Trắc nghiệm Tiếng Anh 11 Unit 7 (Friends Global có đáp án): Reading & Writing

The sound of music has changed as society has changed over the years, thus the change in the sound of music is really a reflection of our cultural evolution. In the beginning humans made music that closely mimicked the sounds they heard around them in nature in terms of tones and repetitions.

In Indigenous cultures, music played a role in ceremonies and traditions. Traditional instruments were played, and lyrics were often strongly linked to nature. The sounds of music reflected this close association that indigenous cultures had with the land and its wildlife. Over time, modern society has lost this connection. This is reflected in the changing sound of the music and in the changing lyrics of songs that are sung. With time, more musical instruments were developed and played together, which resulted in more sophisticated and complex sounds being produced. The beats, rhythms, tempo and lyrics of songs all changed along with the change in cultures.

Although some indigenous cultures such as many of the African tribes, Native American tribes, South American ethnic people, and Australian aborigines still retain the playing of their indigenous music, there have been influences from the western world incorporated into some of the music. Features of the sound of music have changed over the decades. The sound has definitely gotten louder. The pace and rhythm in many cases have become faster, possibly reflecting the fast pace of the modern world that we live in today. However the feature of music bounciness (how spiky and energetic the music feels) has become less today when compared with the music of the 1980s. Techno and reggae music are typical examples of what is known as bouncy music.

The sound of music has become more complex over history mainly due to the increased migration of people and their exposure to new elements. Today much of music has sounds with elements from more than one region. The increasing tendency for music artists to collaborate today is another reason we see more complexity and diversity in how music sounds.

The sound of music has changed as society has changed over the years, thus the change in the sound of music is really a reflection of our cultural evolution. In the beginning humans made music that closely mimicked the sounds they heard around them in nature in terms of tones and repetitions.

In Indigenous cultures, music played a role in ceremonies and traditions. Traditional instruments were played, and lyrics were often strongly linked to nature. The sounds of music reflected this close association that indigenous cultures had with the land and its wildlife. Over time, modern society has lost this connection. This is reflected in the changing sound of the music and in the changing lyrics of songs that are sung. With time, more musical instruments were developed and played together, which resulted in more sophisticated and complex sounds being produced. The beats, rhythms, tempo and lyrics of songs all changed along with the change in cultures.

Although some indigenous cultures such as many of the African tribes, Native American tribes, South American ethnic people, and Australian aborigines still retain the playing of their indigenous music, there have been influences from the western world incorporated into some of the music. Features of the sound of music have changed over the decades. The sound has definitely gotten louder. The pace and rhythm in many cases have become faster, possibly reflecting the fast pace of the modern world that we live in today. However the feature of music bounciness (how spiky and energetic the music feels) has become less today when compared with the music of the 1980s. Techno and reggae music are typical examples of what is known as bouncy music.

The sound of music has become more complex over history mainly due to the increased migration of people and their exposure to new elements. Today much of music has sounds with elements from more than one region. The increasing tendency for music artists to collaborate today is another reason we see more complexity and diversity in how music sounds.

The sound of music has changed as society has changed over the years, thus the change in the sound of music is really a reflection of our cultural evolution. In the beginning humans made music that closely mimicked the sounds they heard around them in nature in terms of tones and repetitions.

In Indigenous cultures, music played a role in ceremonies and traditions. Traditional instruments were played, and lyrics were often strongly linked to nature. The sounds of music reflected this close association that indigenous cultures had with the land and its wildlife. Over time, modern society has lost this connection. This is reflected in the changing sound of the music and in the changing lyrics of songs that are sung. With time, more musical instruments were developed and played together, which resulted in more sophisticated and complex sounds being produced. The beats, rhythms, tempo and lyrics of songs all changed along with the change in cultures.

Although some indigenous cultures such as many of the African tribes, Native American tribes, South American ethnic people, and Australian aborigines still retain the playing of their indigenous music, there have been influences from the western world incorporated into some of the music. Features of the sound of music have changed over the decades. The sound has definitely gotten louder. The pace and rhythm in many cases have become faster, possibly reflecting the fast pace of the modern world that we live in today. However the feature of music bounciness (how spiky and energetic the music feels) has become less today when compared with the music of the 1980s. Techno and reggae music are typical examples of what is known as bouncy music.

