Mở bài
Chủ đề “How Technology Is Influencing The Way Students Learn About Art” đang trở thành một trong những nội dung phổ biến trong IELTS Reading, xuất hiện với tần suất ngày càng cao trong các kỳ thi gần đây. Đây là chủ đề liên quan đến Education và Technology – hai lĩnh vực thường xuyên được khai thác trong các bài thi IELTS Academic.
Bài viết này cung cấp cho bạn một đề thi IELTS Reading hoàn chỉnh với 3 passages (từ dễ đến khó), 40 câu hỏi đa dạng giống thi thật, kèm đáp án chi tiết và giải thích cặn kẽ. Bạn sẽ được luyện tập với các dạng câu hỏi phổ biến như True/False/Not Given, Multiple Choice, Matching Headings, Summary Completion và nhiều dạng khác.
Đề thi này phù hợp cho học viên từ band 5.0 trở lên, giúp bạn làm quen với format thi thực tế, nâng cao kỹ năng đọc hiểu, mở rộng vốn từ vựng học thuật và rút ngắn thời gian làm bài. Hãy dành 60 phút để hoàn thành toàn bộ bài test trong điều kiện giống thi thật để đánh giá chính xác trình độ của mình.
Hướng dẫn làm bài IELTS Reading
Tổng Quan Về IELTS Reading Test
IELTS Reading Test kéo dài 60 phút với 3 passages và tổng cộng 40 câu hỏi. Mỗi câu trả lời đúng được tính 1 điểm, không có điểm âm cho câu sai.
Phân bổ thời gian khuyến nghị:
- Passage 1: 15-17 phút (độ khó Easy, câu hỏi 1-13)
- Passage 2: 18-20 phút (độ khó Medium, câu hỏi 14-26)
- Passage 3: 23-25 phút (độ khó Hard, câu hỏi 27-40)
Lưu ý: Không có thời gian chuyển đáp án riêng, bạn cần viết đáp án vào answer sheet trong 60 phút.
Các Dạng Câu Hỏi Trong Đề Này
Đề thi mẫu này bao gồm 7 dạng câu hỏi phổ biến:
- True/False/Not Given – Xác định thông tin đúng/sai/không được đề cập
- Multiple Choice – Câu hỏi trắc nghiệm nhiều lựa chọn
- Matching Information – Nối thông tin với đoạn văn tương ứng
- Sentence Completion – Hoàn thành câu với từ trong bài
- Yes/No/Not Given – Xác định ý kiến của tác giả
- Matching Headings – Chọn tiêu đề phù hợp cho đoạn văn
- Summary Completion – Hoàn thành đoạn tóm tắt
IELTS Reading Practice Test
PASSAGE 1 – Digital Revolution in Art Education
Độ khó: Easy (Band 5.0-6.5)
Thời gian đề xuất: 15-17 phút
The way students learn about art has undergone a remarkable transformation in recent years, thanks to the rapid development of digital technology. Traditional methods of art education, which once relied heavily on textbooks, slides, and occasional museum visits, are now being supplemented and sometimes even replaced by innovative digital tools and platforms.
In the past, art students had limited access to masterpieces from around the world. They would study reproductions in books or attend lectures where teachers projected images onto screens. The quality of these images was often poor, making it difficult to appreciate the intricate details, colours, and textures of original artworks. Today, high-resolution digital images and virtual museum tours allow students to examine paintings, sculptures, and other art forms with unprecedented clarity. They can zoom in to see brushstrokes, study the artist’s technique, and even view artworks from multiple angles – something that would be impossible in a physical gallery where you must stand behind protective barriers.
Interactive learning platforms have also changed the educational landscape. Students can now access online courses taught by renowned art historians and practising artists from prestigious institutions worldwide. These courses often include multimedia content such as video demonstrations, animated timelines, and interactive quizzes that make learning more engaging and effective. Unlike traditional classroom settings where students might hesitate to ask questions, online forums and discussion boards provide comfortable spaces for students to share ideas, ask for clarification, and receive feedback from both instructors and peers.
Virtual reality (VR) and augmented reality (AR) technologies represent perhaps the most exciting developments in art education. With VR headsets, students can take immersive tours of famous museums like the Louvre in Paris or the Metropolitan Museum of Art in New York without leaving their homes. They can walk through galleries, approach artworks, and experience the scale and atmosphere of these spaces in ways that photographs or videos cannot capture. AR applications allow students to place virtual sculptures in their own rooms, experiment with different artistic compositions, or even “step into” famous paintings to explore them from within.
Digital tools have also democratized art creation itself. Sophisticated drawing and painting software has made it possible for students to experiment with various techniques and styles without the expense of traditional art supplies. They can try oil painting, watercolours, or charcoal drawing using only a computer or tablet. These programs often include features that help beginners learn, such as step-by-step tutorials, automatic colour matching, and the ability to easily undo mistakes. This risk-free environment encourages experimentation and helps students develop their skills more quickly.
Social media platforms have created new opportunities for young artists to share their work, receive feedback, and connect with other art enthusiasts globally. Students can follow their favourite contemporary artists, see their creative processes through behind-the-scenes content, and even interact with them directly. This direct connection to the professional art world was unimaginable in previous generations and provides valuable insights into artistic careers.
However, technology in art education does have some limitations. Some educators worry that students spending too much time viewing art on screens may develop a distorted perception of actual artworks. A painting viewed on a phone screen, no matter how high the resolution, cannot fully convey the physical presence, scale, and texture of the original. The experience of standing before a large canvas in a quiet gallery, observing how light falls on its surface, and sensing the energy of the brushwork remains irreplaceable.
Despite these concerns, most art educators agree that technology has become an invaluable tool that complements rather than replaces traditional methods. The key is finding the right balance – using digital resources to broaden access and enhance understanding while still ensuring students have opportunities for direct encounters with actual artworks. As technology continues to advance, the future of art education looks increasingly dynamic and accessible to students from all backgrounds and locations.
