the ability to think
in images after a brain injury.
He is adamant that aphantasia is "not a disorder" and says it may affect up to one in 50 people. But he adds: "I
think it makes quite an important difference to their experience of life because many of us spend our lives with
imagery hovering somewhere in the mind's eye which we inspect from time to time, it's a variability of human
experience."
1. Aphantasia is a condition, which describes people, for whom it is hard to visualise mental images.
2. Niel Kenmuir was unable to count sheep in his head.    
3. People with aphantasia struggle to remember personal traits and clothes of different people.
4. Niel regrets that he cannot portray an image of his fiancée in his mind.
5. Inability to picture things in someone's head is often a cause of distress for a person.
6. All people with aphantasia start to feel 'isolated' or 'alone' at some point of their lives.       
7. Lauren Beard's career depends on her imagination.  
8. The author met Lauren Beard when she was working on a comedy scene in her next boo.

Your answers
1 2 3 4 5 6 7 8

SECTION D. WRITING (6.0 POINTS)

Part 1. Read the following passage about the changes that took place in music around 1966-7 and use
your own words to summarize it. Your summary should be between 100 and 120 words.
THE NEW MUSIC
The new music was built out of materials already in existence: blues, rock’n’roll, folk music. But
although the forms remained, something wholly new and original was made out of these older elements - more
original, perhaps, than even the new musicians themselves yet realize. The transformation took place in 1966-
7. Up to that time, the blues had been an essentially black medium. Rock’n’roll, a blues derivative, was
rhythmic, raunchy, teen-age dance music. Folk music, old and modern, was popular among college students.
The three forms remained musically and culturally distinct, and even as late as 1965, none of them were
expressing any radically new states of consciousness. Blues expressed black soul; rock, as made famous by
Elvis Presley, was the beat of youthful sensuality; and folk music, with such singers as Joan Baez, expressed
anti-war sentiments as well as the universal themes of love and disillusionment.
In 1966-7 there was a spontaneous transformation. In the United States, it originated with youthful rock
groups playing in San Francisco. In England, it was led by the Beatles, who were already established as an
extremely fine and highly individual rock group. What happened, as well as it can be put into words, was this.
First, the separate musical traditions were brought together. Bob Dylan and the Jefferson Airplane
played folk rock, folk ideas with a rock beat. White rock groups began experimenting with the blues. Of
course, white musicians had always played the blues, but essentially as imitators of the Negro style; now it
began to be the white bands’ own music. And all of the groups moved towards a broader eclecticism and
synthesis. They freely took over elements from Indian ragas, from jazz, from American country music, and as
time went on from even more diverse sources (one group seems recently to have been trying out Gregorian
chants). What developed was a protean music, capable fan almost limitless range of expression.
The second thing that happened was that all the musical groups began using the full range of electric
instruments and the technology of electronic amplifiers. The twangy electric guitar was an old country-western
standby, but the new electronic effects were altogether different - so different that a new listener in 1967 might
well feel that there had never been any sounds like that in the world before. The high, piercing, unearthly
sounds of the guitar seemed to come from other realms. Electronics did, in fact, make possible sounds that no
instrument up to that time could produce. And in studio recordings, multiple tracking, feedback and other
devices made possible effects that not even an electronic band could produce live. Electronic amplification also
made possible a fantastic increase in volume, the music becoming as loud and penetrating as the human ear
could stand, and thereby achieving a ‘total’ effect, so that instead fan audience of passive listeners, there were
now audiences of total participants, feeling the music in all of their senses and all of their bones.
 Third, the music becomes a multi-media experience; a part of a total environment. In the Bay Area
ballrooms, the Fillmore, the Avalon, or Pauley Ballroom at the University of California, the walls were
covered with fantastic changing patterns of light, the beginning of the new art of the light show. And the
audience did not sit, it danced. With records at home, listeners imitated these lighting effects as best they
could, and heightened the whole experience by using drugs. Often music was played out of doors, where nature
- the sea or tall redwoods - provided the environment.
(From The Greening of America by Charles Reich)
Your writing
..................................................................................................................................................................................
..................................................................................................................................................................................
..................................................................................................................................................................................
...
..................................................................................................................................................................................
..................................................................................................................................................................................
..................................................................................................................................................................................
...
..................................................................................................................................................................................
..................................................................................................................................................................................
..................................................................................................................................................................................
...
..................................................................................................................................................................................
..................................................................................................................................................................................
..................................................................................................................................................................................
...
..................................................................................................................................................................................
..................................................................................................................................................................................
..................................................................................................................................................................................
...
..................................................................................................................................................................................
..................................................................................................................................................................................
..................................................................................................................................................................................
...
..................................................................................................................................................................................
..................................................................................................................................................................................
..
Part 2. The table below shows information about three different types of restaurants. Summarise the
information by selecting and reporting the main features, and make comparisons where relevant.
You should write at least 150 words.
Sit-Down Fast food
Cafeteria
Restaurant Restaurant
Average cost of lunch $10.00 $7.00 $4.50
Average time spent eating lunch 45 min. 30 min. 20 min.
Average cost of dinner $17.00 $9.50 $5.00
Average time spent eating dinner 60 min. 45 min. 20 min.