The sound of music has become more complex over history mainly due to the increased migration of people and their exposure to new elements. Today much of music has sounds with elements from more than one region. The increasing tendency for music artists to collaborate today is another reason we see more complexity and diversity in how music sounds.

The sound of music has changed as society has changed over the years, thus the change in the sound of music is really a reflection of our cultural evolution. In the beginning humans made music that closely mimicked the sounds they heard around them in nature in terms of tones and repetitions.

In Indigenous cultures, music played a role in ceremonies and traditions. Traditional instruments were played, and lyrics were often strongly linked to nature. The sounds of music reflected this close association that indigenous cultures had with the land and its wildlife. Over time, modern society has lost this connection. This is reflected in the changing sound of the music and in the changing lyrics of songs that are sung. With time, more musical instruments were developed and played together, which resulted in more sophisticated and complex sounds being produced. The beats, rhythms, tempo and lyrics of songs all changed along with the change in cultures.

Although some indigenous cultures such as many of the African tribes, Native American tribes, South American ethnic people, and Australian aborigines still retain the playing of their indigenous music, there have been influences from the western world incorporated into some of the music. Features of the sound of music have changed over the decades. The sound has definitely gotten louder. The pace and rhythm in many cases have become faster, possibly reflecting the fast pace of the modern world that we live in today. However the feature of music bounciness (how spiky and energetic the music feels) has become less today when compared with the music of the 1980s. Techno and reggae music are typical examples of what is known as bouncy music.

The sound of music has become more complex over history mainly due to the increased migration of people and their exposure to new elements. Today much of music has sounds with elements from more than one region. The increasing tendency for music artists to collaborate today is another reason we see more complexity and diversity in how music sounds.

The sound of music has changed as society has changed over the years, thus the change in the sound of music is really a reflection of our cultural evolution. In the beginning humans made music that closely mimicked the sounds they heard around them in nature in terms of tones and repetitions.

In Indigenous cultures, music played a role in ceremonies and traditions. Traditional instruments were played, and lyrics were often strongly linked to nature. The sounds of music reflected this close association that indigenous cultures had with the land and its wildlife. Over time, modern society has lost this connection. This is reflected in the changing sound of the music and in the changing lyrics of songs that are sung. With time, more musical instruments were developed and played together, which resulted in more sophisticated and complex sounds being produced. The beats, rhythms, tempo and lyrics of songs all changed along with the change in cultures.

Although some indigenous cultures such as many of the African tribes, Native American tribes, South American ethnic people, and Australian aborigines still retain the playing of their indigenous music, there have been influences from the western world incorporated into some of the music. Features of the sound of music have changed over the decades. The sound has definitely gotten louder. The pace and rhythm in many cases have become faster, possibly reflecting the fast pace of the modern world that we live in today. However the feature of music bounciness (how spiky and energetic the music feels) has become less today when compared with the music of the 1980s. Techno and reggae music are typical examples of what is known as bouncy music.

The sound of music has become more complex over history mainly due to the increased migration of people and their exposure to new elements. Today much of music has sounds with elements from more than one region. The increasing tendency for music artists to collaborate today is another reason we see more complexity and diversity in how music sounds.

The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in the late nineteenth and early twentieth centuries. The fact that artisans, who were looked on as mechanics or skilled workers in the eighteenth century, are frequently considered artists today is directly attributable to the Arts and Crafts Movement of the nineteenth century. The importance now placed on attractive and harmonious home decoration can also be traced to this period, when Victorian interior arrangements were revised to admit greater light and more freely flowing spaces.

The Arts and Crafts Movement reacts against mechanized processes that threatened handcrafts and resulted in cheapened, monotonous merchandise. Founded in the late nineteenth century by British social critics John Ruskin and William Morris, the movement revered craft as a form of art. In a rapidly industrializing society, most Victorians agreed that art was an essential moral ingredient in the home environment, and in many middle- and working-class homes craft was the only form of art. Ruskin and his followers criticized not only the degradation of artisans reduced to machine operators, but also the impending loss of daily contact with handcrafted objects, fashioned with pride, integrity, and attention to beauty.

