KỲ THI HỌC SINH GIỎI CÁC TRƯỜNG THPT CHUYÊN

KHU VỰC DUYÊN HẢI VÀ ĐỒNG BẰNG BẮC BỘ

LẦN THỨ XIII, NĂM 2023

(HDC gồm có .... trang) HƯỚNG DẪN CHẤM: MÔN TIẾNG ANH – LỚP 10

A. LISTENING (50 points)

Part 1. A new business owner enquires about courses. Listen to the conversation and complete
each gap with no more than THREE words/number. (10 points)
1. waiters
2. day off
3. break
4. (free) meal
5. A white shirt
Part 2: Listen to a lecture about the artist Franz Marc. Write Yes or No in the answer box. (10
pts)

6 Yes 7 No 8 Yes 9 Yes 10 No

Part 3.

1 void 6 cosmic ray particles

2 identified in pyramid 7 obsession to document

3 up for debate 8 different philosophies

4 undiscovered gallery 9 very articulate evidence

5 drill holes 10 facsimile

SECTION 2- LEXICO-GRAMMAR
Part 1: Choose the answer that best completes each sentence. (20 pts)

1. D. hold water 2. C. All the same 3. B. failing 4. D. bone 5. C. weak-kneed

6. C. in that 7. A. under 8. B. divulge 9. C. keeps his ear to the ground

10.D. If so 11. D. roaring 12. A. augment 13D. moving

14. D. excitable 15. A. hit 16. C. brochures 17. A. premonition
18. D. uniformity 19. D. hideous 20. C. enormously

Part 2. Give the correct form of the word in the brackets. (10 pts)
1. futuristic 2. Intoxicated 3. Underestimated 4. Pleasantries
5. prevalance 6. misgivings 7. Accentuate 8. Disheartened
9. fragmentariness 10. unwittingly

Part 3. Complete each of the following sentences with a suitable preposition or particle (10 pts)
1. on 2. off 3. to 4. up 5. over
6. up 7. Back / in 8. with 9. at 10. up

III. READING (60 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. (15 pts)

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

6.A 7.A 8.C 9.C 10.A

Part 2: Fill each blank with ONE suitable word. (15 pts)

1. but 2. realistic 3. term 4. in 5. least

6. enough 7. Instead 8. for 9. less 10. works

Part 3: Read the text and do the following tasks. (15 pts)

