Mở bài
Chủ đề về sự chuyển đổi số trong ngành công nghiệp âm nhạc là một trong những đề tài phổ biến trong IELTS Reading, xuất hiện với tần suất cao trong các kỳ thi gần đây. Chủ đề này không chỉ phản ánh sự thay đổi của xã hội hiện đại mà còn đòi hỏi thí sinh có khả năng đọc hiểu các văn bản học thuật về công nghệ, kinh tế và văn hóa.
Bài viết này cung cấp cho bạn một bộ đề thi IELTS Reading hoàn chỉnh với 3 passages từ dễ đến khó, bao gồm 40 câu hỏi đa dạng giống như thi thật. Bạn sẽ được luyện tập với các dạng câu hỏi phổ biến như Multiple Choice, True/False/Not Given, Matching Headings, và Summary Completion. Mỗi câu trả lời đều có giải thích chi tiết giúp bạn hiểu rõ phương pháp làm bài và cách paraphrase thông tin.
Đề thi này phù hợp với học viên từ band 5.0 trở lên, giúp bạn làm quen với độ khó thực tế của kỳ thi IELTS và xây dựng chiến lược làm bài hiệu quả. Hãy dành trọn 60 phút để hoàn thành bài test này trong điều kiện mô phỏng thi thật để đạt kết quả tốt nhất.
Hướng dẫn làm bài IELTS Reading
Tổng Quan Về IELTS Reading Test
IELTS Reading Test bao gồm 3 passages với tổng cộng 40 câu hỏi cần hoàn thành trong 60 phút. Đây là bài thi kiểm tra khả năng đọc hiểu của bạn qua các văn bản có độ dài và độ khó tăng dần.
Phân bổ thời gian khuyến nghị:
- Passage 1: 15-17 phút (độ khó Easy – Band 5.0-6.5)
- Passage 2: 18-20 phút (độ khó Medium – Band 6.0-7.5)
- Passage 3: 23-25 phút (độ khó Hard – Band 7.0-9.0)
Lưu ý rằng bạn cần tự quản lý thời gian vì không có thời gian riêng để chuyển đáp án sang phiếu trả lời. Hãy viết đáp án trực tiếp vào answer sheet trong quá trình làm bài.
Các Dạng Câu Hỏi Trong Đề Này
Đề thi mẫu này bao gồm 7 dạng câu hỏi phổ biến nhất trong IELTS Reading:
- Multiple Choice – Chọn đáp án đúng từ các phương án cho sẵn
- True/False/Not Given – Xác định thông tin đúng, sai hay không được đề cập
- Matching Information – Nối thông tin với đoạn văn tương ứng
- Yes/No/Not Given – Xác định quan điểm của tác giả
- Matching Headings – Chọn tiêu đề phù hợp cho mỗi đoạn
- Summary Completion – Hoàn thành đoạn tóm tắt
- Sentence Completion – Hoàn thành câu với thông tin từ bài đọc
IELTS Reading Practice Test
PASSAGE 1 – The Revolution of Music Consumption
Độ khó: Easy (Band 5.0-6.5)
Thời gian đề xuất: 15-17 phút
The way people listen to music has changed dramatically over the past two decades, thanks to digital technology. In the early 2000s, most music lovers still purchased physical copies of albums in the form of CDs or cassette tapes. They would visit record stores, browse through shelves of albums, and take their purchases home to play on their stereo systems. This traditional method of music consumption had remained largely unchanged for decades.
However, the introduction of MP3 players and the iPod in 2001 marked the beginning of a revolutionary shift. These portable devices allowed users to carry thousands of songs in their pockets, eliminating the need for bulky CD collections. People could now create personalized playlists and listen to their favorite tracks anywhere, anytime. This convenience quickly made digital music players extremely popular, especially among younger generations.
The next major transformation came with streaming services. Companies like Spotify, Apple Music, and YouTube Music changed the landscape entirely. Instead of purchasing individual songs or albums, users could now pay a monthly subscription fee to access millions of tracks instantly. This model proved to be incredibly attractive because it offered unlimited access to vast music libraries at a fraction of the cost of buying physical albums.
Streaming platforms have also introduced features that enhance the listening experience. Algorithm-based recommendations suggest new artists and songs based on users’ listening habits, helping people discover music they might never have found otherwise. Curated playlists created by both humans and artificial intelligence cater to different moods, activities, and genres. Users can find playlists for working out, studying, relaxing, or partying, making it easier than ever to find the perfect soundtrack for any moment.
The impact on music discovery has been profound. In the past, people primarily learned about new music through radio, television, or recommendations from friends. Today, streaming services use sophisticated algorithms to analyze listening patterns and suggest similar artists. This has helped many independent musicians gain exposure without the backing of major record labels. A song can go viral on social media and reach millions of listeners within days, something that would have been impossible in the pre-digital era.
Social features integrated into streaming platforms have created new ways for music fans to connect. Users can share playlists with friends, see what others are listening to, and even collaborate on shared playlists. This social dimension has transformed music listening from a largely solitary activity into a more communal experience. People can now bond over shared musical tastes even when they are physically apart.
The accessibility of digital music has also had a democratizing effect. People in remote locations who previously had limited access to diverse music can now explore genres and artists from around the world. A teenager in a small village can listen to the same tracks as someone in a major city, breaking down geographical barriers that once limited music exposure.
Despite these advantages, some music enthusiasts argue that something has been lost in the transition to digital. They miss the tangible experience of holding a physical album, reading the liner notes, and appreciating the album artwork. There is also concern that the ease of skipping tracks has changed how people listen to music, encouraging a more fragmented approach rather than experiencing albums as cohesive works of art intended by the artists.
