I.
Script:
Listen to a lecture in a geography class. Professor: Today, we′ll be discussing the formation of various mountain ranges around the world. What are some of the major mountain ranges? Student: The Rockies and the Himalayas . . . Professor: Mmhm. What about in Europe? Student: The Alps . . . Professor: And in South America? Student: Uh . . . I know it . . . uh.... it’s the Andes. Professor: That’s right. You got it. The major mountain chains are the Himalayas, the Rockies, the Alps, and the Andes, and we’ll be discussing them today. We’ll also be discussing two smaller North American chains, the Appalachians and the Cascades, which do not rank among the world’s tallest. The development of these two ranges, when compared with the development of the Himalayas, Rockies, Andes, and Alps, provides a clear overall picture of the . . . um . . . evolutionary process of the development of mountain ranges. Look at the world map showing the mountain ranges of the world. The tall mountain ranges of today’s world were all formed within the last hundred million years. The Rocky Mountains began forming about a hundred million years ago and today comprise a 3,300-mile range. The Andes began forming about 65 million years ago, through volcanic activity. The Andes are actually part of the volcanically active Ring of Fire that encircles the Pacific Ocean. This range is more than 1,000 miles longer than the Rockies. The Alps and Himalayas are actually part of the same 7,000-mile mountain system. They began forming about 80 million years ago from the crashing action of major tectonic plates. Now, if you were asked to name the world’s major mountain ranges, you might not think of the Appalachians. As you can see from the map, the Appalachians are a range of north-south mountains running in the eastern part of North America. These mountains are actually far older than the major mountain ranges of today, the Himalayas, the Andes, the Alps, and the Rockies, and in all probability the Appalachians used to be just as big and majestic. The Appalachians began forming more than 400 million years ago and were completely formed 200 million years ago; that′s more than 100 million years before the Rockies began forming. The Appalachians were formed during major collisions of the North American plate with other, um, others of the world’s great plates. At their height, the Appalachians were a grand and impressive mountain range, perhaps rivaling the Himalayas of today. Over millions of years, however, these mountains’ve been eroded by the forces of nature and no longer have the impressive height they used to. Now, before we wrap up for today, I’d like to add a final note about the Cascade Mountains. You can see from the map that the Cascades are in the western part of North America. These mountains completed their rise from the sea scarcely a million years ago and are among the youngest of the world’s mountains ranges. They’re volcanic mountains that’re also part of the volcanically active Ring of Fire encircling the Pacific Ocean. Well, that’s all for today. I hope that this lecture has helped you to understand the evolution of the mountains of the Earth. You’ll find additional details on this topic in the assigned reading in the textbook.
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1. What is the topic of this lecture?
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A. |
Examples of stages in the evolution of mountain-building |
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B. |
The history of mountains in the last 100 million years |
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C. |
Methods of proving which mountains are really the oldest |
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D. |
Examples of ways that volcanic mountains develop |
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2. What is true about the ages of various mountain ranges?
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A. |
The Himalayas are younger than the Andes. |
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B. |
The Appalachians are older than the Rockies. |
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C. |
The Cascades are younger than the Rockies. |
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D. |
The Alps are younger than the Cascades. |
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3. Which mountain ranges were created by volcanic action?
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4. Which mountain ranges were created by crashing tectonic plates?
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5. What is true about the length of the mountain ranges?
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A. |
The Himalayas are 7,000 miles long. |
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B. |
The Alps are 7,000 miles long. |
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C. |
The Rockies are longer than the Andes. |
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D. |
The Andes are more than 4,000 miles long. |
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6. Which mountain ranges are part of the Ring of Fire?
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7. Why does the professor discuss the Appalachians and Cascades?
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A. |
They were formed in different ways from other mountains. |
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B. |
They are examples of the world's tallest mountains. |
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C. |
They are the world's oldest mountains. |
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D. |
They are among the world's oldest and youngest mountains. |
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Script:
Listen to a conversation in a university housing office. M: Hi. Um ... I live in Tower One ... and I was ... um ... I’d kind of like to live in a smaller building. I’m thinking of moving next semester. W: Do you know about the villages? They′re on the other side of campus from the towers. M: Uh huh. I’ve seen them—1 mean, from the outside. What’s the rent like? I mean, compared to the towers. W: The rent depends on the situation, like how many people arc in the suite. M: Suite? What’s that? W: It’s a unit for either four, six. or eight people. They’re like apartments. M: Oh. Aren’t there any private rooms? W: No, not in the villages. It’s all suites. The bedrooms are for two people—that part′s kind of like in the dormitories. You have to share a bedroom with another student. The suites have two to four bedrooms, one or two bathrooms, and a kitchen with a stove and a microwave, and a full refrigerator. Some of them also have a big living room. M: Oh. That sounds kind of nice. So ... what′s the rent like? W: I’ve just been checking in the computer. It looks like there′s going to be a couple of openings next semester, but there’s also a waiting list with about twenty - something people on it. M: Oh. W: Yeah. A lot of people want to live in the villages. I lived there for two years myself before I moved to a house off campus. M: Uh huh. So what is the rent? W: Oh. Sorry. Um … OK. The buildings in Swanson Village all have four-person suites. Those are 900 dollars a semester. W: Wow. M: And the other villages ... let me see ... they’re anywhere from eight-fifty to a thousand. It depends. The six- and eight-person units are usually a little less. The ones with living rooms are a little more. M: Wow. That’s more than I expected. W: The cheaper ones are less than the dorms in the towers. M: Yeah, but I was hoping it’d be a lot less. But still ... I′d kind of like to get out of the towers. Um … How do I get on the waiting list? W: I can add your name now, if you like. M: OK. It’s Ian Jacobs. W: Ian Jacobs. OK, Ian. I’ve added you to the waiting list. What we’ll do is send you a notice by e-mail if something opens up in the villages. Your name is uh ... number twenty-seven on the list. M: Number twenty-seven ... oh ... wow. W: You’d be surprised. Sometimes people change their minds, so people further down the list get a chance. You’ll get in the villages eventually, maybe next semester. M: OK. Thanks for your help. W: No problem. Have a nice day!
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8. What is the purpose of the conversation?
