kfree Posted September 28, 2003 Share Posted September 28, 2003 TMians, I got stuck on this one. could you help me out? Also, can you explain why you made your choice? Thx!! "Popular art" has a number of meanings, impossible to define with any precision, which range from folklore to junk. The poles are clear enough, but the middle tends to blur. (5) The Hollywood Western of the 1930's, for example, has elements of folklore, but is closer to junk than to high art or folk art. There can be great trash, just as there is bad (10) high art. The musicals of George Gershwin are great popular art, never aspiring to high art. Schubert and Brahms, however, used elements of popular music--folk themes--in works (15) clearly intended as high art. The case of Verdi is a different one: he took a popular genre--bourgeois melodrama set to music (an accurate definition of nineteenth-century (20) opera)--and, without altering its fundamental nature, transmuted it into high art. This remains one of the greatest achievements in music, and one that cannot be fully appreciated (25) without recognizing the essential trashiness of the genre. As an example of such a transmutation, consider what Verdi made of the typical political elements (30) of nineteenth-century opera.Generally in the plots of these operas, a hero or heroine--usually portrayed only as an individual, unfettered by class--is caught between the immoral (35) corruption of the aristocracy and the doctrinaire rigidity or secret greed of the leaders of the proletariat. Verdi transforms this naive and unlike formulation with music of (40) extraordinary energy and rhythmic vitality, music more subtle than it seems at first hearing. There are scenes and arias that still sound like calls to arms and were clearly (45) understood as such when they were first performed. Such pieces lend an immediacy to the otherwise veiled political message of these operas and call up feelings beyond those (50) of the opera itself. Or consider Verdi's treatment of character. Before Verdi, there were rarely any characters at all in musical drama, only a series of (55) situations which allowed the singers to express a series of situations which allowed the singers to express a series of emotional states. Any attempt to find coherent psychological (60) portrayal in these operas is misplaced ingenuity. The only coherence was the singer's vocal technique: when the cast changed, new arias were almost always substituted, (65) generally adapted from other operas. Verdi's characters, on the other hand, have genuine consistency and integrity, even if, in many cases, the consistency is that of pasteboard (70) melodrama. The integrity of the character is achieved through the music: once he had become established, Verdi did not rewrite his music for different singers or countenance (75) alterations or substitutions of somebody else's arias in one of his operas, as every eighteenth-century composer had done. When he revised an opera, it was only for dramatic (80) economy and effectiveness. Quote Link to comment Share on other sites More sharing options...
kfree Posted September 28, 2003 Author Share Posted September 28, 2003 24. It can be inferred that the author regards Verdi's revisions to his operas with (A) regret that the original music and texts were altered (B) concern that many of the revisions altered the plots of the original work © approval for the intentions that motivated the revisions (D) puzzlement, since the revisions seem largely insignificant (E) enthusiasm, since the revisions were aimed at reducing the conventionality of the operas' plots 25. According to the passage, one of Verdi's achievements within the framework of nineteenth-century opera and its conventions was to (A) limit the extent to which singers influenced the musical compositions and performance of his operas (B) use his operas primarily as forums to protest both the moral corruption and dogmatic rigidity of the political leaders of his time © portray psychologically complex characters shaped by the political environment surrounding them (D) incorporate elements of folklore into both the music and plots of his operas (E) introduce political elements into an art form that had traditionally avoided political content 26. Which of the following best describes the relationship of the first paragraph of the passage to the passage as a whole? (A) It provides a group of specific examples from which generalizations are drawn later in the passage. (B) It leads to an assertion that is supported by examples later in the passage. © It defines terms and relationships that are challenged in an argument later in the passage. (D) It briefly compares and contrasts several achievements that are examined in detail later in the passage. (E) It explains a method of judging a work of art, a method that is used later 27. It can be inferred that the author regards the independence from social class of the heroes and heroines of nineteenth-century opera as (A) an idealized but fundamentally accurate portrayal of bourgeois life (B) a plot convention with no real connection to political reality © a plot refinement unique to Verdi (D) a symbolic representation of the position of the bourgeoisie relative to the aristocracy and the proletariat (E) a convention largely seen as irrelevant by audiences Quote Link to comment Share on other sites More sharing options...
Ainariel Posted September 28, 2003 Share Posted September 28, 2003 Hi kfree, I'm not sure if I'm right, but here is what I think: 24. I think it's E). I immediately eliminated A,B, and D largely because the author has a positive opinion of Verdi. E) is inferred in the second paragraph. 25. E) because Verdi want's to unveil the "political message of these operas" 26. B), mainly because he does point out Verdi's uniqueness in the first paragraph, and then backs up his point in the next two paragraphs. 27. E) because in the second paragraph, it says, "Such pieces lend an immediacy to the otherwise veiled political message of these operas and call up feelings beyond those of the opera itself". This means that the audiences never saw the meaning of the opera for what it was before Verdi came along. Again, I'm not too sure if these answers are correct. Do you have the answers? Tina Quote Link to comment Share on other sites More sharing options...
kfree Posted September 28, 2003 Author Share Posted September 28, 2003 Here are the answers: 24. C 25. A 26. B 27. B Quote Link to comment Share on other sites More sharing options...
kfree Posted September 28, 2003 Author Share Posted September 28, 2003 Hi Tina, There are some display errors in my previous post. I am sorry about that. Quote Link to comment Share on other sites More sharing options...
