Humans collected wild honey in the Palaeolithic or Mesolithic periods, with evidence

from rock art from France and Spain around 8,000 years old. Bees were likely first
domesticated in ancient Egypt, where tomb paintings depict bee-keeping. Europeans
brought bees to North America in 1622.
3. Similar to all honey bees, the western honey bee is eusociol, creating colonies with a
single fertile female (or "queen"), many normally non-reproductive females or
"workers," and a small proportion of fertile males or "drones." Individual colonies can
house tens of thousands of bees. Colony activities are organised by complex
communication between individuals, through both pheromones and the dance
language.
4. Interestingly, the honey bee was one of the first domesticated insects, and it is the
primary species maintained by beekeepers to this day for both its honey production and
pollination activities. With human assistance, the western honey bee now occupies
every continent except Antarctica. Because of its wide cultivation, this species is the
single most important pollinator for agriculture globally.
5. The western honey bee can be found on every continent except Antarctica. The species
is believed to have originated in Africa or Asia, and spread naturally through Africa, the
Middle East and Europe. Humans are responsible for its considerable additional range,
introducing European subspecies into North America (early 1600s), South America,
Australia, New Zealand, and East Asia.
6. Western honey bees are an important model organism in scientific studies, particularly
in the fields of social evolution, learning, and memory. They are also used in studies of
pesticide toxicity to assess non-target impacts of commercial pesticides.

Part 4

Read the following text for questions 21-29

An Introduction to Film Sound

Though we might think of film as an essentially visual experience, we really cannot afford to
underestimate the importance of film sound. A meaningful sound track is often as
complicated as the image on the screen, and is ultimately just as much the responsibility of
the director. The entire sound track consists of three essential ingredients: the
human voice, sound effects and music. These three tracks must be mixed and balanced so
as to produce the necessary emphases which in turn create desired effects.

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Topics which essentially refer to the three previously mentioned tracks are discussed
below. They include dialogue, synchronous and asynchronous sound effects, and music.

Let us start with dialogue. As is the case with stage drama, dialogue serves to tell the story
and expresses feelings and motivations of characters as well. Often with film
characterization the audience perceives little or no difference between the character and
the actor. Thus, for example, the actor Humphrey Bogart is the character Sam Spade; film
personality and life personality seem to merge. Perhaps this is because the very texture of a
performer's voice supplies an element of character.

When voice textures fit the performer's physiognomy and gestures, a whole and very
realistic persona emerges. The viewer sees not an actor working at his craft, but another
human being struggling with life. It is interesting to note that how dialogue is used and the
very amount of dialogue used varies widely among films. For example, in the highly
successful science-fiction film 2001, little dialogue was evident, and most of it was
banal and of little intrinsic interest. In this way the film-maker was able to portray what
Thomas Sobochack and Vivian Sobochack call, in An Introduction to Film, the 'inadequacy of
human responses when compared with the magnificent technology created by man and the
visual beauties of the universe'.

The comedy Bringing Up Baby, on the other hand, presents practically non-stop dialogue
delivered at breakneck speed. This use of dialogue underscores not only the dizzy quality of
the character played by Katherine Hepburn, but also the absurdity of the film itself and thus
its humor. The audience is bounced from gag to gag and conversation to
conversation; there is no time for audience reflection. The audience is caught up in a
whirlwind of activity in simply managing to follow the plot. This film presents pure
escapism - largely due to its frenetic dialogue.

Synchronous sound effects are those sounds which are synchronized or matched with what
is viewed. For example, if the film portrays a character playing the piano, the sounds of
the piano are projected. Synchronous sounds contribute to the realism of film and also help
to create a particular atmosphere.

For example, the 'click' of a door being opened may simply serve to convince the audience
that the image portrayed is real, and the audience may only subconsciously note the
expected sound.

However, if the 'click' of an opening door is part of an ominous action such as a burglary,
the sound mixer may call attention to the 'click' with an increase in volume; this helps to
engage the audience in a moment of suspense.

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Asynchronous sound effects, on the other hand, are not matched with a visible source of
the sound on screen. Such sounds are included so as to provide an appropriate emotional
nuance, and they may also add to the realism of the film. For example, a film-maker might
opt to include the background sound of an ambulance's siren while the foreground sound
and image portrays an arguing couple. The asynchronous ambulance siren underscores the
psychic injury incurred in the argument; at the same time the noise of the siren adds to
the realism of the film by acknowledging the film's city setting.

We are probably all familiar with background music in films, which has become so
ubiquitous as to be noticeable in its absence. We are aware that it is used to add emotion
and rhythm. Usually not meant to be noticeable, it often provides a tone or an emotional
attitude toward the story and /or the characters depicted. In addition, background music
often foreshadows a change in mood. For example, dissonant music may be used in film to
indicate an approaching (but not yet visible) menace or disaster.

Background music may aid viewer understanding by linking scenes. For example, a
particular musical theme associated with an individual character or situation may be
repeated at various points in a film in order to remind the audience of salient motifs or
ideas.

