Some critics argue that an opera’s stage directions are never reflecte

author's sole intention is to address the issue as mentioned in option B. first line of the argument forward this issue and after that author clarifies starting with keyword "however".
hope this will help.

IMO D

A : most frequently reflected is wrong . Author says it can be reflected ( not most frequently)
B: This is the premise which the author is opposing . the second sentence starts with "however " depicting that he refutes the claim
C : Effect is out of scope
E : Relation is not required as we need to strengthen the claim.

toughest of the lot u have got it till now.

Guessing its "D". Hope this is a 700+ question, else I have a long way to go.

Should be D.

yes agree with D .....we need an example that shows that a direction can be identified in the opera ...and D does that for us

D - Based on the most common stage direction being reflected in the music, we can say that the music can reflect many stage directions. Plus the other choices aren't too good.

I guessed "D"... and guessed right

My choice is D.

In the argument, the statement that many comic scenes in Mozart’s operas open with violin phrases that sound like the squeaking of changing scenery is offered in support of the claim that

We are looking for something that the supports the claim.

Answer B refutes the claim.

Answer D supports the claim.

The author is basically out to defend / back his claims in opposition of the position
held by critics. A pointer is the use of transitional word "however."
Author's view "that an opera's stage directions are reflected in its music" is clearly
highlighted in option D.

Some critics argue that an opera’s stage directions are never reflected in its music. Many comic scenes in Mozart’s operas, however, open with violin phrases that sound like the squeaking of changing scenery. Clearly Mozart intended the music to echo the sounds occurring while stage directions are carried out. Hence, a change of scenery—the most basic and frequent stage direction—can be reflected in the music, which means that other operatic stage directions can be as well.

In the argument, the statement that many comic scenes in Mozart’s operas open with violin phrases that sound like the squeaking of changing scenery is offered in support of the claim that

(A) a change of scenery is the stage direction most frequently reflected in an opera’s music
(B) an opera’s stage directions are never reflected in its music
(C) an opera’s music can have an effect on the opera’s stage directions
(D) a variety of stage directions can be reflected in an opera’s music
(E) the most frequent relation between an opera’s music and its stage directions is one of musical imitation of the sounds that occur when a direction is carried out

Answer is D

I took a simple approach. Concentrate on the keyword However in the second sentence. It reverses the flow of the argument. So I just reversed the first sentence "opera’s stage directions are never reflected in its music." The nearest match to this was only D. B is out of question, its going against the argument. A is wrong as the music can be there still not affecting the direction. C sounds like music is a supplement which has variant effects sometime expressing change in direction and sometimes not.

D
Easy

Let's look at the argument in this way:

Some critics argue that an opera’s stage directions are never reflected in its music. Many comic scenes in Mozart’s operas, however, open with violin phrases that sound like the squeaking of changing scenery. Clearly Mozart intended the music to echo the sounds occurring while stage directions are carried out. Hence, a change of scenery—the most basic and frequent stage direction—can be reflected in the music, which means that other operatic stage directions can be as well.

So , opera’s stage directions can be reflected in the music

Went with D as well. Process of elimination!

Option D. I got this one correct

Negating D actually bring down the conclusion.Hence the answer choice is more of an Assumption choice.

IMO D. But this once so damn wordy! It really confuses you. Took me a full 2 mins!

Some critics argue that an opera’s stage directions are never reflected in its music. Many comic scenes in Mozart’s operas, however, open with violin phrases that sound like the squeaking of changing scenery. Clearly Mozart intended the music to echo the sounds occurring while stage directions are carried out. Hence, a change of scenery—the most basic and frequent stage direction—can be reflected in the music, which means that other operatic stage directions can be as well.

In the argument, the statement that many comic scenes in Mozart’s operas open with violin phrases that sound like the squeaking of changing scenery is offered in support of the claim that


(A) a change of scenery is the stage direction most frequently reflected in an opera’s music X

(B) an opera’s stage directions are never reflected in its music X

(C) an opera’s music can have an effect on the opera’s stage directions X

(D) a variety of stage directions can be reflected in an opera’s music
CORRECT. This is a premise in the argument: “Many comic scenes in Mozart’s operas, however, open with violin phrases that sound like the squeaking of changing scenery”. From this premise, the author concludes that since a simple and frequently occurring stage direction can be reflected, then other stage directions can be included in the music as well.

(E) the most frequent relation between an opera’s music and its stage directions is one of musical imitation of the sounds that occur when a direction is carried out X

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