Tại một vị trí trong môi trường truyền âm, khi cường độ âm tăng gấp 10 lần giá trị cường độ âm ban đầu thì mức cường độ âm tại đó:           

Read the following pasage and mark the letter A, B, C or D to indicate the correct answer to each of the questions:

 In science, a theory is a reasonable explanation of observed events that are related. A theory often involves an imaginary model that helps scientists picture the way an observed event could be produced. A good example of this is found in the kinetic molecular theory, in which gases are pictured as being made up of many small particles that are in constant motion. 

 A useful theory, in addition to explaining past observation, helps to predict events that have not as yet been observed. After a theory has been publicized, scientists design experiments to test the theory. If observations confirm the scientists' predictions, the theory is supported. If observations do not confirm the predictions, the scientists must search further. There may be a fault in the experiment, or the theory may have to be revised or rejected.

 Science involves imagination and creative thinking as well as collecting information and performing experiments. Facts by themselves are not science. As the mathematician Jules Henri Poincare said: "Science is built with facts just as a house is built with bricks, but a collection of facts cannot be called science any more than a pile of bricks can be called a house." 

 Most scientists start an investigation by finding out what other scientists have learned about a particular problem. After known facts have been gathered, the scientist comes to the part of the investigation that requires considerable imagination. Possible solutions to the problem are formulated. These possible solutions are called hypotheses. In a way, any hypothesis is a leap into the unknown. It extends the scientist's thinking beyond the known facts. The scientist plans experiments, performs calculations, and makes observations to test hypotheses. For without hypotheses, further investigation lacks purpose and direction. When hypotheses are confirmed, they are incorporated into theories. 

Question: The word "related" in paragraph 1 is closest in meaning to _______.           

Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions:

The rules of etiquette in American restaurants depend upon a number of factors the physical location of the restaurant, e.g., rural or urban; the type of restaurant, e.g., informal or formal; and certain standards that are more universal. In other words, some standards 5 of etiquette vary significantly while other standards apply almost anywhere. Learning the proper etiquette in a particular type of restaurant in a particular area may sometimes require instruction, but more commonly it simply requires sensitivity and experience. For example, while it is acceptable to read a magazine in a coffee shop, it is 10 inappropriate to do the same in a more luxurious setting. And, if you are eating in a very rustic setting it may be fine to tuck your napkin into your shirt, but if you are in a sophisticated urban restaurant this behavior would demonstrate a lack of manners. It is safe to say, however, that in virtually every restaurant it is unacceptable 15 to indiscriminately throw your food on the floor. The conclusion we can most likely draw from the above is that while the types and locations of restaurants determine etiquette appropriate to them, some rules apply to all restaurants.   

Question: Which of the following words is most similar to the meaning of “rustic” ?         

Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions:

The rules of etiquette in American restaurants depend upon a number of factors the physical location of the restaurant, e.g., rural or urban; the type of restaurant, e.g., informal or formal; and certain standards that are more universal. In other words, some standards 5 of etiquette vary significantly while other standards apply almost anywhere. Learning the proper etiquette in a particular type of restaurant in a particular area may sometimes require instruction, but more commonly it simply requires sensitivity and experience. For example, while it is acceptable to read a magazine in a coffee shop, it is 10 inappropriate to do the same in a more luxurious setting. And, if you are eating in a very rustic setting it may be fine to tuck your napkin into your shirt, but if you are in a sophisticated urban restaurant this behavior would demonstrate a lack of manners. It is safe to say, however, that in virtually every restaurant it is unacceptable 15 to indiscriminately throw your food on the floor. The conclusion we can most likely draw from the above is that while the types and locations of restaurants determine etiquette appropriate to them, some rules apply to all restaurants.

Question: Which of the following is closest in meaning to the word “tuck” in line 7?         

Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions:

The rules of etiquette in American restaurants depend upon a number of factors the physical location of the restaurant, e.g., rural or urban; the type of restaurant, e.g., informal or formal; and certain standards that are more universal. In other words, some standards 5 of etiquette vary significantly while other standards apply almost anywhere. Learning the proper etiquette in a particular type of restaurant in a particular area may sometimes require instruction, but more commonly it simply requires sensitivity and experience. For example, while it is acceptable to read a magazine in a coffee shop, it is 10 inappropriate to do the same in a more luxurious setting. And, if you are eating in a very rustic setting it may be fine to tuck your napkin into your shirt, but if you are in a sophisticated urban restaurant this behavior would demonstrate a lack of manners. It is safe to say, however, that in virtually every restaurant it is unacceptable 15 to indiscriminately throw your food on the floor. The conclusion we can most likely draw from the above is that while the types and locations of restaurants determine etiquette appropriate to them, some rules apply to all restaurants.   

Question: According to the passage, which of the following is a universal rule of etiquette?         

Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions:

The rules of etiquette in American restaurants depend upon a number of factors the physical location of the restaurant, e.g., rural or urban; the type of restaurant, e.g., informal or formal; and certain standards that are more universal. In other words, some standards 5 of etiquette vary significantly while other standards apply almost anywhere. Learning the proper etiquette in a particular type of restaurant in a particular area may sometimes require instruction, but more commonly it simply requires sensitivity and experience. For example, while it is acceptable to read a magazine in a coffee shop, it is 10 inappropriate to do the same in a more luxurious setting. And, if you are eating in a very rustic setting it may be fine to tuck your napkin into your shirt, but if you are in a sophisticated urban restaurant this behavior would demonstrate a lack of manners. It is safe to say, however, that in virtually every restaurant it is unacceptable 15 to indiscriminately throw your food on the floor. The conclusion we can most likely draw from the above is that while the types and locations of restaurants determine etiquette appropriate to them, some rules apply to all restaurants.   

Question: According to the passage, _______ requires sensitivity and experience?         

Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions:

The rules of etiquette in American restaurants depend upon a number of factors the physical location of the restaurant, e.g., rural or urban; the type of restaurant, e.g., informal or formal; and certain standards that are more universal. In other words, some standards 5 of etiquette vary significantly while other standards apply almost anywhere. Learning the proper etiquette in a particular type of restaurant in a particular area may sometimes require instruction, but more commonly it simply requires sensitivity and experience. For example, while it is acceptable to read a magazine in a coffee shop, it is 10 inappropriate to do the same in a more luxurious setting. And, if you are eating in a very rustic setting it may be fine to tuck your napkin into your shirt, but if you are in a sophisticated urban restaurant this behavior would demonstrate a lack of manners. It is safe to say, however, that in virtually every restaurant it is unacceptable 15 to indiscriminately throw your food on the floor. The conclusion we can most likely draw from the above is that while the types and locations of restaurants determine etiquette appropriate to them, some rules apply to all restaurants.

Question: The word “sophisticated” in line 7 could best be replaced by?  

Read the following pasage and mark the letter A, B, C or D to indicate the correct answer to each of the questions:

At 7 pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don't seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.

But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can’t be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.

As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they’re ready for the show's next performance.

The next day, as the music blares out from the sound system, the case start to go through their routines under Cousins' direction. Cousins says, ‘The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they’ll be illuminating empty ice. Our challenge,’ he continues, ‘is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.’

It may be a job which he took to pay the rent, but you can’t doubt his enthusiasm. ‘The only place you'll see certain skating moves is an ice show,’ he says, ‘because you’re not allowed to do them in competition. It’s not in the rules. So the ice show world has things to offer which the competitive world just doesn't. Cousins knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can’t put on an Olympic performance every night. I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought, "I really can't cope. I'm not enjoying it”.' The solution, he realized, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.

To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it’s impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it.

Question: What does the writer highlight about the show in the third paragraph?         

Read the following pasage and mark the letter A, B, C or D to indicate the correct answer to each of the questions:

At 7 pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don't seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.

But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can’t be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.

As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they’re ready for the show's next performance.

The next day, as the music blares out from the sound system, the case start to go through their routines under Cousins' direction. Cousins says, ‘The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they’ll be illuminating empty ice. Our challenge,’ he continues, ‘is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.’

It may be a job which he took to pay the rent, but you can’t doubt his enthusiasm. ‘The only place you'll see certain skating moves is an ice show,’ he says, ‘because you’re not allowed to do them in competition. It’s not in the rules. So the ice show world has things to offer which the competitive world just doesn't. Cousins knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can’t put on an Olympic performance every night. I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought, "I really can't cope. I'm not enjoying it”.' The solution, he realized, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.

To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it’s impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it.

Question: The word "blares out" in paragraph 4 is closest in meaning to _______.         

Read the following pasage and mark the letter A, B, C or D to indicate the correct answer to each of the questions:

At 7 pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don't seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.

But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can’t be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.

As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they’re ready for the show's next performance.

The next day, as the music blares out from the sound system, the case start to go through their routines under Cousins' direction. Cousins says, ‘The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they’ll be illuminating empty ice. Our challenge,’ he continues, ‘is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.’

It may be a job which he took to pay the rent, but you can’t doubt his enthusiasm. ‘The only place you'll see certain skating moves is an ice show,’ he says, ‘because you’re not allowed to do them in competition. It’s not in the rules. So the ice show world has things to offer which the competitive world just doesn't. Cousins knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can’t put on an Olympic performance every night. I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought, "I really can't cope. I'm not enjoying it”.' The solution, he realized, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.

To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it’s impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it.

Question: For Robin Cousins, the key point when rehearsing skating routines is         

Read the following pasage and mark the letter A, B, C or D to indicate the correct answer to each of the questions:

At 7 pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don't seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.

But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can’t be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.

As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they’re ready for the show's next performance.

The next day, as the music blares out from the sound system, the case start to go through their routines under Cousins' direction. Cousins says, ‘The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they’ll be illuminating empty ice. Our challenge,’ he continues, ‘is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.’

It may be a job which he took to pay the rent, but you can’t doubt his enthusiasm. ‘The only place you'll see certain skating moves is an ice show,’ he says, ‘because you’re not allowed to do them in competition. It’s not in the rules. So the ice show world has things to offer which the competitive world just doesn't. Cousins knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can’t put on an Olympic performance every night. I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought, "I really can't cope. I'm not enjoying it”.' The solution, he realized, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.

To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it’s impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it.

Question: The word "them" in paragraph 4 refers to _______.