Nevertheless, the shift to digital music consumption appears irreversible. Sales of physical formats continue to decline year after year, with streaming now accounting for the vast majority of music industry revenue in most developed countries. The convenience, affordability, and features offered by digital platforms have made them the preferred choice for most music listeners worldwide.
Questions 1-13
Questions 1-5: Multiple Choice
Choose the correct letter, A, B, C, or D.
1. What was the primary way people acquired music in the early 2000s?
A. Downloading from the internet
B. Streaming from online platforms
C. Buying physical copies at stores
D. Recording from the radio
2. The introduction of MP3 players in 2001 was significant because:
A. They improved sound quality
B. They allowed users to carry many songs portably
C. They were cheaper than CDs
D. They connected to the internet
3. According to the passage, streaming services charge users:
A. Per song downloaded
B. A one-time payment
C. Based on listening hours
D. A monthly subscription fee
4. Algorithm-based recommendations help users to:
A. Create their own music
B. Purchase albums more cheaply
C. Discover new music
D. Share playlists with friends
5. What concern do some music enthusiasts have about digital music?
A. It is too expensive
B. It lacks the physical album experience
C. It has poor sound quality
D. It is difficult to access
Questions 6-9: True/False/Not Given
Do the following statements agree with the information given in the passage?
Write:
- TRUE if the statement agrees with the information
- FALSE if the statement contradicts the information
- NOT GIVEN if there is no information on this
6. Record stores were the most popular places to buy music before the digital revolution.
7. Streaming services offer more songs than could fit on an iPod.
8. Independent musicians find it easier to gain exposure today than in the past.
9. All music listeners prefer digital formats to physical albums.
Questions 10-13: Sentence Completion
Complete the sentences below.
Choose NO MORE THAN TWO WORDS from the passage for each answer.
10. Streaming platforms use __ to suggest music based on what users have listened to before.
11. The __ of digital music means people in isolated areas can access diverse music.
12. Some listeners miss reading the __ that came with physical albums.
13. The move toward digital music seems __ as physical format sales keep declining.
PASSAGE 2 – Economic Transformation in the Music Industry
Độ khó: Medium (Band 6.0-7.5)
Thời gian đề xuất: 18-20 phút
The advent of digital technology has fundamentally restructured the economic model of the music industry, creating both unprecedented opportunities and significant challenges for various stakeholders. This transformation has been so profound that it has altered the power dynamics between artists, record labels, distributors, and consumers in ways that would have been unimaginable just a generation ago.
In the pre-digital era, the music industry operated through a well-established hierarchy. Record labels wielded enormous power, controlling which artists gained access to professional recording studios, distribution networks, and promotional channels. The production costs associated with recording an album were substantial, requiring expensive equipment and studio time. Distribution through physical retail channels demanded complex logistics and significant capital investment. This barrier to entry meant that only artists who secured contracts with major labels could realistically reach mass audiences.
The financial model was straightforward: consumers purchased albums or singles, with revenue distributed among retailers, distributors, record labels, and finally, artists. Musicians typically received a relatively small percentage of sales revenue, often between 10-15%, after the label recouped its investment in recording, marketing, and distribution. Despite this seemingly inequitable arrangement, artists had few alternatives if they wanted commercial success.
Digital technology dismantled many of these barriers. The cost of producing high-quality recordings dropped dramatically as affordable digital recording equipment and software became available. Artists could now record professional-sounding albums in home studios for a fraction of the traditional cost. Distribution channels were similarly democratized through digital platforms, allowing musicians to upload their work directly to streaming services and online stores without requiring label approval or physical manufacturing.
This democratization initially appeared to herald a golden age for independent artists. However, the reality has proven more complex. While the barriers to entry have indeed fallen, the market has become extraordinarily saturated. Spotify alone hosts over 70 million tracks, and approximately 60,000 new songs are uploaded to the platform daily. In this crowded marketplace, simply making music available is insufficient; artists must now also function as marketers, brand managers, and social media experts to gain visibility.
The streaming economy has introduced a new set of economic challenges. Unlike traditional album sales, where artists received a clear payment per unit sold, streaming services pay artists based on the number of streams, with rates typically ranging from $0.003 to $0.005 per stream. This means an artist needs approximately 250 streams to earn one dollar. For a song to generate the equivalent revenue of a single traditional album sale (approximately $10), it would need to accumulate around 2,500 to 3,000 streams. Consequently, only artists who can generate millions of streams achieve substantial income from streaming alone.
This economic reality has had several important consequences. First, it has shifted emphasis toward singles rather than albums. Since streaming payments are calculated per track, artists are incentivized to release individual songs more frequently rather than investing time in comprehensive album projects. Second, it has created pressure to maximize stream counts through various strategies, including releasing music on Fridays (when streaming services update their playlists), keeping songs under three minutes to encourage repeat listens, and crafting catchy hooks that capture attention quickly.
The geographical barriers that once limited artists have largely dissolved. A musician in Seoul can reach listeners in São Paulo as easily as one across the street. This global reach has enabled the rise of regional music genres to international prominence. K-pop, Latin trap, and Afrobeats have all achieved worldwide success partly due to the borderless nature of digital distribution. However, this same globalization has intensified competition, with artists now competing not just locally or nationally, but internationally for listener attention.
Record labels have adapted to remain relevant in this transformed landscape. Rather than primarily serving as gatekeepers to distribution and promotion, many labels now function more as service providers, offering expertise in marketing, playlist placement, and brand partnerships. Some artists who have achieved success independently subsequently sign deals with labels not for distribution access, but for the promotional infrastructure and industry connections that labels can provide.
