IELTS Reading: Vai trò Của Nhạc Dân Gian Trong Dạy Lịch Sử Dân Tộc – Đề Thi Mẫu Có Đáp Án Chi Tiết

Mở bài

Chủ đề về âm nhạc dân gian và giáo dục lịch sử là một trong những đề tài được yêu thích trong kỳ thi IELTS Reading. Với tần suất xuất hiện khá cao trong các đề thi chính thức, đặc biệt là ở Passage 2 và Passage 3, chủ đề này kết hợp giữa văn hóa, giáo dục và lịch sử – ba lĩnh vực phổ biến nhất trong IELTS Academic Reading.

Bài viết này cung cấp cho bạn một bộ đề thi IELTS Reading hoàn chỉnh với ba passages có độ khó tăng dần từ Easy đến Hard, được thiết kế dựa trên cấu trúc của các đề thi Cambridge IELTS chính thức. Bạn sẽ được thực hành với đầy đủ các dạng câu hỏi thường gặp như Multiple Choice, True/False/Not Given, Matching Headings, và Summary Completion.

Mỗi passage đi kèm với 13-14 câu hỏi, tổng cộng 40 câu như bài thi thật. Sau phần luyện tập, bạn sẽ tìm thấy đáp án chi tiết kèm giải thích cụ thể về vị trí thông tin trong bài, cách paraphrase, và chiến lược làm bài hiệu quả. Phần từ vựng được tổng hợp kỹ lưỡng sẽ giúp bạn mở rộng vốn từ học thuật quan trọng.

Bộ đề này phù hợp cho học viên từ band 5.0 trở lên, với mục tiêu chinh phục band 7.0-8.0 trong phần Reading.

1. Hướng Dẫn Làm Bài IELTS Reading

Tổng Quan Về IELTS Reading Test

IELTS Reading Test là phần thi kéo dài 60 phút với 3 passages và tổng cộng 40 câu hỏi. Mỗi câu trả lời đúng được tính 1 điểm, không bị trừ điểm khi sai. Điểm số sau đó được quy đổi thành band score từ 1-9.

Phân bổ thời gian khuyến nghị:

• Passage 1 (Easy): 15-17 phút (13 câu hỏi)
• Passage 2 (Medium): 18-20 phút (13 câu hỏi)
• Passage 3 (Hard): 23-25 phút (14 câu hỏi)

Lưu ý dành 2-3 phút cuối để chép đáp án vào Answer Sheet. Không giống IELTS Listening, bạn không được thời gian riêng để chuyển đáp án.

Các Dạng Câu Hỏi Trong Đề Này

Đề thi mẫu này bao gồm 7 dạng câu hỏi phổ biến nhất:

1. Multiple Choice – Chọn đáp án đúng từ 3-4 phương án
2. True/False/Not Given – Xác định thông tin đúng, sai hay không được nhắc đến
3. Yes/No/Not Given – Xác định quan điểm tác giả
4. Matching Headings – Nối tiêu đề với đoạn văn phù hợp
5. Summary Completion – Điền từ vào tóm tắt
6. Matching Features – Nối thông tin với người/địa điểm
7. Short-answer Questions – Trả lời câu hỏi ngắn

2. IELTS Reading Practice Test

PASSAGE 1 – Folk Music as a Historical Teaching Tool

Độ khó: Easy (Band 5.0-6.5)

Thời gian đề xuất: 15-17 phút

Throughout history, folk music has served as more than just entertainment; it has been a vital educational tool for preserving and transmitting national history across generations. In many cultures around the world, songs and ballads have been used to tell stories of significant historical events, legendary heroes, and cultural traditions that might otherwise have been forgotten. This oral tradition has proven particularly important in societies where literacy rates were low or written records were scarce.

In the United States, folk songs played a crucial role in teaching Americans about their nation’s history during the 19th and early 20th centuries. Songs like “Yankee Doodle” and “The Battle Hymn of the Republic” were not merely patriotic anthems but educational narratives that helped children and adults alike understand key moments in American history. Teachers in rural schools, where textbooks were often unavailable or outdated, relied heavily on these songs to convey historical lessons. The repetitive nature of folk music made it easy for students to memorize important dates, names, and events, embedding historical knowledge deeply in their collective memory.

The pedagogical value of folk music extends beyond simple memorization. Unlike traditional lectures or textbook reading, folk songs engage students emotionally, creating a more personal connection to historical events. When students sing about the hardships of pioneers traveling west or the struggles of workers during the Industrial Revolution, they develop empathy and a deeper understanding of the human experiences behind historical facts. This emotional engagement has been shown to enhance retention and make learning more meaningful.

In Ireland, the tradition of using folk music for historical education is particularly strong. Irish ballads often recount centuries of conflict, rebellion, and cultural resistance against foreign rule. Songs like “The Rising of the Moon” and “Boolavogue” serve as oral history textbooks, teaching Irish children about events such as the 1798 Rebellion and the Easter Rising of 1916. These songs have helped maintain Irish identity and historical consciousness even during periods when the formal teaching of Irish history was suppressed or discouraged by colonial authorities.

