CAT — Arts And Literature RC
8 questions, free to view. Click any question to see the answer and explanation.
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 Experimental Music (coauthor Leonard M. Isaacson), two questions which often arise when music is discussed are: (a) the substance of musical communication and its symbolic and semantic significance, 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.
A communication 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, manipulates 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.
The goal of the author over the course of this passage is to:
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 Hiller and Stravinsky.
defend electronic music from certain common charges.
defend electronic music from certain common charges.
Throughout the passage, the author addresses two charges against electronic music, that it is not music at all, and that it is inhuman, and systematically refutes both. The discussion of Stravinsky's definition, the communication problem, and the composer's creative role all serve to defend electronic music from these criticisms.
Why Option A is
Incorrect: Differentiating modern from nineteenth century composers is only a supporting point used to establish a broader definition of music, it is not the goal of the passage itself.
Why Option B is
Incorrect: The author is not primarily distinguishing electronic music from other forms but defending it against those who would deny it musical status altogether.
Why Option C is
Incorrect: The author is not defending the serious-minded composer from Hiller or Stravinsky, both of whom are cited approvingly to support the defence of electronic music.
Why Option D is Correct: The passage addresses both common objections to electronic music head-on, arguing that electronic music qualifies as music under a modern definition and that the inhuman charge overlooks the composer's active creative role.
Key Takeaway: Identify the overall argumentative stance of a passage by checking what both the opening question and the closing paragraph are doing, since they typically frame and close the same central defence.
What relation does the "communication problem" mentioned in paragraph 2 have to the questions that the author recounts at the beginning of the passage?
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.
Unfamiliar forms and terms might get in the way of our seeing electronic music as music, but this can be overcome.
The author acknowledges the communication barrier created by electronic music's unfamiliar language of forms and terms, but frames this as an obstacle that can be overcome once listeners fully understand the new structural procedures. So the communication problem relates to the first question about whether electronic music qualifies as music by noting that unfamiliar forms are a temporary barrier, not a permanent disqualification.
Why Option B is
Incorrect: This overstates the passage's claim, the author does not say the unfamiliar language means electronic music cannot be seen as music, only that it presents a communication difficulty that can be resolved through understanding.
Why Option C is
Incorrect: The communication problem is directly connected to the passage's opening questions, specifically to whether the listener can recognise electronic music as music, making them clearly related.
Why Option D is
Incorrect: The author does not argue that music must be difficult to understand, this inverts the passage's actual claim that the barrier can and should be removed through understanding.
Why Option A is Correct: This correctly captures the passage's position, that the unfamiliar language of forms does get in the way of seeing electronic music as music, but this barrier is not insurmountable and can be overcome once the listener is familiar with the new structural language.
Key Takeaway: When a passage identifies a problem and then frames it as surmountable, the correct answer will reflect both the existence of the barrier and the possibility of overcoming it.
The mention of Stravinsky's description of music in the first paragraph does all the following EXCEPT:
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.
help us determine which sounds are musical and which are not.
Stravinsky's definition describes music as "a form of speculation in terms of sound and time," which is broad enough to include electronic music, thereby expanding what counts as music, responding to the earlier emotional-expression definition, and making musical communication seem more abstract. However, this definition says nothing about which specific sounds are musical and which are not, it redefines what music does, not what materials qualify as musical.
Why Option B is
Incorrect: The Stravinsky quote does respond to and expand upon the nineteenth century emotional definition of music, broadening the concept significantly.
Why Option C is
Incorrect: Moving from an emotional to a speculative definition of music does complicate our notion of what is communicated through music, shifting it from feelings to something more abstract.
Why Option D is
Incorrect: By defining music in abstract terms of sound and time, Stravinsky's definition becomes broad enough to classify electronic music as music, which the author explicitly points out.
Why Option A is Correct: Stravinsky's definition broadens what music is at a conceptual level but does not provide any criterion for determining which specific sounds are musical versus non-musical, so it does not help with that distinction.
Key Takeaway: When asked what a quote does not do, check whether each function listed is actually performed by the quote in context, rather than broadly related to the topic.
From the context in which it is placed, the phrase "sui generis" in paragraph 3 suggests which one of the following?
Particular
Generic
Unaesthetic
Indescribable
Particular
The passage states that the serious-minded composer feels that it is in the exploration of "sui generis languages and forms" that the aesthetic magic of the new medium lies, contrasting this with merely reproducing traditional patterns. The phrase is used to describe languages and forms that are unique and distinct to the medium itself, that is, particular to electronic music.