Live performance has taken on increased economic importance as recorded music revenue has become less lucrative for many artists. Concerts and festivals now represent the primary income source for most musicians, with recorded music sometimes functioning more as marketing material to drive ticket sales. This shift has influenced artistic decisions, with some musicians crafting songs specifically designed to work well in live settings.
The data analytics capabilities of streaming platforms have created new opportunities and raised new concerns. Artists and labels can access detailed information about their listeners’ demographics, geographical locations, and listening habits. This data enables targeted marketing and can inform decisions about tour locations and promotional strategies. However, it also raises questions about privacy and the extent to which commercial considerations should influence artistic creation.
Blockchain technology and Non-Fungible Tokens (NFTs) represent potential future disruptions. Some artists have begun experimenting with selling music directly to fans through blockchain-based platforms, potentially enabling disintermediation from both labels and streaming services. While this technology remains in early stages, it suggests that the economic model of music may continue to evolve in unexpected ways.
Questions 14-26
Questions 14-18: Yes/No/Not Given
Do the following statements agree with the views of the writer in the passage?
Write:
- YES if the statement agrees with the views of the writer
- NO if the statement contradicts the views of the writer
- NOT GIVEN if it is impossible to say what the writer thinks about this
14. The traditional music industry gave too much power to record labels.
15. Independent artists today face fewer challenges than artists in the pre-digital era.
16. The streaming payment model is fairer to artists than traditional album sales.
17. Global digital distribution has benefited regional music genres.
18. Blockchain technology will definitely replace streaming services in the future.
Questions 19-23: Matching Headings
Choose the correct heading for paragraphs B-F from the list of headings below.
List of Headings:
i. The challenge of market oversaturation
ii. Traditional industry power structures
iii. The mathematics of streaming revenue
iv. New roles for record labels
v. The shift toward live performance income
vi. Reduced production costs enable independence
vii. International competition increases
viii. Data-driven decision making
19. Paragraph B
20. Paragraph D
21. Paragraph F
22. Paragraph I
23. Paragraph J
Questions 24-26: Summary Completion
Complete the summary below.
Choose NO MORE THAN TWO WORDS from the passage for each answer.
The economic model of the music industry has changed dramatically due to digital technology. Previously, 24. __ controlled access to professional recording and distribution. Today, artists can record in home studios and distribute music through digital platforms. However, the 25. __ has become very crowded with millions of tracks available. Additionally, the 26. __ from streaming services are relatively low, requiring artists to generate millions of plays to earn substantial income.
PASSAGE 3 – Cultural and Artistic Implications of Digital Music Technology
Độ khó: Hard (Band 7.0-9.0)
Thời gian đề xuất: 23-25 phút
The pervasive digitalization of music production, distribution, and consumption has precipitated not merely economic shifts but profound cultural and artistic transformations that fundamentally alter humanity’s relationship with musical expression. These changes extend far beyond questions of commercial viability, touching upon issues of aesthetic value, cultural authenticity, creative autonomy, and the very nature of musical experience itself. The implications of this technological revolution warrant careful examination, as they reflect broader tensions between technological progress and humanistic values that characterize contemporary society.
One of the most contentious aspects of digital music technology concerns its impact on artistic quality and creative integrity. Critics argue that the economic pressures inherent in the streaming model have fostered a cultural environment that privileges commercial accessibility over artistic ambition. The aforementioned emphasis on brief, attention-capturing singles designed to generate maximum streams has, according to this view, contributed to a homogenization of popular music. Songs are increasingly engineered according to formulaic structures determined by data analytics regarding which musical elements most effectively retain listener attention and generate replay value.
This data-driven approach to composition represents a fundamental shift in the creative process. Historically, artists composed music primarily according to their aesthetic vision and emotional expression, with commercial considerations being secondary or mediated through the judgment of producers and label executives who, whatever their limitations, possessed musical expertise. Today’s algorithms, by contrast, operate on purely quantitative metrics – stream counts, skip rates, playlist additions – that may correlate poorly with musical quality or cultural significance. The result, critics contend, is music optimized for algorithmic recommendation systems rather than human emotional resonance, privileging the immediately catchy over the subtly profound.
Defenders of digital technology counter that such criticisms embody a form of aesthetic elitism that has historically dismissed emerging musical forms. They argue that accessibility should not be confused with superficiality, noting that many artistically significant works throughout history have also been immediately accessible and commercially successful. Moreover, the digital landscape has enabled unprecedented stylistic diversity. The fragmentation of music listening into countless niche genres and microgenres – from vaporwave to math rock to dark ambient – represents an expansion rather than contraction of artistic possibility. Algorithms, in this view, help listeners navigate overwhelming choice, connecting them with music aligned to their preferences more effectively than the limited gatekeeping of radio programmers and record store owners ever could.
The question of cultural authenticity in digital music production presents particular complexity. Traditional notions of musical authenticity emphasized organic performance, technical mastery of instruments, and the capture of live sound. Digital production techniques, however, enable extensive post-recording manipulation: pitch correction through Auto-Tune, timing adjustment through quantization, and the assembly of performances from multiple takes or even individual notes. Critics argue this technological mediation introduces an artificiality that distances music from authentic human expression.
Yet this critique rests on questionable assumptions about what constitutes authenticity. All music production involves technological mediation – acoustic guitars and pianos are technologies, as are recording studios and microphones. The notion of “pure” musical expression unmediated by technology is largely mythological. Furthermore, digital tools have become genuine instruments of expression in their own right. Electronic music producers create complex, emotionally resonant works using software synthesizers and digital audio workstations, treating these tools with the same creative intentionality that traditional musicians apply to conventional instruments.
