Events & Promotions
|
|
GMAT Club Daily Prep
Thank you for using the timer - this advanced tool can estimate your performance and suggest more practice questions. We have subscribed you to Daily Prep Questions via email.
Customized
for You
Track
Your Progress
Practice
Pays
Not interested in getting valuable practice questions and articles delivered to your email? No problem, unsubscribe here.
Nov 1811:00 AM PST
-12:00 PM PST
Join us in a live GMAT practice session and solve 30 challenging GMAT questions with other test takers in timed conditions, covering GMAT Quant, Data Sufficiency, Data Insights, Reading Comprehension, and Critical Reasoning questions.
Nov 2211:00 AM IST
-01:00 PM IST
Do RC/MSR passages scare you? e-GMAT is conducting a masterclass to help you learn – Learn effective reading strategies Tackle difficult RC & MSR with confidence Excel in timed test environment- Nov 23
11:00 AM IST
-01:00 PM IST
Attend this free GMAT Algebra Webinar and learn how to master the most challenging Inequalities and Absolute Value problems with ease. 
Nov 2510:00 AM EST
-11:00 AM EST
Prefer video-based learning? The Target Test Prep OnDemand course is a one-of-a-kind video masterclass featuring 400 hours of lecture-style teaching by Scott Woodbury-Stewart, founder of Target Test Prep and one of the most accomplished GMAT instructors.
22 Jan 2020, 03:29
Kudos
Bookmarks
E
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
65%
(hard)
Question Stats:
60% (01:53) correct
40%
(01:54)
wrong
based on 393
sessions
History
Date
Time
Result
Not Attempted Yet
Edwina: True appreciation of Mozart’s music demands that you hear it exactly as he intended it to be heard; that is, exactly as he heard it. Since he heard it on eighteenth-century instruments, it follows that so should we.
Alberto: But what makes you think that Mozart ever heard his music played as he had intended it to be played? After all, Mozart was writing at a time when the performer was expected, as a matter of course, not just to interpret but to modify the written score.
Alberto adopts which one of the following strategies in criticizing Edwina’s position?
(A) He appeals to an academic authority in order to challenge the factual basis of her conclusion.
(B) He attacks her judgment by suggesting that she does not recognize the importance of the performer’s creativity to the audience’s appreciation of a musical composition.
(C) He defends a competing view of musical authenticity.
(D) He attacks the logic of her argument by suggesting that the conclusion she draws does not follow from the premises she sets forth.
(E) He offers a reason to believe that one of the premises of her argument is false.
Alberto: But what makes you think that Mozart ever heard his music played as he had intended it to be played? After all, Mozart was writing at a time when the performer was expected, as a matter of course, not just to interpret but to modify the written score.
Alberto adopts which one of the following strategies in criticizing Edwina’s position?
(A) He appeals to an academic authority in order to challenge the factual basis of her conclusion.
(B) He attacks her judgment by suggesting that she does not recognize the importance of the performer’s creativity to the audience’s appreciation of a musical composition.
(C) He defends a competing view of musical authenticity.
(D) He attacks the logic of her argument by suggesting that the conclusion she draws does not follow from the premises she sets forth.
(E) He offers a reason to believe that one of the premises of her argument is false.
13 Apr 2021, 03:30
Kudos
Bookmarks
Bunuel
OFFICIAL EXPLANATION
(A) No. There is no authority mentioned in the passage.
(B) No. This is not mentioned.
(C) No. There is no other view of musical authenticity mentioned in the passage.
(D) No. This is the second-best choice. Alberto is not claiming that Edwina’s conclusion does not follow from her premises (we cannot tell from the passage whether he believes this or not). Rather, he is denying that one of her premises is valid—namely, that those who played Mozart’s music for Mozart played it exactly as he intended it to be played.
(E) Yes. Edwina’s premise is that Mozart’s heard his music played exactly as he intended it to sound. Alberto argues that this premise is unwarranted because Mozart knew that whoever played his music would interpret and change it. So in fact, Mozart did not hear his music played exactly as he intended it.
General Discussion
28 Jan 2020, 11:48
Kudos
Bookmarks
Edwina: True appreciation of Mozart’s music demands that you hear it exactly as he intended it to be heard; that is, exactly as he heard it. Since he heard it on eighteenth-century instruments, it follows that so should we.
Alberto: But what makes you think that Mozart ever heard his music played as he had intended it to be played? After all, Mozart was writing at a time when the performer was expected, as a matter of course, not just to interpret but to modify the written score.
Alberto adopts which one of the following strategies in criticizing Edwina’s position?
(A) He appeals to an academic authority in order to challenge the factual basis of her conclusion. - no, the fact that mozart heard his music on 18th century instruments is not challenged.
(B) He attacks her judgment by suggesting that she does not recognize the importance of the performer’s creativity to the audience’s appreciation of a musical composition. - no, alberto is attacking the premise edwina has used to draw her conclusion.
(C) He defends a competing view of musical authenticity. - nah.
(D) He attacks the logic of her argument by suggesting that the conclusion she draws does not follow from the premises she sets forth.- no. Conclusion if Edwina is that music should be heard on instruments from 18th century models . Alberto is saying performers used to modify the song so mozart may not have heard what he wrote.
(E) He offers a reason to believe that one of the premises of her argument is false. - exactly the answer. How because alberto says performers used to modify the written musical notes when they played. True appreciation of music maybe the modified version as played on stage rather than as written. E is the answer.
Posted from my mobile device
Alberto: But what makes you think that Mozart ever heard his music played as he had intended it to be played? After all, Mozart was writing at a time when the performer was expected, as a matter of course, not just to interpret but to modify the written score.
Alberto adopts which one of the following strategies in criticizing Edwina’s position?
(A) He appeals to an academic authority in order to challenge the factual basis of her conclusion. - no, the fact that mozart heard his music on 18th century instruments is not challenged.
(B) He attacks her judgment by suggesting that she does not recognize the importance of the performer’s creativity to the audience’s appreciation of a musical composition. - no, alberto is attacking the premise edwina has used to draw her conclusion.
(C) He defends a competing view of musical authenticity. - nah.
(D) He attacks the logic of her argument by suggesting that the conclusion she draws does not follow from the premises she sets forth.- no. Conclusion if Edwina is that music should be heard on instruments from 18th century models . Alberto is saying performers used to modify the song so mozart may not have heard what he wrote.
(E) He offers a reason to believe that one of the premises of her argument is false. - exactly the answer. How because alberto says performers used to modify the written musical notes when they played. True appreciation of music maybe the modified version as played on stage rather than as written. E is the answer.
Posted from my mobile device