In the United States as well as in Great Britain, reformers extolled the virtues of handcrafted objects: simple, straightforward design; solid materials of good quality; and sound, enduring construction techniques. These criteria were interpreted in a variety of styles, ranging from rational and geometric to romantic or naturalistic. Whether abstract, stylized, or realistically treated, the consistent theme in virtually all Arts and Crafts design is nature.

The Arts and Crafts Movement was much more than a particular style; it was a philosophy of domestic life. Proponents believed that if simple design, high-quality materials, and honest construction were realized in the home and its appointments, then the occupants would enjoy moral and therapeutic effects. For both artisan and consumer, the Arts and Crafts doctrine was seen as a magical force against the undesirable effects of industrialization.

The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in the late nineteenth and early twentieth centuries. The fact that artisans, who were looked on as mechanics or skilled workers in the eighteenth century, are frequently considered artists today is directly attributable to the Arts and Crafts Movement of the nineteenth century. The importance now placed on attractive and harmonious home decoration can also be traced to this period, when Victorian interior arrangements were revised to admit greater light and more freely flowing spaces.

The Arts and Crafts Movement reacts against mechanized processes that threatened handcrafts and resulted in cheapened, monotonous merchandise. Founded in the late nineteenth century by British social critics John Ruskin and William Morris, the movement revered craft as a form of art. In a rapidly industrializing society, most Victorians agreed that art was an essential moral ingredient in the home environment, and in many middle- and working-class homes craft was the only form of art. Ruskin and his followers criticized not only the degradation of artisans reduced to machine operators, but also the impending loss of daily contact with handcrafted objects, fashioned with pride, integrity, and attention to beauty.

In the United States as well as in Great Britain, reformers extolled the virtues of handcrafted objects: simple, straightforward design; solid materials of good quality; and sound, enduring construction techniques. These criteria were interpreted in a variety of styles, ranging from rational and geometric to romantic or naturalistic. Whether abstract, stylized, or realistically treated, the consistent theme in virtually all Arts and Crafts design is nature.

The Arts and Crafts Movement was much more than a particular style; it was a philosophy of domestic life. Proponents believed that if simple design, high-quality materials, and honest construction were realized in the home and its appointments, then the occupants would enjoy moral and therapeutic effects. For both artisan and consumer, the Arts and Crafts doctrine was seen as a magical force against the undesirable effects of industrialization.

The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in the late nineteenth and early twentieth centuries. The fact that artisans, who were looked on as mechanics or skilled workers in the eighteenth century, are frequently considered artists today is directly attributable to the Arts and Crafts Movement of the nineteenth century. The importance now placed on attractive and harmonious home decoration can also be traced to this period, when Victorian interior arrangements were revised to admit greater light and more freely flowing spaces.

The Arts and Crafts Movement reacts against mechanized processes that threatened handcrafts and resulted in cheapened, monotonous merchandise. Founded in the late nineteenth century by British social critics John Ruskin and William Morris, the movement revered craft as a form of art. In a rapidly industrializing society, most Victorians agreed that art was an essential moral ingredient in the home environment, and in many middle- and working-class homes craft was the only form of art. Ruskin and his followers criticized not only the degradation of artisans reduced to machine operators, but also the impending loss of daily contact with handcrafted objects, fashioned with pride, integrity, and attention to beauty.

In the United States as well as in Great Britain, reformers extolled the virtues of handcrafted objects: simple, straightforward design; solid materials of good quality; and sound, enduring construction techniques. These criteria were interpreted in a variety of styles, ranging from rational and geometric to romantic or naturalistic. Whether abstract, stylized, or realistically treated, the consistent theme in virtually all Arts and Crafts design is nature.

The Arts and Crafts Movement was much more than a particular style; it was a philosophy of domestic life. Proponents believed that if simple design, high-quality materials, and honest construction were realized in the home and its appointments, then the occupants would enjoy moral and therapeutic effects. For both artisan and consumer, the Arts and Crafts doctrine was seen as a magical force against the undesirable effects of industrialization.

