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TRƯỜNG THPT CHUYÊN DUYÊN HẢI - ĐỒNG BẰNG BẮC BỘ

BẮC NINH
NĂM HỌC 2017 - 2018
(ĐÁP ÁN) Môn: Tiếng Anh – Lớp 10

A. LISTENING (50 points)

Part 1. Complete the notes below. For question 1-5, write NO MORE THAN TWO
WORDS AND/OR A NUMBER for each answer. ( IELTS Listening Actual Test 3)
(10 points)
1. 19 2. pick-up 3. 40 minutes 4. balcony 5. tennis courts
service

Part 2. You will hear part of a radio interview with Martin Middleton, who makes
wildlife programmes for television. For questions 1-5. choose the best answer (A, B or
C). (Cambridge FCE 3) (10 points)

1. B 2. A 3. B 4. B 5. C

Part 3. You will hear part of a radio interview in which a graphic designer called
Sandra talking about her work as a children's book illustrator. For questions 1-5,
decide whether the statement is TRUE (T) or FALSE (F). (CAE Test Builder) (10
points)
1. T 2. F 3. F 4. T 5. F

Part 4. You will hear part of a scientific television programme for young people in
which the speaker explains what meteors' are. For questions 1-10, complete the notes
below which summarise what the speaker says. Write NO MORE THAN THREE
WORDS for each answer. (Successful FCE Practice Tests) (20 points)
1. shooting 2. car 3. insects 4. iron 5. orbit
stars
6. gravity 7. a jet plane 8. match 9. melts 10. reach the
ground

SECTION B. LEXICO AND GRAMMAR (50 points)

Part 1. Choose the best option A, B, C, or D to complete the following sentences and
write your answers in the corresponding numbered boxes. (20 points)
1. A 5. A 9. B 13. B 17. B
2. A 6. B 10. A 14. B 18. A
3. C 7. B 11. B 15. A 19. A
4. B 8. B 12. D 16. A 20. A

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Part 2. Read the passage below which contains 10 mistakes. Identify the mistakes and
write the corrections in the corresponding numbered boxes. (10 points)

1. live by => live on 6. reducing => being reduced

2. two-third => two-thirds 7. increasing => increasingly
3. by what => by which 8. Earth’s => The Earth’s
4. neither => either 9. feed => fed
5. pollutant => pollutants 10. sensitive => sensible

Part 3. Complete each sentence with one suitable particle or preposition. Write your
answer in the box provided. (10 points)

1. on 2. of 3. on 4. under 5. on
6. in 7. out 8. off 9. up 10. beyond

Part 4. Write the correct form of the words given in the brackets. Write your answers
in the spaces provided below. (CPE Revised) (10 points)

1. prospective 6. unfortunately
2. unmistakeable/unmistakable 7. unfamiliarity
3. unforeseeable/unforeseen 8. undoubtedly / doubtless
4. beneficial 9. wisdom
5. likelihood 10. questionable

C. READING (50 points)

Part 1. Read the following passage and decide which answer (A, B, C, or D) best fits
each gap. Write your answers in corresponding numbered boxes. (10 points)
1.B 2. D 3. B 4. D 5. A
6. C 7. D 8. A 9. B 10. C

Part 2. Read the following text and fill in the blank with ONE suitable word. Write
your answers in corresponding numbered boxes. (15 points)
1. go 2. on 3. far 4. without 5. alone
6. somehow 7. numbers 8. themselves 9. which 10. more

Part 3. Read the following passage and circle the best answer to each of the following
questions. Write your answers in corresponding numbered boxes. (10 points)
1. C 2. D 3. B 4. B 5. A
6. C 7. D 8. A 9. C 10. B

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Part 4. Read the following extract and answer questions 1-10. (15 points)
0. v 1. ix 2. ii 3. vii 4. i 5. viii 6. iv
7. N 8. Y 9. Y 10. NG

D. WRITING (50 points)

Part 1. Rewrite each sentence using the word in brackets so that the meaning stays the
same. You must use between THREE and EIGHT words, including the word given.
(10 points)
1. ……a blot on the landscape……
2. …… would do wonders for the way ……
3. …… remains to be seen whether there ……
4…… to technical knowledge, I am no match ……
5. ……didn’t put Anthony off in the……

Part 2. Finish each of the following sentences in such a way that it means exactly the
same as the sentence printed before it. (10 points)
1. All being well, I’ll see you next week.
2. Many a domestic problem has been caused by redundancy.
3. The film fell short of my expectations.
4. Not being able to get through to the police, she ran next door for help.
5. There has been a considerable/ sharp / substantial fall / drop/ decrease/ decline in the
value of sterling in the past week.

