IELTS Reading: The Role of Arts Integration in Teaching Cultural Diversity – Đề thi mẫu có đáp án chi tiết

Mở bài

Trong bối cảnh toàn cầu hóa ngày càng sâu rộng, việc giảng dạy về đa dạng văn hóa thông qua nghệ thuật đã trở thành một chủ đề quan trọng trong giáo dục hiện đại. Chủ đề “The Role Of Arts Integration In Teaching Cultural Diversity” xuất hiện với tần suất ngày càng cao trong kỳ thi IELTS Reading, đặc biệt trong các đề thi từ năm 2020 trở lại đây, phản ánh xu hướng giáo dục đương đại tại các quốc gia phát triển.

Bài viết này cung cấp một bộ đề thi IELTS Reading hoàn chỉnh với 3 passages từ dễ đến khó, bao gồm đầy đủ 40 câu hỏi với nhiều dạng bài đa dạng như Multiple Choice, True/False/Not Given, Matching Information, Summary Completion và Short-answer Questions. Mỗi passage được thiết kế tỉ mỉ để mô phỏng chính xác độ khó và phong cách của đề thi IELTS thực tế, giúp bạn làm quen với format thi chuẩn quốc tế.

Bạn sẽ nhận được đáp án chi tiết kèm giải thích cụ thể về vị trí thông tin, kỹ thuật paraphrase và chiến lược làm bài cho từng câu hỏi. Ngoài ra, bài viết còn tổng hợp từ vựng quan trọng theo từng passage với phiên âm, nghĩa tiếng Việt và ví dụ sử dụng thực tế. Đề thi này phù hợp cho học viên có trình độ từ band 5.0 trở lên, đặc biệt hữu ích cho những ai đang hướng đến band điểm 7.0-8.0.

Hướng dẫn làm bài IELTS Reading

Tổng Quan Về IELTS Reading Test

IELTS Reading Test là một phần thi quan trọng trong kỳ thi IELTS Academic, đánh giá khả năng đọc hiểu và phân tích văn bản học thuật của thí sinh. Bài thi kéo dài trong 60 phút với 3 passages và tổng cộng 40 câu hỏi. Điểm số được tính dựa trên số câu trả lời đúng, không có điểm âm cho câu trả lời sai.

Phân bổ thời gian khuyến nghị:

• Passage 1: 15-17 phút (độ khó dễ, band 5.0-6.5)
• Passage 2: 18-20 phút (độ khó trung bình, band 6.0-7.5)
• Passage 3: 23-25 phút (độ khó cao, band 7.0-9.0)

Lưu ý quan trọng: Bạn cần tự quản lý thời gian vì không có thời gian riêng để chuyển đáp án. Hãy viết đáp án trực tiếp vào Answer Sheet trong khi làm bài để tránh mất thời gian cuối giờ.

Các Dạng Câu Hỏi Trong Đề Này

Đề thi mẫu này bao gồm 7 dạng câu hỏi phổ biến trong IELTS Reading:

1. Multiple Choice – Câu hỏi trắc nghiệm nhiều lựa chọn
2. True/False/Not Given – Xác định thông tin đúng/sai/không được đề cập
3. Matching Information – Nối thông tin với đoạn văn tương ứng
4. Sentence Completion – Hoàn thành câu với từ trong bài
5. Summary Completion – Hoàn thành đoạn tóm tắt
6. Matching Features – Nối đặc điểm với đối tượng
7. Short-answer Questions – Câu hỏi trả lời ngắn

Mỗi dạng câu hỏi yêu cầu kỹ năng đọc hiểu khác nhau, từ scanning (tìm thông tin cụ thể) đến skimming (nắm ý chính) và critical reading (đọc phân tích).

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IELTS Reading Practice Test

PASSAGE 1 – Arts as a Bridge Between Cultures

Độ khó: Easy (Band 5.0-6.5)

Thời gian đề xuất: 15-17 phút

In today’s interconnected world, education systems are increasingly recognising the importance of teaching students about cultural diversity. One of the most effective methods that has emerged in recent years is the integration of arts into the curriculum. Through music, visual arts, dance, and drama, educators can create engaging learning experiences that help students understand and appreciate different cultures in ways that traditional textbook-based teaching cannot achieve.

The use of arts in teaching cultural diversity offers several distinct advantages. First, artistic expressions are universal languages that transcend verbal communication barriers. A student who may struggle with reading complex texts about a foreign culture can often connect more easily with that culture’s music or visual art. For instance, when students in a multicultural classroom listen to traditional folk music from various countries, they begin to recognise the unique rhythmic patterns and melodic structures that reflect each culture’s history and values. This sensory engagement creates emotional connections that enhance understanding and memory retention.

Moreover, arts integration promotes active participation rather than passive learning. When students create their own artwork inspired by different cultures, they engage in a deeper cognitive process. They must research the cultural context, understand the symbolic meanings of certain colours, patterns, or movements, and then apply this knowledge creatively. This hands-on approach transforms abstract concepts about diversity into tangible, personal experiences. Teachers have observed that students who participate in arts-based cultural lessons demonstrate greater empathy and reduced prejudice towards people from different backgrounds.

Collaborative art projects further enhance the learning experience by bringing together students from diverse backgrounds. When children work together to create a multicultural mural or perform a fusion dance that combines elements from multiple traditions, they learn to negotiate differences, share perspectives, and find common ground. These interpersonal skills are essential in preparing students for life in an increasingly diverse society. Research conducted by educational psychologists has shown that students who regularly engage in collaborative arts activities develop stronger social bonds and better conflict resolution skills compared to those who only participate in traditional academic activities.