Why Option B is
Incorrect: "Generic" means common or ordinary, which is the opposite of what "sui generis" means in this context, where the composer is seeking out what is distinctively unique about the new medium.
Why Option C is
Incorrect: Nothing in the passage suggests the composer considers these languages unaesthetic, in fact the opposite is true since they are described as containing the "aesthetic magic" of the new medium.
Why Option D is
Incorrect: "Indescribable" does not fit because the passage describes these forms in terms of exploration and aesthetic value, not as something beyond description.
Why Option A is Correct: "Particular" captures the sense of unique or distinctive, meaning languages and forms specific to electronic music that are not simply borrowed from traditional music, which is exactly how the phrase is used.
Key Takeaway: Use the surrounding context, especially contrasts and comparisons, to determine a phrase's meaning rather than relying solely on prior knowledge.
This book takes the position that setting in literature is more than just backdrop, that important insight into literary texts can be made by paying close attention to how authors craft place, as well as to how place functions in a narrative. The authors included in this reference work engage deeply with either real or imagined geographies. They care about how human decisions have shaped landscapes and how landscapes have shaped human practices and values. Some of the best writing is highly vivid, employing the language of the senses because this is the primary means through which humans know physical space. Literature can offer valuable perspectives on physical and cultural geography. Unlike scientific reports, a literary narrative can provide the emotional component missing from the scientific record. In human experience, geographical places have a spiritual or emotional component in addition to and as part of a physical layout and topography. This emotional component, although subjective, is no less "real" than a surveyor's map. Human consciousness of place is experienced in a multimodal manner. Histories of places live on in many forms, one of which is the human memory or imagination.
Both real and imaginary landscapes provide insight into the human experience of place. The pursuit of such a topic speaks to the valuable knowledge produced from bridging disciplines and combining material from both the arts and the sciences to better understand the human condition. The perspectives that most concern cultural geographers are often those regarding movement and migration, cultivation of natural resources, and organization of space. The latter two reflect concerns of the built environment, a topic shared with the field of architectural study. Many of these concerns are also reflected in work sociologists do. Scholars from literary studies can contribute an aesthetic dimension to what might otherwise be a purely ideological approach.
Literature can bring together material that spans different branches of science. For example, a literary description of place may involve not only the environment and geography but the noises and quality of light, or how people from different races or classes can experience the same place in different ways linked to those racial or class disparities. Literary texts can also account for the way in which absence—of other people, animals, and so on—affects a human observer or inhabitant. Both literary and scientific approaches to place are necessary, working in unison, to achieve a complete record of an environment. It is important to note that the interdisciplinary nature of this work teaches us that landscapes are not static, that they are not unchanged by human culture. At least part of their identity derives from the people who inhabit them and from the way space can alter and inspire human perspective. The intersection of scientific and literary expression that happens in the study of literary geography is of prime importance due to the complexity of the personal and political ways that humans experience place.
Which one of the following is a valid conclusion to draw from the author's statement that, "The pursuit of such a topic speaks to the valuable knowledge produced from bridging disciplines and combining material from both the arts and the sciences to better understand the human condition."?
A comprehensive bridging of the human condition can best be achieved by a disciplined pursuit of human understanding.
A comprehensive understanding of the valuable knowledge produced by the arts and sciences can best be achieved by studying the human condition.
A comprehensive understanding of the human condition can best be achieved by combining the findings of disciplines from the arts and the sciences.
The literary descriptions of the emotions we experience in the places we visit can contribute to our understanding of the arts and sciences.
A comprehensive understanding of the human condition can best be achieved by combining the findings of disciplines from the arts and the sciences.
The quoted line argues that pursuing the topic of literary geography produces valuable knowledge by bridging arts and science disciplines to better understand the human condition. The valid conclusion must reflect this exact relationship — combining disciplines from arts and sciences leads to a fuller understanding of human experience.
Why Option A is
Incorrect: This inverts the relationship, suggesting that bridging the human condition results from disciplined pursuit of human understanding, rather than disciplines being combined to understand the human condition.
Why Option B is
Incorrect: This shifts the focus to understanding the arts and sciences themselves through studying the human condition, which reverses the actual direction of the author's claim.
Why Option C is Correct: This accurately reflects the author's point, that combining findings from arts and science disciplines leads to a comprehensive understanding of the human condition.
Why Option D is
Incorrect: This narrows the claim to literary descriptions of emotions specifically, when the original statement is about a broader interdisciplinary combination of arts and science material, not just emotional descriptions.
Key Takeaway: Pay close attention to the direction of cause and effect in a quoted statement, since incorrect options often simply reverse or narrow the original relationship.