The democratization of music creation facilitated by digital technology has unquestionably altered the cultural landscape. The reduction in barriers to entry has enabled voices previously excluded from musical production to participate in global musical conversations. This includes artists from economically disadvantaged backgrounds who lack access to expensive instruments and studio time, musicians from cultural peripheries underrepresented by mainstream media, and individuals whose artistic visions do not conform to commercial expectations of marketability. The resulting diversification of musical expression enriches global culture and challenges hegemonic narratives about whose music deserves attention and resources.
However, this democratization simultaneously produces new forms of inequality and exclusion. Success in the digital music ecosystem requires not only musical talent but also skills in digital marketing, social media engagement, and personal branding – competencies distinct from musical ability. Artists who excel musically but lack these ancillary skills or the time and resources to develop them face disadvantages in gaining visibility. Moreover, the algorithmic curation systems of streaming platforms, despite their apparent neutrality, embed biases that can perpetuate rather than ameliorate existing inequalities, favoring artists who already possess substantial followings or whose music fits neatly into established genre categories.
The transformation of music listening from a focused activity requiring dedicated attention to a ubiquitous background presence raises questions about the phenomenology of musical experience. Music now accompanies virtually every activity – working, exercising, commuting, even sleeping – facilitated by portable devices and streaming services offering infinite choice. While this omnipresence demonstrates music’s continued cultural importance, some theorists suggest it represents a devaluation. When music functions primarily as ambient atmosphere rather than an object of concentrated aesthetic engagement, does something essential about the musical experience diminish?
This concern connects to broader philosophical questions about attention and value in digital culture. The attention economy operates on principles of continuous partial attention, fragmenting consciousness across multiple simultaneous stimuli. Musical streaming, with its encouragement of playlist hopping and algorithm-driven discovery, may reinforce this fragmented mode of engagement. The traditional practice of listening to albums as coherent artistic statements from beginning to end has declined substantially, potentially reducing audiences’ capacity for the sustained attention required to appreciate complex artistic works.
Conversely, technology has created new modes of musical engagement that, while different from traditional listening, possess their own value. Participatory culture facilitated by digital platforms enables fans to create remixes, mashups, and covers, engaging creatively with music rather than consuming it passively. Online communities devoted to specific genres or artists foster collective meaning-making around musical works, generating interpretive discourse that enriches appreciation. Technology has thus enabled more active, social, and creative forms of musical engagement alongside the potentially passive experience of algorithm-curated background listening.
The ongoing evolution of music technology, including emerging applications of artificial intelligence in composition and production, ensures these questions will only intensify. AI systems can now generate original compositions in various styles, raising fundamental questions about creativity, authorship, and the human essence of artistic expression. Whether these developments represent liberation from constraints, degradation of artistry, or simply the next phase in music’s continual technological evolution remains contested terrain, reflecting deeper cultural anxieties about technology’s role in human life and the preservation of humanistic values in an increasingly automated world.
Questions 27-40
Questions 27-31: Multiple Choice
Choose the correct letter, A, B, C, or D.
27. According to critics, streaming economics has led to music that is:
A. More innovative and experimental
B. Optimized for algorithms rather than emotional impact
C. More expensive to produce
D. Primarily consumed in live settings
28. Defenders of digital technology argue that:
A. All music should be commercially successful
B. Algorithms have replaced the need for musicians
C. Accessibility does not necessarily mean lack of artistic value
D. Traditional music was superior to modern music
29. The passage suggests that the concept of “authentic” music is:
A. Clearly defined and universally agreed upon
B. Only applicable to acoustic instruments
C. Based on questionable assumptions about technology
D. Irrelevant in modern music production
30. The democratization of music creation has:
A. Only positive effects on the music industry
B. Enabled previously excluded voices but created new inequalities
C. Made all musicians equally successful
D. Eliminated the need for musical talent
31. According to the passage, AI systems in music raise questions about:
A. Copyright law only
B. The cost of music production
C. Creativity and the nature of artistic expression
D. How to market music effectively
Questions 32-36: Matching Features
Match each statement (32-36) with the correct group of people (A-D).
A. Critics of digital music technology
B. Defenders of digital music technology
C. Both critics and defenders
D. Neither critics nor defenders
32. Digital technology has led to more diverse musical styles and genres.
33. The streaming model encourages formulaic, commercially-driven composition.
34. Algorithms can help listeners discover music suited to their preferences.
35. Traditional music production also involved technological mediation.
36. Success in digital music requires marketing skills beyond musical ability.
Questions 37-40: Short-answer Questions
Answer the questions below.
Choose NO MORE THAN THREE WORDS from the passage for each answer.