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

6. shortcomings 7. disc 8. patterns 9. approach 10. Mars

Part 4:
14.C 2.B 3.D 4.D 5.A
6.C 7.C 8.D 9.B 10.C

TRANSCRIPT
Part 1
 Woman: Hello, West Bay Hotel. Can I help you?
Man: Oh, good morning. I’m ringing about your advertisement in the Evening Gazette.
Woman: Is that the one for  temporary  staff  [Example]?
Man: That’s right.
Woman: Yes. I’m afraid the person who’s dealing with that isn’t in today, but I can give you
the main details if you like.
Man: Yes, please. Could you tell me what kind of staff you are looking for?
Woman: We’re looking for  waiters  at the moment  [Q1]. There was one post for a cook, but
that’s already been taken.
Man: Oh right. Erm, what are the hours of work?
Woman: There are two different shifts – there’s a day shift from 7 to 2 and a late shift from 4
till 11.
Man: And can people choose which one they want to do?
Woman: Not normally, because everyone would choose the day shift I suppose. You alternate
from one week to another.
Man: Okay. I’m just writing all this down. What about time off?
Woman: You get one  day off  and I think you can  negotiate  which one you want, it’s more or
less up to you. But it has to be the same one every week  [Q2].
Man: Do you know what the rates of pay are?
Woman: Yes, I’ve got them here. You get £5.50 an hour, and that includes a  break [Q3].
Man: Do I have to go home to eat or …
Woman: You don’t have to. You can get a  meal  in the hotel if you want to , and there’s
no  charge  for it so you might as well  [Q4].
Man: Oh good. Yes, so let’s see. I’d get er, two hundred and twenty-one, no, two hundred and
thirty-one pounds a week?
Woman: You’d also get tips – our guests tend to be quite generous.
Man: Erm, is there a uniform? What about clothes?
Woman: Yes, I forgot to mention that. You need to wear a white shirt [Q5]., just a plain one,
and  dark  trousers  You know, not green or anything like that. And we don’t supply those.
Man: That’s okay, I’ve got trousers, I’d just have to buy a couple of shirts. What about anything
else? Do I need a waistcoat or anything?
Woman: You have to wear a  jacket, but the hotel lends you that  [Q6].
Man: I see. Er, one last thing – I don’t know what the starting date is.
Woman: Just a minute, I think it’s some time around the end of  June. Yes, the  28th, in time for
the summer  [Q7].
Man: That’s great. I’m available from the 10th.
 Woman: Oh good. Well, if you can call again you need to speak to the Service Manager. Her
name’s Jane Urwin, that’s U-R-W-I-N, and she’ll probably arrange to meet you.
Man: Okay. And when’s the best time to ring?
Woman: Could you call tomorrow? Um, she usually starts checking the rooms at midday, so
before then if you can, so she’ll have more time to chat. I’ll just give you her number because
she’s got a direct line.
Man: Thanks.
Woman: It’s 832 double-0 9.
Man: 823 double-0 9?
Woman: 832.
Man: Oh, okay. Yes, I’ll do that.
Woman: And by the way, she will ask you for a reference, so you might like to be thinking
about that. You know, just someone who knows you and can vouch for you.
Man: Yes, no problem. Well, thanks very much for your help.
Woman: You’re welcome. Bye.
Man: Bye.
Part 2:
Lecturer: Franz Marc is one of the lesser known artists of the group known as the German
Expressionists, but he was instrumental in pointing the way towards abstract art. In 1998 several of
Marc's paintings fetched record prices at auction in London, and today he is recognised as one of the
most significant artists of the twentieth century.
Born in Munich in 1880, Marc was profoundly influenced by the work of the Post-impressionists, in
particular Van Gogh and Gauguin, which led him to experiment with bright primary colors. His
subject matter consisted mainly of animals, which he perceived as beings with spiritual qualities, at
one with nature. It was this purity that he wanted to express through color. In this important 1910
painting. Horse in a Landscape, observe the blue mane and tail of a purple horse presiding over a vista
of rich primary colors. This work is an excellent example of Marc's attempt to depict the world through
an animal's eyes. Yellow cows, blue horses, green foxes and orange deer are just some of the animals
Marc painted with a profound love and sensitivity. In Yellow Cow, observe how the animal kicks up its
hind legs and raises its head to the sky, leaping and bellowing with joy.
As Marc's art matures, we see the influence of Cubism enter his work - the softer flat areas of color
give wav to more angular, geometrical shapes. In this next picture, Deer in the Forest II, a dense
network of abstract shapes representing the forest pulls the eye toward the graceful forms of deer
emerging through the undergrowth. Note how the animals appear to be at peace, far from the danger
and corruption of a human world. Yet in a series of paintings dated around 1913, there is a sense of
trouble in the air - a presentiment of the coming of the Great War. In The Fate of the Animals, the artist
offers a glimpse of what is to come. The green horses in the top left of the picture look panic-stricken,
while the blue deer in the center is frozen, its head thrown back to the sky. Has it just been shot? Or is
it perhaps simply relishing its life? If you look to the right of the picture, in the direction the animals
were probably headed, there are dense brown and murky images, a rare departure from Marc's beloved
primary colors, and they seem to forewarn of something unnatural and dark. In The Wolves, Marc
abandons his favorite horses and deer and offers yet another vision of impending doom. Here, a group
of wolves are depicted in various attitudes - defensive, aggressive, menacing. Green flames and clouds
of purple smoke denote the destruction of the landscape, while in the bottom right-hand corner some
pink flowers, a symbol of natural beauty, droop and die.
By this time, Marc had co-founded the group Der Blaue Reiter, which can be translated as The Blue
Rider, with the Russian artist Wassily Kandinsky. Their aim was to express spiritual truth and they
adopted a spontaneous, intuitive approach to painting, reminiscent of primitivism and the pure art of
children. Despite having no particular ideology as such, the group believed in bringing art into the
future. More on them later.
Now, let's look at some of Marc's later works from 1913 and 1914. At this stage his work showed great
promise and development of an individual style. Stables consist of almost purely geometrical forms
overlapping and shining through each other, a curve of red or white representing a horse's flank or
fetlock. Fighting Forms is entirely abstract and brings together swirling complementary colors -
orange and blue.
When the war finally broke out in 1914, Marc was called to the front. He was greatly disturbed by the
loss of life around him, including that of the animals caught up in the fighting. Marc's sketches from
the front reflect his fears and worries, though he hoped that something good would eventually come
out of the war. Tragically. Marc did not survive the slaughter: he was killed bv a grenade in 1916
while patrolling on his horse near Verdun in France. He was only thirty six.
Part 3:
Researchers recently discovered a void in the Great Pyramid they hadn’t known about before. By void,
we mean a space that’s almost 100 feet long. The journal “Nature”, which details the finding, says this
is the first time since the 1800s that a space this significant has been identified in the pyramid. But
whether it adds to the structure’s mysteries or answers ancient secrets is up for debate. A spokesman
for Egypt’s government says there’s no evidence that suggests this space leads to an undiscovered
gallery or burial chamber. And archaeologists point out that the pyramid has other voids, so this could
just be one that hadn't been found yet.
Still, there are a lot of unanswered questions about the Great Pyramid, and researchers hope this
discovery will help them learn how it was built. They’re not allowed to drill holes or use cameras. To
identify this void, they used equipment to track cosmic ray particles inside the structure. But that’s not
the only way in which modern technology is helping archaeologists study ancient history. The magic is
seeing this with candlelight. – Adam Low freely admits that he’s a man with an obsession to document
the tomb of an ancient Egyptian pharaoh, Seti I.
“The tomb actually tells us how the people from 3,500 years ago think different things, have different
philosophies, value different things. The way they thought can be read through the very articulate
evidence that's on the walls of these tombs. And if we can really build a dialogue that crosses time and
use technology to help that, I think we’re at an incredibly exciting moment.”
- Just a room, you think, but what a room. Known among Egyptologists as “the Hall of beauties,”
what’s just astonishing is that this is, in fact, a facsimile, a precise recreation in a museum in
Switzerland of how the room looked exactly 200 years ago, when the tomb was discovered.