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A. |
The man wants to move to a house off campus. |
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B. |
The man wants to know why his rent was raised. |
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C. |
The man wants to change his housing situation. |
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D. |
The man needs information for a research project. |
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9. What are some features of the suites in the villages? Click on TWO answers.
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10. Listen again to part of the conversation. Then answer the question. Why does the woman say this?
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A. |
To express regret at not being able to help the man |
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B. |
To apologize for not answering the man's question |
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C. |
To suggest that she is sad about leaving her suite |
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D. |
To show her concern for the man's situation |
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11. What does the man think of the cost of rent in the villages?
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A. |
The rent is higher than he hoped it would be. |
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B. |
The rent is reasonable for the features included. |
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C. |
The rent is similar to that of a house off campus. |
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D. |
The rent should be lower for such old buildings. |
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12. Listen again to part of the conversation. Then answer the question. Select the sentence that best expresses how the man probably feels.
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A. |
“I'm surprised at the number of people who live there.” |
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B. |
“I don't think I'll be able to get a room in the villages.” |
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C. |
“I'm confused about why there is a waiting list.” |
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D. |
“I don't like the idea of living with 27 people.” |
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Script:
Listen to part of a talk in a music education class. Learning to play a musical instrument is one of the best experiences that a young child can have. Learning to play music begins with listening to others play music. A child’s first experience with playing an instrument should be by ear without the distraction of printed music. Playing by car is the natural beginning for children. The ability to play by ear will help them throughout their lives, and it also enriches the experience of music making. But children should eventually learn to read music. So, when is the right time? And what′s the best way for a child to learn how to read music? A lot of children start playing an instrument at the age of eight or nine. It′s best for them to spend a couple of years playing by ear before the teacher introduces notation -printed music. Children should first be able to feel that their instrument is a part of them. Playing by ear is the best way for children to become comfortable with their instrument. The teacher should introduce notation only when the child is ready. The right time is when the child feels a need for notation. This might be when the child has learned so many pieces it’s sort of difficult to remember them all. Then the teacher can present the printed music as a memory aid so learning to read music has a practical purpose and isn’t just a meaningless task. A good time to teach notation is when a group of children play together. The printed score is a way to help them sort of keep track of who plays what and when. The score will organize their cooperative effort in a way that makes sense to them. Another good time is when the child wants to play music that’s so complex it would be difficult to learn by ear. In this case, learning to read music is a natural step toward playing the music the child wants to play. The teacher should play the score for the child the first time through, and demonstrate how the notes on the page are transformed into music. The child listens as he or she looks at the printed notes. This way the child can begin to see how the notes represent sound and a printed score becomes a piece of music. As the child listens—and maybe plays along—he or she begins to understand the shape of the new piece. For students who play a chord-producing instrument- the guitar, for example—a natural first step toward reading music is playing by chord symbols. Chord symbols are found in a lot of different styles of music -like pop and jazz and at various levels of difficulty. Chord symbols are a simple form of written music—they’re kind of a halfway point between playing by ear and reading a standard musical score. After children can play by ear and then by chord symbols the next step is to read standard music notation. Although that’s the natural order for children to learn, it doesn’t mean that each successive step is better than the one that came before. The three methods of playing music playing by ear playing chords, and playing by standard notation—are all valuable in their own way. Some children will always prefer to play by ear. Others will like chord playing and have no desire to learn another method. And still others will find their musical home in the tradition of note reading. It′s the job of the music teacher to fit the method to the needs of the students.
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13. What is playing by ear?
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A. |
Learning to play music without reading notation |
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B. |
Paying attention to what the teacher says |
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C. |
Playing an instrument that is held up to the ear |
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D. |
Listening to music through ear phones |
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14. Listen again to part of the talk. Then answer the question. Why does the professor ask this?
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To suggest that all children should study music |
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B. |
To find out if everyone in class can read music |
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C. |
To introduce the main point he wants to make |
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D. |
To review material for an examination |
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15. According to the professor, when should children learn to read musical notation? Click on TWO answers.
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A. |
When a group of children play music together |
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B. |
When they first learn how to play an instrument |
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C. |
When they are ready to play in front of an audience |
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D. |
When the music is too complex to learn by ear |
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16. According to the professor, why should a music teacher play the score for a child the first time?
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A. |
To allow the child to memorize the score by listening |
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B. |
To suggest that the score can be played in different styles |
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C. |
To demonstrate how the printed notes translate into music |
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D. |
To show the child that the teacher is an excellent player |
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17. According to the professor, what is the natural order for children to learn music?
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A. |
(i) Learn how to play by chord symbols. (ii) Learn how to play the instrument by ear. (iii) Learn how to read standard notation. |
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B. |
(i) Learn how to play the instrument by ear. (ii) Learn how to play by chord symbols. (iii) Learn how to read standard notation. |
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C. |
(i) Learn how to read standard notation. (ii) Learn how to play the instrument by ear. (iii) Learn how to play by chord symbols. |
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18. What does the professor imply about the three methods of playing music?
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A. |
Students should use the teacher's favorite method. |
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B. |
The best method is playing by standard notation. |
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C. |
Each method is appropriate for some students. |
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D. |
There is no reason to learn all three methods. |
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Script:
Listen to a lecture in a zoology class. Today, we’ll be talking about how different types of animals hear. Many animals have sense organs that allow them to process sound waves. However, the sense organs are structured and function in very different ways in different types of animals. First, we’ll look at the hearing abilities of some examples of insects and amphibians. Let’s look now at an example of an insect. A cricket’s a type of insect, and it has thin membranes that vibrate when sound hits them. The thin “hearing’’ membranes on a cricket are found on the side of each front leg. On other insects, these vibrating membranes can be found on various other body parts. Now, let’s look at an example of an amphibian. . . . The frog’s a good example of one. The frog has large disks that serve as eardrums. These disks are located farther back on the head, behind each eye. The disks, or eardrums, behind each eye vibrate when sound hits them. So you see that the frog has large disks on its head that serve as eardrums, unlike the cricket that I talked about earlier, which is able to hear by means of vibrating membranes on the side of each front leg. Now, let’s look at the hearing of birds and bats. Birds have external auditory canals along the sides of the head. The auditory canal on a bird is merely an opening that leads to the middle and inner ear, and this auditory opening on a bird is usually covered with feathers. Birds lack auricles, which are external portions of the ear that protrude from the body. Bats are not birds; they′re mammals. And like most mammals, they have auricles. You can see the large auricles on the bat, the part of the ear that protrudes from the bat’s head. Bats are dependent on their hearing to navigate in the dark; they have very effective auricles that move to enhance their ability to pick up sound waves as they enter the ear. So we’ve seen that birds and bats have different ways of hearing because bats are mammals so they have auricles. But birds are not mammals, so they don’t have auricles. They have auditory canals instead. Now, let’s look at some other types of mammals, the elephant and the rabbit. Mammals are the only animals that have auricles, and elephants and rabbits are mammals, so they have auricles. The auricles of the African elephant are the largest of any animal, and rabbits have auricles that are unusually large in proportion to their bodies. These large auricles allow heat to escape the body and assist these animals in cooling off in hot weather. Now let me switch gears and talk for a moment about echolocation. Some animals are dependent on their hearing to navigate in the dark. The process that they use is called echolocation. Animals that use echolocation produce sounds and then listen for echos as the sound waves they have produced are reflected off of objects around them. They use echolocation to determine when objects are in their path and how far away the objects are. Bats and whales are two animals that navigate using echolocation, and there are many more. Today we’ve discussed the types of hearing organs that various animals have. You should be familiar with animals that have external vibrating membranes, animals that have auditory canals, animals that have auricles, and animals that use echolocation. If you understand these various types of hearing organs, then you understand the important points of this lecture.