Questions 1-6
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
- In the past, art students could only learn about art through textbooks and lectures.
- High-resolution digital images allow students to see details that would be difficult to observe in physical galleries.
- Online art courses are more expensive than traditional classroom courses.
- Virtual reality technology enables students to visit famous museums remotely.
- Digital painting software requires students to purchase expensive equipment.
- Most art educators believe technology should completely replace traditional teaching methods.
Questions 7-10
Complete the sentences below.
Choose NO MORE THAN TWO WORDS from the passage for each answer.
- Traditional art education methods included the use of textbooks, slides, and occasional __.
- Online learning platforms provide __ where students can comfortably share ideas and ask questions.
- AR applications allow students to place __ in their own physical spaces.
- Social media enables students to see the __ of professional artists through special content.
Questions 11-13
Choose the correct letter, A, B, C, or D.
-
According to the passage, what is the main advantage of digital tools over traditional art supplies?
A. They produce better quality artwork
B. They allow risk-free experimentation
C. They are used by professional artists
D. They require less skill to use -
What concern do some educators have about screen-based art viewing?
A. It is too expensive for most students
B. It may give students an incorrect understanding of actual artworks
C. It requires too much technical knowledge
D. It is not available in all countries -
What does the author suggest about the future of art education?
A. It will completely abandon traditional methods
B. It will rely only on virtual reality
C. It will combine technology with traditional approaches
D. It will become less accessible to students
PASSAGE 2 – Transforming Art Appreciation Through Technology
Độ khó: Medium (Band 6.0-7.5)
Thời gian đề xuất: 18-20 phút
A. The integration of technology into art education has fundamentally altered not just how students access information about art, but how they conceptualise, interpret, and engage with artistic works. This transformation extends beyond mere convenience; it represents a paradigm shift in pedagogical approaches that challenges long-held assumptions about the nature of art appreciation and the role of physical proximity in aesthetic experience. As educational institutions worldwide grapple with these changes, questions arise about the implications for cognitive development, cultural literacy, and the very definition of artistic expertise in the digital age.
B. One of the most profound impacts of technology on art education has been the democratization of access to art resources. Students in remote or economically disadvantaged areas, who previously had little exposure to major art collections, can now explore the world’s greatest museums with ease. Research conducted by educational psychologists at Stanford University found that students using digital museum platforms demonstrated comparable levels of engagement and retention to those who visited museums in person, challenging the assumption that physical presence is essential for meaningful art education. This accessibility has particular significance for developing countries, where infrastructure limitations and geographical barriers have historically restricted art education to elite institutions.
C. The analytical capabilities afforded by digital tools have also transformed how students examine and understand artworks. Advanced imaging technologies, including infrared reflectography and X-ray analysis, allow students to see beneath the surface of paintings, revealing preliminary sketches, compositional changes, and even hidden images that artists painted over. These insights into the creative process provide valuable lessons about artistic decision-making and the iterative nature of creation. Software that analyses colour palettes, compositional structures, and stylistic elements helps students develop a more systematic understanding of artistic techniques, moving beyond subjective impressions to evidence-based analysis.
D. Collaborative learning has been revolutionised through cloud-based platforms and communication technologies. Students from different countries can work together on art projects, share their interpretations of artworks, and learn from diverse cultural perspectives. This cross-cultural exchange enriches art education by exposing students to interpretative frameworks they might never encounter in homogeneous classroom settings. A study published in the Journal of Art Education found that students participating in international online art discussions showed significantly increased cultural sensitivity and more nuanced understanding of how cultural context influences artistic meaning.
E. However, the proliferation of digital art education tools has raised important questions about pedagogical effectiveness and cognitive impacts. Neuroscientific research suggests that the way we process information from screens differs fundamentally from how we process physical experiences. Dr. James Elkins, a prominent art historian at the School of the Art Institute of Chicago, argues that screen-based viewing can lead to what he terms “aesthetic flattening” – a diminished capacity to perceive subtle variations in texture, spatial relationships, and material qualities that are crucial to full appreciation of artworks. His research indicates that students who primarily learn about art through digital means may develop viewing habits that prioritise informational content over sensory experience.
F. The temporal dynamics of art education have also shifted dramatically. Traditional art history courses followed linear chronologies, moving systematically through periods and styles. Digital platforms enable more fluid, non-linear exploration where students can make thematic connections across time periods, compare works from different eras and cultures side by side, and follow their own intellectual curiosities. This flexibility can foster deeper engagement and more personalised learning experiences, but some educators worry it may result in fragmented knowledge lacking historical context and conceptual coherence.
G. Artificial intelligence and machine learning are beginning to play increasingly significant roles in art education. AI-powered applications can identify artworks, provide contextual information, suggest related pieces, and even generate personalised learning pathways based on individual students’ interests and comprehension levels. These technologies offer promising possibilities for adaptive learning, but they also raise concerns about whether students are developing critical thinking skills or merely consuming algorithm-curated content. The ability to independently analyse, contextualise, and evaluate artworks – skills traditionally central to art education – may be undermined if students become overly reliant on technological intermediaries.
H. Looking forward, educators face the challenge of harnessing technology’s potential while preserving the irreplaceable values of direct art encounters. The most effective approaches appear to be hybrid models that use digital tools to prepare students for physical museum visits, provide follow-up resources, and extend learning beyond the classroom while ensuring that screen-based experiences complement rather than substitute for unmediated engagement with actual artworks. As technology continues to evolve, the fundamental goal of art education remains constant: cultivating in students the capacity for thoughtful, informed, and emotionally resonant responses to visual art.
Học sinh sử dụng công nghệ thực tế ảo để khám phá bảo tàng nghệ thuật trực tuyến trong lớp học hiện đại
Questions 14-20
The passage has eight paragraphs, A-H.
