Practice Test 3 - AP Japanese Language and Culture

20 questions. Answer them in any order, then submit to see your score and every explanation.

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1. 田村くんが「中学時代の部活」「高校での現在の活動」「卒業後の目標」について述べる場合、時制の使い方が正しい発言はどれですか。
2. According to the text: Japan's recycling culture is reinforced by municipal schedules and neighborhood expectations for separating ごみ (gomi, "waste"). The passage highlights technology—such as improved material-sorting facilities and tracking systems—alongside public education to strengthen 環境保全 (kankyō hozen, "environmental preservation"). It also notes national policies that encourage packaging reduction and producer responsibility, aiming to reduce waste generation rather than only process it. Which term best captures the approach to sustainability initiatives in the text?
3. 日本の温泉地を訪れる外国人観光客が増加している背景として、最も影響が大きいと考えられる複合的な要因は何か。
4. 次の文章を読む。新幹線の車内で、鈴木さんは駅弁を買って窓側に座る。車掌さんが切符を確認し、「ご協力ありがとうございます」と言う。途中、富士山が見えると、近くの親子が静かに写真を撮る。鈴木さんは音を立てないように食べ、通路をふさがないよう荷物を棚に上げる。目的地に着く前に、ゴミを分別して降りる準備をする。Based on the passage, summarize the key details of the passage in your own words.
5. In this Festival Presentation, which labeled sentence is a complex sentence in the presentation? [Simple] Today I will discuss Kyoto's Gion Matsuri and its public meaning. [Compound] In 2019 I attended the evening parade, and I listened to traditional hayashi music. [Complex] Because the floats were built by neighborhood associations, the procession displayed careful communal planning. [Simple] Last year the lanterns reflected on wet streets after sudden rain. [Compound] Next summer I will return, and I will observe the artisans preparing new textiles. [Complex] When visitors follow the etiquette at shrines, they help preserve a respectful atmosphere. [Simple] The festival remains a living tradition.
6. 次(つぎ)の会話(かいわ)を聞(き)いてください。「由紀: 京都(きょうと)の寺(てら)を見(み)るのが好(す)きです。春人: 僕(ぼく)は金閣寺(きんかくじ)を見(み)たことがあります。由紀: 雨(あめ)が降(ふ)ったら、カフェで休(やす)みます。春人: それでも、写真(しゃしん)は撮(と)りたいです。」複文(ふくぶん)はどれですか。
7. この状況が示している日本社会の特徴として最も適切なのはどれですか。
8. Read the following text and answer the question. In contemporary Japan, education is commonly organized through six years of elementary school, three years of junior high school, and three years of high school (高校, upper secondary school). While compulsory education ends after junior high, many students continue to high school to expand academic and career options. During high school, students select course tracks that may emphasize university preparation or practical skills, and schools provide guidance through career counseling (進路指導, guidance for future paths). Grades, attendance, and school recommendations can matter, yet standardized testing remains influential. A major transition occurs when students consider university entry (大学入試, university admissions). Many institutions require competitive entrance examinations (入試, exams), and students often prepare through after-school study and structured practice. Some families choose juku (塾, cram schools) to supplement classroom instruction, offering targeted review, mock exams, and study schedules. Juku attendance is not universal, but it can be helpful for students seeking additional support or aiming for selective programs. Teachers and families may also encourage balanced preparation, including sleep, club activities (部活動, extracurricular clubs), and mental well-being. Alongside academic routes, Japan maintains diverse vocational options. Kōsen (高専, colleges of technology) combine secondary and tertiary elements, emphasizing engineering and applied sciences through laboratory work and internships. Senmon gakkō (専門学校, vocational schools) provide specialized training in fields such as information technology, design, hospitality, and healthcare support. These institutions often collaborate with employers, helping students develop certifications (資格, qualifications) and practical portfolios that translate directly into job readiness. Education can shape career opportunities by signaling skills and professional networks. University students may participate in seminars (ゼミ, small research groups) that build communication and analytical abilities, while vocational students may complete clinical placements or industry projects. Employers evaluate academic records, but they also value reliability, teamwork, and demonstrated competence. For many students, the choice between university and vocational education depends on interests, finances, and desired timelines for entering the workforce. Social attitudes toward education emphasize steady effort and responsibility, sometimes described as ganbaru (頑張る, persevering). Families often hope students will secure stable employment, yet contemporary guidance increasingly highlights fit and long-term growth. Career preparation also includes shūshoku katsudō (就職活動, job-hunting activities), where students practice interviews and learn professional etiquette. Overall, Japanese education and career preparation reflect multiple pathways, combining academic study, practical training, and culturally shaped expectations. Based on the text, what is the role of cram schools in Japan?