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19. How is the information in the lecture organized?
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A. |
Various types of hearing organs are evaluated for their effectiveness. |
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B. |
Examples of various hearing mechanisms are provided. |
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C. |
Various types of auricles are outlined. |
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D. |
Smaller to larger animals are described. |
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20. Which animal has the disks behind eyes?
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21. Which animal has the membranes on legs?
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22. Which animal has auditory canals?
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23. What do the disks on frogs do?
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A. |
They allow heat to escape the body. |
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B. |
They vibrate when struck by sound waves. |
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C. |
They reflect sound waves off objects. |
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D. |
They lead to the inner ear. |
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24. What is true about mammals?
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A. |
They hear better than birds. |
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B. |
They use echolocation. |
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C. |
They generally have auricles. |
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D. |
They have membranes on their auditory canals. |
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25. Listen again to part of the passage. Then answer the question. Why does the professor say this?
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A. |
To summarize previously stated information |
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B. |
To reinforce a particularly important point |
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C. |
To announce that a slightly different topic will follow |
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D. |
To indicate that the lecture is coming to an end |
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26. What is true about echolocation?
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A. |
It cannot be used to determine how distant objects are. |
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B. |
It involves making sounds and then waiting to hear echoes. |
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C. |
It can be used to detect objects in the way. |
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D. |
It is only used by land animals. |
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Script:
Listen to part of a lecture in a biology class. Professor: We′ve been discussing animal communication. Um today we′re going to talk about dolphins. Now, dolphins make a wide range of communicative sounds and also display something called vocal learning, which is the ability of an animal to modify its vocalizations based on its experience with other animals. Ah there are many types of dolphin vocalizations. We we still don′t know their precise meanings—partly, I suppose, because we haven′t really tried that hard to figure out their precise meanings—but we do know that dolphins use vocalizations as a way of communicating with one another. And we′ve categorized their vocalizations into three types: whistles, clicks, and burst pulses. The dolphin whistles are very high frequency sounds, ah partially above the range of human hearing. What′s fascinating is, each dolphin has a signature whistle, which is unique to each individual dolphin. It allows them to call to and identify each other. (seeing hand raised) Jennifer? Female Student: Kind of like learning someone′s name? So . . . do dolphin parents choose names for their children? Professor: Well, again that′s something we don′t know, but we do know that no two signature whistles sound identical. And, members of the same family, their signature whistles have similar elements. Dolphins use them as contact calls—ah they they call to each other while traveling and foraging. It helps keep the group together, and helps mothers and children find each other. Think of it like . . . ah if you were traveling in the forest with one other person who was just out of sight, you′d call out, "Are you there?" and the other person would respond. But if there were several people in the forest, you would have to call that person′s name to call to them. In in addition to whistles, dolphins produce clicks, which are actually sonar or sound waves. They use the clicks to communicate, but, more importantly, to navigate and hunt. How? Well, the sonar clicks bounce off objects, and then the dolphins convert the incoming signals into a three dimensional picture . . . a a mental map . . . of what′s around them. The clicks are extremely sensitive and accurate. The sonar clicks are also very strong. And there′s this theory that, one reason dolphins swim side by side is to avoid interference from each others′ sonar clicks. Interference would be confusing . . . it would prevent them from getting an accurate picture of their surroundings. Ah and what′s interesting is, dolphins will turn off their sonar when another dolphin passes in front. Ah the third category of dolphin vocalizations is burst pulses. These are all this other sounds the dolphin makes—squawks, squeals, barks, groans, and so on. Burst pulses are used to display aggression, show dominance, and attract a mate. But whistles, clicks, and burst pulses aren′t the only ways dolphins communicate. Um does anyone remember any other ways? Male Student: In the book, it said that they also slap their tails against the water? Oh, and . . . the air that comes out when they breathe or whistle . . . the . . . ah . . . the bubble streams? They can control how the air bubbles come out? I thought that was really interesting. Professor: Yes . . . the bubble streams are very interesting. Dolphins can identify and locate each other by their bubble streams, and they can imitate the bubble stream patterns of other dolphins . . . sort of like saying hello. So as you can see, dolphins use many different sounds and behaviors to convey messages to each other. I′d like to tell you about when I was a graduate student . . . and . . . I spent one summer on a boat in the Atlantic Ocean studying marine life. One morning there were about 25 dolphins swimming with the boat. We could hear their clicks and whistles as they called to each other. Now, we were there as impartial scientists, to do research, but . . . how could we not notice the beauty as the bubble streams made patterns in the water and the dolphins appeared to dance and play? It′s wonderful when you do field work and actually experience something you′ve been studying in a classroom. So if you ever have the opportunity . . . go for it.
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27. What is the lecture mainly about?
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A. |
Various ways dolphins communicate with one another |
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B. |
How dolphins teach their young to identify signature whistles |
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C. |
How dolphins produce the sounds they make |
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D. |
The professor's experience with dolphins on a research boat |
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28. According to a theory the professor mentions, why do dolphins travel side by side?