Which paragraph contains the following information?
Write the correct letter, A-H.
- A description of how students from different nations can collaborate on art projects
- Information about research comparing digital and physical museum experiences
- Concerns about students’ ability to notice fine details in artworks
- An explanation of how AI is being used in art education
- A reference to how students can now explore art history in a non-sequential manner
- A discussion of the fundamental aim that remains unchanged in art education
- Details about technological methods that reveal hidden aspects of paintings
Questions 21-24
Complete the summary below.
Choose NO MORE THAN TWO WORDS from the passage for each answer.
Technology has made art education more accessible, particularly for students in 21 __ or remote locations. Advanced imaging techniques allow students to see 22 __ and other hidden elements beneath the surface of paintings. However, some researchers worry about “23 __” – the reduced ability to appreciate certain qualities of artworks when viewing them on screens. The most effective educational approaches seem to be 24 __ that combine digital tools with actual museum visits.
Questions 25-26
Choose TWO letters, A-E.
Which TWO concerns about technology in art education are mentioned in the passage?
A. The high cost of implementing new technologies
B. Students may develop inadequate viewing habits
C. Technology requires too much training for teachers
D. Students might rely too heavily on AI assistance
E. Digital tools are not available in all languages
PASSAGE 3 – The Cognitive and Cultural Implications of Technologically-Mediated Art Education
Độ khó: Hard (Band 7.0-9.0)
Thời gian đề xuất: 23-25 phút
The unprecedented integration of digital technologies into art education has sparked vigorous scholarly debate about the epistemological and phenomenological dimensions of mediated aesthetic experience. While the practical benefits of technological tools are widely acknowledged, the more subtle and far-reaching consequences for students’ cognitive development, perceptual capacities, and cultural understanding remain subjects of ongoing investigation and theoretical contention. These discussions touch upon fundamental questions in art theory, cognitive science, and educational philosophy, challenging us to reconceptualise the very nature of what constitutes authentic engagement with visual art in an increasingly virtualised cultural landscape.
At the heart of this discussion lies the concept of embodied cognition – the theory that cognitive processes are deeply rooted in the body’s interactions with the physical world. Phenomenological philosophers such as Maurice Merleau-Ponty have long argued that aesthetic experience is fundamentally corporeal, involving not merely visual perception but the holistic engagement of our sensorimotor systems. When we encounter an artwork in person, we unconsciously respond to its materiality, scale, and spatial presence through bodily intuition. The slight movements we make while viewing a painting, the way our eyes scan its surface, and even our physical positioning relative to the work all contribute to meaning-making in ways that transcend conscious awareness. Neuroscientific research employing functional magnetic resonance imaging (fMRI) has corroborated these phenomenological insights, demonstrating that viewing actual artworks activates brain regions associated with motor planning and spatial navigation that remain dormant when viewing screen-based reproductions, regardless of image quality.
This embodied dimension of art experience has profound implications for education. Art historian Barbara Stafford has articulated what she terms the “atrophy of perception” potentially resulting from predominantly screen-based art education. Her research suggests that students who primarily engage with art through digital interfaces may develop perceptual habits characterised by rapid scanning and information extraction at the expense of sustained attention and contemplative engagement. The cognitive style encouraged by digital media – characterised by multitasking, rapid content switching, and preference for novelty – stands in marked contrast to the patient observation and meditative focus traditionally cultivated through direct art encounters. This divergence raises questions about whether contemporary students are developing the attentional capacities necessary for deep aesthetic appreciation, or whether we need to reconceptualise aesthetic engagement itself in light of evolving cognitive norms.
The semiotic complexity of digitally-mediated art education presents additional theoretical challenges. When students view artworks through digital platforms, they encounter not the works themselves but representations filtered through multiple layers of technological mediation – each with its own affordances, constraints, and implicit interpretive frameworks. The interface design of a museum website, the curatorial choices embedded in a virtual tour, and the algorithmic recommendations of an art education app all subtly shape students’ experiences in ways that may not be immediately apparent. Critical theorist Walter Benjamin‘s concept of “aura” – the unique temporal and spatial presence of an original artwork – becomes especially pertinent here. While Benjamin himself was writing about mechanical reproduction in the 1930s, his insights resonate powerfully in the digital age, where reproducibility has reached levels he could scarcely have imagined. The question becomes not whether digital reproduction diminishes aura, but whether an entirely new form of aesthetic experience is emerging – one that derives value and meaning from different ontological grounds.
Furthermore, the globalisation of art education through digital platforms raises complex issues regarding cultural representation and interpretive authority. While increased access to diverse artistic traditions appears democratising, scholars have noted that digital art resources often perpetuate Western-centric perspectives and hierarchies. The metadata, descriptive text, and contextual information accompanying digitised artworks frequently reflect the institutional perspectives of major Western museums and universities, potentially marginalising alternative interpretive frameworks. Postcolonial theorists have highlighted how digital platforms can inadvertently reinforce colonial patterns of cultural appropriation and representation, even as they purport to increase accessibility and understanding across cultures.
The pedagogical implications of these theoretical concerns are both challenging and generative. Progressive art educators are developing what might be termed “critical digital art literacy” – an approach that encourages students not only to use technological tools but to critically examine how these tools shape their perceptions and understanding. This metacognitive dimension involves students reflecting on their own cognitive processes, recognising the mediating influence of technology, and developing awareness of how platform design, algorithmic curation, and interface affordances influence their engagement with art. Such pedagogical strategies aim to cultivate sophisticated, reflexive viewers capable of navigating the complexities of technologically-mediated aesthetic experience while retaining capacity for unmediated perception when encountering actual artworks.