The accessibility of arts education is another significant benefit. Unlike some teaching methods that require expensive technology or materials, basic arts activities can be conducted with minimal resources. Simple materials like paper, colours, and recycled objects can be transformed into meaningful learning tools. This makes arts integration particularly valuable in under-resourced schools where access to diverse learning materials may be limited. Furthermore, the visual and performative nature of arts makes them accessible to students with different learning styles and abilities, including those with language barriers or learning disabilities.

However, the successful implementation of arts integration requires proper teacher training. Educators need to understand not only the artistic techniques but also the cultural significance behind different art forms. Without this knowledge, there is a risk of cultural appropriation or misrepresentation, which can do more harm than good. Professional development programmes that focus on culturally responsive teaching through the arts have become increasingly important. These programmes equip teachers with the skills to facilitate meaningful discussions about cultural differences while creating a safe and respectful learning environment.

Many schools around the world have begun to incorporate arts-based approaches to teaching cultural diversity with remarkable results. In Australia, schools with high populations of Indigenous students have reported improved attendance and engagement when traditional Aboriginal art and storytelling are integrated into the curriculum. Similarly, schools in multicultural cities like Toronto and London have developed comprehensive arts programmes that celebrate the diverse heritage of their student populations, leading to improved school culture and academic outcomes across all subjects.

Despite these successes, challenges remain. Time constraints within standardised curricula, lack of funding for arts programmes, and insufficient teacher preparation are common obstacles. Some administrators still view arts education as supplementary rather than essential, leading to reduced support and resources. Advocates for arts integration argue that these attitudes must change if education systems are to effectively prepare students for the globalised workforce and multicultural societies they will enter as adults.

Học sinh tham gia hoạt động nghệ thuật đa văn hóa trong lớp học IELTS Reading

Questions 1-13

Questions 1-5: Multiple Choice

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

1. According to the passage, what is the main advantage of using arts to teach cultural diversity?
A. It is cheaper than other teaching methods
B. It helps students overcome language barriers
C. It requires less teacher preparation
D. It fits better with standardised curricula

2. The text suggests that students who create culture-inspired artwork:
A. learn faster than those who read textbooks
B. develop a more personal understanding of cultures
C. always show greater artistic talent
D. prefer art classes to traditional lessons

3. Research on collaborative art projects shows that students develop:
A. better academic performance in all subjects
B. stronger leadership qualities
C. improved abilities to resolve conflicts
D. increased interest in art careers

4. What does the passage identify as a risk in arts-based cultural education?
A. Students becoming confused about their own culture
B. Too much time spent on art instead of core subjects
C. Misrepresentation or inappropriate use of cultural elements
D. Students losing interest in traditional academic subjects

5. According to the text, what is a common obstacle to implementing arts integration?
A. Student resistance to creative activities
B. Insufficient time within existing curricula
C. Lack of diverse student populations
D. Too many different art forms to choose from

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. Artistic expressions can be understood across different cultures without verbal explanation.

7. All teachers naturally possess the skills needed to teach arts-based cultural lessons.

8. Schools in Toronto and London have completely replaced traditional teaching methods with arts-based approaches.

9. Some school administrators do not consider arts education to be a core component of the curriculum.

Questions 10-13: Sentence Completion

Complete the sentences below.

Choose NO MORE THAN TWO WORDS from the passage for each answer.

10. When students engage with music from different countries, they can identify distinct __ that are characteristic of each culture.

11. Arts integration is especially beneficial in schools with limited __ where diverse teaching materials are scarce.

12. Australian schools with many Indigenous students saw better __ when traditional Aboriginal art was included in lessons.

13. Critics argue that education systems need to change their views to prepare students for the __ they will join as adults.

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PASSAGE 2 – The Pedagogical Framework of Arts Integration

Độ khó: Medium (Band 6.0-7.5)

Thời gian đề xuất: 18-20 phút

The theoretical foundations of arts integration in teaching cultural diversity draw from multiple pedagogical frameworks, including constructivism, social learning theory, and multicultural education theory. These frameworks collectively suggest that learning is most effective when students actively construct knowledge through meaningful engagement with content that reflects their lived experiences and exposes them to diverse perspectives. Arts integration serves as a pedagogical vehicle through which these principles can be operationalised in classroom settings, creating what educational theorists term “culturally sustaining pedagogy.”

Constructivist approaches to education, pioneered by theorists such as Jean Piaget and Lev Vygotsky, emphasise that learners build understanding through active interaction with their environment. When applied to cultural education through the arts, this means students do not simply receive information about other cultures; instead, they engage in artistic processes that allow them to construct their own understanding. For example, when students learn about Japanese culture by practising origami or calligraphy, they develop embodied knowledge—understanding that exists not just intellectually but also through physical experience and muscle memory. This type of learning creates more durable cognitive connections than passive information reception.

The social dimension of arts integration is equally significant. Vygotsky’s concept of the “Zone of Proximal Development” suggests that learning is optimised when students work collaboratively within their developmental range but with appropriate guidance. Arts-based collaborative projects naturally create these conditions. When students from different cultural backgrounds work together on a theatrical performance that incorporates elements from their respective traditions, they engage in what researchers call “cultural negotiation.” This process requires them to explain their cultural perspectives, listen to others, and find creative ways to synthesise different traditions. Through this dialogical process, students develop intercultural competence—the ability to mediate between cultures and navigate cultural differences effectively.

