Comprehension
The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.
Often the well intentioned music lover or the traditionally-minded professional composer asks two basic questions when faced with the electronic music phenomena: (1) . . . is this type of artistic creation music at all? and, (2) given that the product is accepted as music of a new type or order, is not such music “inhuman”? . . . As Lejaren Hiller points out in his book Experi mental Music (co-author Leonard M. Isaacson), two questions which often arise when music is discussed are: (a) the substance of musical communication and its symbolic and semantic sig nificance, if any, and (b) the particular processes, both mental and technical, which are involved in creating and responding to musical composition. The ever-present popular concept of music as a direct, open, emotional expression and as a subjective form of communication from the composer, is, of course still that of the nineteenth century, when composers themselves spoke of music in those terms . . . But since the third decade of our century many composers have preferred more objective definitions of music, epitomized in Stravinsky’s description of it as “a form of speculation in terms of sound and time”. An acceptance of this more characteristic twentieth- century view of the art of musical composition will of course immediately bring the layman closer to an understanding of, and sympathetic response to, electronic music, even if the forms, sounds and approaches it uses will still be of a foreign nature to him.
Acommunication problem however will still remain. The principal barrier that electronic music presents at large, in relation to the communication process, is that composers in this medium are employing a new language of forms . . . where terms like ‘densities’, ‘indefinite pitch relations’, ‘dynamic serialization’, ‘permutation’, etc., are substitutes (or remote equivalents) for the traditional concepts of harmony, melody, rhythm, etc. . . . When the new structural procedures of electronic music are at last fully understood by the listener the barriers between him and the work he faces will be removed. . . .
The medium of electronic music has of course tempted many kinds of composers to try their hand at it . . . But the serious-minded composer approaches the world of electronic music with a more sophisticated and profound concept of creation. Although he knows that he can reproduce and employ melodic, rhythmic patterns and timbres of a traditional nature, he feels that it is in the exploration of sui generis languages and forms that the aesthetic magic of the new medium lies. And, conscientiously, he plunges into this search.
The second objection usually levelled against electronic music is much more innocent in nature. When people speak—sometimes very vehemently—of the ‘inhuman’ quality of this music they seem to forget that the composer is the one who fires the machines, collects the sounds, manip ulates them, pushes the buttons, programs the computer, filters the sounds, establishes pitches and scales, splices tape, thinks of forms, and rounds up the over-all structure of the piece, as well as every detail of it.
Question: 1

The goal of the author over the course of this passage is to:

Show Hint

For “main goal” or “purpose” questions in reading comprehension, focus on:

the opening problem or question raised,
the author’s repeated emphasis or defence, and
how the passage concludes.
These usually reveal what the author is {really} trying to do.
Updated On: Jul 1, 2026
  • differentiate the modern composer from the nineteenth century composer.
  • differentiate between electronic music and other forms of music.
  • defend the “serious-minded composer” from Lejaren Hill and Stravinsky.
  • defend electronic music from certain common charges.
Show Solution

The Correct Option is D

Solution and Explanation

Approach: Use the "verb test." The main purpose almost always matches the strongest action verb that is true of the entire passage, so check the verb in each option against the passage's overall behaviour.

Step 1: The four verbs are differentiate, differentiate, defend, defend. The passage's structure is charge-then-rebuttal: it states an objection ('inhuman', 'not music') and then knocks it down. That is the behaviour of defending, not merely differentiating, so the answer lives among the two 'defend' options.

Step 2: Now decide what is being defended and from whom. The thing under attack throughout is electronic music; the attackers are unnamed common critics, not Stravinsky or Hill, who are actually cited to help the author's case. So 'defend the serious-minded composer from Hill and Stravinsky' has the wrong target and wrong opponents.

Step 3: That leaves 'defend electronic music from certain common charges,' which names the right defendant (electronic music) and the right attacker (the common objections raised at the start). Both halves match, so it is the answer.

Step 4: The two 'differentiate' options describe paragraph-level moves, not the umbrella purpose, and a contrast can serve a defence without being the goal, so they are correctly rejected.

Answer: defend electronic music from certain common charges.
Was this answer helpful?
0
Question: 2

What relation does the “communication problem” mentioned in paragraph 2 have to the questions that the author recounts at the beginning of the passage?