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A. |
To avoid interfering with other dolphins' sonar clicks |
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B. |
To hear each other's signature whistles |
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C. |
To keep mothers close to their young |
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D. |
To view each other's bubble streams |
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29. What does the professor imply about bubble streams?
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A. |
They do not appear to serve a communicative function. |
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B. |
Dolphins use them to sense the movement of the water. |
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C. |
They help protect dolphins from predators. |
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D. |
Their function is similar to that of signature whistles. |
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30. Why does the professor mention the time she spent on a boat doing research?
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A. |
To inform students about a paper she wrote |
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B. |
To show how scientists collect data on marine life |
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C. |
To encourage students to do field work |
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D. |
To illustrate that dolphins are difficult to locate |
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31. Listen again to part of the lecture. Then answer the question. What does this example illustrate?
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A. |
The differences between land and marine mammals |
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B. |
One reason dolphins travel in large groups |
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C. |
One way dolphins use signature whistles |
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D. |
The importance of burst pulses as a way dolphins communicate |
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Script:
Listen to a conversation between a student and her advisor. Advisor: Hi. Sorry I’m running a bit late. Are you ready to talk now? Student: Yes, I am. Advisor: And do you have your schedule planner with you? Student: Yes, I do. Advisor: And have you looked over the schedule of classes and thought about what courses you’d like to take then? Student: Uh, yes to that, too. Advisor: OK, let’s see what courses you have on your list... uh ... I see. . . . Let’s talk about what you have here. I see that you’d like to take the American literature class on nineteenth-century novels. . . . That looks just fine. . . . You’ve already taken the prerequisite English courses for this one, haven’t you? Student: Yes, I have. I’ve taken both the prerequisites for the nineteenth-century novels course. Advisor: OK. And you’d like to sign up for both world geography and sociology? . . . That′s good. They both satisfy general education requirements, so they’re good classes to take. Student: Yes, those’re some of my last required courses. Advisor: Hmm. And music. You’ve listed a music course. Student: Yes. I’m in the school choir, so I take the choir course every semester. Advisor: That sounds fine, too. . . . Now, what′s the last course you’ve listed? Canoeing? . . . You want to take a canoeing course? . . . Wait a minute . . . what about chemistry? . . . You′re taking Chemistry 101 this semester? Student: Yes, I’m taking it, but . . . Advisor: You do know that you need to take Chemistry 102, also? Chemistry 101 isn′t enough; it’s part of a two-semester series. Chemistry 101 and 102 go together. Student: I know that, but I just don’t want to take Chemistry 102 next semester. Advisor: Why not? Student: Chemistry 101 isn’t exactly a lot of fun. I′m working really hard in that course, but I’m not doing very well. Advisor: OK. So maybe you should get a tutor. You do need to take the second semester of chemistry. Student: I know I need to take another semester of chemistry, but I’d like to take some time off from it before I try the second semester. Advisor: By taking canoeing instead? Student: Exactly. I thought it would be a good break from chemistry. Advisor: It certainly is. . . . Well, as long as you know that you need to take the second semester of chemistry and if you take only one semester off from it, then I guess it’ll be OK. Student: Thank you.
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32. Why is the student in the advisor′s office?
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A. |
To learn about some general education requirements |
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B. |
To review the courses she has taken |
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C. |
To discuss her schedule for the coming semester |
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D. |
To talk about a problem in her chemistry course |
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33. Listen again to part of the passage. Then answer the question. Why does the advisor start the conversation this way?
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A. |
To clarify what time of day it is |
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B. |
To apologize for starting the meeting late |
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C. |
To explain what he has just been doing |
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D. |
To indicate that the student is late for an appointment |
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34. How does the student seem to feel about chemistry?
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A. |
It is quite challenging. |
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35. What does the student want to do?
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A. |
Change her major to athletics |
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B. |
Take a break from chemistry for a while |
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C. |
Enroll in an additional chemistry class immediately |
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D. |
Skip the second part of chemistry permanently |
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36. How does the advisor seem to feel about the student′s decision?
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A. |
It is just what he would recommend. |
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B. |
It needs to be reconsidered. |
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II.
EARLY AUTOS America’s passion for the automobile developed rather quickly in the beginning of the twentieth century. At the turn of that century, there were few automobiles, or horseless carriages, as they were called at the time, and those that existed were considered frivolous playthings of the rich. They were rather fragile machines that sputtered and smoked and broke down often; they were expensive toys that could not be counted on to get one where one needed to go; they could only be afforded by the wealthy class, who could afford both the expensive upkeep and the inherent delays that resulted from the use of a machine that tended to break down time and again. These early automobiles required repairs so frequently both because their engineering was at an immature stage and because roads were unpaved and often in poor condition. Then, when breakdowns occurred, there were no services such as roadside gas stations or tow trucks to assist drivers needing help in their predicament. Drivers of horse-drawn carriages considered the horseless mode of transportation foolhardy, preferring instead to rely on their four-legged “engines,” which they considered a tremendously more dependable and cost-effective means of getting around. Automobiles in the beginning of the twentieth century were quite unlike today’s models. Many of them were electric cars, even though the electric models had quite a limited range and needed to be recharged frequently at electric charging stations; many others were powered by steam, though it was often required that drivers of steam cars be certified steam engineers due to the dangers inherent in operating a steam-powered machine. The early automobiles also lacked much emphasis on body design; in fact, they were often little more than benches on wheels, though by the end of the first decade of the century they had progressed to leather-upholstered chairs or sofas on thin wheels that absorbed little of the incessant pounding associated with the movement of these machines. In spite of the rather rough and undeveloped nature of these early horseless carriages, something about them grabbed people’s imagination, and their use increased rapidly, though not always smoothly. In the first decade of the last century, roads were shared by the horse-drawn and horseless variety of carriages, a situation that was rife with problems and required strict measures to control the incidents and accidents that resulted when two such different modes of transportation were used in close proximity. New York City, for example, banned horseless vehicles from Central Park early in the century because they had been involved in so many accidents, often causing injury or death; then, in 1904, New York state felt that it was necessary to control automobile traffic by placing speed limits of 20 miles per hour in open areas, 15 miles per hour in villages, and 10 miles per hour in cities or areas of congestion. However, the measures taken were less a means of limiting use of the automobile and more a way of controlling the effects of an invention whose use increased dramatically in a relatively short period of time. Under 5,000 automobiles were sold in the United States for a total cost of approximately $5 million in 1900, while considerably more cars, 181,000, were sold for $215 million in 1910, and by the middle of the 1920s, automobile manufacturing had become the top industry in the United States and accounted for 6 percent of the manufacturing in the country.