The use of folk music in teaching history also promotes critical thinking skills. Many folk songs present biased perspectives or romanticized versions of historical events, which creates opportunities for teachers to discuss historical interpretation, propaganda, and the difference between primary sources and historical mythology. For example, Civil War songs from both the Union and Confederate sides present dramatically different narratives of the same conflict, allowing students to examine how history can be told from multiple viewpoints.

Modern educators have begun to recognize the untapped potential of folk music as a teaching resource. Several educational programs in Europe and North America now incorporate folk songs into their history curricula, using them as starting points for discussions about cultural heritage, social movements, and national identity. Some schools have even established folk music ensembles where students learn traditional songs while simultaneously studying the historical contexts in which they were created.

Research has shown that students who learn history through folk music demonstrate higher engagement levels and better recall of historical information compared to those who learn through conventional methods alone. The multisensory experience of singing, listening, and sometimes dancing to folk music creates multiple neural pathways for storing information, making it more accessible for later retrieval. Additionally, the communal aspect of singing together reinforces social bonds and creates a shared cultural experience that strengthens students’ sense of belonging to their national community.

However, educators must be careful to use folk music critically and contextually. Not all folk songs present accurate historical information, and some may perpetuate stereotypes or glorify violence. Teachers should encourage students to analyze the songs they study, considering questions such as: Who created this song? What was their purpose? What perspective does it represent? What historical evidence supports or contradicts the song’s narrative? This analytical approach helps students develop media literacy skills that are essential in today’s information-rich environment.

Questions 1-13

Questions 1-5: Multiple Choice

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

1. According to the passage, folk music was especially important in societies where:

• A. People enjoyed singing more than reading
• B. Written records were limited or literacy was low
• C. Historical events were too complex to write down
• D. Teachers preferred musical instruction methods

2. In 19th century American rural schools, folk songs were used because:

• A. They were cheaper than hiring professional teachers
• B. Students requested them in preference to textbooks
• C. Textbooks were often not available or were old
• D. The government mandated their use in curriculum

3. What advantage does folk music have over traditional lectures?

• A. It is easier for teachers to prepare
• B. It requires less classroom time
• C. It creates emotional connections to history
• D. It covers more historical content

4. Irish ballads served an important function during:

• A. Times when teaching Irish history was restricted
• B. Periods of economic prosperity
• C. The development of written Irish language
• D. International folk music festivals

5. Modern research indicates that students learning through folk music show:

• A. No significant difference in learning outcomes
• B. Better memory and engagement than with conventional methods only
• C. Difficulty transitioning to traditional study methods
• D. Preference for music classes over history classes

Questions 6-9: True/False/Not Given

Write TRUE if the statement agrees with the information, FALSE if the statement contradicts the information, or NOT GIVEN if there is no information on this.

6. Folk music was used exclusively in American schools during the 19th century.

7. The repetitive structure of folk songs helps students remember historical information.

8. All Irish folk songs present accurate historical facts without bias.

9. Some schools have created folk music groups that study historical contexts.

Questions 10-13: Summary Completion

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

Folk music creates (10) __ __ for storing information, which helps students remember historical facts more easily. However, teachers must use folk music (11) __ and contextually, as not all songs contain (12) __ __ __. Students should learn to (13) __ the songs by considering who created them and what perspective they represent.

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PASSAGE 2 – The Integration of Folk Music in Contemporary History Education

Độ khó: Medium (Band 6.0-7.5)

Thời gian đề xuất: 18-20 phút

The pedagogical landscape of history education has undergone significant transformation in recent decades, with educators increasingly recognizing the value of multidisciplinary approaches that transcend traditional textbook-based instruction. Among the most promising of these innovative methodologies is the systematic integration of folk music into history curricula, a practice that has gained considerable traction in educational institutions across diverse geographical and cultural contexts. This approach represents more than a superficial enhancement to conventional teaching; it constitutes a fundamental reconceptualization of how historical knowledge can be constructed, transmitted, and internalized by students.

Giáo viên sử dụng nhạc dân gian trong lớp học lịch sử để tăng cường sự tương tác

The theoretical foundation for using folk music as a pedagogical instrument rests on several well-established educational principles. Constructivist learning theory, which posits that students actively construct knowledge through experiences rather than passively absorbing information, finds particular resonance in music-based historical instruction. When students encounter historical narratives through folk songs, they engage in what educational theorist Howard Gardner termed “multiple intelligences” – specifically musical-rhythmic and linguistic intelligence – thereby creating richer cognitive connections than would be possible through verbal-linguistic methods alone. This how traditional music and dance are incorporated into modern education has proven effective across various educational settings.

Furthermore, sociocultural theory, pioneered by Lev Vygotsky, emphasizes the importance of cultural tools in mediating learning. Folk music, as an authentic cultural artifact, serves as precisely such a tool, providing students with direct access to the worldviews, values, and emotional landscapes of historical peoples. Unlike sanitized textbook accounts, which often present history as a series of disconnected facts and dates, folk songs encapsulate the lived experiences of ordinary people, offering insights into how historical events were perceived, interpreted, and emotionally processed by those who experienced them firsthand.