Research in cognitive neuroscience has provided compelling evidence for the effectiveness of arts integration in cultural learning. Studies using functional magnetic resonance imaging (fMRI) have demonstrated that engaging with artistic stimuli from different cultures activates multiple brain regions simultaneously, including areas associated with emotional processing, memory consolidation, and social cognition. This neural activation pattern differs significantly from that observed during traditional textbook learning, which primarily engages language processing centres. The multisensory nature of arts experiences—combining visual, auditory, and kinesthetic elements—creates redundant neural pathways, enhancing both immediate comprehension and long-term retention of cultural knowledge.

Furthermore, arts integration addresses what educational psychologist Howard Gardner identified as “multiple intelligences.” Gardner’s theory posits that individuals possess different types of intelligence, including linguistic, logical-mathematical, spatial, musical, bodily-kinesthetic, and interpersonal intelligences. Traditional educational approaches predominantly favour linguistic and logical-mathematical intelligences, potentially marginalising students whose strengths lie elsewhere. By incorporating diverse art forms into cultural education, teachers can engage students’ varied intelligences, creating more equitable learning opportunities. A student who struggles with written assignments about cultural differences might excel when expressing their understanding through visual art, dance, or musical composition.

The concept of “funds of knowledge,” developed by educational anthropologists Luis Moll and Norma González, provides another theoretical justification for arts integration. This concept refers to the accumulated cultural knowledge and skills that students bring from their home communities. Arts-based approaches allow students to draw upon and showcase these funds of knowledge in classroom settings. When a student shares a traditional dance from their heritage or teaches classmates about indigenous craft techniques, they transform from passive recipients of knowledge into cultural ambassadors and co-educators. This shift in role enhances both their self-esteem and their classmates’ understanding, while simultaneously validating their cultural identity within the school environment.

However, implementing arts integration for cultural education presents several methodological challenges. One significant issue is assessment. Traditional testing methods, designed for content recall and analytical reasoning, are ill-suited to evaluating the complex outcomes of arts-based learning, which include affective dimensions such as empathy, dispositional changes like reduced prejudice, and competencies like intercultural communication skills. Educators have developed alternative assessment approaches, including portfolio assessments, performance evaluations, and reflective journals, but these methods are more time-intensive and require sophisticated evaluative frameworks to ensure reliability and validity.

Another challenge concerns the authenticity of cultural representation. When educators without deep knowledge of a particular culture attempt to teach about it through arts, they risk presenting stereotypical or superficial interpretations. For instance, teaching about African culture through generic “tribal” music or dance homogenises the incredible diversity of the continent’s thousands of distinct cultures. Best practices in this area emphasise the importance of community partnerships, where cultural practitioners and community members collaborate with schools to ensure authentic representation. Some schools have established “artist-in-residence” programmes that bring cultural experts into classrooms for extended periods, allowing students to learn directly from tradition bearers.

The sustainability of arts integration programmes also warrants consideration. Many successful initiatives rely on external funding or the exceptional dedication of individual teachers. When funding expires or key teachers leave, programmes often diminish or disappear entirely. Systemic integration requires institutional commitment, including dedicated curriculum time, ongoing professional development, and administrative support. Schools that have achieved sustainable arts integration typically have codified policies, allocated budgets, and professional learning communities where teachers regularly share practices and resources.

Mô hình sư phạm tích hợp nghệ thuật trong giáo dục đa văn hóa IELTS

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. Constructivist learning theory suggests that students learn about culture more effectively through active participation than passive listening.

15. All students possess equal levels of different types of intelligence according to Gardner’s theory.

16. Traditional assessment methods are adequate for evaluating the outcomes of arts-based cultural education.

17. Generic representations of African culture through arts can misrepresent the continent’s cultural diversity.

18. Most schools have sufficient funding to sustain arts integration programmes long-term.

Questions 19-22: Matching Information

Match each theoretical concept (19-22) with the correct description (A-G) from the passage.

19. Zone of Proximal Development
20. Funds of knowledge
21. Multiple intelligences
22. Cultural negotiation

A. The process by which students from different backgrounds find ways to combine their cultural traditions
B. The accumulated cultural expertise that students bring from their communities
C. The ability to understand multiple cultures simultaneously
D. The optimal learning range where students work with guidance
E. Different types of cognitive abilities that individuals possess
F. The neural pathways created through artistic experiences
G. The methods used to assess arts-based learning

Questions 23-26: Summary Completion

Complete the summary below.

Choose NO MORE THAN TWO WORDS from the passage for each answer.

Neuroscience research using brain imaging technology has shown that arts-based cultural learning activates several brain regions at once, including those related to emotions, memory, and 23. __. This differs from conventional learning which mainly uses 24. __. The 25. __ nature of arts creates multiple neural connections, improving both understanding and memory. When students share traditional arts from their background, they become 26. __ rather than just learners, which benefits their confidence and validates their cultural identity.

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PASSAGE 3 – Transformative Potential and Contemporary Debates

Độ khó: Hard (Band 7.0-9.0)

Thời gian đề xuất: 23-25 phút

The burgeoning discourse surrounding arts integration as a pedagogical strategy for teaching cultural diversity has generated considerable debate within educational research communities, policy circles, and practitioner networks. While proponents champion its transformative potential for fostering intercultural understanding and dismantling prejudicial attitudes, critics raise substantive concerns about instrumentalisation of the arts, questions of cultural authenticity, and the potential for superficial engagement that may inadvertently reinforce stereotypes rather than challenge them. This contested terrain reflects broader tensions within multicultural education regarding the purposes, methods, and outcomes of diversity-focused pedagogy.