The neuroplasticity of the human brain – its capacity to reorganise itself in response to experience – adds another dimension to these discussions. Longitudinal studies tracking students who have learned about art primarily through digital means suggest that sustained exposure to screen-based viewing may indeed alter fundamental perceptual processes. However, these changes are not necessarily detrimental; they may simply represent adaptations to a changed cultural and technological environment. Some researchers propose that we may be witnessing the emergence of new forms of “digital-native” aesthetic sensibility – ways of experiencing and appreciating art that are distinctly suited to contemporary mediated culture. Rather than lamenting the loss of traditional modes of engagement, these scholars suggest we should work to understand and cultivate these emergent capacities while ensuring students also develop skills for engaging with physical artworks.
The trajectory of art education appears to be moving toward increasingly sophisticated hybrid models that leverage technological affordances while acknowledging their limitations. These approaches recognise that digital tools and physical encounters with art offer complementary rather than competing forms of experience, each with unique pedagogical value. The challenge facing educators is to design learning experiences that help students develop cognitive flexibility – the ability to shift fluidly between different modes of engagement, applying appropriate perceptual and analytical strategies to various contexts. This pedagogical objective requires not only technological infrastructure and expertise, but also theoretical sophistication about the nature of aesthetic experience in technologically-saturated culture. As we navigate this complex terrain, the ultimate goal must be producing students who are not merely technologically proficient but aesthetically literate in the fullest sense – capable of thoughtful, informed, and meaningful engagement with art across all modalities and contexts.
Questions 27-31
Choose the correct letter, A, B, C, or D.
-
According to the passage, embodied cognition theory suggests that:
A. Visual perception is the most important aspect of art appreciation
B. Cognitive processes are influenced by physical interactions with the environment
C. Digital reproductions can fully replicate the experience of viewing actual artworks
D. Brain activity is identical when viewing art on screens versus in person -
Barbara Stafford’s research on “atrophy of perception” focuses on:
A. The physical deterioration of artworks over time
B. Students’ declining interest in traditional art forms
C. The development of viewing habits that favour quick scanning over deep engagement
D. The inability of museums to attract younger visitors -
Walter Benjamin’s concept of “aura” in relation to digital art education refers to:
A. The lighting conditions in museums
B. The unique presence and authenticity of original artworks
C. The popularity of certain artists
D. The emotional response to beautiful paintings -
Postcolonial theorists’ concerns about digital art platforms centre on:
A. The cost of accessing digital collections
B. The poor quality of digital reproductions
C. The perpetuation of Western-centric perspectives and hierarchies
D. The lack of artworks from developing countries -
The concept of “critical digital art literacy” encourages students to:
A. Only use traditional methods to learn about art
B. Examine how technology influences their perceptions of art
C. Avoid using digital platforms entirely
D. Focus exclusively on contemporary digital art
Questions 32-36
Complete the sentences below.
Choose NO MORE THAN THREE WORDS from the passage for each answer.
- Neuroscientific studies using fMRI have shown that viewing actual artworks activates brain areas related to __ and spatial navigation.
- The cognitive style promoted by digital media is characterised by multitasking and a preference for __.
- When students view art through digital platforms, they encounter multiple layers of __.
- Some researchers believe that changes in perception due to technology may represent __ to a new cultural environment.
- Effective modern art education aims to help students develop __ – the ability to switch between different modes of engagement.
Questions 37-40
Do the following statements agree with the claims of the writer in the passage?
Write:
- YES if the statement agrees with the claims of the writer
- NO if the statement contradicts the claims of the writer
- NOT GIVEN if it is impossible to say what the writer thinks about this
- Digital technology has made it possible to completely replace traditional art education methods.
- The way students view art on screens involves different cognitive processes than viewing physical artworks.
- All researchers agree that technology has negative effects on students’ aesthetic appreciation.
- Future art education should integrate both digital tools and physical art encounters.
Answer Keys – Đáp Án
PASSAGE 1: Questions 1-13
- FALSE
- TRUE
- NOT GIVEN
- TRUE
- NOT GIVEN
- FALSE
- museum visits
- discussion boards
- virtual sculptures
- creative processes
- B
- B
- C
PASSAGE 2: Questions 14-26
- D
- B
- E
- G
- F
- H
- C
- economically disadvantaged (hoặc: developing countries)
- preliminary sketches
- aesthetic flattening
- hybrid models
- B
- D
PASSAGE 3: Questions 27-40
- B
- C
- B
- C
- B
- motor planning
- novelty
- technological mediation
- adaptations
- cognitive flexibility
- NO
- YES
- NO
- YES
Giải Thích Đáp Án Chi Tiết
Passage 1 – Giải Thích
Câu 1: FALSE
- Dạng câu hỏi: True/False/Not Given
- Từ khóa: in the past, only learn, textbooks and lectures
- Vị trí trong bài: Đoạn 1, dòng 3-5
- Giải thích: Câu hỏi nói “only” (chỉ) qua sách và bài giảng, nhưng bài đọc đề cập “textbooks, slides, and occasional museum visits” – có cả các chuyến tham quan bảo tàng. Do đó câu này sai vì thiếu thông tin về museum visits.
Câu 2: TRUE
- Dạng câu hỏi: True/False/Not Given
- Từ khóa: high-resolution digital images, see details, difficult to observe, physical galleries
- Vị trí trong bài: Đoạn 2, dòng 5-9
- Giải thích: Bài đọc nói “zoom in to see brushstrokes… even view artworks from multiple angles – something that would be impossible in a physical gallery where you must stand behind protective barriers”. Điều này khẳng định rằng hình ảnh kỹ thuật số cho phép nhìn thấy chi tiết khó quan sát ở phòng trưng bày thực tế.
Câu 3: NOT GIVEN
- Dạng câu hỏi: True/False/Not Given
- Từ khóa: online art courses, more expensive, traditional classroom courses
- Vị trí trong bài: Không có thông tin
- Giải thích: Bài đọc đề cập đến online courses (đoạn 3) nhưng không so sánh giá cả với khóa học truyền thống. Không có thông tin về chi phí được đưa ra.