9. この状況から読み取れる日本の教育現場における文化的特徴で、最も深層的な意味を持つものはどれですか。
10. この文章の著者の主要な意図は何ですか。
11. 森さんのレビューで、読者により有用な情報を提供するために最も効果的な修正はどれですか。
12. 読んだ文章に基づいて、 伊能忠敬(いのうただたか)は、五十歳(ごじゅっさい)をすぎてから本格(ほんかく)的に測量(そくりょう)を学び、日本の地図(ちず)作りに取り組んだ。まず海岸(かいがん)や道を歩いて距離(きょり)をはかり、つぎに星(ほし)の位置(いち)も使って正確さを高めた。さらに、集めた記録(きろく)を整理(せいり)し、多くの人が利用(りよう)できる地図にした。つまり彼は、努力と工夫で国の形を明らかにした。 筆者が伝えたいことは何ですか？
13. 【買い物】会話：客「このレストラン、予約なしでも入れますか。」店員「今は満席なので、30分ほどお待ちいただきます。」客「支払いは現金ですか。」店員「現金とカードが使えます。」客「じゃ、名前を書けばいいですか。」店員「はい、こちらの名簿にお願いします。」客「わかりました。外で待ちます。」店員「ありがとうございます。順番になりましたらお呼びします。」 Based on the conversation, what information does the customer obtain from the staff member?
14. 次の文章を読んで答えなさい。京都の案内(あんない)中(ちゅう)、地元(じもと)のガイド・藤田(ふじた)は、観光客(かんこうきゃく)の質問(しつもん)に丁寧(ていねい)に答(こた)えつつ、「静(しず)かな場所(ばしょ)は静けさのまま残(のこ)したい」と繰(く)り返(かえ)す。初訪問(はつほうもん)の梨沙(りさ)は、SNS用(よう)に動画(どうが)を撮(と)ろうとし、「みんなに見せたい」と言う。藤田は叱(しか)るのではなく、撮影(さつえい)は人通(ひとどお)りの少(すく)ない所(ところ)で、と提案(ていあん)し、梨沙も「配慮(はいりょ)って大事(だいじ)だね」と頷(うなず)く。藤田の態度(たいど)として最も近いものはどれか。
15. 佐藤さんが適切に感情を伝えるための話し方として最も効果的なのはどれですか。
16. 【場面：レストラン注文】Listen to the dialogue. A: すみません、ビールを二本ください。あと、焼(や)き鳥(とり)を三本。 B: かしこまりました。ビールは二「本」でもいいですが、店では二「杯(はい)」とも言います。 A: あ、じゃあビール二杯でお願いします。焼き鳥は三本のままで大丈夫ですか。 B: はい、焼き鳥は三本で大丈夫です。 A: ありがとうございます。じゃ、それでお願いします。 What is the correct form of the word/phrase the speaker should use for beer here?
17. In the passage: At an autumn cultural festival in Kyoto, volunteer Nao alternates between standard Japanese announcements and local speech with fellow volunteers. On stage she says, 皆さま、こちらへどうぞ ("Everyone, please come this way"), and uses 〜ください ("please") to sound welcoming to visitors. Off stage, an older volunteer uses Kyoto-ben to coach her gently, and Nao mirrors a few dialect endings to show solidarity, then returns to standard Japanese when a family from another prefecture asks questions. A child calls her "Onee-san" (older sister/young woman), and Nao responds with a cheerful ありがとう ("thanks"), but when the child's parent thanks her, Nao answers ありがとうございます (polite "thank you"). Later, Nao reflects that dialect makes her feel like a "Kyoto local," while standard Japanese helps her be understood by everyone. She notices visitors respond more readily when her announcements are clear, yet volunteers smile more when she uses dialect. Nao concludes that language choices let her balance local pride with inclusive hospitality. How do language choices in the passage affect perceptions of identity?
18. 【Scenario: Cultural Interview】Listen to the dialogue. A: 日本(にほん)のアニメが好(す)きです。昨日(きのう)、新(あたら)しいエピソードを見(み)る、すごく感動(かんどう)しました。 B: 「見(み)て、すごく感動(かんどう)しました」って言(い)うと自然(しぜん)ですね。 A: あ、見(み)て、すごく感動(かんどう)しました。ありがとうございます。 B: いいですね。どんな話(はなし)でしたか。 A: 友情(ゆうじょう)の話(はなし)でした。 What error did the speaker make when connecting the verbs 「見る」 and 「感動しました」?
19. Which approach would best navigate the relationship transition while making this larger request appropriately?
20. According to the passage, how does engineering-inspired folding reflect traditional Japanese aesthetics in origami (折り紙)? A design workshop traces how origami's fold patterns inspire contemporary engineering, especially when objects must collapse, expand, or store efficiently. The instructor stresses that this borrowing is not a simple "upgrade" of an old craft; it is a dialogue. Traditional origami values shibui (渋い, subdued beauty) and ma (間, meaningful intervals), which appear when a form remains legible and uncluttered even as it becomes structurally complex. The workshop also introduces mono no aware (物の哀れ, sensitivity to transience): participants notice how paper responds to repeated handling, gradually softening and changing, and this temporal dimension becomes part of the object's beauty. Modern prototypes sometimes begin with digital simulations, yet the final testing returns to the hand—folding, unfolding, and observing how material memory shapes the outcome. The instructor concludes that innovation emerges when functional constraints are met without sacrificing the contemplative pacing and restraint that define the tradition.

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