At the heart of this debate lies a fundamental question: Does arts integration genuinely facilitate deep, transformative learning about cultural diversity, or does it merely provide aesthetically pleasing but educationally shallow experiences? Ethnographic studies conducted in schools with established arts integration programmes reveal a complex picture. Researchers have documented instances where sustained engagement with culturally-specific art forms led to demonstrable shifts in students’ cultural schemas—the cognitive frameworks through which individuals interpret cultural differences. In one longitudinal study tracking students over three years, participants who engaged in intensive arts-based cultural curriculum showed significant increases in cognitive flexibility, perspective-taking ability, and tolerance for ambiguity—characteristics associated with intercultural maturity. These changes persisted in follow-up assessments conducted two years after the programme ended, suggesting enduring cognitive restructuring rather than temporary attitudinal shifts.

However, critics point to methodological limitations in much of this research. Many studies lack adequate control groups, rely on self-reported measures of attitudes and beliefs, or fail to disaggregate effects attributable specifically to arts integration from those resulting from other programme components. More fundamentally, some scholars question whether the cognitive-behavioural outcomes typically measured in educational research capture what is truly significant about arts-based cultural learning. Philosopher Maxine Greene argued that the value of aesthetic education lies not in measurable competencies but in its capacity to disrupt habitual perception and create what she termed “wide-awakeness“—a state of heightened awareness and questioning of taken-for-granted assumptions. This perspective suggests that conventional research paradigms may be inherently inadequate for assessing the most profound impacts of arts integration.

The issue of cultural commodification presents another significant concern. When schools instrumentalise cultural arts primarily as vehicles for achieving educational objectives—improved test scores, enhanced social cohesion, or demonstrated diversity competence—there is a risk of reducing complex cultural traditions to utilitarian tools, stripping them of their intrinsic meaning and spiritual significance. Indigenous scholars have been particularly vocal about this issue, noting instances where sacred artistic practices are adapted for classroom use without appropriate cultural protocols or permission from cultural custodians. The Maori concept of tapu (sacredness), for example, prohibits certain traditional art forms from being created in particular contexts or by individuals without proper cultural authorisation. When such practices are incorporated into school curricula without adequate consultation and respect for cultural boundaries, arts integration becomes a form of neo-colonial appropriation rather than respectful cultural exchange.

This concern connects to broader debates about who has the authority to teach about and through cultural arts. The increasing diversification of student populations has not been matched by corresponding diversification of teaching workforces in many countries. In the United States, for instance, over 50% of public school students are from racially minoritised groups, while approximately 80% of teachers identify as white. This demographic mismatch raises questions about cultural positionality and expertise. Can teachers effectively and authentically teach about cultures they do not belong to? Some scholars advocate for cultural humility—an approach where teachers acknowledge the limits of their understanding and position themselves as co-learners alongside students and community members. Others argue this is insufficient and call for systemic efforts to recruit and retain teachers from diverse backgrounds who can draw upon insider cultural knowledge.

The concept of “cosmopolitan education” offers one theoretical framework for navigating these tensions. Cosmopolitan pedagogues argue for an approach that neither fetishises cultural difference nor seeks to erase it in favour of universal human commonality. Instead, cosmopolitan education cultivates what philosopher Kwame Anthony Appiah calls “rooted cosmopolitanism“—the ability to maintain deep connections to one’s own cultural traditions while simultaneously developing genuine curiosity and dialogic engagement with cultural others. From this perspective, arts integration should not aim to produce students who can perform surface-level representations of multiple cultures, but rather individuals who can engage in serious aesthetic inquiry into how different cultural traditions encode values, construct meaning, and offer distinct ways of experiencing and interpreting reality.

Emerging research on digital technologies and arts integration introduces new possibilities and challenges. Virtual reality environments can now provide immersive experiences of cultural practices and contexts that would otherwise be inaccessible to most students—virtually attending a traditional ceremony, exploring historical cultural sites, or experiencing artworks in their original contexts. Digital collaboration platforms enable students from different countries to co-create artistic works, engaging in real-time intercultural exchange. However, these technologies also raise concerns about digital divides that may exacerbate existing educational inequalities, as well as questions about whether mediated virtual experiences can genuinely substitute for direct embodied encounters with cultural practices and practitioners.

The political dimensions of arts integration in cultural education cannot be ignored. In an era of resurgent nationalism and anti-immigrant sentiment in many countries, education about cultural diversity becomes inherently political. Some political constituencies view multicultural education with suspicion, framing it as a threat to national cohesion or dominant cultural values. In this context, arts integration can be either a subversive practice that challenges hegemonic narratives or a sanitised compromise that presents diversity as colourful celebration while avoiding engagement with difficult histories of colonialism, racism, and ongoing structural inequalities. The tension between these possibilities shapes how arts integration programmes are designed, implemented, and received by different stakeholders.

Looking forward, the field faces both opportunities and imperatives. The increasing acknowledgment of climate change as a civilisational crisis requiring unprecedented global cooperation adds urgency to efforts to develop young people’s capacity for cross-cultural understanding and collaboration. Simultaneously, technological advances in artificial intelligence and automation are transforming labour markets, making creative skills and intercultural competencies—precisely what arts integration aims to develop—increasingly valuable. However, realising this potential requires moving beyond pilot programmes and isolated innovations toward systemic transformation of educational structures, teacher preparation, curriculum frameworks, and assessment systems. Whether educational institutions and policymakers possess the vision and commitment necessary for such transformation remains an open question, one whose answer will significantly shape the prospects for intercultural coexistence in an increasingly interconnected yet fractured world.