eagle Posted September 29, 2003 Share Posted September 29, 2003 24. It can be inferred that the author regards Verdi's revisions to his operas with (A) regret that the original music and texts were altered (B) concern that many of the revisions altered the plots of the original work © approval for the intentions that motivated the revisions (D) puzzlement, since the revisions seem largely insignificant (E) enthusiasm, since the revisions were aimed at reducing the conventionality of the operas' plots This one is okay.C.Refer to line 80- that Verdi changed his composition only for dramatic economy and effectiveness. 25. According to the passage, one of Verdi's achievements within the framework of nineteenth-century opera and its conventions was to (A) limit the extent to which singers influenced the musical compositions and performance of his operas (B) use his operas primarily as forums to protest both the moral corruption and dogmatic rigidity of the political leaders of his time © portray psychologically complex characters shaped by the political environment surrounding them (D) incorporate elements of folklore into both the music and plots of his operas (E) introduce political elements into an art form that had traditionally avoided political content I would have gone for C but complex characters are not portrayed as I understand now. I guess A is right .refer to lines 55-60.and again 75. 26. Which of the following best describes the relationship of the first paragraph of the passage to the passage as a whole? (A) It provides a group of specific examples from which generalizations are drawn later in the passage. (B) It leads to an assertion that is supported by examples later in the passage. © It defines terms and relationships that are challenged in an argument later in the passage. (D) It briefly compares and contrasts several achievements that are examined in detail later in the passage. (E) It explains a method of judging a work of art, a method that is used later I would have gone for C or E.But B is right:shy:But thinking of it- the first para does end in an assertion- of Verdis greatest achievement... and the remaining paras do clarify that.Sad that I dont pay attention enough:p 27. It can be inferred that the author regards the independence from social class of the heroes and heroines of nineteenth-century opera as (A) an idealized but fundamentally accurate portrayal of bourgeois life (B) a plot convention with no real connection to political reality © a plot refinement unique to Verdi (D) a symbolic representation of the position of the bourgeoisie relative to the aristocracy and the proletariat (E) a convention largely seen as irrelevant by audiences I would have gone for E here. Tough RC this one.Thanks for posting it,Kfree. Quote Link to comment Share on other sites More sharing options...
kfree Posted September 30, 2003 Author Share Posted September 30, 2003 Hi eagle and Tina, I feelings about RC has always been ambivalent: good and bad. Good because it is the section with least awkward verbals. Bad because I still keep on getting them wrong. Sometimes over half of them wrong. :( I posted here because I was hoping that we could discuss some techniques to finding the answers. Here is how I view the entire passage: I: Introduction. I think the author wants to show that Verdi's work is unique. He starts by pointing out that sometimes there is a thin line between junk art and high art. Then, he points some examples to show difference between popular art and high art. These examples also serve as a contrast to his main subject: Verdi. The author points out that Verdi's work is unique because Verdi is able to transmute popular art into high art. II: The author uses the politics as an example on how he changes the music (But I really don't understand this paragraph!) III: The author points out how Verdi treats the characters in his musical. From the paragraph, we can understand that before Verdi, concerts would change the music to meet the abilities of the singers. But Verdi is against that. Verdi only revised his music when he think there is a need to change in the music. But I don't understand. How does this paragraph have to do with transmuting of bourgeois music to high art???? Now, the problems: Q24) I think the cue is "Verdi's revisions to his operas". After reading this line, we should be directed right to paragraph 3. As Tina pointed out, we should rule out A, B, D right away. And as eagle says, the correct selection is © Q25) "according to the passage" is a cue that this is a detail problem. The problem is on "Verdi's achievements vs. the conventional ways". I think there are two points in the passage: 1. unveiling of political message 2. singers no longer influence the musical seems like only (A) is on the right track. Q27) inference problem, "the independence from social class of the heroes and heroines of nineteenth-century opera" is the cue for us to quickly find it in paragraph 2. But I really don't know how to deal with inference problems. Quote Link to comment Share on other sites More sharing options...
Ainariel Posted September 30, 2003 Share Posted September 30, 2003 hi kfree, I totally agree on your take in paragraph 1. For par. 2, I think the author is just trying to praise Verdi for his ability to portary the politics of bourgeois life in art. I'm sure you're familiar with the saying "Life imitates art". I think in this case, it's more so "Art imitates life". The politics seen in the opera is really the politics we see in real life, that is, in the nineteenth century. As for the third paragraph, Verdi does not want the characters to just sing and show off their voice. He wants his characters to mean something. And that's the main difference between his works and those of other famous composers. I think Verdi wants the audience to open their eyes to the life in the nineteenth century bourgeois life, and he wants people to think about it, not just mindlessly watching the opera itself. Yes, inference questions can be hard. It means you have to find clues before and after the sentence of interest. For Q27, I made the mistake of what Verdi was thinking, not what the author was inferring. Well, Verdi wanted the opera to be reality, so when the author mentions what the opera was like before Verdi, it had to be the exact opposite, hence answer B. Anyway, kfree, I'm not very strong in RC's, either. But I hope my post helped you a bit. All I can suggest is to practice, my personal motto :) Tina Quote Link to comment Share on other sites More sharing options...
kfree Posted September 30, 2003 Author Share Posted September 30, 2003 Tina, your post was most helpful [bounce] Quote Link to comment Share on other sites More sharing options...
anandnk Posted December 12, 2003 Share Posted December 12, 2003 Unfortunately all the correct choices shown were my second best choices, except for the third question. Quote Link to comment Share on other sites More sharing options...
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