Film sound comprises conventions and innovations. We have come to expect

an acceleration of music during car chases and creaky doors in horror films. Yet, it is
important to note as well that sound is often brilliantly conceived. The effects of sound are
often largely subtle and often are noted by only our subconscious minds. We need to foster
an awareness of film sound as well as film space so as to truly appreciate an art form that
sprang to life during the twentieth century - the modern film.

Questions 1-5

Choose the correct letter, A, B, C or D

1. In the first paragraph, the writer makes a point that

A. the director should plan the sound track at an early stage in filming.
B. it would be wrong to overlook the contribution of sound to the artistry of films.
C. the music industry can have a beneficial influence on sound in film.
D. it is important for those working on the sound in a film to have sole responsibility for
it.
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2. One reason that the writer refers to Humphrey Bogart is to exemplify
A. the importance of the actor and the character appearing to have similar
personalities.
B. the audience’s wish that actors are visually appropriate for their roles.
C. the value of the actor having had similar feelings to the character.
D. the audience’s preference for dialogue to be as authentic as possible.

3. In the third paragraph, the writer suggests that

A. audiences are likely to be critical of film dialogue that does not reflect their own
experience.
B. film dialogue that appears to be dull may have a specific purpose.
C. filmmakers vary considerably in the skill with which they handle dialogue.
D. the most successful films are those with dialogue of a high Quality.

4. What does the writer suggest about Bringing Up

A. The plot suffers from the filmmaker’s wish to focus on humorous dialogue.
B. The dialogue helps to make it one of the best comedy films ever produced.
C. There is a mismatch between the speed of the dialogue and the speed of actions.
D. The nature of the dialogue emphasises key elements of the film.

5. The writer refers to the ‘click’ of a door to make the point that realistic sounds
A. are often used to give the audience a false impression of events in the film.
B. may be interpreted in different ways by different members of the audience.
C. may be modified in order to manipulate the audience’s response to the film.
D. tend to be more significant in films presenting realistic situations.

Questions 6-10

Do the following statements agree with the information given in Reading Passage?

6. Audiences are likely to be surprised if a film lacks background music.

A) True B) False C) Not Given

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7. Background music may anticipate a development in a film.
A) True B) False C) Not Given
8. Background music has more effect on some people than on others.
A) True B) False C) Not Given
9. Background music may help the audience to make certain connections within the film.
A) True B) False C) Not Given

Part 5

Biology of Bitterness

To many people, grapefruit is palatable only when doused in sugar. Bitter Blockers like
adenosine monophosphate could change that.

There is a reason why grapefruit juice is served in little glasses: most people don’t want to
drink more than a few ounces at a time. aringin, a natural chemical compound found in
grapefruit, tastes bitter. Some people like that bitterness in small doses and believe it
enhances the general flavor, but others would rather avoid it altogether. So juice packagers
often select grapefruit with low naringin though the compound has antioxidant properties
that some nutritionists contend may help prevent cancer and arteriosclerosis.

It is possible, however, to get the goodness of grapefruit juice without the bitter taste. I
found that out by participating in a test conducted at the Linguagen Corporation, a
biotechnology company in Cranbury, New Jersey. Sets of two miniature white paper cups,
labeled 304and 305, were placed before five people seated around a conference table.
Each of us drank from one cup and then the other, cleansing our palates between tastes
with water and a soda cracker. Even the smallest sip of 304 had grapefruit ‘s unmistakable
bitter bite. But 305 was smoother; there was the sour taste of citrus but none of the
bitterness of naringin. This juice had been treated with adenosine monophosphate, or
AMP, a compound that blocks the bitterness in foods without making them less nutritious.

Taste research is a booming business these days, with scientists delving into all five basics-
sweet, bitter, sour, salty, and umami, the savory taste of protein. Bitterness is of special
interest to industry because of its untapped potential in food. There are thousands of bitter
-tasting compounds in nature. They defend plants by warning animals away and protect
animals by letting them know when a plant may be poisonous. But the system isn’t
foolproof. Grapefruit and cruciferous vegetable like Brussels sprouts and kale are nutritious
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despite-and sometimes because of-their bitter-tasting components. Over time, many
people have learned to love them, at least in small doses. “Humans are the only species
that enjoys bitter taste,” says Charles Zuker, a neuroscientist at the University of California
School of Medicine at San Diego. “Every other species is averse to bitter because it means
bad news. But we have learned to enjoy it. We drink coffee, which is bitter, and quinine [in
tonic water] too. We enjoy having that spice in our lives.” Because bitterness can be
pleasing in small quantities but repellent when intense, bitter blockers like AMP could make
a whole range of foods, drinks, and medicines more palatable-and therefore more
profitable.