Các quan điểm khác nhau về tích hợp nghệ thuật trong giáo dục văn hóa đương đại

Questions 27-40

Questions 27-31: Multiple Choice

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

27. The main purpose of the first paragraph is to:
A. explain why arts integration is the best teaching method
B. describe the ongoing disagreements about arts integration
C. prove that arts integration does not work effectively
D. list all the problems with current educational systems

28. According to the passage, longitudinal studies on arts integration showed that students:
A. immediately improved their test scores
B. became professional artists later in life
C. maintained improved intercultural abilities over time
D. preferred arts classes to academic subjects

29. What does philosopher Maxine Greene suggest about arts-based learning?
A. It should focus on measurable competencies
B. It creates a heightened state of awareness
C. It works better than traditional teaching methods
D. It requires expensive equipment and materials

30. The passage indicates that the concept of “tapu” in Maori culture relates to:
A. a traditional form of painting
B. the sacredness of certain artistic practices
C. a method of teaching children
D. the difficulty of learning new languages

31. According to the text, cosmopolitan education aims to:
A. teach students about as many cultures as possible
B. focus only on students’ own cultural backgrounds
C. balance cultural identity with openness to other cultures
D. replace traditional education with arts-based learning

Questions 32-36: Matching Features

Match each concern or concept (32-36) with the correct stakeholder or theorist (A-H) mentioned in the passage.

32. Questions about whether conventional research methods can measure the true impact of arts education
33. Concerns about sacred artistic practices being used inappropriately in classrooms
34. The concept of maintaining cultural roots while engaging with other cultures
35. Criticism about inadequate control groups in research studies
36. The idea that arts learning creates lasting changes in how students think about culture

A. Educational researchers conducting longitudinal studies
B. Indigenous scholars
C. Philosopher Maxine Greene
D. Philosopher Kwame Anthony Appiah
E. Cosmopolitan pedagogues
F. Digital technology developers
G. Critics of arts integration research
H. Political constituencies

Questions 37-40: Short-answer Questions

Answer the questions below.

Choose NO MORE THAN THREE WORDS from the passage for each answer.

37. What percentage of American public school teachers identify as white according to the passage?

38. What kind of environments can now provide immersive cultural experiences for students through technology?

39. What are becoming increasingly valuable in future labour markets according to the text?

40. What type of transformation does the passage say is needed to fully realise the potential of arts integration?

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Answer Keys – Đáp Án

PASSAGE 1: Questions 1-13

1. B
2. B
3. C
4. C
5. B
6. TRUE
7. FALSE
8. NOT GIVEN
9. TRUE
10. rhythmic patterns
11. resources
12. attendance
13. globalised workforce

PASSAGE 2: Questions 14-26

14. YES
15. NOT GIVEN
16. NO
17. YES
18. NOT GIVEN
19. D
20. B
21. E
22. A
23. social cognition
24. language processing centres
25. multisensory
26. cultural ambassadors

PASSAGE 3: Questions 27-40

27. B
28. C
29. B
30. B
31. C
32. C
33. B
34. D
35. G
36. A
37. approximately 80% / 80%
38. Virtual reality environments
39. creative skills / intercultural competencies
40. systemic transformation

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Giải Thích Đáp Án Chi Tiết

Passage 1 – Giải Thích

Câu 1: B

• Dạng câu hỏi: Multiple Choice
• Từ khóa: main advantage, using arts, teach cultural diversity
• Vị trí trong bài: Đoạn 2, dòng 1-4
• Giải thích: Câu “artistic expressions are universal languages that transcend verbal communication barriers” và “A student who may struggle with reading complex texts… can often connect more easily with that culture’s music or visual art” cho thấy lợi thế chính là vượt qua rào cản ngôn ngữ. Đáp án A sai vì tuy có đề cập chi phí thấp nhưng đây không phải lợi thế chính. C và D không được nhắc đến là lợi thế chính.

Câu 3: C

• Dạng câu hỏi: Multiple Choice
• Từ khóa: research, collaborative art projects, students develop
• Vị trí trong bài: Đoạn 4, dòng 5-8
• Giải thích: “Research conducted by educational psychologists has shown that students… develop stronger social bonds and better conflict resolution skills” chỉ ra rõ ràng kỹ năng giải quyết xung đột được cải thiện. Paraphrase: “conflict resolution skills” = “abilities to resolve conflicts”

Câu 4: C

• Dạng câu hỏi: Multiple Choice
• Từ khóa: risk, arts-based cultural education
• Vị trí trong bài: Đoạn 6, dòng 2-4
• Giải thích: “Without this knowledge, there is a risk of cultural appropriation or misrepresentation” chỉ rõ rủi ro chính là sử dụng sai hoặc thể hiện sai văn hóa.

Câu 6: TRUE

• Dạng câu hỏi: True/False/Not Given
• Từ khóa: artistic expressions, understood, different cultures, without verbal explanation
• Vị trí trong bài: Đoạn 2, dòng 1-2
• Giải thích: “Artistic expressions are universal languages that transcend verbal communication barriers” có nghĩa chính xác là nghệ thuật có thể được hiểu mà không cần lời giải thích bằng lời nói.