The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in the late nineteenth and early twentieth centuries. The fact that artisans, who were looked on as mechanics or skilled workers in the eighteenth century, are frequently considered artists today is directly attributable to the Arts and Crafts Movement of the nineteenth century. The importance now placed on attractive and harmonious home decoration can also be traced to this period, when Victorian interior arrangements were revised to admit greater light and more freely flowing spaces.

The Arts and Crafts Movement reacts against mechanized processes that threatened handcrafts and resulted in cheapened, monotonous merchandise. Founded in the late nineteenth century by British social critics John Ruskin and William Morris, the movement revered craft as a form of art. In a rapidly industrializing society, most Victorians agreed that art was an essential moral ingredient in the home environment, and in many middle- and working-class homes craft was the only form of art. Ruskin and his followers criticized not only the degradation of artisans reduced to machine operators, but also the impending loss of daily contact with handcrafted objects, fashioned with pride, integrity, and attention to beauty.

In the United States as well as in Great Britain, reformers extolled the virtues of handcrafted objects: simple, straightforward design; solid materials of good quality; and sound, enduring construction techniques. These criteria were interpreted in a variety of styles, ranging from rational and geometric to romantic or naturalistic. Whether abstract, stylized, or realistically treated, the consistent theme in virtually all Arts and Crafts design is nature.

The Arts and Crafts Movement was much more than a particular style; it was a philosophy of domestic life. Proponents believed that if simple design, high-quality materials, and honest construction were realized in the home and its appointments, then the occupants would enjoy moral and therapeutic effects. For both artisan and consumer, the Arts and Crafts doctrine was seen as a magical force against the undesirable effects of industrialization.

The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in the late nineteenth and early twentieth centuries. The fact that artisans, who were looked on as mechanics or skilled workers in the eighteenth century, are frequently considered artists today is directly attributable to the Arts and Crafts Movement of the nineteenth century. The importance now placed on attractive and harmonious home decoration can also be traced to this period, when Victorian interior arrangements were revised to admit greater light and more freely flowing spaces.

The Arts and Crafts Movement reacts against mechanized processes that threatened handcrafts and resulted in cheapened, monotonous merchandise. Founded in the late nineteenth century by British social critics John Ruskin and William Morris, the movement revered craft as a form of art. In a rapidly industrializing society, most Victorians agreed that art was an essential moral ingredient in the home environment, and in many middle- and working-class homes craft was the only form of art. Ruskin and his followers criticized not only the degradation of artisans reduced to machine operators, but also the impending loss of daily contact with handcrafted objects, fashioned with pride, integrity, and attention to beauty.

In the United States as well as in Great Britain, reformers extolled the virtues of handcrafted objects: simple, straightforward design; solid materials of good quality; and sound, enduring construction techniques. These criteria were interpreted in a variety of styles, ranging from rational and geometric to romantic or naturalistic. Whether abstract, stylized, or realistically treated, the consistent theme in virtually all Arts and Crafts design is nature.

The Arts and Crafts Movement was much more than a particular style; it was a philosophy of domestic life. Proponents believed that if simple design, high-quality materials, and honest construction were realized in the home and its appointments, then the occupants would enjoy moral and therapeutic effects. For both artisan and consumer, the Arts and Crafts doctrine was seen as a magical force against the undesirable effects of industrialization.

The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in the late nineteenth and early twentieth centuries. The fact that artisans, who were looked on as mechanics or skilled workers in the eighteenth century, are frequently considered artists today is directly attributable to the Arts and Crafts Movement of the nineteenth century. The importance now placed on attractive and harmonious home decoration can also be traced to this period, when Victorian interior arrangements were revised to admit greater light and more freely flowing spaces.

The Arts and Crafts Movement reacts against mechanized processes that threatened handcrafts and resulted in cheapened, monotonous merchandise. Founded in the late nineteenth century by British social critics John Ruskin and William Morris, the movement revered craft as a form of art. In a rapidly industrializing society, most Victorians agreed that art was an essential moral ingredient in the home environment, and in many middle- and working-class homes craft was the only form of art. Ruskin and his followers criticized not only the degradation of artisans reduced to machine operators, but also the impending loss of daily contact with handcrafted objects, fashioned with pride, integrity, and attention to beauty.