People have varying capacities for tasting bitterness, and the differences appear to be
genetic. About 75 percent of people are sensitive to the taste of the bitter compounds
phenylthiocarbamide and 6-n-propylthiouracil. and 25 percent are insensitive. Those who
are sensitive to phenylthiocarbamide seem to be less likely than others to eat cruciferous
vegetables, according to Stephen Wooding, a geneticist at the University of Utah. Some
people, known as supertasters, are especially sensitive to 6-n-propylthiouraci because they
have an unusually high number of taste buds. Supertasters tend to shun all kinds of bitter-
tasting things, including vegetable, coffee, and dark chocolate. Perhaps as a result, they
tend to be thin. They’re also less fond of alcoholic drinks, which are often slightly bitter.
Dewar’s scotch, for instance, tastes somewhat sweet to most people. ” But a supertaster
tastes no sweetness at all, only bitterness,” says Valerie Duffy, an associate professor of
dietetics at the University of Connecticut at Storrs.

In one recent study, Duffy found that supertasters consume alcoholic beverages, on
average, only two to three times a week, compared with five or six times for the average
nontasters. Each taste bud, which looks like an onion, consists of 50 to 100 elongated cells
running from the top of the bud to the bottom. At the top is a little clump of receptors that
capture the taste molecules, known as tastants, in food and drink. The receptors function
much like those for sight and smell. Once a bitter signal has been received, it is relayed via
proteins known as G proteins. The G protein involved in the perception of bitterness,
sweetness, and umami was identified in the early 1990s by Linguagen’s founder, Robert
Margolskee, at Mount Sinai School of Medicine in New York City. Known as gustducin, the
protein triggers a cascade of chemical reactions that lead to changes in ion concentrations
within the cell. Ultimately, this delivers a signal to the brain that
registers as bitter. “The signaling system is like a bucket brigade,” Margolskee says. “It goes
from the G protein to other proteins.”

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In 2000 Zuker and others found some 30 different kinds of genes that code for bitter-taste
receptors. “We knew the number would have to be large because there is such a large
universe of bitter tastants,” Zuker says. Yet no matter which tastant enters the mouth or
which receptor it attaches to, bitter always tastes the same to us. The only variation derives
from its intensity and the ways in which it can be flavored by the sense of smell. “Taste cells
are like a light switch,” Zuker says. “They are either on or off.”

Once they figured put the taste mechanism, scientists began to think of ways to interfere
with it. They tried AMP, an organic compound found in breast milk and other substances,
which is created as cells break down food. Amp has no bitterness of its own, but when put
it in foods, Margolskee and his colleagues discovered, it attaches to bitter-taste receptors.
As effective as it is, AMP may not be able to dampen every type pf bitter taste, because it
probably doesn’t attach to all 30 bitter-taste receptors. So Linguagen has scaled up the hunt
for other bitter blockers with a technology called high-throughput screening. Researchers
start by coaxing cells in culture to activate bitter-taste receptors. Then candidate
substances, culled from chemical compound libraries, are dropped onto the receptors, and
scientists look for evidence of a reaction.

Tin time, some taste researchers believe, compounds like AMP will help make processed
foods less unhealthy. Consider, for example, that a single cup of Campbell’s chicken noodle
soup contains 850 milligrams of sodium chloride, or table salt-more than a third of the
recommended daily allowance. The salt masks the bitterness created by the high
temperatures used in the canning process, which cause sugars and amino acids to react.
Part of the salt could be replaced by another salt, potassium chloride, which tends to be
scarce in some people’s diets. Potassium chloride has a bitter aftertaste, but that could be
eliminated with a dose of AMP. Bitter blockers could also be used in place of cherry or
grape flavoring to take the harshness out of children’s cough syrup, and they could dampen
the bitterness of antihistamines, antibiotics, certain HIV drugs, and other medications.

A number of foodmakers have already begun to experiment with AMP in their products,
and other bitter blockers are being developed by rival firms such as Senomyx in La Jolla,
California. In a few years, perhaps, after food companies have taken the bitterness from
canned soup and TV dinners, they can set their sights on something more useful: a bitter
blocker in a bottle that any of us can sprinkle on our brussels sprouts or stir into our
grapefruit juice.

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Question 30-33

Complete the following summary of the paragraphs of Reading Passage, using no more
than two words from the Reading Passage for each answer.

The reason why grapefruit tastes bitter is because a substance

called 30_____________ contained in it. However, bitterness plays a significant role for
plants. It gives a signal that certain plant is 31_____________. For human beings, different
person carries various genetic abilities of tasting bitterness. According to a scientist at the
University of Utah, 32_____________ have exceptionally plenty of 33_____________,
which allows them to perceive bitter compounds.

Questions 34-35

Choose the correct letter, A, B, C or D.

34. What is the main feature of AMP according to this passage?

A. offset bitter flavour in food

B. only exist in 304 cup
C. tastes like citrus
D. chemical reaction when meets biscuit

35. What is the main function of G protein?

A. collecting taste molecule

B. identifying different flavors elements
C. resolving large molecules
D. transmitting bitter signals to the brain

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