37. What do critics say data-driven composition prioritizes over genuine human connection?
38. What type of culture enabled by digital platforms allows fans to create remixes and covers?
39. What term describes the fragmented mode of consciousness in digital culture?
40. What does the passage describe as “contested terrain” regarding music technology’s development?
Answer Keys – Đáp Án
PASSAGE 1: Questions 1-13
- C
- B
- D
- C
- B
- TRUE
- NOT GIVEN
- TRUE
- FALSE
- sophisticated algorithms / algorithms
- accessibility
- liner notes
- irreversible
PASSAGE 2: Questions 14-26
- NOT GIVEN
- NO
- NO
- YES
- NOT GIVEN
- ii
- vi
- iii
- v
- viii
- record labels
- market / marketplace
- streaming payments / payment rates
PASSAGE 3: Questions 27-40
- B
- C
- C
- B
- C
- B
- A
- B
- B
- C
- algorithmic recommendation systems
- participatory culture
- continuous partial attention
- liberation or degradation
Giải Thích Đáp Án Chi Tiết
Passage 1 – Giải Thích
Câu 1: C
- Dạng câu hỏi: Multiple Choice
- Từ khóa: primary way, acquired music, early 2000s
- Vị trí trong bài: Đoạn A, dòng 1-4
- Giải thích: Bài đọc nói rõ “In the early 2000s, most music lovers still purchased physical copies of albums in the form of CDs or cassette tapes. They would visit record stores…” Đây là paraphrase của đáp án C “Buying physical copies at stores”.
Câu 2: B
- Dạng câu hỏi: Multiple Choice
- Từ khóa: MP3 players, 2001, significant
- Vị trí trong bài: Đoạn B, dòng 2-3
- Giải thích: Văn bản chỉ ra “These portable devices allowed users to carry thousands of songs in their pockets” – điều này tương đương với đáp án B về tính di động và khả năng mang nhiều bài hát.
Câu 3: D
- Dạng câu hỏi: Multiple Choice
- Từ khóa: streaming services, charge
- Vị trí trong bài: Đoạn C, dòng 2-3
- Giải thích: Bài viết nêu rõ “users could now pay a monthly subscription fee to access millions of tracks instantly” – tương ứng trực tiếp với đáp án D.
Câu 6: TRUE
- Dạng câu hỏi: True/False/Not Given
- Từ khóa: record stores, popular places, before digital revolution
- Vị trí trong bài: Đoạn A
- Giải thích: Đoạn A mô tả rõ ràng việc người ta “visit record stores, browse through shelves of albums” là phương thức chính mua nhạc trước kỷ nguyên số.
Câu 8: TRUE
- Dạng câu hỏi: True/False/Not Given
- Từ khóa: independent musicians, easier, gain exposure
- Vị trí trong bài: Đoạn E, dòng 4-6
- Giải thích: Bài viết khẳng định “This has helped many independent musicians gain exposure without the backing of major record labels”, cho thấy việc tiếp cận khán giả dễ dàng hơn cho nhạc sĩ độc lập.
Học viên đang luyện tập IELTS Reading trên máy tính với đề thi về công nghệ số
Câu 9: FALSE
- Dạng câu hỏi: True/False/Not Given
- Từ khóa: all music listeners, prefer digital
- Vị trí trong bài: Đoạn H
- Giải thích: Đoạn H nói rõ “some music enthusiasts argue that something has been lost” và họ nhớ trải nghiệm vật lý của album. Điều này chứng minh KHÔNG PHẢI tất cả người nghe đều thích định dạng số.
Câu 10: sophisticated algorithms / algorithms
- Dạng câu hỏi: Sentence Completion
- Từ khóa: suggest music, listened to before
- Vị trí trong bài: Đoạn E, dòng 2-3
- Giải thích: “streaming services use sophisticated algorithms to analyze listening patterns and suggest similar artists”
Câu 13: irreversible
- Dạng câu hỏi: Sentence Completion
- Từ khóa: move toward digital, physical format sales declining
- Vị trí trong bài: Đoạn I, dòng 1
- Giải thích: “the shift to digital music consumption appears irreversible” – từ “irreversible” mô tả đặc điểm của sự chuyển đổi.
Passage 2 – Giải Thích
Câu 14: NOT GIVEN
- Dạng câu hỏi: Yes/No/Not Given
- Từ khóa: traditional music industry, too much power, record labels
- Vị trí trong bài: Đoạn B
- Giải thích: Bài viết mô tả việc record labels “wielded enormous power” nhưng không đưa ra quan điểm của tác giả về việc quyền lực này có “quá mức” hay không. Đây là sự mô tả khách quan chứ không phải đánh giá.
Câu 15: NO
- Dạng câu hỏi: Yes/No/Not Given
- Từ khóa: independent artists, fewer challenges today
- Vị trí trong bài: Đoạn E
- Giải thích: Tác giả nói “the reality has proven more complex” và giải thích về thị trường bão hòa với “60,000 new songs are uploaded daily”. Điều này cho thấy tác giả cho rằng các nghệ sĩ độc lập vẫn gặp thách thức lớn, chỉ là thách thức khác biệt.
Câu 16: NO
- Dạng câu hỏi: Yes/No/Not Given
- Từ khóa: streaming payment model, fairer
- Vị trí trong bài: Đoạn F
- Giải thích: Tác giả chỉ ra rằng nghệ sĩ cần “approximately 250 streams to earn one dollar” và cần “2,500 to 3,000 streams” để bằng doanh thu một album. Việc trình bày các con số này với từ “only artists who can generate millions of streams achieve substantial income” cho thấy tác giả không coi mô hình này là công bằng hơn.
Câu 17: YES
- Dạng câu hỏi: Yes/No/Not Given
- Từ khóa: global digital distribution, benefited regional music genres
- Vị trí trong bài: Đoạn H, dòng 2-4
- Giải thích: Tác giả nêu rõ “This global reach has enabled the rise of regional music genres to international prominence” và liệt kê K-pop, Latin trap, Afrobeats làm ví dụ, cho thấy quan điểm tích cực về lợi ích này.
Câu 19: ii (Traditional industry power structures)
- Dạng câu hỏi: Matching Headings
- Vị trí: Paragraph B
- Giải thích: Đoạn B mô tả “well-established hierarchy” và cách “Record labels wielded enormous power” trong ngành công nghiệp truyền thống, kiểm soát nghệ sĩ nào được tiếp cận studio, phân phối và quảng bá.