Part 3: Essay (30 points)

Notes:
The mark given to part 3 is based on the following criteria:
1. Content: (35% of total mark)
a. Providing all main ideas and details as required
b. Communicating intentions sufficiently and effectively
2. Organization & Presentation: (30% of total mark)
a. Ideas are well organized and presented with coherence, cohesion, and clarity
b. The essay is well-structured
3. Language: (30% of total mark)
a. Demonstration of a variety of vocabulary and structures appropriate to the level of
English language gifted upper-secondary school students
b. Good use and control of grammatical structures
4. Punctuation, spelling, and handwriting (5% of total mark)
a. Good punctuation and no spelling mistakes
b. Legible handwriting
Markers should discuss the suggested answers and the marking scale thoroughly
before marking the papers.

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 Thank you for your cooperation.

– THE END –

TAPESCRIPT
PART 1
Reception: Good afternoon, you're through to reception at The Island Hotel in
Crete, how may I help you today?
Mr. Schifter: Yes. hello there, I’m hoping to book a double room for my wife and
myself for about two weeks from the 25th April of this year. Firstly, could you tell me
whether it’s particularly hot during this time? Example
Reception: Yes. of course Sir, during late April and early May, the
daytime temperature shouldn't exceed 19 degrees Celsius, but the weather has been
rather erratic and difficult to predict in recent years, so I am unable to say for certain.
Mr. Schifter: Okay, that sounds good, my wife doesn’t like going outside when it's
very hot! I haven’t booked flights yet. but I must say that I’m unfamiliar with Crete and
its transport system. Does the hotel provide an airport shuttle service?
Reception: Yes Sir, we provide a complementary airport pick-up service for all
our guests. It takes about 40 minutes to get here from the airport, but it’s at least 60
minutes at rush hours and you will be provided with a fully air-conditioned shuttle bus.
Mr. Schifter: Okay, excellent. In that case, do you have any rooms available for the
dates I gave you?
Reception: I shall have a look on the system now for you Sir. bear with me just a
moment, [brief pause] Yes Sir. I can see now that we have several rooms available.
Would you prefer a garden view or a sea view?
Mr. Schifter: Well, ideally I would like a sea-view room with a balcony, but of
course that depends on the difference in price.

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Reception: Not to worry Sir, all of our standard double rooms have en-suite facilities
and a balcony. If you would like one of our sea-view rooms, there is a premium of €60
per night.
Mr. Schiffer: Okay, so could you tell me the total nightly rate tor a standard double
room with a sea view?
Reception: Yes, of course Sir, for the spring months, our rate is €216 per night.
For 14 nights, altogether this will come to €3,024.
Mr. Schiffer: Perfect. I also read on your website that the hotel has gym and spa
facilities. Are there any other facilities on offer?
Reception. Yes, we have a large outdoor infinity pool overlooking the ocean, with
luxury sun beds and a poolside bar. We also have 3 full-sized tennis courts, where we
run a popular doubles tournament, with the winner receiving 2 all-inclusive spa day
vouchers.
Mr. Schifler: Goodness, I shall have to brush up on my tennis skills!

PART 2. You will hear part of a radio interview with Martin Middleton, who makes
wildlife programmes for television. For questions 1-5. choose the best answer (A, B or
C).

Interviewer: Today's guest needs no introduction. He Is a man who has given us hours
of interest and entertainment over the years, with his weekly series of wildlife
programmes. He is, of course, Martin Middleton. Martin, you've been to the four corners
of the Earth in search of material. Where did this love of adventures come from?
Martin: I don’t really know ... I didn’t travel much as a child, but I remember
reading about the East and being fascinated by it. Then, when I was about twelve, I met
someone who’d been to Singapore - and to me that seemed incredible ... and, of course,
when I started in television, back in the early nineteen sixties, you didn’t travel to make
a wildlife programme ... you went along and filmed at the local zoo. So, when I said I’d
like to go and film in Africa, the Head of Programmes just laughed at me.
Interviewer: And did you go to Africa?
Martin: On that occasion, no! But I eventually got them to allow me to go to
Borneo, in nineteen sixty-two. There was just me and a cameraman. We went off for
four months, filming wherever we found something interesting. We bought a canoe,
sailed up-river for ten days and ended up in a traditional longhouse. Nowadays, of
course, it's all quite different.
Interviewer: Different? In what way?
Martin: We do months of preparation before we set off, so when we start filming,
we know exactly what scenes we want to get. I mean, you don’t get up in the morning
and say to your team, ‘What shall we do this morning?' You have to know exactly what
each scene is going to show ... to work to a strict plan.