Several exemplary programs demonstrate the practical efficacy of this approach. The “Ballads and Borders” initiative, implemented across fifteen secondary schools in Scotland, uses traditional Scottish folk songs to teach about the complex relationship between Scotland and England from the medieval period through to contemporary devolution debates. Students analyze songs like “Scots Wha Hae” and “The Bonnie Banks o’ Loch Lomond,” examining how these musical texts reflect and shape Scottish national identity. Preliminary assessments indicate that students in this program demonstrate markedly improved understanding of nuanced historical concepts such as nationalism, cultural identity, and political sovereignty compared to control groups receiving standard instruction.

Similarly, the “Singing the Struggle” curriculum in several American school districts employs African American spirituals, work songs, and civil rights anthems to teach about slavery, Reconstruction, and the Civil Rights Movement. Students not only learn the songs but also investigate their historical origins, analyze their lyrical content for coded messages and resistance strategies, and connect them to primary source documents from the periods in question. Teachers report that this approach has proven particularly effective in helping students – especially those from marginalized communities – see themselves as active participants in historical narratives rather than passive observers of events that happened to others.

Học sinh phân tích mối liên hệ giữa nhạc dân gian và tài liệu lịch sử gốc trong hoạt động nhóm

The neurological basis for the effectiveness of music in education has been substantiated by advances in cognitive neuroscience. Functional MRI studies reveal that musical experiences activate multiple brain regions simultaneously, including areas associated with memory, emotion, and language processing. When historical content is embedded in musical contexts, it becomes associated with these multiple neural networks, creating redundant memory traces that facilitate long-term retention and easier retrieval. Moreover, music’s ability to evoke emotional responses means that historical events taught through folk songs are more likely to be consolidated in emotional memory, which is particularly durable and resistant to forgetting.

However, the integration of folk music into history education is not without methodological challenges and potential pitfalls. Chief among these is the risk of perpetuating romanticized or historically inaccurate narratives. Many folk songs that have survived through oral tradition have been modified over time, with lyrics altered to serve changing political purposes or conform to evolving social norms. Educators must therefore approach folk songs as problematic sources requiring critical examination rather than as transparent windows into the past. This resembles challenges discussed in studies about the effects of globalization on cultural heritage, where authenticity must be carefully evaluated.

Additionally, the selection of folk songs for educational purposes raises important questions about representation and whose histories are privileged. In many nations, the folk music canon has been dominated by songs reflecting the experiences of majority ethnic groups or politically dominant classes, while the musical traditions of minority populations or oppressed groups have been marginalized or entirely excluded. Contemporary educators must be intentional about diversifying the folk music repertoire used in history education, ensuring that students encounter multiple perspectives and counter-narratives that challenge hegemonic historical accounts.

Despite these challenges, the pedagogical potential of folk music in history education remains substantial. When implemented thoughtfully and critically, folk music can transform history from an abstract academic subject into a vivid, emotionally resonant, and personally meaningful exploration of human experience across time. As education systems worldwide seek more effective methods for engaging students with the past, the centuries-old tradition of using songs to teach history offers a proven and powerful approach worthy of renewed attention and systematic application.

Questions 14-26

Questions 14-18: Yes/No/Not Given

Write YES if the statement agrees with the views of the writer, NO if the statement contradicts the views of the writer, or NOT GIVEN if it is impossible to say what the writer thinks about this.

14. The integration of folk music represents a fundamental change in how history is taught.

15. Traditional textbook instruction is completely ineffective for teaching history.

16. Howard Gardner’s theory of multiple intelligences supports music-based education.

17. The “Ballads and Borders” program has been adopted in all Scottish schools.

18. Folk songs provide better historical information than primary source documents.

Questions 19-22: Matching Headings

Choose the correct heading for paragraphs C, E, G, and H from the list of headings below.

List of Headings:

• i. Educational programs showing practical success
• ii. The origins of folk music in education
• iii. Challenges in using folk songs for teaching
• iv. Theoretical support for music-based learning
• v. The future of history education
• vi. Brain science explaining music’s teaching effectiveness
• vii. Student preferences for different teaching methods
• viii. Issues of diversity and representation in folk music selection

19. Paragraph C

20. Paragraph E

21. Paragraph G

22. Paragraph H

Questions 23-26: Summary Completion

Complete the summary using the list of words, A-K, below.

Folk music integration in education is based on constructivist learning theory and Vygotsky’s sociocultural theory. Programs like “Ballads and Borders” in Scotland and “Singing the Struggle” in America have shown (23) __ results. Brain imaging studies show that music activates (24) __ brain regions simultaneously, creating stronger memory connections. However, educators must be aware that folk songs may contain (25) __ information and that the selection process can reflect (26) __ towards certain groups.