37. Based on the information in paragraph 1, who would have been most likely to own a car in 1900? ................ |
37
|
Explain: |
38. The word “frivolous” in paragraph 1 is closest in meaning to ................ |
38
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Explain: |
39. It is indicated in paragraph 1 that it was necessary to repair early autos because of ................ |
39
|
Explain: |
40. The author refers to “four-legged engines” in paragraph 1 in order to indicate that ................ |
40
|
A. |
horses were an effective mode of transportation |
|
B. |
it was foolish to travel on a four-legged animal |
|
C. |
automobile engines were evaluated in terms of their horsepower |
|
D. |
early autos had little more than an engine and wheels |
|
Explain: |
41. Look at the four numbers (1), (2), (3) and (4) which indicate where the sentence “These horrendous road conditions forced drivers to use their automobiles on grooved, rutted, and bumpy roads.” can be added to paragraph 1. Where would the sentence best fit? ................ |
41
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Explain: |
42. The phrase “many others” in paragraph 2 refers to ................ |
42
|
B. |
electric charging stations |
|
D. |
automobiles in the beginning of the twentieth century |
|
Explain: |
43. It is stated in paragraph 2 that the owners of steam-powered cars ................ |
43
|
A. |
were often in danger because of the limited range of their automobiles |
|
B. |
often had to take their automobiles to charging stations |
|
C. |
had to hire drivers to operate their cars |
|
D. |
sometimes had to demonstrate knowledge of steam engineering |
|
Explain: |
44. Why does the author mention “benches on wheels” in paragraph 2? ................ |
44
|
A. |
To emphasize how the early automobiles were designed to absorb the pounding of the machine on the road |
|
B. |
To indicate that early automobiles had upholstered chairs or sofas |
|
C. |
To show how remarkably automobile design had progressed |
|
D. |
To show that car designs of the time were neither complex nor comfortable |
|
Explain: |
45. The word “incessant” in paragraph 2 is closest in meaning to ................ |
45
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Explain: |
46. The phrase “rife with” in paragraph 3 could be replaced by ................ |
46
|
D. |
occurring as a result of |
|
Explain: |
47. It can be inferred from paragraph 3 that the government of New York state believed that ................ |
47
|
A. |
horseless and horse-drawn vehicles should not travel on the same roads |
|
B. |
strict speed limits should be placed on horse-drawn carriages |
|
C. |
it was safer for cars to travel faster where there was less traffic and fewer people |
|
D. |
all horseless vehicles should be banned from all public parks |
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Explain: |
48. Which of the sentences below expresses the essential information in the highlighted sentence in paragraph 3? Incorrect choices change the meaning in important ways or leave out essential information. ................ |
48
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A. |
It was important to lawmakers to discover the causes of the problems relating to automobiles. |
|
B. |
The dramatic look of the automobile changed considerably over a short period of time. |
|
C. |
It was necessary to take a measured approach in dealing with inventions such as the automobile. |
|
D. |
The various laws were needed because the use of automobiles grew so fast. |
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Explain: |
49. According to paragraph 3, it is NOT true that ................ |
49
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A. |
the total cost of the automobiles sold in the United States in 1900 was around $5 million |
|
B. |
sales of cars increased by more than 175,000 from 1900 to 1910 |
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C. |
automobile manufacturing represented more than 5 percent of total U.S. manufacturing by 1925 |
|
D. |
automobile manufacturing was the top U.S. industry in 1920 |
|
Explain: |
LOIE FULLER The United States dancer Loie Fuller (1862-1928) found theatrical dance in the late nineteenth century artistically unfulfilling. She considered herself an artist rather than a mere entertainer, and she, in turn, attracted the notice of other artists. Fuller devised a type of dance that focused on the shifting play of lights and colors on the voluminous skirts or draperies she wore, which she kept in constant motion principally through movements of her arms, sometimes extended with wands concealed under her costumes. She rejected the technical virtuosity of movement in ballet, the most prestigious form of theatrical dance at that time, perhaps because her formal dance training was minimal. Although her early theatrical career had included stints as an actress, she was not primarily interested in storytelling or expressing emotions through dance; the drama of her dancing emanated from her visual effects. Although she discovered and introduced her art in the United States, she achieved her greatest glory in Paris, where she was engaged by the Folies Bergère in 1892 and soon became "La Loie," the darling of Parisian audiences. Many of her dances represented elements or natural objects—Fire, the Lily, the Butterfly, and so on—and thus accorded well with the fashionable Art Nouveau style, which emphasized nature imagery and fluid, sinuous lines. Her dancing also attracted the attention of French poets and painters of the period, for it appealed to their liking for mystery, their belief in art for art's sake, a nineteenth-century idea that art is valuable in itself rather than because it may have some moral or educational benefit, and their efforts to synthesize form and content. Fuller had scientific leanings and constantly experimented with electrical lighting (which was then in its infancy), colored gels, slide projections, and other aspects of stage technology. She invented and patented special arrangements of mirrors and concocted chemical dyes for her draperies. Her interest in color and light paralleled the research of several artists of the period, notably the painter Seurat, famed for his Pointillist technique of creating a sense of shapes and light on canvas by applying extremely small dots of color rather than by painting lines. One of Fuller's major inventions was underlighting, in which she stood on a pane of frosted glass illuminated from underneath. This was particularly effective in her Fire Dance (1895), performed to the music of Richard Wagner's "Ride of the Valkyries." The dance caught the eye of artist Henri de Toulouse-Lautrec, who depicted it in a lithograph. As her technological expertise grew more sophisticated, so did the other aspects of her dances. (1) Although she gave little thought to music in her earliest dances, she later used scores by Gluck, Beethoven, Schubert, Chopin, and Wagner, eventually graduating to Stravinsky, Fauré, Debussy, and Mussorgsky, composers who were then considered progressive. (2) She began to address more ambitious themes in her dances such as The Sea, in which her dancers invisibly agitated a huge expanse of silk, played upon by colored lights. (3) Always open to scientific and technological innovations, she befriended the scientists Marie and Pierre Curie upon their discovery of radium and created a Radium Dance, which simulated the phosphorescence of that element. (4) She both appeared in films—then in an early stage of development—and made them herself; the hero of her fairy-tale film Le Lys de la Vie (1919) was played by René Clair, later a leading French film director. At the Paris Exposition in 1900, she had her own theater, where, in addition to her own dances, she presented pantomimes by the Japanese actress Sada Yocco. She as-sembled an all-female company at this time and established a school around 1908, but neither survived her. Although she is remembered today chiefly for her innovations in stage lighting, her activities also touched Isadora Duncan and Ruth St. Denis, two other United States dancers who were experimenting with new types of dance. She sponsored Duncan's first appearance in Europe. Her theater at the Paris Exposition was visited by St. Denis, who found new ideas about stagecraft in Fuller's work and fresh sources for her art in Sada Yocco's plays. In 1924 St. Denis paid tribute to Fuller with the duet Valse a la Loie.