Which one of the following is not true of the argument in the second paragraph?
Analysing the literary descriptions of a place can give us a sense of how people relate emotionally to it.
The spiritual experience of a place may be considered as real as the physical experience of it.
The emotional and spiritual experience of a place can replace a surveyor's map.
Literary accounts of places can be filled with histories, manifested as memory or imagination.
The emotional and spiritual experience of a place can replace a surveyor's map.
The second paragraph states that the emotional component of place is "no less real" than a surveyor's map, meaning it stands alongside the physical record, not that it replaces or substitutes for it. Saying the emotional experience "can replace" a surveyor's map goes beyond and misrepresents what the paragraph actually claims.
Why Option A is
Incorrect (as a candidate for not true): The paragraph supports this, since it discusses how literary narrative can convey the emotional component of a place that scientific records miss.
Why Option B is
Incorrect (as a candidate for not true): The paragraph explicitly states the emotional or spiritual component is "no less real" than a physical layout or surveyor's map, supporting this statement.
Why Option C is Correct: The paragraph never claims the emotional experience can replace a surveyor's map, only that it is equally real alongside it, making this statement not true of the argument.
Why Option D is
Incorrect (as a candidate for not true): The paragraph supports this, mentioning that histories of places live on in human memory or imagination, among other forms.
Key Takeaway: Watch for options that subtly escalate a passage's claim — such as turning "equally real as" into "can replace" — which changes the meaning entirely.
The author uses the example of the literary description of place to illustrate that:
scientific approaches to place are more accurate than literary ones.
literature can convey how different people experience the same place differently.
architects use diverse methods to calibrate the noises and lights of a given place.
the absence of other people, animals, and so on in a place can profoundly affect its inhabitants.
literature can convey how different people experience the same place differently.
The fourth paragraph uses the example of literary description of place specifically to show how people from different races or classes can experience the same place differently, linked to those disparities, illustrating literature's capacity to capture varied human experience of the same physical space.
Why Option A is
Incorrect: The passage does not argue scientific approaches are more accurate — it argues both literary and scientific approaches are necessary together for a complete record.
Why Option C is
Incorrect: The passage does not discuss architects calibrating noises and lights — this detail is not present anywhere in the passage.
Why Option B is Correct: This matches the specific example given, that literary descriptions can show how race or class differences shape different experiences of the same place.
Why Option D is
Incorrect: While the passage does mention literature accounting for the effect of absence on an observer, this is a separate point made afterward, not the specific illustration intended by the example of literary description of place referenced in the question.
Key Takeaway: When a question asks about the purpose of a specific example, locate that exact example in the passage and identify precisely what point it is illustrating, rather than picking a nearby but distinct idea.
All of the following statements, if false, would contradict the arguments in the passage, EXCEPT that:
descriptions of places do not need satellite imagery or other visual aids to give a "real" sense of the place.
literature provides us with deep insights into the ways in which movement and migration affect physical geography.
highly vivid writing, employing the language of the senses, can capture the multi-modal manner in which humans experience places.
humans do not interact with places in subjective, emotional ways because places are only physical topography.
humans do not interact with places in subjective, emotional ways because places are only physical topography.
The passage argues throughout that human experience of place includes a real emotional and spiritual component beyond physical topography. If this were false, meaning if humans truly did not interact with places emotionally and places were purely physical, this would directly contradict the passage's central argument. The other options, if false, do not necessarily contradict the passage's claims as directly.
Why Option A is
Incorrect (as a candidate for the exception): If this were false, meaning descriptions of places did need visual aids to feel "real," this would contradict the passage's argument that emotional or literary accounts are "no less real" without such aids, so this is not the exception.
Why Option B is
Incorrect (as a candidate for the exception): If this were false, meaning literature does not provide insight into movement and migration's effect on geography, this would contradict the passage's mention of these as key concerns literature can address, so this is not the exception.
Why Option C is
Incorrect (as a candidate for the exception): If this were false, meaning vivid sensory writing cannot capture the multimodal human experience of place, this would contradict the passage's explicit claim about the value of vivid, sense-based writing, so this is not the exception.
Why Option D is Correct: If this statement is false, it actually aligns with and supports the passage's argument, since the passage insists humans do interact with places emotionally and subjectively, beyond pure physical topography. So this being false does not contradict the passage, making it the exception.
Key Takeaway: In "if false, contradicts except" questions, test what happens to the passage's argument under the assumption that each statement is false, and find the one case where falseness aligns with, rather than against, the original argument.
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