Câu 20: vi (Reduced production costs enable independence)
- Dạng câu hỏi: Matching Headings
- Vị trí: Paragraph D
- Giải thích: Đoạn này tập trung vào việc “cost of producing high-quality recordings dropped dramatically” và nghệ sĩ có thể “record professional-sounding albums in home studios”, dẫn đến sự độc lập khỏi hãng đĩa.
Câu 21: iii (The mathematics of streaming revenue)
- Dạng câu hỏi: Matching Headings
- Vị trí: Paragraph F
- Giải thích: Đoạn này đầy các con số cụ thể: “$0.003 to $0.005 per stream”, “250 streams to earn one dollar”, “2,500 to 3,000 streams” để bằng doanh thu album, mô tả chi tiết toán học của doanh thu streaming.
Câu 24: record labels
- Dạng câu hỏi: Summary Completion
- Từ khóa: controlled access, professional recording, distribution
- Vị trí trong bài: Đoạn B
- Giải thích: “Record labels wielded enormous power, controlling which artists gained access to professional recording studios, distribution networks”
Câu 25: market / marketplace
- Dạng câu hỏi: Summary Completion
- Từ khóa: crowded, millions of tracks
- Vị trí trong bài: Đoạn E
- Giải thích: “the market has become extraordinarily saturated. Spotify alone hosts over 70 million tracks”
Passage 3 – Giải Thích
Câu 27: B
- Dạng câu hỏi: Multiple Choice
- Từ khóa: critics, streaming economics
- Vị trí trong bài: Đoạn B-C
- Giải thích: Đoạn C nói rõ “music optimized for algorithmic recommendation systems rather than human emotional resonance” – đây là paraphrase của đáp án B về việc tối ưu hóa cho thuật toán thay vì tác động cảm xúc.
Câu 28: C
- Dạng câu hỏi: Multiple Choice
- Từ khóa: defenders, digital technology, argue
- Vị trí trong bài: Đoạn D, dòng 1-3
- Giải thích: “Defenders…argue that accessibility should not be confused with superficiality, noting that many artistically significant works…have also been immediately accessible” – tương ứng với đáp án C.
Câu 29: C
- Dạng câu hỏi: Multiple Choice
- Từ khóa: concept, authentic music
- Vị trí trong bài: Đoạn F, dòng 1
- Giải thích: “Yet this critique rests on questionable assumptions about what constitutes authenticity” – bài viết trực tiếp nói rằng khái niệm này dựa trên các giả định đáng ngờ.
Câu 30: B
- Dạng câu hỏi: Multiple Choice
- Từ khóa: democratization, music creation
- Vị trí trong bài: Đoạn G-H
- Giải thích: Đoạn G nói về lợi ích của dân chủ hóa cho “voices previously excluded”, nhưng đoạn H chỉ ra “this democratization simultaneously produces new forms of inequality” – thể hiện cả mặt tích cực và tiêu cực.
Câu 32: B (Defenders)
- Dạng câu hỏi: Matching Features
- Vị trí trong bài: Đoạn D
- Giải thích: Những người bảo vệ công nghệ số nói “the digital landscape has enabled unprecedented stylistic diversity” và “fragmentation of music listening into countless niche genres”.
Cô gái trẻ đang sử dụng ứng dụng streaming nghe nhạc trên smartphone trong không gian hiện đại
Câu 33: A (Critics)
- Dạng câu hỏi: Matching Features
- Vị trí trong bài: Đoạn B
- Giải thích: “Critics argue that the economic pressures…have fostered a cultural environment that privileges commercial accessibility over artistic ambition” và “contributed to a homogenization of popular music”.
Câu 37: algorithmic recommendation systems
- Dạng câu hỏi: Short-answer Questions
- Từ khóa: critics, data-driven composition, prioritizes
- Vị trí trong bài: Đoạn C, dòng cuối
- Giải thích: “music optimized for algorithmic recommendation systems rather than human emotional resonance” – câu hỏi hỏi về cái được ưu tiên (prioritizes) thay vì kết nối con người.