50. What can be inferred from paragraph 1 about theatrical dance in the late nineteenth century? |
50
|
A. |
It was very similar to theatrical dance of the early nineteenth century. |
|
B. |
It was more a form of entertainment than a form of serious art. |
|
C. |
It was a relatively new art form in the United States. |
|
D. |
It influenced many artists outside of the field of dance. |
|
Explain: |
51. According to paragraph 2, all of the following are characteristic of Fuller′s type of dance EXCEPT ................ |
51
|
A. |
continuous movement of her costumes |
|
B. |
large and full costumes |
|
C. |
experimentation using color |
|
D. |
technical virtuosity of movement |
|
Explain: |
52. The word “prestigious” in the passage is closest in meaning to ................ |
52
|
Explain: |
53. Which of the sentences below best expresses the essential information in the highlighted sentence in the passage? Incorrect choices change the meaning in important ways or leave out essential information. |
53
|
A. |
Fuller used visual effects to dramatize the stories and emotions expressed in her work. |
|
B. |
Fuller's focus on the visual effects of dance resulted from her early theatrical training as an actress. |
|
C. |
Fuller believed that the drama of her dancing sprang from her emotional style of storytelling. |
|
D. |
Fuller was more interested in dance's visual impact than in its narrative or emotional possibilities. |
|
Explain: |
54. The word “engaged” in the passage is closest in meaning to ................ |
54
|
Explain: |
55. The word “synthesize” in the passage is closest in meaning to ................ |
55
|
Explain: |
56. According to paragraph 3, why was Fuller′s work well received in Paris? |
56
|
A. |
Fuller's dances were in harmony with the artistic values already present in Paris. |
|
B. |
Fuller's work at this time borrowed directly from French artists working in other media. |
|
C. |
Parisian audiences were particularly interested in artists and artistic movements from the United States. |
|
D. |
Influential poets tried to interest dancers in Fuller's work when she arrived in Paris. |
|
Explain: |
57. According to paragraph 4, Fuller′s Fire Dance was notable in part for its ................ |
57
|
A. |
technique of lighting the dancer from beneath |
|
B. |
draperies with small dots resembling the Pointillist technique of Seurat |
|
C. |
use of dyes and paints to create an image of fire |
|
D. |
use of colored gels to illuminate glass |
|
Explain: |
58. Why does the author mention Fuller′s The Sea? |
58
|
A. |
To illustrate a particular way in which Fuller developed as an artist |
|
B. |
To point out a dance of Fuller's in which music did not play an important role |
|
C. |
To illustrate how Fuller's interest in science was reflected in her work |
|
D. |
To explain why Fuller sometimes used music by progressive composers |
|
Explain: |
59. The word “agitated” in the passage is closest in meaning to ................ |
59
|
B. |
arranged themselves in |
|
Explain: |
60. According to paragraph 6, what was true of Fuller′s theater at the Paris Exposition? |
60
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A. |
It became a famous school that is still named in honor of Fuller. |
|
B. |
It presented some works that were not by Fuller. |
|
C. |
It featured performances by prominent male as well as female dancers. |
|
D. |
It continued to operate as a theater after Fuller died. |
|
Explain: |
61. The passage mentions which of the following as a dance of Fuller′s that was set to music? |
61
|
Explain: |
62. Look at the four numbers (1), (2), (3) and (4) that indicate where the sentence “For all her originality in dance, her interests expanded beyond it into newly emerging artistic media.” could be added to the passage. Where would the sentence best fit? |
62
|
Explain: |
63. An introductory sentence for a brief summary of the passage is “Loie Fuller was an important and innovative dancer.”. Complete the summary by selecting the THREE answer choices that express the most important ideas in the passage. Some sentences do not belong in the summary because they express ideas that are not presented in the passage or are minor ideas in the passage. |
63
|
A. |
Fuller continued to develop throughout her career, creating more complex works and exploring new artistic media. |
|
B. |
Fuller's work influenced a number of other dancers who were interested in experimental dance. |
|
C. |
Fuller transformed dance in part by creating dance interpretations of works by poets and painters. |
|
D. |
By the 1920's, Fuller's theater at the Paris Exhibition had become the world center for innovative dance. |
|
E. |
Fuller believed that audiences in the late nineteenth century had lost interest in most theatrical dance. |
|
F. |
Fuller introduced many technical innovations to the staging of theatrical dance. |
|
Explain: |
THE DEVELOPMENT OF REFRIGERATION Cold storage, or refrigeration, is keeping food at temperatures between 32 and 45 degrees F in order to delay the growth of microorganisms—bacteria, molds, and yeast— that cause food to spoil. Refrigeration produces few changes in food, so meats, fish, eggs, milk, fruits, and vegetables keep their original flavor, color, and nutrition. Before artificial refrigeration was invented, people stored perishable food with ice or snow to lengthen its storage time. Preserving food by keeping it in an ice-filled pit is a 4,000-year-old art. Cold storage areas were built in basements, cellars, or caves, lined with wood or straw, and packed with ice. The ice was transported from mountains, or harvested from local lakes or rivers, and delivered in large blocks to homes and businesses. Artificial refrigeration is the process of removing heat from a substance, container, or enclosed area, to lower its temperature. The heat is moved from the inside of the container to the outside. A refrigerator uses the evaporation of a volatile liquid, or refrigerant, to absorb heat. In most types of refrigerators, the refrigerant is compressed, pumped through a pipe, and allowed to vaporize. As the liquid turns to vapor, it loses heat and gets colder because the molecules of vapor use energy to leave the liquid. The molecules left behind have less energy and so the liquid becomes colder. Thus, the air inside the refrigerator is chilled. Scientists and inventors from around the world developed artificial refrigeration during the eighteenth and nineteenth centuries. (1) William Cullen demonstrated artificial refrigeration in Scotland in 1748, when he let ethyl ether boil into a partial vacuum. In 1805, American inventor Oliver Evans designed