A. positive
B. negative
C. single
D. multiple
E. inaccurate
F. detailed
G. bias
H. support
I. resistance
J. neutral
K. scientific

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PASSAGE 3 – Folk Music as a Vehicle for Historical Consciousness and National Identity Formation

Độ khó: Hard (Band 7.0-9.0)

Thời gian đề xuất: 23-25 phút

The epistemological significance of folk music in the construction and dissemination of historical knowledge represents a multifaceted phenomenon that intersects disciplines ranging from ethnomusicology and historiography to cognitive psychology and political science. While conventional scholarly discourse has traditionally privileged written texts as the primary repositories of historical information, an emerging body of interdisciplinary research suggests that musical traditions – particularly those classified as “folk” – constitute equally legitimate, and in some respects superior, vehicles for the transmission of historical consciousness across generational and cultural boundaries. This reconceptualization of folk music’s epistemic status has profound implications not merely for pedagogical practice but for our fundamental understanding of how collective memory is formed, maintained, and deployed in the service of national identity construction.

The relationship between folk music and historical education must be understood within the broader context of what French historian Pierre Nora termed “lieux de mémoire” – sites of memory where cultural memory crystallizes and is transmitted in the absence of spontaneous memory environments. In increasingly globalized and technologically mediated societies, where traditional communal structures have been disrupted or entirely dissolved, folk music functions as a portable, adaptable, and remarkably resilient medium for preserving historical narratives that might otherwise succumb to the homogenizing forces of modernity. Unlike physical monuments or archival documents, which require institutional support and are vulnerable to political manipulation or physical destruction, folk songs persist in the collective consciousness through organic processes of repetition and reinterpretation, adapting to new contexts while maintaining essential narrative continuities.

Biểu tượng của nhạc dân gian như công cụ bảo tồn bộ nhớ tập thể và lịch sử dân tộc qua thế hệ

Ethnomusicological research conducted by scholars such as Bruno Nettl and Timothy Rice has demonstrated that folk musical traditions encode historical information through multiple semiotic channels simultaneously. Beyond the explicit narrative content of lyrics, melodic structures, rhythmic patterns, and performance practices themselves carry historical significance, often preserving linguistic features, aesthetic preferences, and social relationships that have otherwise disappeared from contemporary culture. The Gaelic work songs of the Scottish Highlands, for instance, retain grammatical constructions and vocabulary obsolete in modern spoken Gaelic, while their characteristic rhythms reflect the physical movements of pre-industrial labor practices – peat-cutting, wool-fulling, and rowing – that have largely vanished from contemporary life. Such songs thus function as multilayered historical archives, accessible not merely to academic specialists but to ordinary community members through participatory performance.

The pedagogical deployment of folk music in formal educational settings engages what cultural theorist Raymond Williams described as “structures of feeling” – the lived experience of particular times and places that eludes capture in conventional historical documentation. While traditional historiography excels at reconstructing institutional developments, political events, and economic transformations, it often struggles to convey the subjective dimensions of historical experience: how people felt about the changes engulfing their lives, what meanings they ascribed to events, and how they understood their own agency within larger historical processes. Folk music, by contrast, emanates from the experiential reality of historical actors themselves, offering what anthropologist Clifford Geertz termed “thick descriptions” of historical moments – accounts saturated with the cultural meanings and emotional textures that animated those experiences for the people involved.

This experiential dimension of folk music pedagogy has been rigorously examined in recent empirical research. A longitudinal study conducted by researchers at the University of Helsinki tracked 450 secondary students over three academic years, comparing those who received standard history instruction with those whose curriculum incorporated substantial folk music components. The results, published in the Journal of Educational Psychology, revealed statistically significant differences not merely in factual recall but in students’ ability to demonstrate historical empathy – to articulate how historical actors might have perceived and responded to their circumstances given the knowledge, values, and constraints of their particular historical moment. This more sophisticated historical understanding persisted in follow-up assessments conducted two years after the completion of the study, suggesting that folk music-based instruction generates deeper and more durable forms of historical knowledge than conventional approaches.

However, the relationship between folk music and historical education is complicated by the inherently constructed nature of folk traditions themselves. As scholarship by Eric Hobsbawm, Terence Ranger, and others has demonstrated, many ostensibly ancient folk traditions are actually relatively recent inventions, deliberately crafted to serve nationalist projects or legitimize particular political arrangements. The “rediscovery” and systematization of folk music during the 19th century European nationalist movements often involved substantial manipulation – standardizing diverse regional variants, purging “inappropriate” content, and sometimes creating entirely new “traditional” songs to fill perceived gaps in the national musical heritage. The implications for historical pedagogy are profound: using folk music to teach history requires metacritical awareness that the songs themselves are historical artifacts shaped by particular ideological contexts and political purposes.

This critical perspective on folk traditions aligns with contemporary pedagogical theory emphasizing the development of “historical literacy” – the ability to not merely consume historical narratives but to analyze their construction, interrogate their assumptions, and evaluate their evidential basis. When teachers present folk songs not as transparent reflections of historical reality but as complex cultural texts requiring careful interpretation, they create opportunities for students to develop sophisticated analytical skills transferable to evaluation of contemporary media and political discourse. This approach transforms folk music from a potential vehicle for uncritical nationalist indoctrination into a powerful tool for developing the critical consciousness essential for democratic citizenship.