Câu 4: TRUE
- Dạng câu hỏi: True/False/Not Given
- Từ khóa: virtual reality technology, visit famous museums, remotely
- Vị trí trong bài: Đoạn 4, dòng 2-4
- Giải thích: “With VR headsets, students can take immersive tours of famous museums like the Louvre… without leaving their homes.” Câu này khẳng định chính xác thông tin trong câu hỏi về khả năng tham quan bảo tàng từ xa qua VR.
Câu 5: NOT GIVEN
- Dạng câu hỏi: True/False/Not Given
- Từ khóa: digital painting software, purchase expensive equipment
- Vị trí trong bài: Không có thông tin cụ thể
- Giải thích: Đoạn 5 đề cập “without the expense of traditional art supplies” và “using only a computer or tablet”, nhưng không nói rõ liệu thiết bị này có đắt hay không, hoặc có cần mua thêm gì không.
Câu 6: FALSE
- Dạng câu hỏi: True/False/Not Given
- Từ khóa: most art educators, technology, completely replace, traditional teaching methods
- Vị trí trong bài: Đoạn 8, dòng 1-2
- Giải thích: “Most art educators agree that technology has become an invaluable tool that complements rather than replaces traditional methods.” Từ “complements rather than replaces” (bổ sung chứ không thay thế) mâu thuẫn trực tiếp với “completely replace” trong câu hỏi.
Câu 7: museum visits
- Dạng câu hỏi: Sentence Completion
- Từ khóa: traditional art education methods, textbooks, slides
- Vị trí trong bài: Đoạn 1, dòng 3-4
- Giải thích: “Traditional methods… relied heavily on textbooks, slides, and occasional museum visits.”
Câu 8: discussion boards
- Dạng câu hỏi: Sentence Completion
- Từ khóa: online learning platforms, students, comfortably share ideas
- Vị trí trong bài: Đoạn 3, dòng 5-6
- Giải thích: “Online forums and discussion boards provide comfortable spaces for students to share ideas, ask for clarification, and receive feedback.”
Câu 9: virtual sculptures
- Dạng câu hỏi: Sentence Completion
- Từ khóa: AR applications, place, own physical spaces
- Vị trí trong bài: Đoạn 4, dòng 6-7
- Giải thích: “AR applications allow students to place virtual sculptures in their own rooms.”
Câu 10: creative processes
- Dạng câu hỏi: Sentence Completion
- Từ khóa: social media, see, professional artists, special content
- Vị trí trong bài: Đoạn 6, dòng 2-3
- Giải thích: “Students can follow their favourite contemporary artists, see their creative processes through behind-the-scenes content.”
Câu 11: B
- Dạng câu hỏi: Multiple Choice
- Từ khóa: main advantage, digital tools, traditional art supplies
- Vị trí trong bài: Đoạn 5, dòng 5-7
- Giải thích: “This risk-free environment encourages experimentation and helps students develop their skills more quickly.” Đáp án B “allow risk-free experimentation” chính xác phản ánh lợi ích này.
Câu 12: B
- Dạng câu hỏi: Multiple Choice
- Từ khóa: concern, educators, screen-based art viewing
- Vị trí trong bài: Đoạn 7, dòng 1-3
- Giải thích: “Some educators worry that students spending too much time viewing art on screens may develop a distorted perception of actual artworks.” Đáp án B “may give students an incorrect understanding” diễn đạt lại ý này.
Câu 13: C
- Dạng câu hỏi: Multiple Choice
- Từ khóa: author suggest, future of art education
- Vị trí trong bài: Đoạn 8
- Giải thích: “The key is finding the right balance – using digital resources… while still ensuring students have opportunities for direct encounters with actual artworks.” Đáp án C “combine technology with traditional approaches” phản ánh chính xác quan điểm này.
Passage 2 – Giải Thích
Câu 14: D
- Dạng câu hỏi: Matching Information
- Từ khóa: students from different nations, collaborate, art projects
- Vị trí trong bài: Đoạn D, dòng 1-3
- Giải thích: “Students from different countries can work together on art projects, share their interpretations of artworks, and learn from diverse cultural perspectives.”
Câu 15: B
- Dạng câu hỏi: Matching Information
- Từ khóa: research, comparing, digital and physical museum experiences
- Vị trí trong bài: Đoạn B, dòng 3-5
- Giải thích: “Research conducted by educational psychologists at Stanford University found that students using digital museum platforms demonstrated comparable levels of engagement…”
Câu 16: E
- Dạng câu hỏi: Matching Information
- Từ khóa: concerns, students’ ability, notice fine details
- Vị trí trong bài: Đoạn E, dòng 3-6
- Giải thích: Dr. James Elkins argues về “aesthetic flattening” và “diminished capacity to perceive subtle variations in texture, spatial relationships, and material qualities.”
Câu 17: G
- Dạng câu hỏi: Matching Information
- Từ khóa: how AI is being used, art education
- Vị trí trong bài: Đoạn G, dòng 1-4
- Giải thích: “Artificial intelligence and machine learning… AI-powered applications can identify artworks, provide contextual information, suggest related pieces…”
Câu 18: F
- Dạng câu hỏi: Matching Information
- Từ khóa: explore art history, non-sequential manner
- Vị trí trong bài: Đoạn F, dòng 2-4
- Giải thích: “Digital platforms enable more fluid, non-linear exploration where students can make thematic connections across time periods…”
Câu 19: H
- Dạng câu hỏi: Matching Information
- Từ khóa: fundamental aim, remains unchanged
- Vị trí trong bài: Đoạn H, dòng 4-5
- Giải thích: “The fundamental goal of art education remains constant: cultivating in students the capacity for thoughtful, informed, and emotionally resonant responses to visual art.”