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Interviewer: Some of your programmes have taken place in some pretty remote
areas. It’s hard to imagine other programme-makers wanting to risk the dangers or
discomfort that you’ve experienced.
Martin: Well, if you want original material, you’ve got to go off the beaten track ...
but you can find yourself doing some pretty strange things ... urn ... like, for example, on
one occasion, jumping out of a helicopter onto an iceberg. There I was ... freezing
cold ... then it started to snow ... and the helicopter had gone back to the ship and
couldn’t take off again. So I was stuck there, on this iceberg, thinking, 'This is crazy ... I
didn’t even want to come here!’
Interviewer: What I wonder is ... where does somebody like yourself, who travels
to all these exotic places as part of their work, go on holiday?
Martin: (laughs) I'm not very good at lying on a beach, that’s for sure. I wouldn’t go
to a place just to sit around. It’s nice to have an objective when you’re travelling ... to
have something you want to film ... um ... I’ve just come back from the Dominican
Republic, and we were put up for the first night in a big hotel... the place was absolutely
full of people, just lying there, sunbathing. They seemed quite happy to spend the whole
day stretched out around the pool... they never seemed to want to go and explore the
amazing things there were to see outside the hotel. For me, that would be a very boring
way to spend a holiday.
Interviewer: Your programmes, though, must have inspired a lot of people to take
their holidays in remote and little-known places.
Martin: You are probably right, but... well... I have mixed feelings about all this. I
go back to the places where, years ago, I was the only European, and now there are
cruise ships coming three times a day. So you worry that in ten years or so every remote
place on the planet will be swallowed up, because everyone will be visiting it. But, on
the other hand, I am in favour of tourism that is done in a way that protects the
environment. You can see a good example of this in the Galapagos Islands, where the
tourism is carefully managed. That’s very successful, and could be a model for the
future ...

PART 3. You will hear part of a radio interview in which a graphic designer called
Sandra talking about her work as a children's book illustrator. For questions 1-5,
decide whether the statement is TRUE (T) or FALSE (F).
Interviewer: Sandra, 1 have to tell you that my kids have been reading your books for
years. They're the kind of pictures that completely capture a child's imagination. Do you
get as much delight out of producing them?
Sandra: Thank you Mark. Well, yes, certainly I do. But don't think I'm illustrating all
the time. I work freelance and freelance work tends to be really great from the point of
view of, erm, if you like a variety in your life about what you do and when, particularly
with children's illustration, because you have intensive bursts and then you have periods
of time when you haven't got any work coming in. But when it does, meeting the
deadline is the hardest part. When a book's being produced, the illustrator is the last

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person to do their bit and by that stage often the restriction of time means that you resort
to a similar style - one you know you can do fast, but you have to accept that. But yes,
it's ideal for a mother at home with small children which was my situation when I
started. You can work any time of the night or day.
Interviewer: How did you get into illustrating children's books? Did you do a particular
course that trains you for it?
Sandra: Not really. I did a three-year graphic design degree when I left secondary
school and learned all sorts of things, and while I was at college, I also worked for an
advertising agency.
Interviewer: How does the actual process work? Do you and the writer ever meet up?
Sandra: No. The editor and the writer have worked on the script of the story together.
Then I get a phone call and the editor says 'It's due in this amount of time. Are you
interested?' and I always say 'Yes'. Then you receive what we call the 'layout' in the post
- that's basically big sheets of white paper with an outline of the book on it, and the
actual story positioned on the page where the editor wants to see it. And then they will
give you a brief, which is a page-by-page idea of what they want to see from the artist.
And I'm lucky in that I've developed a relationship with a few editors in different
companies now, so that that brief can be quite flexible when I receive it, because they
understand that I've been doing this long enough to know the relationship that's got to
happen between the picture and the word, particularly in emergent readers, that's little
children who are learning to read. They need a very strong picture-word relationship,
and consistent pictures. You can't have a drawing of someone on one page wearing a
certain sort of clothing and then change it on the next - that just wouldn't work.
Interviewer: Yes, I know from my own children that repetition and familiarity are
important in books. But, erm, when you know you've got work, what's the next step?
Sandra: Well, it usually starts with me reading through the story and I immediately see
it in my mind - I have an immediate idea about the central character and often if it's not
an animal or cartoon idea, if it's actually a child or an adult, I try to think of someone I
know and I base the character on that person. Especially if it needs to be realistic, I
might then go out and take a lot of photos of that person, if they agree, to sort of help me
get some idea about facial expression and that sort of thing. I used my neighbour in my
last book and she thought it was hilarious. My eldest son James has appeared through his
life in many of my books. The poor child has had to pose doing all sorts of things
because children are quite tricky to draw and it's really helpful if you actually have their
little bodies and hands to see how they work - they tend to hold themselves and stand
differently to adults.
Interviewer: Have you ever used your own children to get some erm, feedback on your
work?
Sandra: No, not like that. When they were younger they used to look at the pictures a
lot - they've always been part of their lives. Me illustrating at home has always been part
of what they know, i think the best spin-off has been that they've both been exposed to
books constantly, and I have a deep belief in reading to children right from the word go.