In the United States as well as in Great Britain, reformers extolled the virtues of handcrafted objects: simple, straightforward design; solid materials of good quality; and sound, enduring construction techniques. These criteria were interpreted in a variety of styles, ranging from rational and geometric to romantic or naturalistic. Whether abstract, stylized, or realistically treated, the consistent theme in virtually all Arts and Crafts design is nature.

The Arts and Crafts Movement was much more than a particular style; it was a philosophy of domestic life. Proponents believed that if simple design, high-quality materials, and honest construction were realized in the home and its appointments, then the occupants would enjoy moral and therapeutic effects. For both artisan and consumer, the Arts and Crafts doctrine was seen as a magical force against the undesirable effects of industrialization.

The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in the late nineteenth and early twentieth centuries. The fact that artisans, who were looked on as mechanics or skilled workers in the eighteenth century, are frequently considered artists today is directly attributable to the Arts and Crafts Movement of the nineteenth century. The importance now placed on attractive and harmonious home decoration can also be traced to this period, when Victorian interior arrangements were revised to admit greater light and more freely flowing spaces.

The Arts and Crafts Movement reacts against mechanized processes that threatened handcrafts and resulted in cheapened, monotonous merchandise. Founded in the late nineteenth century by British social critics John Ruskin and William Morris, the movement revered craft as a form of art. In a rapidly industrializing society, most Victorians agreed that art was an essential moral ingredient in the home environment, and in many middle- and working-class homes craft was the only form of art. Ruskin and his followers criticized not only the degradation of artisans reduced to machine operators, but also the impending loss of daily contact with handcrafted objects, fashioned with pride, integrity, and attention to beauty.

In the United States as well as in Great Britain, reformers extolled the virtues of handcrafted objects: simple, straightforward design; solid materials of good quality; and sound, enduring construction techniques. These criteria were interpreted in a variety of styles, ranging from rational and geometric to romantic or naturalistic. Whether abstract, stylized, or realistically treated, the consistent theme in virtually all Arts and Crafts design is nature.

The Arts and Crafts Movement was much more than a particular style; it was a philosophy of domestic life. Proponents believed that if simple design, high-quality materials, and honest construction were realized in the home and its appointments, then the occupants would enjoy moral and therapeutic effects. For both artisan and consumer, the Arts and Crafts doctrine was seen as a magical force against the undesirable effects of industrialization.

The Arts and Crafts Movement in the United States was responsible for sweeping changes in attitudes toward the decorative arts, then considered the minor or household arts. Its focus on decorative arts helped to induce United States museums and private collectors to begin collecting furniture, glass, ceramics, metalwork, and textiles in the late nineteenth and early twentieth centuries. The fact that artisans, who were looked on as mechanics or skilled workers in the eighteenth century, are frequently considered artists today is directly attributable to the Arts and Crafts Movement of the nineteenth century. The importance now placed on attractive and harmonious home decoration can also be traced to this period, when Victorian interior arrangements were revised to admit greater light and more freely flowing spaces.

The Arts and Crafts Movement reacts against mechanized processes that threatened handcrafts and resulted in cheapened, monotonous merchandise. Founded in the late nineteenth century by British social critics John Ruskin and William Morris, the movement revered craft as a form of art. In a rapidly industrializing society, most Victorians agreed that art was an essential moral ingredient in the home environment, and in many middle- and working-class homes craft was the only form of art. Ruskin and his followers criticized not only the degradation of artisans reduced to machine operators, but also the impending loss of daily contact with handcrafted objects, fashioned with pride, integrity, and attention to beauty.

In the United States as well as in Great Britain, reformers extolled the virtues of handcrafted objects: simple, straightforward design; solid materials of good quality; and sound, enduring construction techniques. These criteria were interpreted in a variety of styles, ranging from rational and geometric to romantic or naturalistic. Whether abstract, stylized, or realistically treated, the consistent theme in virtually all Arts and Crafts design is nature.

The Arts and Crafts Movement was much more than a particular style; it was a philosophy of domestic life. Proponents believed that if simple design, high-quality materials, and honest construction were realized in the home and its appointments, then the occupants would enjoy moral and therapeutic effects. For both artisan and consumer, the Arts and Crafts doctrine was seen as a magical force against the undesirable effects of industrialization.