Câu 20: C
- Dạng câu hỏi: Matching Information
- Từ khóa: technological methods, reveal hidden aspects, paintings
- Vị trí trong bài: Đoạn C, dòng 2-4
- Giải thích: “Advanced imaging technologies, including infrared reflectography and X-ray analysis, allow students to see beneath the surface of paintings, revealing preliminary sketches, compositional changes, and even hidden images…”
Câu 21: economically disadvantaged (hoặc developing countries)
- Dạng câu hỏi: Summary Completion
- Từ khóa: students in… or remote locations
- Vị trí trong bài: Đoạn B, dòng 1-2
- Giải thích: “Students in remote or economically disadvantaged areas” – cả hai cụm từ đều có trong bài và đều đúng.
Câu 22: preliminary sketches
- Dạng câu hỏi: Summary Completion
- Từ khóa: see… and other hidden elements
- Vị trí trong bài: Đoạn C, dòng 3
- Giải thích: “Revealing preliminary sketches, compositional changes, and even hidden images.”
Câu 23: aesthetic flattening
- Dạng câu hỏi: Summary Completion
- Từ khóa: reduced ability to appreciate
- Vị trí trong bài: Đoạn E, dòng 4
- Giải thích: “What he terms ‘aesthetic flattening‘ – a diminished capacity to perceive subtle variations…”
Câu 24: hybrid models
- Dạng câu hỏi: Summary Completion
- Từ khóa: combine digital tools with actual museum visits
- Vị trí trong bài: Đoạn H, dòng 2
- Giải thích: “The most effective approaches appear to be hybrid models that use digital tools to prepare students for physical museum visits…”
Câu 25-26: B và D
- Dạng câu hỏi: Multiple Choice (chọn 2 đáp án)
- B – students may develop inadequate viewing habits: Đoạn E đề cập “students who primarily learn about art through digital means may develop perceptual habits characterised by rapid scanning and information extraction at the expense of sustained attention.”
- D – students might rely too heavily on AI assistance: Đoạn G nói “raise concerns about whether students are developing critical thinking skills or merely consuming algorithm-curated content” và “may be undermined if students become overly reliant on technological intermediaries.”
Sinh viên nghiên cứu bức tranh nghệ thuật với công nghệ hình ảnh tiên tiến và phần mềm phân tích màu sắc trên máy tính
Passage 3 – Giải Thích
Câu 27: B
- Dạng câu hỏi: Multiple Choice
- Từ khóa: embodied cognition theory
- Vị trí trong bài: Đoạn 2, dòng 1-3
- Giải thích: “The theory that cognitive processes are deeply rooted in the body’s interactions with the physical world.” Đáp án B phản ánh chính xác định nghĩa này.
Câu 28: C
- Dạng câu hỏi: Multiple Choice
- Từ khóa: Barbara Stafford, atrophy of perception
- Vị trí trong bài: Đoạn 3, dòng 2-6
- Giải thích: “Students who primarily engage with art through digital interfaces may develop perceptual habits characterised by rapid scanning and information extraction at the expense of sustained attention and contemplative engagement.”
Câu 29: B
- Dạng câu hỏi: Multiple Choice
- Từ khóa: Walter Benjamin, aura
- Vị trí trong bài: Đoạn 4, dòng 6-7
- Giải thích: “Walter Benjamin’s concept of ‘aura’ – the unique temporal and spatial presence of an original artwork.”
Câu 30: C
- Dạng câu hỏi: Multiple Choice
- Từ khóa: postcolonial theorists, concerns, digital art platforms
- Vị trí trong bài: Đoạn 5, dòng 2-4
- Giải thích: “Scholars have noted that digital art resources often perpetuate Western-centric perspectives and hierarchies… Postcolonial theorists have highlighted how digital platforms can inadvertently reinforce colonial patterns…”
Câu 31: B
- Dạng câu hỏi: Multiple Choice
- Từ khóa: critical digital art literacy
- Vị trí trong bài: Đoạn 6, dòng 2-5
- Giải thích: “An approach that encourages students not only to use technological tools but to critically examine how these tools shape their perceptions and understanding.”
Câu 32: motor planning
- Dạng câu hỏi: Sentence Completion
- Từ khóa: fMRI, brain areas, spatial navigation
- Vị trí trong bài: Đoạn 2, dòng 9-11
- Giải thích: “Viewing actual artworks activates brain regions associated with motor planning and spatial navigation.”
Câu 33: novelty
- Dạng câu hỏi: Sentence Completion
- Từ khóa: cognitive style, digital media, multitasking, preference
- Vị trí trong bài: Đoạn 3, dòng 7-8
- Giải thích: “The cognitive style encouraged by digital media – characterised by multitasking, rapid content switching, and preference for novelty.”
Câu 34: technological mediation
- Dạng câu hỏi: Sentence Completion
- Từ khóa: view art, digital platforms, multiple layers
- Vị trí trong bài: Đoạn 4, dòng 2-3
- Giải thích: “They encounter not the works themselves but representations filtered through multiple layers of technological mediation.”
Câu 35: adaptations
- Dạng câu hỏi: Sentence Completion
- Từ khóa: changes in perception, technology, represent
- Vị trí trong bài: Đoạn 7, dòng 4-5
- Giải thích: “These changes are not necessarily detrimental; they may simply represent adaptations to a changed cultural and technological environment.”
Câu 36: cognitive flexibility
- Dạng câu hỏi: Sentence Completion
- Từ khóa: help students develop, ability to switch
- Vị trí trong bài: Đoạn 8, dòng 4-5
- Giải thích: “Help students develop cognitive flexibility – the ability to shift fluidly between different modes of engagement.”