Câu 7: FALSE

• Dạng câu hỏi: True/False/Not Given
• Từ khóa: all teachers, naturally possess skills, teach arts-based cultural lessons
• Vị trí trong bài: Đoạn 6, dòng 1-2
• Giải thích: “The successful implementation of arts integration requires proper teacher training” và “Educators need to understand not only the artistic techniques but also the cultural significance” cho thấy giáo viên CẦN đào tạo, không tự nhiên có kỹ năng này. Câu văn mâu thuẫn với khẳng định.

Câu 10: rhythmic patterns

• Dạng câu hỏi: Sentence Completion
• Từ khóa: students engage with music, different countries, identify
• Vị trí trong bài: Đoạn 2, dòng 5-6
• Giải thích: “When students… listen to traditional folk music from various countries, they begin to recognise the unique rhythmic patterns and melodic structures” – đáp án chính xác từ bài đọc.

Câu 12: attendance

• Dạng câu hỏi: Sentence Completion
• Từ khóa: Australian schools, Indigenous students, improved
• Vị trí trong bài: Đoạn 7, dòng 2-3
• Giải thích: “Schools with high populations of Indigenous students have reported improved attendance and engagement when traditional Aboriginal art and storytelling are integrated” – từ “attendance” xuất hiện trực tiếp trong bài.

Passage 2 – Giải Thích

Câu 14: YES

• Dạng câu hỏi: Yes/No/Not Given
• Từ khóa: Constructivist learning theory, students learn, active participation, passive listening
• Vị trí trong bài: Đoạn 2, dòng 2-5
• Giải thích: “Students do not simply receive information about other cultures; instead, they engage in artistic processes that allow them to construct their own understanding” thể hiện quan điểm của tác giả ủng hộ học tập chủ động hơn thụ động. “Receive information” tương đương “passive listening”, “engage in artistic processes” tương đương “active participation”.

Câu 16: NO

• Dạng câu hỏi: Yes/No/Not Given
• Từ khóa: Traditional assessment methods, adequate, evaluating, arts-based cultural education
• Vị trí trong bài: Đoạn 7, dòng 2-4
• Giải thích: “Traditional testing methods… are ill-suited to evaluating the complex outcomes of arts-based learning” – từ “ill-suited” (không phù hợp) rõ ràng mâu thuẫn với “adequate” (đầy đủ, phù hợp) trong câu hỏi. Tác giả không đồng ý với quan điểm này.

Câu 19: D

• Dạng câu hỏi: Matching Information
• Từ khóa: Zone of Proximal Development
• Vị trí trong bài: Đoạn 3, dòng 2-3
• Giải thích: “Vygotsky’s concept of the Zone of Proximal Development suggests that learning is optimised when students work collaboratively within their developmental range but with appropriate guidance” – khớp với description D “The optimal learning range where students work with guidance”.

Câu 20: B

• Dạng câu hỏi: Matching Information
• Từ khóa: Funds of knowledge
• Vị trí trong bài: Đoạn 6, dòng 2-3
• Giải thích: “This concept refers to the accumulated cultural knowledge and skills that students bring from their home communities” – tương ứng chính xác với B “The accumulated cultural expertise that students bring from their communities”.

Câu 23: social cognition

• Dạng câu hỏi: Summary Completion
• Từ khóa: brain regions, emotions, memory
• Vị trí trong bài: Đoạn 4, dòng 3-5
• Giải thích: “Engaging with artistic stimuli… activates multiple brain regions simultaneously, including areas associated with emotional processing, memory consolidation, and social cognition” – “social cognition” là từ cuối cùng trong chuỗi liệt kê.

Câu 26: cultural ambassadors

• Dạng câu hỏi: Summary Completion
• Từ khóa: students share traditional arts, become, rather than learners
• Vị trí trong bài: Đoạn 6, dòng 6-7
• Giải thích: “They transform from passive recipients of knowledge into cultural ambassadors and co-educators” – paraphrase: “rather than just learners” = “from passive recipients of knowledge into”.

Passage 3 – Giải Thích

Câu 27: B

• Dạng câu hỏi: Multiple Choice
• Từ khóa: main purpose, first paragraph
• Vị trí trong bài: Đoạn 1, toàn bộ
• Giải thích: Đoạn văn giới thiệu “considerable debate”, “proponents champion”, “critics raise concerns”, “contested terrain” – tất cả đều chỉ ra mục đích chính là miêu tả các tranh luận đang diễn ra về tích hợp nghệ thuật. Đáp án B chính xác nhất.

Câu 28: C

• Dạng câu hỏi: Multiple Choice
• Từ khóa: longitudinal studies, arts integration, students
• Vị trí trong bài: Đoạn 2, dòng 4-9
• Giải thích: “These changes persisted in follow-up assessments conducted two years after the programme ended, suggesting enduring cognitive restructuring” cho thấy những cải thiện về năng lực liên văn hóa được duy trì theo thời gian. “Persisted” và “enduring” paraphrase cho “maintained over time”.

Câu 29: B

• Dạng câu hỏi: Multiple Choice
• Từ khóa: Maxine Greene, arts-based learning
• Vị trí trong bài: Đoạn 3, dòng 5-7
• Giải thích: “Philosopher Maxine Greene argued that the value of aesthetic education lies… in its capacity to disrupt habitual perception and create what she termed ‘wide-awakeness’—a state of heightened awareness” – “heightened awareness” khớp với đáp án B.

Câu 30: B

• Dạng câu hỏi: Multiple Choice
• Từ khóa: tapu, Maori culture
• Vị trí trong bài: Đoạn 4, dòng 6-8
• Giải thích: “The Maori concept of tapu (sacredness)… prohibits certain traditional art forms from being created in particular contexts” – từ “sacredness” trong ngoặc chỉ rõ đáp án B là chính xác.