Moreover, the strategic employment of folk music in historical education can address what educational theorist Gloria Ladson-Billings identified as the “cultural synchronization” problem – the disconnect between students’ lived cultural experiences and the dominant culture reproduced in mainstream curricula. For students from marginalized communities, folk music traditions connected to their own heritage can serve as “cultural anchors” that validate their identities while demonstrating the historical significance of their communities’ experiences. Research with Indigenous students in Australia, New Zealand, and North America has shown that incorporating Aboriginal and First Nations musical traditions into history curricula dramatically improves engagement, achievement, and sense of belonging among Indigenous learners, while also educating non-Indigenous students about historical perspectives typically absent from mainstream narratives. The concept closely relates to broader discussions on the role of arts integration in teaching cultural diversity, which emphasizes inclusive educational practices.

The technological evolution of the 21st century presents both challenges and opportunities for folk music-based historical education. Digital archives such as the Library of Congress’s American Folklife Center and the British Library Sound Archive have made thousands of historical recordings accessible to educators and students worldwide, democratizing access to primary source materials previously available only to specialist researchers. Interactive platforms allow students to compare different versions of the same song, trace their evolution over time, and analyze performance variations across regions and historical periods. However, this same technological accessibility raises questions about cultural appropriation, intellectual property, and the potential commodification of traditions that have historically functioned as communal property rather than individual creative works.

Looking forward, the continued integration of folk music into history education will require ongoing dialogue between educators, ethnomusicologists, community cultural practitioners, and members of the communities whose traditions are being studied. The role of AI in improving education systems in developing countries may offer new tools for preserving and teaching folk traditions. This collaborative approach ensures that folk music serves not as a tool for cultural appropriation or superficial multiculturalism but as an authentic bridge between historical knowledge and contemporary experience, between academic understanding and lived cultural practice. When implemented thoughtfully, folk music-based historical pedagogy has the potential to transform history education from a process of memorizing canonical narratives into an engaging exploration of how human beings have understood, expressed, and transmitted their experiences across the vast expanse of time.

Questions 27-40

Questions 27-31: Multiple Choice

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

27. According to the passage, Pierre Nora’s concept of “lieux de mémoire” refers to:

• A. Physical monuments that preserve history
• B. Places where cultural memory crystallizes and is transmitted
• C. Traditional communal structures in modern societies
• D. Government institutions responsible for historical archives

28. The research by Nettl and Rice demonstrates that folk music:

• A. Is primarily valuable for its lyrical content
• B. Encodes historical information through multiple channels simultaneously
• C. Should be studied only by academic specialists
• D. Has limited historical significance compared to written texts

29. The Helsinki University study found that students learning with folk music showed:

• A. Better factual recall only
• B. No significant differences from control groups
• C. Improved historical empathy and deeper understanding
• D. Preference for music over history classes

30. According to Hobsbawm and Ranger’s scholarship:

• A. All folk traditions are genuinely ancient
• B. Folk music always accurately reflects historical truth
• C. Many folk traditions were recently invented for political purposes
• D. Nationalist movements had no influence on folk music

31. The passage suggests that folk music pedagogy should:

• A. Present songs as transparent reflections of history
• B. Avoid any critical analysis of folk traditions
• C. Encourage metacritical awareness of songs as historical artifacts
• D. Focus exclusively on factual content

Questions 32-36: Matching Features

Match each research finding or concept (32-36) with the correct scholar or institution (A-H).

Research findings/concepts:

32. The concept of “structures of feeling” in historical experience

33. Study showing improved historical empathy through folk music

34. Theory of “cultural synchronization” in education

35. Research on invented traditions serving nationalist purposes

36. The idea of folk music as multilayered historical archives

Scholars/Institutions:

A. Pierre Nora
B. Raymond Williams
C. Bruno Nettl and Timothy Rice
D. University of Helsinki
E. Clifford Geertz
F. Gloria Ladson-Billings
G. Eric Hobsbawm and Terence Ranger
H. Library of Congress

Questions 37-40: Short-answer Questions

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

37. What TWO types of constructions do Gaelic work songs preserve that are no longer used in modern speech?

38. What term did Clifford Geertz use to describe detailed accounts saturated with cultural meanings?

39. What problem does folk music education help address for students from marginalized communities?

40. What two concerns does the passage mention regarding technological accessibility of folk music recordings?

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3. Answer Keys – Đáp Án

PASSAGE 1: Questions 1-13

1. B
2. C
3. C
4. A
5. B
6. FALSE
7. TRUE
8. FALSE
9. TRUE
10. multiple neural pathways (hoặc neural pathways)
11. critically
12. accurate historical information
13. analyze

PASSAGE 2: Questions 14-26

14. YES
15. NO
16. YES
17. NOT GIVEN
18. NO
19. iv
20. i
21. vi
22. viii
23. A (positive)
24. D (multiple)
25. E (inaccurate)
26. G (bias)

PASSAGE 3: Questions 27-40

27. B
28. B
29. C
30. C
31. C
32. B
33. D
34. F
35. G
36. C
37. grammatical constructions and vocabulary (hoặc constructions and vocabulary)
38. thick descriptions
39. cultural synchronization (problem)
40. cultural appropriation and intellectual property (hoặc appropriation and commodification)

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4. Giải Thích Đáp Án Chi Tiết

Passage 1 – Giải Thích

Câu 1: B

• Dạng câu hỏi: Multiple Choice
• Từ khóa: folk music, especially important, societies
• Vị trí trong bài: Đoạn 1, câu 3
• Giải thích: Bài viết nói rõ “This oral tradition has proven particularly important in societies where literacy rates were low or written records were scarce.” Đây là paraphrase của đáp án B “written records were limited or literacy was low.”