Câu 38: participatory culture
- Dạng câu hỏi: Short-answer Questions
- Từ khóa: digital platforms, fans create remixes, covers
- Vị trí trong bài: Đoạn K, dòng 2
- Giải thích: “Participatory culture facilitated by digital platforms enables fans to create remixes, mashups, and covers”
Câu 39: continuous partial attention
- Dạng câu hỏi: Short-answer Questions
- Từ khóa: fragmented mode, consciousness, digital culture
- Vị trí trong bài: Đoạn J, dòng 2-3
- Giải thích: “The attention economy operates on principles of continuous partial attention, fragmenting consciousness across multiple simultaneous stimuli”
Câu 40: liberation or degradation
- Dạng câu hỏi: Short-answer Questions
- Từ khóa: contested terrain, music technology development
- Vị trí trong bài: Đoạn L, dòng cuối
- Giải thích: “Whether these developments represent liberation from constraints, degradation of artistry…remains contested terrain”
Từ Vựng Quan Trọng Theo Passage
Passage 1 – Essential Vocabulary
| Từ vựng | Loại từ | Phiên âm | Nghĩa tiếng Việt | Ví dụ từ bài | Collocation |
|---|---|---|---|---|---|
| dramatically | adv | /drəˈmætɪkli/ | một cách đáng kể, mạnh mẽ | The way people listen to music has changed dramatically | change dramatically, increase dramatically |
| physical copies | n phrase | /ˈfɪzɪkəl ˈkɒpiz/ | bản sao vật lý (đĩa CD, băng cát-xét) | most music lovers still purchased physical copies of albums | purchase physical copies, physical format |
| revolutionary shift | n phrase | /ˌrevəˈluːʃənəri ʃɪft/ | sự chuyển đổi mang tính cách mạng | marked the beginning of a revolutionary shift | undergo a revolutionary shift |
| personalized playlists | n phrase | /ˈpɜːsənəlaɪzd ˈpleɪlɪsts/ | danh sách phát được cá nhân hóa | create personalized playlists | create/compile personalized playlists |
| streaming services | n phrase | /ˈstriːmɪŋ ˈsɜːvɪsɪz/ | dịch vụ phát trực tuyến | Companies like Spotify, Apple Music | popular streaming services, music streaming services |
| monthly subscription fee | n phrase | /ˈmʌnθli səbˈskrɪpʃən fiː/ | phí đăng ký hàng tháng | pay a monthly subscription fee | pay/charge a subscription fee |
| algorithm-based recommendations | n phrase | /ˈælɡərɪðəm beɪst ˌrekəmenˈdeɪʃənz/ | gợi ý dựa trên thuật toán | Algorithm-based recommendations suggest new artists | provide/generate recommendations |
| curated playlists | n phrase | /kjʊəˈreɪtɪd ˈpleɪlɪsts/ | danh sách phát được tuyển chọn | Curated playlists created by both humans and AI | create/compile curated playlists |
| sophisticated algorithms | n phrase | /səˈfɪstɪkeɪtɪd ˈælɡərɪðəmz/ | thuật toán tinh vi | use sophisticated algorithms to analyze | develop/employ sophisticated algorithms |
| independent musicians | n phrase | /ˌɪndɪˈpendənt mjuːˈzɪʃənz/ | nhạc sĩ độc lập | helped many independent musicians gain exposure | support independent musicians |
| tangible experience | n phrase | /ˈtændʒəbəl ɪkˈspɪəriəns/ | trải nghiệm hữu hình, cụ thể | miss the tangible experience of holding a physical album | provide/offer a tangible experience |
| irreversible | adj | /ˌɪrɪˈvɜːsəbəl/ | không thể đảo ngược | the shift appears irreversible | irreversible change/damage |
Passage 2 – Essential Vocabulary
| Từ vựng | Loại từ | Phiên âm | Nghĩa tiếng Việt | Ví dụ từ bài | Collocation |
|---|---|---|---|---|---|
| advent | n | /ˈædvent/ | sự ra đời, sự xuất hiện | The advent of digital technology | the advent of technology/internet |
| restructured | v | /ˌriːˈstrʌktʃəd/ | tái cơ cấu, cơ cấu lại | has fundamentally restructured the economic model | restructure the organization/industry |
| unprecedented opportunities | n phrase | /ʌnˈpresɪdentɪd ˌɒpəˈtjuːnətiz/ | cơ hội chưa từng có | creating unprecedented opportunities | present/offer unprecedented opportunities |
| power dynamics | n phrase | /ˈpaʊə daɪˈnæmɪks/ | động lực quyền lực, cán cân quyền lực | altered the power dynamics | shift/change power dynamics |
| well-established hierarchy | n phrase | /wel ɪˈstæblɪʃt ˈhaɪərɑːki/ | hệ thống phân cấp lâu đời | operated through a well-established hierarchy | maintain/challenge a hierarchy |
| barrier to entry | n phrase | /ˈbæriə tuː ˈentri/ | rào cản gia nhập | This barrier to entry meant that only artists | reduce/lower barriers to entry |
| inequitable arrangement | n phrase | /ɪnˈekwɪtəbəl əˈreɪndʒmənt/ | sự sắp xếp không công bằng | this seemingly inequitable arrangement | create/result in inequitable arrangement |
| democratization | n | /dɪˌmɒkrətaɪˈzeɪʃən/ | dân chủ hóa, phổ cập | This democratization initially appeared | the democratization of information/education |
| saturated | adj | /ˈsætʃəreɪtɪd/ | bão hòa | the market has become extraordinarily saturated | saturated market, highly saturated |
| substantial income | n phrase | /səbˈstænʃəl ˈɪnkʌm/ | thu nhập đáng kể | achieve substantial income from streaming | generate/earn substantial income |
| gatekeepers | n | /ˈɡeɪtkiːpəz/ | người gác cổng, người kiểm soát | primarily serving as gatekeepers to distribution | act as gatekeepers |