the first refrigeration machine that used vapor instead of liquid. (2) In 1842, physician John Gorrie used Evans’s design to create an air-cooling apparatus to treat yellow-fever patients in a Florida hospital. (3) Gorrie later left his medical practice and experimented with ice making, and in 1851 he was granted the first U.S. patent for mechanical refrigeration. (4) In the same year, an Australian printer, James Harrison, built an ether refrigerator after noticing that when he cleaned his type with ether it became very cold as the ether evaporated. Five years later, Harrison introduced vapor-compression refrigeration to the brewing and meatpacking industries. Brewing was the first industry in the United States to use mechanical refrigeration extensively, and in the 1870s, commercial refrigeration was primarily directed at breweries. German-born Adolphus Busch was the first to use artificial refrigeration at his brewery in St. Louis. Before refrigeration, brewers stored their beer in caves, and production was constrained by the amount of available cave space. Brewing was strictly a local business, since beer was highly perishable and shipping it any distance would result in spoilage. Busch solved the storage problem with the commercial vapor-compression refrigerator. He solved he shipping problem with the newly invented refrigerated railcar, which was insulated with ice bunkers in each end. Air came in on the top, passed through the bunkers, and circulated through the car by gravity. In solving Busch’s spoilage and storage problems, refrigeration also revolutionized an entire industry. By 1891, nearly every brewery was equipped with mechanical refrigerating machines. The refrigerators of today rely on the same basic principle of cooling caused by the rapid evaporation and expansion of gases. Until 1929, refrigerators used toxic gases— ammonia, methyl chloride, and sulfur dioxide—as refrigerants. After those gases accidentally killed several people, chlorofluorocarbons (CFCs) became the standard refrigerant. However, they were found to be harmful to the earth’s ozone layer, so refrigerators now use a refrigerant called HFC 134a, which is less harmful to the ozone.
64. What is the main reason that people developed methods of refrigeration? |
64
|
A. |
They wanted to expand the production of certain industries. |
|
B. |
They needed to slow the natural processes that cause food to spoil. |
|
C. |
They needed a use for the ice that formed on lakes and rivers. |
|
D. |
They wanted to improve the flavor and nutritional value of food. |
|
Explain: |
65. The word “perishable” in paragraph 1 is closest in meaning to ................ |
65
|
Explain: |
66. What can be inferred from paragraph 1 about cold storage before the invention of artificial refrigeration? |
66
|
A. |
It required a container made of metal or wood. |
|
B. |
It kept food cold for only about a week. |
|
C. |
It was not a safe method of preserving meat. |
|
D. |
It was dependent on a source of ice or snow. |
|
Explain: |
67. Artificial refrigeration involves all of the following processes EXCEPT ................ |
67
|
A. |
the rapid expansion of certain gases |
|
B. |
the transfer of heat from one place to another |
|
C. |
the evaporation of a volatile liquid |
|
D. |
the pumping of water vapor through a pipe |
|
Explain: |
68. Which sentence below best expresses the essential information in the highlighted sentence in paragraph 2? Incorrect choices change the meaning in important ways or leave out essential information. |
68
|
A. |
Some gases expand rapidly and give off energy when they encounter a very cold liquid. |
|
B. |
During evaporation, the vapor molecules use energy, and the liquid becomes colder. |
|
C. |
It takes a lot of energy to transform a liquid into a vapor, especially when the vapor loses heat. |
|
D. |
When kinetic energy is changed to heat energy, liquid molecules turn into vapor molecules. |
|
Explain: |
69. According to the passage, who was the first person to use artificial refrigeration for a practical purpose? |
69
|
Explain: |
70. The word “it” in paragraph 3 refers to ................ |
70
|
Explain: |
71. Why does the author discuss the brewing industry in paragraph 4? |
71
|
A. |
To describe the unique problems that brewers faced |
|
B. |
To show how refrigeration changed a whole industry |
|
C. |
To compare cave storage with mechanical refrigeration |
|
D. |
To praise the accomplishments of a prominent brewer |
|
Explain: |
72. The word “constrained” in paragraph 4 is closest in meaning to ................ |
72
|
Explain: |
73. According to the passage, the first refrigerated railcar used what material as a cooling agent? |
73
|
Explain: |
74. The word “toxic” in paragraph 5 is closest in meaning to ................ |
74
|
Explain: |
75. Look at the four numbers (1), (2), (3) and (4) which indicate where the sentence “Gorrie′s basic principle of compressing a gas, and then sending it through radiating coils to cool it, is the one most often used in refrigerators today.” could be added to the passage. Where would the sentence best fit? |
75
|
Explain: |
76. An introductory sentence for a brief summary of the passage is: “Methods of refrigeration have changed throughout history.” Complete the summary by selecting the THREE answer choices that express the most important ideas in the passage. Some sentences do not belong in the summary because they express ideas that are not presented in the passage or are minor ideas in the passage. |
76
|
A. |
CFCs have not been used as refrigerants since they were found to damage the earth's ozone layer. |
|
B. |
Practical uses of vapor-compression refrigeration were introduced in the nineteenth century. |
|
C. |
People used to preserve food by packing it with ice or snow in cold storage areas. |
|
D. |
William Cullen developed a method of artificial refrigeration in 1748. |
|
E. |
Artificial refrigeration was made possible by the compression and evaporation of a volatile substance. |
|
F. |
A refrigerator has an evaporator that makes the inside of the refrigerator cold. |
|
Explain: |