Câu 32: C

• Dạng câu hỏi: Matching Features
• Từ khóa: conventional research methods, measure true impact
• Vị trí trong bài: Đoạn 3, dòng 4-7
• Giải thích: “Some scholars question whether the cognitive-behavioural outcomes typically measured… capture what is truly significant… Philosopher Maxine Greene argued…” – Maxine Greene là người đặt câu hỏi về phương pháp nghiên cứu thông thường.

Câu 37: approximately 80% / 80%

• Dạng câu hỏi: Short-answer Questions
• Từ khóa: percentage, American public school teachers, white
• Vị trí trong bài: Đoạn 5, dòng 3-4
• Giải thích: “Approximately 80% of teachers identify as white” – trích dẫn trực tiếp từ bài. Cả hai dạng “approximately 80%” và “80%” đều chấp nhận được.

Câu 40: systemic transformation

• Dạng câu hỏi: Short-answer Questions
• Từ khóa: type of transformation, needed, realise potential, arts integration
• Vị trí trong bài: Đoạn 8, dòng 4-6
• Giải thích: “Realising this potential requires moving beyond pilot programmes and isolated innovations toward systemic transformation of educational structures” – “systemic transformation” xuất hiện trực tiếp trong bài.

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Từ Vựng Quan Trọng Theo Passage

Passage 1 – Essential Vocabulary

Từ vựng	Loại từ	Phiên âm	Nghĩa tiếng Việt	Ví dụ từ bài	Collocation
integration	n	/ˌɪntɪˈɡreɪʃn/	sự tích hợp, hòa nhập	integration of arts into the curriculum	arts integration, curriculum integration
diversity	n	/daɪˈvɜːsəti/	sự đa dạng	teaching cultural diversity	cultural diversity, ethnic diversity
transcend	v	/trænˈsend/	vượt qua, vượt trội	transcend verbal communication barriers	transcend boundaries, transcend limitations
engagement	n	/ɪnˈɡeɪdʒmənt/	sự tham gia, gắn kết	sensory engagement creates emotional connections	active engagement, student engagement
empathy	n	/ˈempəθi/	sự đồng cảm	demonstrate greater empathy	develop empathy, show empathy
collaborative	adj	/kəˈlæbərətɪv/	mang tính hợp tác	collaborative art projects	collaborative learning, collaborative approach
accessibility	n	/əkˌsesəˈbɪləti/	khả năng tiếp cận	the accessibility of arts education	improve accessibility, ensure accessibility
implementation	n	/ˌɪmplɪmenˈteɪʃn/	sự triển khai, thực hiện	successful implementation of arts integration	programme implementation, policy implementation
appropriation	n	/əˌprəʊpriˈeɪʃn/	sự chiếm dụng	risk of cultural appropriation	cultural appropriation, avoid appropriation
misrepresentation	n	/ˌmɪsˌreprɪzenˈteɪʃn/	sự trình bày sai lệch	cultural misrepresentation	avoid misrepresentation, risk of misrepresentation
comprehensive	adj	/ˌkɒmprɪˈhensɪv/	toàn diện, bao quát	comprehensive arts programmes	comprehensive approach, comprehensive study
supplementary	adj	/ˌsʌplɪˈmentri/	bổ sung, phụ trợ	view arts education as supplementary	supplementary materials, supplementary information

Passage 2 – Essential Vocabulary

Từ vựng	Loại từ	Phiên âm	Nghĩa tiếng Việt	Ví dụ từ bài	Collocation
pedagogical	adj	/ˌpedəˈɡɒdʒɪkl/	thuộc sư phạm	pedagogical frameworks	pedagogical approach, pedagogical methods
constructivism	n	/kənˈstrʌktɪvɪzəm/	chủ nghĩa kiến tạo	Constructivist approaches to education	social constructivism, cognitive constructivism
embodied	adj	/ɪmˈbɒdid/	được thể hiện qua cơ thể	develop embodied knowledge	embodied learning, embodied experience
cognitive	adj	/ˈkɒɡnətɪv/	thuộc nhận thức	more durable cognitive connections	cognitive development, cognitive skills
intercultural	adj	/ˌɪntəˈkʌltʃərəl/	liên văn hóa	develop intercultural competence	intercultural communication, intercultural understanding
synthesise	v	/ˈsɪnθəsaɪz/	tổng hợp	synthesise different traditions	synthesise information, synthesise ideas
neuroscience	n	/ˈnjʊərəʊsaɪəns/	khoa học thần kinh	research in cognitive neuroscience	cognitive neuroscience, neuroscience research
multisensory	adj	/ˌmʌltiˈsensəri/	đa giác quan	the multisensory nature of arts	multisensory experience, multisensory learning
consolidation	n	/kənˌsɒlɪˈdeɪʃn/	sự củng cố	memory consolidation	knowledge consolidation, memory consolidation
equitable	adj	/ˈekwɪtəbl/	công bằng	more equitable learning opportunities	equitable access, equitable distribution
dispositional	adj	/ˌdɪspəˈzɪʃənl/	thuộc khuynh hướng	dispositional changes like reduced prejudice	dispositional characteristics, dispositional traits
authenticity	n	/ˌɔːθenˈtɪsəti/	tính xác thực	authenticity of cultural representation	cultural authenticity, ensure authenticity
homogenise	v	/həˈmɒdʒənaɪz/	đồng nhất hóa	homogenises the incredible diversity	homogenise culture, homogenise differences
sustainability	n	/səˌsteɪnəˈbɪləti/	tính bền vững	the sustainability of arts integration programmes	programme sustainability, ensure sustainability
codified	adj	/ˈkəʊdɪfaɪd/	được quy định thành luật	codified policies	codified rules, codified procedures