Câu 2: C

• Dạng câu hỏi: Multiple Choice
• Từ khóa: 19th century American rural schools, folk songs
• Vị trí trong bài: Đoạn 2, câu 3
• Giải thích: Câu “Teachers in rural schools, where textbooks were often unavailable or outdated, relied heavily on these songs” trực tiếp ủng hộ đáp án C.

Câu 3: C

• Dạng câu hỏi: Multiple Choice
• Từ khóa: advantage, folk music, traditional lectures
• Vị trí trong bài: Đoạn 3, câu 2
• Giải thích: Bài viết nói “folk songs engage students emotionally, creating a more personal connection to historical events” – điều này được paraphrase thành “creates emotional connections to history.”

Câu 6: FALSE

• Dạng câu hỏi: True/False/Not Given
• Từ khóa: exclusively, American schools, 19th century
• Vị trí trong bài: Đoạn 2-4
• Giải thích: Từ “exclusively” khiến câu này SAI vì bài viết đề cập đến việc sử dụng nhạc dân gian ở nhiều quốc gia như Ireland (đoạn 4).

Câu 7: TRUE

• Dạng câu hỏi: True/False/Not Given
• Từ khóa: repetitive structure, helps students remember
• Vị trí trong bài: Đoạn 2, câu cuối
• Giải thích: “The repetitive nature of folk music made it easy for students to memorize important dates, names, and events” – khớp hoàn toàn với câu hỏi.

Câu 10-13: Summary Completion

• Câu 10: “multiple neural pathways” (đoạn 7) – tạo ra nhiều con đường thần kinh
• Câu 11: “critically” (đoạn 8) – sử dụng một cách phê phán
• Câu 12: “accurate historical information” (đoạn 8) – thông tin lịch sử chính xác
• Câu 13: “analyze” (đoạn 8) – phân tích các bài hát

Passage 2 – Giải Thích

Câu 14: YES

• Dạng câu hỏi: Yes/No/Not Given
• Từ khóa: integration, fundamental change
• Vị trí trong bài: Đoạn 1, câu cuối
• Giải thích: “it constitutes a fundamental reconceptualization of how historical knowledge can be constructed” – tác giả rõ ràng đồng ý với quan điểm này.

Câu 15: NO

• Dạng câu hỏi: Yes/No/Not Given
• Từ khóa: traditional textbook, completely ineffective
• Vị trí trong bài: Đoạn 1
• Giải thích: Từ “completely ineffective” quá mạnh. Tác giả chỉ nói textbook-based instruction đang được cải thiện, không phải là hoàn toàn không hiệu quả.

Câu 19-22: Matching Headings

• Câu 19 (Paragraph C): iv – Đoạn C nói về “theoretical foundation” và “Constructivist learning theory”
• Câu 20 (Paragraph E): i – Đoạn E mô tả các chương trình cụ thể như “Ballads and Borders” và “Singing the Struggle”
• Câu 21 (Paragraph G): vi – Đoạn G nói về “neurological basis” và “Functional MRI studies”
• Câu 22 (Paragraph H): viii – Đoạn H thảo luận về “representation” và “whose histories are privileged”

Câu 23-26: Summary Completion with Word Bank

• 23. A (positive): “Preliminary assessments indicate… markedly improved understanding”
• 24. D (multiple): “activate multiple brain regions simultaneously”
• 25. E (inaccurate): “historically inaccurate narratives”
• 26. G (bias): Đoạn H nói về việc marginalize một số nhóm, thể hiện sự thiên vị

Passage 3 – Giải Thích

Câu 27: B

• Dạng câu hỏi: Multiple Choice
• Từ khóa: Pierre Nora, lieux de mémoire
• Vị trí trong bài: Đoạn 2, câu đầu
• Giải thích: “sites of memory where cultural memory crystallizes and is transmitted” – paraphrase của đáp án B.

Câu 28: B

• Dạng câu hỏi: Multiple Choice
• Từ khóa: Nettl and Rice, demonstrates
• Vị trí trong bài: Đoạn 3, câu đầu
• Giải thích: “folk musical traditions encode historical information through multiple semiotic channels simultaneously” – đáp án B diễn đạt đúng ý này.

Câu 32-36: Matching Features

• 32. B (Raymond Williams): Đoạn 4 nói “cultural theorist Raymond Williams described as ‘structures of feeling'”
• 33. D (University of Helsinki): Đoạn 5 mô tả “A longitudinal study conducted by researchers at the University of Helsinki”
• 34. F (Gloria Ladson-Billings): Đoạn 8 đề cập “educational theorist Gloria Ladson-Billings identified as the ‘cultural synchronization’ problem”
• 35. G (Eric Hobsbawm and Terence Ranger): Đoạn 6 nói “scholarship by Eric Hobsbawm, Terence Ranger… ostensibly ancient folk traditions are actually relatively recent inventions”
• 36. C (Bruno Nettl and Timothy Rice): Đoạn 3 mô tả nghiên cứu của họ về folk music như “multilayered historical archives”

Câu 37: grammatical constructions and vocabulary

• Vị trí: Đoạn 3, “The Gaelic work songs of the Scottish Highlands… retain grammatical constructions and vocabulary obsolete in modern spoken Gaelic”
• Giải thích: Hai yếu tố ngôn ngữ được bảo tồn trong các bài hát lao động Gaelic.