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And, um, James and Andrew were barely 6, and they were thoroughly enjoying all sorts
of books by that stage, I mean, they had a reading ability way beyond some of their
friends at the same age. It's all about the contact you have with your child and I think
that children are missing out on that more and more, perhaps with everybody being
busy, but books are a wonderful way to curl up and get together.
Interviewer: And for any young person who would like a career in illustration. How
should they go about it?
Sandra: Well, you need to build up a portfolio, lots of examples of your work, to show
to publishers. It's really good to show a range of ethnic backgrounds, the fact that you
can draw people and animals, perhaps that you can cartoon; versatility is the key to
getting work. And when I started out, I just went round lots of different children's
publishers and met the editor. I suppose you could send in your CV first, but I tended to
ring and make an appointment and go and see them because I believe that it's always
best to go and speak to somebody- They get a better idea about the person they're
dealing with. And if you really want to get on, you have to market yourself really well.
You need to generate your own work and put your face in front of people at overseas
conferences, that sort of thing. The great majority of our most successful contemporary
artists are trained teachers, and they've worked in that profession while they've
consolidated their art career - so it's always handy to have something else up your
sleeve.

PART 4. You will hear part of a scientific television programme for young people in
which the speaker explains what 'meteors' are. Complete the sentences with a word or
short phrase.
Presenter: Even if you have never watched the sky at night, you probably know what
you would see if you did. The view is best on a night with no moon. You stare upwards
into the inky blackness over which are scattered millions of tiny points of light. These,
of course, are the stars. Then just as you're beginning to get bored with this unchanging
scene, a tiny white streak of light shoots across the sky. It's going too fast to be a plane.
Then two seconds later you see another one. What you are witnessing is the beginning of
a shower of meteors or shooting stars.
To understand what is happening, it helps us to imagine a car driving fast along the road.
In a way, our planet Earth is like that car. As it is racing along, it comes towards a large
group of insects all flying together just above the road.
Now, not all the insects are hit by the car, but several of them crash into the car's
windscreen with an unpleasant noise. In many ways, the meteors are similar to the
swarm of insects, although they aren't really animals. In fact, meteors are mostly tiny
pieces of iron that look like little stones.
In a similar way, the Earth is not really moving along a road. But it does follow the same
circular route around the sun once every year. This enormous circular path is called the
Earth's ‘orbit'. All the other planets are in orbits like this as well. Now, there are small
groups of those stones waiting in certain places along the Earth's route around the sun.

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Some of them are fixed in one orbit while others are moving around the sun in their own
orbits. Once every year, the Earth's circular path around the sun takes us through some
of these groups of little rocks.
Now, when the earth approaches one of these stones, it is pulled downwards towards our
planet by a strong force called gravity. And when the meteor starts to rush towards the
ground, a shooting star is born. Normally, as shooting stars fall, they are travelling at
speeds of 10 kilometres every second. This is about a hundred times faster than a jet
plane. However, before the meteor can reach the Earth, it must go through the air around
it - the atmosphere. Now, because it is going through the air so fast, the shooting star
starts to become hotter and hotter and the air around it gets very hot too. This is a bit like
the head of a match rubbing along the side of a matchbox. Now, very
soon the outside of this piece of iron gets very hot indeed and, as a result, it gets soft and
melts and then starts to burn. So, as this hot little rock rushes through the atmosphere, it
leaves a tail of hot burning metal and flames behind it. This is the bright streak we can
see from the ground - 100 kilometres below. Yes, you see, fortunately for us, most
meteors are so small that they have completely burned up long before they could ever
reach the ground - which is just as well because, otherwise, we would need to carry
rather stronger umbrellas!

Người ra đề: 1. Nguyen Thuy Nhung (0869237558)

2. Nguyen Phuong Ly Ly (0985397666)

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