Your writing
..................................................................................................................................................................................
..................................................................................................................................................................................
..................................................................................................................................................................................
...
..................................................................................................................................................................................
..................................................................................................................................................................................
..................................................................................................................................................................................
...
..................................................................................................................................................................................
..................................................................................................................................................................................
..................................................................................................................................................................................
...
..................................................................................................................................................................................
..................................................................................................................................................................................
..................................................................................................................................................................................
...
..................................................................................................................................................................................
..................................................................................................................................................................................
..................................................................................................................................................................................
...
..................................................................................................................................................................................
..................................................................................................................................................................................
..................................................................................................................................................................................
...
..................................................................................................................................................................................
..................................................................................................................................................................................
..
..................................................................................................................................................................................
..................................................................................................................................................................................
..................................................................................................................................................................................
...
..................................................................................................................................................................................
..................................................................................................................................................................................
..................................................................................................................................................................................
...

Part 3. Write an essay of 350 words on the following topic.

Some people think that being able to communicate with others online is breaking down geographical barriers
and enabling people, who would normally never have the chance to meet, to communicate.
What are the advantages of international communication online? Are there any disadvantages to this?
Your writing
..................................................................................................................................................................................
..................................................................................................................................................................................
..
..................................................................................................................................................................................
..................................................................................................................................................................................
..................................................................................................................................................................................
...
..................................................................................................................................................................................
..................................................................................................................................................................................
..................................................................................................................................................................................
...
..................................................................................................................................................................................
..................................................................................................................................................................................
..
..................................................................................................................................................................................
..................................................................................................................................................................................
..................................................................................................................................................................................
...
..................................................................................................................................................................................
..................................................................................................................................................................................
..................................................................................................................................................................................
...
..................................................................................................................................................................................
..................................................................................................................................................................................
..
..................................................................................................................................................................................
..................................................................................................................................................................................
..................................................................................................................................................................................
...
..................................................................................................................................................................................
..................................................................................................................................................................................
..................................................................................................................................................................................
...
..................................................................................................................................................................................
..................................................................................................................................................................................
..
..................................................................................................................................................................................
..................................................................................................................................................................................
..................................................................................................................................................................................
...
..................................................................................................................................................................................
..................................................................................................................................................................................
..................................................................................................................................................................................
...
..................................................................................................................................................................................
..................................................................................................................................................................................
..
..................................................................................................................................................................................
..................................................................................................................................................................................
..................................................................................................................................................................................
...
..................................................................................................................................................................................
..................................................................................................................................................................................
..................................................................................................................................................................................
...
..................................................................................................................................................................................
..................................................................................................................................................................................
..
..................................................................................................................................................................................
..................................................................................................................................................................................
..................................................................................................................................................................................
...
..................................................................................................................................................................................
..................................................................................................................................................................................
..................................................................................................................................................................................
...

- THE END -