Câu 38: thick descriptions

• Vị trí: Đoạn 4, “what anthropologist Clifford Geertz termed ‘thick descriptions‘”
• Giải thích: Thuật ngữ của Geertz để mô tả các tài liệu lịch sử chi tiết, đầy ý nghĩa văn hóa.

Câu 39: cultural synchronization (problem)

• Vị trí: Đoạn 8, “the ‘cultural synchronization’ problem – the disconnect between students’ lived cultural experiences”
• Giải thích: Nhạc dân gian giúp giải quyết vấn đề này cho học sinh từ các cộng đồng thiểu số.

Câu 40: cultural appropriation and intellectual property / appropriation and commodification

• Vị trí: Đoạn 9, câu cuối
• Giải thích: “raises questions about cultural appropriation, intellectual property, and the potential commodification” – bất kỳ hai từ nào trong ba từ này đều được chấp nhận.

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5. Từ Vựng Quan Trọng Theo Passage

Passage 1 – Essential Vocabulary

Từ vựng	Loại từ	Phiên âm	Nghĩa tiếng Việt	Ví dụ từ bài	Collocation
folk music	n	/fəʊk ˈmjuːzɪk/	nhạc dân gian	Folk music has served as more than just entertainment	traditional folk music, folk music festival
preserve	v	/prɪˈzɜːv/	bảo tồn, giữ gìn	preserving and transmitting national history	preserve traditions, preserve heritage
ballad	n	/ˈbæləd/	bài hát kể chuyện	songs and ballads have been used to tell stories	folk ballad, traditional ballad
oral tradition	n	/ˈɔːrəl trəˈdɪʃən/	truyền thống truyền miệng	This oral tradition has proven particularly important	oral tradition of storytelling
pedagogical	adj	/ˌpedəˈɡɒdʒɪkəl/	thuộc về sư phạm	The pedagogical value of folk music	pedagogical approach, pedagogical methods
embed	v	/ɪmˈbed/	nhúng, gắn sâu vào	embedding historical knowledge deeply	embed knowledge, deeply embedded
retention	n	/rɪˈtenʃən/	sự ghi nhớ, duy trì	enhance retention and make learning meaningful	memory retention, information retention
suppress	v	/səˈpres/	đàn áp, ngăn chặn	when teaching was suppressed or discouraged	suppress information, suppress freedom
incorporate	v	/ɪnˈkɔːpəreɪt/	kết hợp, tích hợp	incorporate folk songs into curricula	incorporate into teaching, incorporate elements
multisensory	adj	/ˌmʌltiˈsensəri/	đa giác quan	The multisensory experience of singing	multisensory learning, multisensory approach
perpetuate	v	/pəˈpetʃueɪt/	làm trường tồn, duy trì	may perpetuate stereotypes or glorify violence	perpetuate myths, perpetuate inequality
analytical	adj	/ˌænəˈlɪtɪkəl/	thuộc về phân tích	This analytical approach helps students	analytical skills, analytical thinking

Passage 2 – Essential Vocabulary

Từ vựng	Loại từ	Phiên âm	Nghĩa tiếng Việt	Ví dụ từ bài	Collocation
pedagogical landscape	n	/ˌpedəˈɡɒdʒɪkəl ˈlændskeɪp/	bối cảnh sư phạm	The pedagogical landscape has undergone transformation	educational landscape, changing landscape
multidisciplinary	adj	/ˌmʌltiˈdɪsəplɪnəri/	liên ngành, đa ngành	multidisciplinary approaches that transcend	multidisciplinary research, multidisciplinary team
reconceptualization	n	/ˌriːkənˌseptʃuəlaɪˈzeɪʃən/	tái khái niệm hóa	a fundamental reconceptualization of knowledge	reconceptualization of learning
constructivist	adj	/kənˈstrʌktɪvɪst/	theo thuyết kiến tạo	Constructivist learning theory finds resonance	constructivist approach, constructivist pedagogy
mediating	v	/ˈmiːdieɪtɪŋ/	trung gian, làm cầu nối	cultural tools in mediating learning	mediating role, mediating influence
encapsulate	v	/ɪnˈkæpsjuleɪt/	bao gồm, tóm tắt	folk songs encapsulate the lived experiences	encapsulate ideas, encapsulate essence
exemplary	adj	/ɪɡˈzempləri/	mẫu mực, điển hình	Several exemplary programs demonstrate	exemplary practice, exemplary model
marginalized	adj	/ˈmɑːdʒɪnəlaɪzd/	bị thiểu số hóa, bị lề hóa	students from marginalized communities	marginalized groups, marginalized populations
substantiated	v	/səbˈstænʃieɪtɪd/	chứng minh, chứng thực	has been substantiated by advances	substantiate claims, substantiated evidence
consolidate	v	/kənˈsɒlɪdeɪt/	củng cố, hợp nhất	more likely to be consolidated in memory	consolidate knowledge, consolidate power
problematic	adj	/ˌprɒbləˈmætɪk/	có vấn đề, gây tranh cãi	approach folk songs as problematic sources	problematic issues, problematic assumptions
hegemonic	adj	/ˌhedʒɪˈmɒnɪk/	có tính bá quyền	challenge hegemonic historical accounts	hegemonic discourse, hegemonic power
resonant	adj	/ˈrezənənt/	vang vọng, gây ấn tượng sâu	emotionally resonant exploration	emotionally resonant, resonant themes