Passage 3 – Essential Vocabulary

Từ vựng	Loại từ	Phiên âm	Nghĩa tiếng Việt	Ví dụ từ bài	Collocation
burgeoning	adj	/ˈbɜːdʒənɪŋ/	đang phát triển mạnh	the burgeoning discourse	burgeoning interest, burgeoning field
instrumentalisation	n	/ˌɪnstrəmentəlaɪˈzeɪʃn/	sự công cụ hóa	concerns about instrumentalisation of the arts	cultural instrumentalisation, avoid instrumentalisation
contested	adj	/kənˈtestɪd/	có tranh cãi	this contested terrain	contested concept, contested space
ethnographic	adj	/ˌeθnəˈɡræfɪk/	thuộc dân tộc học	ethnographic studies	ethnographic research, ethnographic approach
schema	n	/ˈskiːmə/	lược đồ nhận thức	students’ cultural schemas	cognitive schema, cultural schema
longitudinal	adj	/ˌlɒŋɡɪˈtjuːdɪnl/	theo chiều dọc (thời gian)	longitudinal study tracking students	longitudinal research, longitudinal data
cognitive flexibility	n phrase	/ˈkɒɡnətɪv ˌfleksəˈbɪləti/	tính linh hoạt nhận thức	increases in cognitive flexibility	develop cognitive flexibility, improve cognitive flexibility
methodological	adj	/ˌmeθədəˈlɒdʒɪkl/	thuộc phương pháp luận	methodological limitations	methodological approach, methodological issues
disaggregate	v	/dɪsˈæɡrɪɡeɪt/	phân tách, tách riêng	fail to disaggregate effects	disaggregate data, disaggregate results
commodification	n	/kəˌmɒdɪfɪˈkeɪʃn/	sự hàng hóa hóa	cultural commodification	cultural commodification, avoid commodification
neo-colonial	adj	/ˌniːəʊ kəˈləʊniəl/	thuộc tân thực dân	neo-colonial appropriation	neo-colonial attitudes, neo-colonial practices
positionality	n	/pəˌzɪʃəˈnæləti/	vị trí, vị thế	questions about cultural positionality	researcher positionality, social positionality
cosmopolitan	adj	/ˌkɒzməˈpɒlɪtən/	mang tính quốc tế, thế giới	cosmopolitan education	cosmopolitan approach, cosmopolitan perspective
fetishise	v	/ˈfetɪʃaɪz/	tôn sùng quá mức	neither fetishises cultural difference	fetishise diversity, fetishise culture
dialogic	adj	/ˌdaɪəˈlɒdʒɪk/	mang tính đối thoại	dialogic engagement with cultural others	dialogic approach, dialogic learning
immersive	adj	/ɪˈmɜːsɪv/	đắm chìm, trải nghiệm sâu	immersive experiences of cultural practices	immersive environment, immersive learning
hegemonic	adj	/ˌheɡəˈmɒnɪk/	có tính bá quyền	challenges hegemonic narratives	hegemonic power, hegemonic discourse
subversive	adj	/səbˈvɜːsɪv/	mang tính phá hoại	arts integration can be a subversive practice	subversive ideas, subversive actions

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Kết bài

Chủ đề “The role of arts integration in teaching cultural diversity” không chỉ phản ánh xu hướng giáo dục toàn cầu mà còn là một trong những chủ đề phổ biến trong IELTS Reading test hiện nay. Qua ba passages với độ khó tăng dần, bạn đã được luyện tập với các dạng bài đa dạng từ Multiple Choice, True/False/Not Given, đến Matching Information và Summary Completion – những dạng câu hỏi xuất hiện thường xuyên nhất trong kỳ thi thực tế.

Đề thi mẫu này đã cung cấp đầy đủ 40 câu hỏi với độ khó phân bổ hợp lý: dễ (40%), trung bình (40%), và khó (20%), giúp bạn đánh giá chính xác năng lực của mình. Các đáp án chi tiết kèm giải thích cụ thể về vị trí thông tin, kỹ thuật paraphrase và phương pháp làm bài sẽ giúp bạn hiểu rõ tại sao một đáp án đúng và học cách áp dụng cho các bài thi khác.

Đặc biệt, bộ từ vựng tổng hợp theo từng passage với hơn 40 từ vựng học thuật quan trọng, kèm phiên âm, nghĩa tiếng Việt và collocations sẽ là công cụ hữu ích giúp bạn nâng cao vốn từ và cải thiện khả năng đọc hiểu. Hãy dành thời gian ôn luyện kỹ những từ vựng này vì chúng thường xuyên xuất hiện trong các đề thi IELTS Reading về chủ đề giáo dục, văn hóa và xã hội.

Để đạt kết quả tốt nhất, hãy luyện tập đề thi này trong điều kiện giống thi thật: 60 phút cho cả ba passages, không tra từ điển, và tự chấm điểm theo answer keys. Sau đó, dành thời gian phân tích kỹ những câu sai để hiểu rõ nguyên nhân và rút kinh nghiệm. Chúc bạn ôn tập hiệu quả và đạt band điểm mong muốn trong kỳ thi IELTS sắp tới!