Câu 37: NO
- Dạng câu hỏi: Yes/No/Not Given
- Từ khóa: completely replace traditional methods
- Vị trí trong bài: Đoạn 8, dòng 2-3
- Giải thích: “Digital tools and physical encounters with art offer complementary rather than competing forms of experience” – tác giả nói bổ sung chứ không thay thế hoàn toàn.
Câu 38: YES
- Dạng câu hỏi: Yes/No/Not Given
- Từ khóa: viewing art on screens, different cognitive processes
- Vị trí trong bài: Đoạn 2, dòng 9-11
- Giải thích: “Neuroscientific research… demonstrating that viewing actual artworks activates brain regions… that remain dormant when viewing screen-based reproductions” – khẳng định quá trình nhận thức khác nhau.
Câu 39: NO
- Dạng câu hỏi: Yes/No/Not Given
- Từ khóa: all researchers agree, negative effects
- Vị trí trong bài: Đoạn 7, dòng 4-7
- Giải thích: “Some researchers propose… these changes are not necessarily detrimental” và “these scholars suggest we should work to understand and cultivate these emergent capacities” – cho thấy không phải tất cả đều cho rằng tiêu cực.
Câu 40: YES
- Dạng câu hỏi: Yes/No/Not Given
- Từ khóa: future art education, integrate, digital tools and physical encounters
- Vị trí trong bài: Đoạn 8, dòng 1-3
- Giải thích: “The trajectory of art education appears to be moving toward increasingly sophisticated hybrid models that leverage technological affordances while acknowledging their limitations… digital tools and physical encounters with art offer complementary… forms of experience.”
Từ Vựng Quan Trọng Theo Passage
Passage 1 – Essential Vocabulary
| Từ vựng | Loại từ | Phiên âm | Nghĩa tiếng Việt | Ví dụ từ bài | Collocation |
|---|---|---|---|---|---|
| remarkable | adj | /rɪˈmɑːkəbl/ | đáng chú ý, đáng kể | The way students learn has undergone a remarkable transformation | remarkable transformation, remarkable achievement |
| supplement | v | /ˈsʌplɪment/ | bổ sung | Traditional methods are being supplemented by digital tools | supplement with, supplement by |
| reproduction | n | /ˌriːprəˈdʌkʃn/ | bản sao, bản tái tạo | They would study reproductions in books | digital reproduction, high-quality reproduction |
| unprecedented | adj | /ʌnˈpresɪdentɪd/ | chưa từng có | Allow students to examine artworks with unprecedented clarity | unprecedented level, unprecedented access |
| interactive | adj | /ˌɪntərˈæktɪv/ | tương tác | Interactive learning platforms have changed education | interactive platform, interactive tool |
| renowned | adj | /rɪˈnaʊnd/ | nổi tiếng | Courses taught by renowned art historians | renowned expert, renowned institution |
| immersive | adj | /ɪˈmɜːsɪv/ | đắm chìm, nhập vai | Students can take immersive tours of museums | immersive experience, immersive tour |
| democratize | v | /dɪˈmɒkrətaɪz/ | dân chủ hóa, phổ cập | Digital tools have democratized art creation | democratize access, democratize education |
| sophisticated | adj | /səˈfɪstɪkeɪtɪd/ | phức tạp, tinh vi | Sophisticated drawing and painting software | sophisticated technology, sophisticated approach |
| distorted | adj | /dɪˈstɔːtɪd/ | bị bóp méo, sai lệch | May develop a distorted perception of artworks | distorted perception, distorted view |
| invaluable | adj | /ɪnˈvæljuəbl/ | vô giá, rất quý | Technology has become an invaluable tool | invaluable tool, invaluable resource |
| dynamic | adj | /daɪˈnæmɪk/ | năng động, linh hoạt | The future looks increasingly dynamic | dynamic environment, dynamic approach |
Passage 2 – Essential Vocabulary
| Từ vựng | Loại từ | Phiên âm | Nghĩa tiếng Việt | Ví dụ từ bài | Collocation |
|---|---|---|---|---|---|
| integration | n | /ˌɪntɪˈɡreɪʃn/ | sự hòa nhập, tích hợp | The integration of technology into art education | integration of, seamless integration |
| paradigm shift | n | /ˈpærədaɪm ʃɪft/ | sự thay đổi mô hình tư duy | Represents a paradigm shift in pedagogical approaches | paradigm shift in, major paradigm shift |
| pedagogical | adj | /ˌpedəˈɡɒdʒɪkl/ | thuộc về giáo dục học | Questions about pedagogical approaches | pedagogical approach, pedagogical method |
| democratization | n | /dɪˌmɒkrətaɪˈzeɪʃn/ | sự dân chủ hóa | The democratization of access to art resources | democratization of access, democratization of knowledge |
| retention | n | /rɪˈtenʃn/ | sự ghi nhớ, lưu giữ | Demonstrated comparable levels of retention | knowledge retention, information retention |
| infrared reflectography | n | /ˌɪnfrəˈred rɪˌflektəˈɡrəfi/ | chụp ảnh phản xạ hồng ngoại | Including infrared reflectography and X-ray analysis | advanced infrared reflectography |
| iterative | adj | /ˈɪtərətɪv/ | lặp đi lặp lại, từng bước | The iterative nature of creation | iterative process, iterative approach |
| cross-cultural | adj | /krɒs ˈkʌltʃərəl/ | xuyên văn hóa | This cross-cultural exchange enriches education | cross-cultural exchange, cross-cultural understanding |
| proliferation | n | /prəˌlɪfəˈreɪʃn/ | sự gia tăng nhanh | The proliferation of digital art education tools | rapid proliferation, proliferation of technology |