Passage 3 – Essential Vocabulary

Từ vựng	Loại từ	Phiên âm	Nghĩa tiếng Việt	Ví dụ từ bài	Collocation
epistemological	adj	/ɪˌpɪstɪməˈlɒdʒɪkəl/	thuộc về nhận thức luận	The epistemological significance of folk music	epistemological questions, epistemological framework
historiography	n	/hɪˌstɔːriˈɒɡrəfi/	sử học, nghiên cứu lịch sử	ranging from ethnomusicology and historiography	historical historiography, modern historiography
dissemination	n	/dɪˌsemɪˈneɪʃən/	sự phổ biến, lan truyền	construction and dissemination of knowledge	dissemination of information, wide dissemination
lieux de mémoire	n (French)	/ljø də memwaʁ/	nơi của ký ức	what Pierre Nora termed lieux de mémoire	sites of memory, cultural memory
crystallize	v	/ˈkrɪstəlaɪz/	kết tinh, hình thành rõ	where cultural memory crystallizes	crystallize ideas, crystallize thoughts
homogenizing	adj	/həˈmɒdʒənaɪzɪŋ/	đồng nhất hóa	the homogenizing forces of modernity	homogenizing effect, homogenizing process
semiotic	adj	/ˌsemiˈɒtɪk/	thuộc về ký hiệu học	through multiple semiotic channels	semiotic analysis, semiotic systems
obsolete	adj	/ˈɒbsəliːt/	lỗi thời, không dùng nữa	grammatical constructions obsolete in modern speech	obsolete technology, become obsolete
elude	v	/ɪˈluːd/	tránh, lảng tránh	the lived experience that eludes capture	elude detection, elude understanding
emanate	v	/ˈeməneɪt/	phát ra, xuất phát từ	folk music emanates from experiential reality	emanate from, emanate confidence
longitudinal	adj	/ˌlɒŋɡɪˈtjuːdɪnəl/	theo chiều dọc, dài hạn	A longitudinal study conducted by researchers	longitudinal research, longitudinal data
metacritical	adj	/ˌmetəˈkrɪtɪkəl/	siêu phê bình	requires metacritical awareness	metacritical analysis, metacritical approach
interrogate	v	/ɪnˈterəɡeɪt/	thẩm vấn, xem xét kỹ	interrogate their assumptions	interrogate ideas, interrogate data
commodification	n	/kəˌmɒdɪfɪˈkeɪʃən/	hàng hóa hóa	the potential commodification of traditions	commodification of culture, avoid commodification
canonical	adj	/kəˈnɒnɪkəl/	kinh điển, chính thống	memorizing canonical narratives	canonical texts, canonical works

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Kết bài

Chủ đề về vai trò của nhạc dân gian trong dạy lịch sử dân tộc không chỉ phổ biến trong các kỳ thi IELTS Reading mà còn mang lại những bài học quý giá về cách tiếp cận đa ngành trong giáo dục. Qua ba passages với độ khó tăng dần, bạn đã được thực hành với những dạng câu hỏi đa dạng từ Multiple Choice, True/False/Not Given, Matching Headings đến Summary Completion – tất cả đều là những dạng bài xuất hiện thường xuyên trong kỳ thi thực tế.

Đặc biệt, đề thi này giúp bạn làm quen với từ vựng học thuật phong phú thuộc các lĩnh vực văn hóa, giáo dục và lịch sử. Những cụm từ như “pedagogical landscape”, “constructivist learning theory”, “epistemological significance” hay “hegemonic historical accounts” là những từ vựng band 7.0-8.0 mà bạn cần nắm vững.

Phần đáp án chi tiết đã chỉ ra cách xác định từ khóa, định vị thông tin trong bài và phân tích cách paraphrase – ba kỹ năng cốt lõi để đạt điểm cao trong IELTS Reading. Hãy dành thời gian xem lại những câu bạn làm sai, hiểu rõ tại sao đáp án đó đúng và rút ra bài học cho lần làm bài tiếp theo.

Để đạt kết quả tốt nhất, bạn nên luyện tập đều đặn với các đề thi mẫu tương tự, đồng thời xây dựng vốn từ vựng học thuật phong phú. Hãy nhớ rằng IELTS Reading không chỉ đánh giá khả năng đọc hiểu mà còn đo lường kỹ năng quản lý thời gian và tư duy phản biện của bạn. Chúc bạn ôn tập hiệu quả và đạt được band điểm mong muốn!