| lucrative | adj | /ˈluːkrətɪv/ | sinh lời, có lãi | recorded music revenue has become less lucrative | lucrative business/market |
| disintermediation | n | /ˌdɪsɪntəˌmiːdiˈeɪʃən/ | loại bỏ trung gian | enabling disintermediation from labels | digital disintermediation |
| data analytics | n phrase | /ˈdeɪtə ˌænəˈlɪtɪks/ | phân tích dữ liệu | The data analytics capabilities | use/leverage data analytics |
| targeted marketing | n phrase | /ˈtɑːɡɪtɪd ˈmɑːkɪtɪŋ/ | tiếp thị có mục tiêu | enables targeted marketing | implement/employ targeted marketing |
Passage 3 – Essential Vocabulary
| Từ vựng | Loại từ | Phiên âm | Nghĩa tiếng Việt | Ví dụ tiếng Anh | Collocation |
|---|---|---|---|---|---|
| pervasive digitalization | n phrase | /pəˈveɪsɪv ˌdɪdʒɪtəlaɪˈzeɪʃən/ | số hóa lan rộng, phổ biến | The pervasive digitalization of music | pervasive influence/technology |
| precipitated | v | /prɪˈsɪpɪteɪtɪd/ | gây ra, làm xảy ra nhanh chóng | has precipitated profound cultural transformations | precipitate a crisis/change |
| aesthetic value | n phrase | /iːsˈθetɪk ˈvæljuː/ | giá trị thẩm mỹ | questions of aesthetic value | appreciate aesthetic value |
| creative autonomy | n phrase | /kriˈeɪtɪv ɔːˈtɒnəmi/ | tự chủ sáng tạo | issues of creative autonomy | maintain/preserve creative autonomy |
| contentious | adj | /kənˈtenʃəs/ | gây tranh cãi | One of the most contentious aspects | contentious issue/debate |
| homogenization | n | /həˌmɒdʒənaɪˈzeɪʃən/ | đồng nhất hóa | contributed to a homogenization of popular music | cultural homogenization |
| data-driven approach | n phrase | /ˈdeɪtə ˈdrɪvən əˈprəʊtʃ/ | cách tiếp cận dựa trên dữ liệu | This data-driven approach to composition | adopt/implement a data-driven approach |
| aesthetic vision | n phrase | /iːsˈθetɪk ˈvɪʒən/ | tầm nhìn thẩm mỹ | according to their aesthetic vision | realize/express aesthetic vision |
| quantitative metrics | n phrase | /ˈkwɒntɪtətɪv ˈmetrɪks/ | thước đo định lượng | operate on purely quantitative metrics | use/measure quantitative metrics |
| aesthetic elitism | n phrase | /iːsˈθetɪk ɪˈliːtɪzəm/ | chủ nghĩa tinh hoa thẩm mỹ | embody a form of aesthetic elitism | accusations of elitism |
| niche genres | n phrase | /niːʃ ˈʒɒnrəz/ | thể loại ngách, thể loại đặc biệt | fragmentation into countless niche genres | cater to niche genres |
| cultural authenticity | n phrase | /ˈkʌltʃərəl ˌɔːθenˈtɪsəti/ | tính xác thực văn hóa | The question of cultural authenticity | preserve/maintain cultural authenticity |
| technological mediation | n phrase | /ˌteknəˈlɒdʒɪkəl ˌmiːdiˈeɪʃən/ | trung gian công nghệ | this technological mediation introduces | through technological mediation |
| hegemonic | adj | /ˌheɡəˈmɒnɪk/ | có tính thống trị, bá quyền | challenges hegemonic narratives | hegemonic power/discourse |
| phenomenology | n | /fɪˌnɒmɪˈnɒlədʒi/ | hiện tượng học | questions about the phenomenology of musical experience | the phenomenology of perception |
| ubiquitous background presence | n phrase | /juːˈbɪkwɪtəs ˈbækɡraʊnd ˈprezəns/ | sự hiện diện phổ biến ở nền | from focused activity to ubiquitous background presence | maintain a ubiquitous presence |
| attention economy | n phrase | /əˈtenʃən ɪˈkɒnəmi/ | nền kinh tế chú ý | The attention economy operates | compete in the attention economy |
| participatory culture | n phrase | /pɑːˌtɪsɪpətəri ˈkʌltʃə/ | văn hóa tham gia | Participatory culture facilitated by digital platforms | foster/promote participatory culture |
| contested terrain | n phrase | /kənˈtestɪd təˈreɪn/ | lãnh địa tranh chấp, vấn đề gây tranh cãi | remains contested terrain | navigate contested terrain |
Kết bài
Bài thi IELTS Reading mẫu về tác động của công nghệ số đến ngành công nghiệp âm nhạc đã cung cấp cho bạn một trải nghiệm luyện tập toàn diện với 3 passages có độ khó tăng dần. Từ việc mô tả sự thay đổi trong cách tiêu thụ âm nhạc ở Passage 1, đến phân tích chuyển đổi kinh tế ở Passage 2, và cuối cùng là thảo luận sâu về ý nghĩa văn hóa và nghệ thuật ở Passage 3, đề thi này phản ánh chính xác cấu trúc và yêu cầu của kỳ thi IELTS Reading thật.
Qua 40 câu hỏi đa dạng bao gồm Multiple Choice, True/False/Not Given, Yes/No/Not Given, Matching Headings, Summary Completion và Short-answer Questions, bạn đã được thực hành với hầu hết các dạng bài quan trọng trong IELTS Reading. Phần đáp án chi tiết không chỉ cung cấp câu trả lời đúng mà còn giải thích rõ ràng vị trí thông tin, cách paraphrase và kỹ thuật xác định đáp án.
Bộ từ vựng được tổng hợp từ cả ba passages sẽ giúp bạn làm giàu vốn từ học thuật, đặc biệt trong các chủ đề về công nghệ, văn hóa và kinh tế – những lĩnh vực thường xuyên xuất hiện trong IELTS Reading. Hãy ôn tập kỹ các từ vựng này cùng với collocations để nâng cao khả năng đọc hiểu và viết.
Để đạt kết quả tốt nhất trong IELTS Reading, hãy thực hành thường xuyên với các đề thi mẫu như thế này, quản lý thời gian chặt chẽ, và phát triển kỹ năng skimming và scanning. Đừng quên rằng việc hiểu rõ cấu trúc câu hỏi và biết cách xác định từ khóa là chìa khóa để cải thiện band điểm của bạn. Chúc bạn thành công trong kỳ thi IELTS sắp tới!