CLOUD FORMATION Water vapor is an invisible gas, but its condensation and deposition products - water droplets and ice crystals - are visible to us as clouds. A cloud is an aggregate of tiny water droplets or ice crystals suspended in the atmosphere above the earth’s surface, the visible indication of condensation and deposition of water vapor within the atmosphere. Laboratory studies have demonstrated that in clean air - air free of dust and other particles - condensation or deposition of water vapor requires supersaturated conditions, that is, a relative humidity greater than 100 percent. When humid air is cooled, usually by convection, unequal heating of the ground surface creates rising air currents. As the air ascends, it expands and cools. Eventually it reaches its dew point, the temperature at which the invisible water vapor in the air condenses into a collection of water droplets. From the ground, we see these tiny particles as a cloud. If the droplets continue to acquire moisture and grow large enough, they fall from the cloud as rain. Clouds occur in a wide variety of forms because they are shaped by many processes operating in the atmosphere. In fact, monitoring changes in clouds and cloud cover often will provide clues about future weather. British naturalist Luke Howard was among the first to devise a system for grouping clouds. Formulated in 1803, the essentials of Howard’s classification scheme are still in use today. Contemporary weather forecasters still divide clouds into two main groups: heaped clouds, resulting from rising unstable air currents; and layered clouds, resulting from stable air. Clouds are also classified according to their appearance, their altitude, and by whether or not they produce precipitation. Based on appearance, the simplest distinction is among cumulus, stratus, and cirrus clouds. Cumulus clouds occur as heaps or puffs, stratus clouds are layered, and cirrus clouds look like threads. Based on altitude, the most common clouds in the troposphere are grouped into four families: low clouds, middle clouds, high clouds, and clouds exhibiting vertical development. Low, middle, and high clouds are produced by gentle uplift of air over broad areas. Those with vertical development generally cover smaller areas and are associated with much more vigorous uplift. Cumulus clouds are dense, white, heaped clouds capped with a cauliflower-like dome created by convection. Low-level cumulus clouds are detached from one another and generally have well-defined bases. Their outlines are sharp, and they often develop vertically in the form of rising puffs, mounds, domes, or towers. The sunlit parts are brilliant white; the base is relatively dark and roughly horizontal. Stratus, or layered, clouds grow from top to bottom in wide sheets, or strata, with minimal vertical and extended horizontal dimensions. These clouds spread laterally to form layers that sometimes cover the entire sky, to the horizon and beyond, like a formless blanket. The air is stable, with little or no convection present. While cumulus and stratus clouds generally form at low or middle altitudes, a third type of cloud forms at high altitudes. (1) Cirrus clouds are detached clouds that take the form of delicate white filaments, strands, or hooks. These clouds can be seen at close hand from the window of a jet plane flying above 25,000 feet. (2) When viewed from the ground, bands of threadlike cirrus clouds often seem to emerge from a single point on the western horizon and spread across the entire sky. Cirrus clouds are composed almost exclusively of ice crystals. (3) Their fibrous appearance results from the wind “stretching” streamers of falling ice particles into feathery strands called “mares’ tails.” (4) Snow crystals may fall from thicker, darker cirrus clouds, but they usually evaporate in the drier air below the cloud.
77. The word “suspended” in paragraph 1 is closest in meaning to ................ |
77
|
Explain: |
78. Which sentence below best expresses the essential information in the highlighted sentence in paragraph 2? Incorrect choices change the meaning in important ways or leave out essential information. |
78
|
A. |
A relative humidity of more than 100 percent can occur only when the air is clean and dust-free. |
|
B. |
Research shows that the formation of clouds in clean air depends on a relative humidity of over 100 percent. |
|
C. |
Scientists have been able to stimulate the formation of clouds in the laboratory with a success rate of 100 percent. |
|
D. |
If the air contains no dust particles, water vapor will condense and create extremely humid weather conditions. |
|
Explain: |
79. What happens at the dew point? |
79
|
B. |
Cool air starts to fall. |
|
C. |
The ground becomes warmer. |
|
D. |
Water vapor condenses. |
|
Explain: |
80. Why does the author mention “Luke Howard” in paragraph 3? |
80
|
A. |
To give an example of an idea that was not accepted at first |
|
B. |
To name the first scientist who could predict the weather |
|
C. |
To identify the inventor of our system for classifying clouds |
|
D. |
To describe the biography of a famous British naturalist |
|
Explain: |
81. The word “Those” in paragraph 4 refers to ................ |
81
|
Explain: |
82. Cumulus clouds are characterized by all of the following EXCEPT ................ |
82
|
Explain: |
83. The word “sharp” in paragraph 5 is closest in meaning to ................ |
83
|
Explain: |
84. It can be inferred from the passage that stratus clouds ................ |
84
|
A. |
are likely to produce precipitation |
|
B. |
differ from cumulus clouds in appearance |
|
C. |
are sometimes very difficult to identity |
|
D. |
form layers above other clouds in the sky |
|
Explain: |
85. The word “fibrous” in paragraph 7 is closest in meaning to ................ |
85
|
Explain: |
86. Look at the four numbers (1), (2), (3) and (4), which indicate where the sentence “These strands often warn of the approach of a warm front signaling the advance of a storm system.” could be added to the passage. Where would the sentence best fit? |
86
|
Explain: |
87. Choose the sentences that describe the Layered Clouds. |
87
|
A. |
They can spread out like a blanket covering the whole sky. |
|
B. |
Rising, unstable air currents lead to the formation of this type of cloud. |
|
C. |
These clouds have a fluffy white top and a flatter, darker bottom. |
|
D. |
They often develop vertically in the shape of domes, mounds, or towers. |
|
E. |
These clouds form when the air is stable and no convection occurs. |
|
F. |
They form when water droplets acquire moisture and grow very large. |
|
Explain: |
88. Choose the sentences that describe the Heaped Clouds. |
88
|
A. |
These clouds have a fluffy white top and a flatter, darker bottom. |
|
B. |
They often develop vertically in the shape of domes, mounds, or towers. |
|
C. |
They can spread out like a blanket covering the whole sky. |
|
D. |
This type of cloud forms at altitudes at least 25,000 feet above the earth. |
|
E. |
These clouds form when the air is stable and no convection occurs. |
|
F. |
Rising, unstable air currents lead to the formation of this type of cloud. |
|
Explain: |
|