| neuroscientific | adj | /ˌnjʊərəʊsaɪənˈtɪfɪk/ | thuộc về khoa học thần kinh | Neuroscientific research suggests | neuroscientific research, neuroscientific evidence |
| temporal dynamics | n | /ˈtempərəl daɪˈnæmɪks/ | động lực thời gian | The temporal dynamics of art education | temporal dynamics of, shift in temporal dynamics |
| adaptive learning | n | /əˈdæptɪv ˈlɜːnɪŋ/ | học tập thích ứng | Offer promising possibilities for adaptive learning | adaptive learning technology, adaptive learning system |
| algorithm-curated | adj | /ˈælɡərɪðəm ˈkjʊəreɪtɪd/ | được chọn lọc bởi thuật toán | Merely consuming algorithm-curated content | algorithm-curated content, algorithm-curated recommendations |
| hybrid model | n | /ˈhaɪbrɪd ˈmɒdl/ | mô hình lai, kết hợp | The most effective approaches are hybrid models | hybrid model of education, adopt a hybrid model |
| unmediated | adj | /ˌʌnˈmiːdieɪtɪd/ | trực tiếp, không qua trung gian | Unmediated engagement with actual artworks | unmediated experience, unmediated access |
Passage 3 – Essential Vocabulary
| Từ vựng | Loại từ | Phiên âm | Nghĩa tiếng Việt | Ví dụ từ bài | Collocation |
|---|---|---|---|---|---|
| unprecedented | adj | /ʌnˈpresɪdentɪd/ | chưa từng có | The unprecedented integration of digital technologies | unprecedented level, unprecedented scale |
| epistemological | adj | /ɪˌpɪstɪməˈlɒdʒɪkl/ | thuộc về nhận thức luận | The epistemological and phenomenological dimensions | epistemological question, epistemological framework |
| phenomenological | adj | /fɪˌnɒmɪnəˈlɒdʒɪkl/ | thuộc về hiện tượng luận | Phenomenological dimensions of aesthetic experience | phenomenological approach, phenomenological perspective |
| embodied cognition | n | /ɪmˈbɒdid kɒɡˈnɪʃn/ | nhận thức được thể hiện qua cơ thể | The concept of embodied cognition | embodied cognition theory, principles of embodied cognition |
| corporeal | adj | /kɔːˈpɔːriəl/ | thuộc về thể xác | Aesthetic experience is fundamentally corporeal | corporeal experience, corporeal presence |
| sensorimotor | adj | /ˌsensərɪˈməʊtə/ | thuộc về cảm giác vận động | The holistic engagement of our sensorimotor systems | sensorimotor system, sensorimotor skills |
| fMRI | n | /ef em ɑːr aɪ/ | chụp cộng hưởng từ chức năng | Neuroscientific research employing fMRI | fMRI scan, fMRI study |
| atrophy | n | /ˈætrəfi/ | sự teo lại, suy thoái | The “atrophy of perception” | atrophy of skills, mental atrophy |
| contemplative | adj | /ˈkɒntəmplətɪv/ | trầm tư, chiêm nghiệm | Sustained attention and contemplative engagement | contemplative practice, contemplative approach |
| semiotic | adj | /ˌsemiˈɒtɪk/ | thuộc về ký hiệu học | The semiotic complexity of digitally-mediated education | semiotic analysis, semiotic system |
| aura | n | /ˈɔːrə/ | hào quang, khí chất độc đáo | Walter Benjamin’s concept of “aura” | artistic aura, lose its aura |
| ontological | adj | /ˌɒntəˈlɒdʒɪkl/ | thuộc về bản thể luận | Derives value from different ontological grounds | ontological status, ontological framework |
| perpetuate | v | /pəˈpetʃueɪt/ | duy trì, làm tồn tại lâu dài | Digital resources often perpetuate Western-centric perspectives | perpetuate stereotypes, perpetuate inequality |
| postcolonial | adj | /ˌpəʊstkəˈləʊniəl/ | hậu thuộc địa | Postcolonial theorists have highlighted | postcolonial theory, postcolonial perspective |
| metacognitive | adj | /ˌmetəˈkɒɡnətɪv/ | thuộc về siêu nhận thức | This metacognitive dimension | metacognitive skills, metacognitive awareness |
| neuroplasticity | n | /ˌnjʊərəʊplæˈstɪsəti/ | tính dẻo của não | The neuroplasticity of the human brain | brain neuroplasticity, neuroplasticity research |
| longitudinal study | n | /ˌlɒndʒɪˈtjuːdɪnl ˈstʌdi/ | nghiên cứu dọc | Longitudinal studies tracking students | longitudinal study of, conduct a longitudinal study |
| trajectory | n | /trəˈdʒektəri/ | quỹ đạo, xu hướng phát triển | The trajectory of art education | career trajectory, developmental trajectory |
Kết bài
Chủ đề “How technology is influencing the way students learn about art” không chỉ phổ biến trong IELTS Reading mà còn phản ánh xu hướng giáo dục toàn cầu hiện nay. Qua bài test hoàn chỉnh này với 3 passages từ dễ đến khó, bạn đã được tiếp cận với đầy đủ các dạng câu hỏi IELTS Reading từ True/False/Not Given, Multiple Choice, Matching Information đến Summary Completion và Yes/No/Not Given.
Đáp án chi tiết kèm giải thích vị trí cụ thể trong bài giúp bạn hiểu rõ cách paraphrase và xác định thông tin chính xác – hai kỹ năng then chốt để đạt band điểm cao. Bảng từ vựng phân loại theo từng passage cung cấp hơn 40 từ học thuật quan trọng với phiên âm, nghĩa và collocations, giúp bạn mở rộng vốn từ một cách có hệ thống.
Hãy lưu lại bài test này để ôn tập định kỳ. Thực hành với các đề thi đầy đủ như thế này sẽ giúp bạn quen với format thi thật, cải thiện tốc độ làm bài và nâng cao khả năng đọc hiểu học thuật. Chúc bạn ôn tập hiệu quả và đạt band điểm mong muốn trong kỳ thi IELTS sắp tới!