Show Hint

When relating ideas across paragraphs, look for:

repeated themes,
restated concerns,
explanatory links that address earlier questions.
This helps identify how later sections resolve earlier doubts.
Updated On: Jul 1, 2026
  • Unfamiliar forms and terms might get in the way of our seeing electronic music as music, but this can be overcome.
  • Its unfamiliar “language of forms” and novel terms mean that we cannot see electronic music as music since it does not employ traditional musical concepts.
  • None; they are unrelated to one another and form parts of different discussions.
  • The communication problem is what allows us to see electronic music as music because music must be difficult to understand.
Show Solution

The Correct Option is A

Solution and Explanation

Approach: Sort the four options by their attitude to the barrier, then keep only the one whose attitude matches the author's. Two axes decide it: is the relation present or absent, and is the barrier permanent or surmountable.

Step 1: Option 3 says there is no relation. But the communication problem and the opening doubt are about the same thing \(-\) whether electronic music reads as music \(-\) so they are clearly connected. Eliminate 3.

Step 2: Among the remaining three, the author's tone throughout is reassuring: objections are raised in order to be answered. So the correct option must treat the unfamiliar language as a problem that can be solved.

Step 3: Option 2 calls it a dead end ('we cannot see electronic music as music'); Option 4 makes difficulty a badge of honour ('music must be difficult'). Both are too strong and neither matches the author's hopeful stance. Option 1 alone keeps the barrier real but beatable \(-\) 'might get in the way ... but this can be overcome.'

Step 4: That phrasing mirrors the passage's whole method, so option 1 is the answer.

Answer: Unfamiliar forms and terms might get in the way of our seeing electronic music as music, but this can be overcome.
Was this answer helpful?
0
Question: 3

The mention of Stravinsky’s description of music in the first paragraph does all the following EXCEPT:

Show Hint

For “EXCEPT” questions, verify three options that the passage clearly supports. The remaining option—unsupported or contradicted—is the correct answer.
Updated On: Jul 1, 2026
  • help us determine which sounds are musical and which are not.
  • respond to and expand upon earlier understandings of music.
  • complicate our notion of what is communicated through music.
  • allow us to classify electronic music as music.
Show Solution

The Correct Option is A

Solution and Explanation

Approach: Reframe the question as 'three of these are effects of Stravinsky's definition; one contradicts what such a definition is built to do.' Test each against the nature of an abstract definition.

Step 1: Stravinsky's phrase 'speculation in terms of sound and time' is an including definition \(-\) it widens the gate so unconventional sounds can enter. A definition that widens the gate cannot, at the same time, be a gatekeeper that rejects some sounds as non-musical.

Step 2: Option 1 asks the definition to act as that gatekeeper, deciding which sounds are musical and which are not. That is the opposite of what an inclusive definition does, so it is the false statement and the answer to this EXCEPT.

Step 3: Confirm the other three are genuine effects. It answers and stretches the old view (2); it unsettles the comfortable idea of what music expresses (3); and by being broad it licenses electronic music as music (4). All three sit naturally with an expansive definition, so none of them is the EXCEPT.

Answer: help us determine which sounds are musical and which are not.
Was this answer helpful?
0
Question: 4

From the context in which it is placed, the phrase “sui generis” in paragraph 3 suggests which one of the following?

Show Hint

To understand unfamiliar phrases, always rely on the surrounding explanation. Words like sui generis typically signal uniqueness, not vagueness or generality.
Updated On: Jul 1, 2026
  • Particular
  • Generic
  • Unaesthetic
  • Indescribable
Show Solution

The Correct Option is A

Solution and Explanation

Approach: Treat it as a near-synonym hunt anchored by an opposite. The cleanest way to crack a vocab-in-context option set is to spot the obvious antonym among the choices \(-\) the right answer is usually its mirror.

Step 1: One option, 'Generic,' means belonging to a whole class, common, not special. The sentence uses 'sui generis' to stress that electronic music's forms are NOT borrowed and NOT shared with traditional music. So the intended meaning must be the opposite of 'Generic.'

Step 2: The opposite of generic among the choices is 'Particular' \(-\) specific, of its own kind. That single contrast already locks the answer.

Step 3: Clear the distractors. 'Unaesthetic' speaks to beauty, an unrelated axis. 'Indescribable' is a trap: sui generis means unclassifiable-because-unique, yet the passage is busy describing these forms, so 'indescribable' contradicts the context. Only 'Particular' survives.

Answer: Particular
Was this answer helpful?
0

Top Questions on Reading Comprehension