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09 Aug 2022, 07:30
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Question 1
E
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
75%
(hard)
Question Stats:
47% (03:05) correct
53%
(03:21) wrong
based on 365
sessions
History
Date
Time
Result
Not Attempted Yet
Question 2
C
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
5%
(low)
Question Stats:
89% (00:45) correct 11%
(01:04) wrong
based on 420
sessions
History
Date
Time
Result
Not Attempted Yet
Question 3
B
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:
48% (01:20) correct 52%
(01:17) wrong
based on 425
sessions
History
Date
Time
Result
Not Attempted Yet
Question 4
A
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
25%
(medium)
Question Stats:
77% (01:20) correct 23%
(01:22) wrong
based on 408
sessions
History
Date
Time
Result
Not Attempted Yet
Question 5
C
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
35%
(medium)
Question Stats:
69% (01:31) correct 31%
(01:38) wrong
based on 403
sessions
History
Date
Time
Result
Not Attempted Yet
Question 6
B
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
5%
(low)
Question Stats:
84% (00:33) correct 16%
(00:39) wrong
based on 386
sessions
History
Date
Time
Result
Not Attempted Yet
Question 7
D
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
55%
(hard)
Question Stats:
52% (01:06) correct 48%
(01:05) wrong
based on 394
sessions
History
Date
Time
Result
Not Attempted Yet
Passage A
In music, a certain complexity of sounds can be
expected to have a positive effect on the listener. A
single, pure tone is not that interesting to explore; a
measure of intricacy is required to excite human
(5) curiosity. Sounds that are too complex or disorganized,
however, tend to be overwhelming. We prefer some
sort of coherence, a principle that connects the various
sounds and makes them comprehensible.
In this respect, music is like human language.
(10) Single sounds are in most cases not sufficient to
convey meaning in speech, whereas when put together
in a sequence they form words and sentences.
Likewise, if the tones in music are not perceived to be
tied together sequentially or rhythmically—for
(15) example, in what is commonly called melody—
listeners are less likely to feel any emotional
connection or to show appreciation.
Certain music can also have a relaxing effect. The
fact that such music tends to be continuous and
(20) rhythmical suggests a possible explanation for this
effect. In a natural environment, danger tends to be
accompanied by sudden, unexpected sounds. Thus, a
background of constant noise suggests peaceful
conditions; discontinuous sounds demand more
(25) attention. Even soft discontinuous sounds that we
consciously realize do not signal danger can be
disturbing—for example, the erratic dripping of a
leaky tap. A continuous sound, particularly one that is
judged to be safe, relaxes the brain.
Passage B
(30) There are certain elements within music, such
as a change of melodic line or rhythm, that create
expectations about the future development of the
music. The expectation the listener has about the
further course of musical events is a key determinant
(35) for the experience of “musical emotions.” Music
creates expectations that, if not immediately satisfied,
create tension. Emotion is experienced in relation to
the buildup and release of tension. The more elaborate
the buildup of tension, the more intense the emotions
(40) that will be experienced. When resolution occurs,
relaxation follows.
The interruption of the expected musical course,
depending on one’s personal involvement, causes the
search for an explanation. This results from a
(45) “mismatch” between one’s musical expectation and
the actual course of the music. Negative emotions will be
the result of an extreme mismatch between
expectations and experience. Positive emotions result
if the converse happens.
(50) When we listen to music, we take into account
factors such as the complexity and novelty of the
music. The degree to which the music sounds familiar
determines whether the music is experienced as
pleasurable or uncomfortable. The pleasure
(55) experienced is minimal when the music is entirely new
to the listener, increases with increasing familiarity,
and decreases again when the music is totally known.
Musical preference is based on one’s desire to
maintain a constant level of certain preferable
(60) emotions. As such, a trained listener will have a
greater preference for complex melodies than will a
naive listener, as the threshold for experiencing
emotion is higher.
In music, a certain complexity of sounds can be
expected to have a positive effect on the listener. A
single, pure tone is not that interesting to explore; a
measure of intricacy is required to excite human
(5) curiosity. Sounds that are too complex or disorganized,
however, tend to be overwhelming. We prefer some
sort of coherence, a principle that connects the various
sounds and makes them comprehensible.
In this respect, music is like human language.
(10) Single sounds are in most cases not sufficient to
convey meaning in speech, whereas when put together
in a sequence they form words and sentences.
Likewise, if the tones in music are not perceived to be
tied together sequentially or rhythmically—for
(15) example, in what is commonly called melody—
listeners are less likely to feel any emotional
connection or to show appreciation.
Certain music can also have a relaxing effect. The
fact that such music tends to be continuous and
(20) rhythmical suggests a possible explanation for this
effect. In a natural environment, danger tends to be
accompanied by sudden, unexpected sounds. Thus, a
background of constant noise suggests peaceful
conditions; discontinuous sounds demand more
(25) attention. Even soft discontinuous sounds that we
consciously realize do not signal danger can be
disturbing—for example, the erratic dripping of a
leaky tap. A continuous sound, particularly one that is
judged to be safe, relaxes the brain.
Passage B
(30) There are certain elements within music, such
as a change of melodic line or rhythm, that create
expectations about the future development of the
music. The expectation the listener has about the
further course of musical events is a key determinant
(35) for the experience of “musical emotions.” Music
creates expectations that, if not immediately satisfied,
create tension. Emotion is experienced in relation to
the buildup and release of tension. The more elaborate
the buildup of tension, the more intense the emotions
(40) that will be experienced. When resolution occurs,
relaxation follows.
The interruption of the expected musical course,
depending on one’s personal involvement, causes the
search for an explanation. This results from a
(45) “mismatch” between one’s musical expectation and
the actual course of the music. Negative emotions will be
the result of an extreme mismatch between
expectations and experience. Positive emotions result
if the converse happens.
(50) When we listen to music, we take into account
factors such as the complexity and novelty of the
music. The degree to which the music sounds familiar
determines whether the music is experienced as
pleasurable or uncomfortable. The pleasure
(55) experienced is minimal when the music is entirely new
to the listener, increases with increasing familiarity,
and decreases again when the music is totally known.
Musical preference is based on one’s desire to
maintain a constant level of certain preferable
(60) emotions. As such, a trained listener will have a
greater preference for complex melodies than will a
naive listener, as the threshold for experiencing
emotion is higher.
1. Which one of the following concepts is linked to positive musical experiences in both passages?
(A) continuous sound
(B) tension
(C) language
(D) improvisation
(E) complexity
(A) continuous sound
(B) tension
(C) language
(D) improvisation
(E) complexity
2. The passages most strongly suggest that both are targeting an audience that is interested in which one of the following?
(A) the theoretical underpinnings of how music is composed
(B) the nature of the conceptual difference between music and discontinuous sound
(C) the impact music can have on human emotional states
(D) the most effective techniques for teaching novices to appreciate complex music
(E) the influence music has had on the development of spoken language
(A) the theoretical underpinnings of how music is composed
(B) the nature of the conceptual difference between music and discontinuous sound
(C) the impact music can have on human emotional states
(D) the most effective techniques for teaching novices to appreciate complex music
(E) the influence music has had on the development of spoken language
3. Which one of the following describes a preference that is most analogous to the preference mentioned in the first paragraph of passage A?
(A) the preference of some people for falling asleep to white noise, such as the sound of an electric fan
(B) the preference of many moviegoers for movies with plots that are clear and easy to follow
(C) the preference of many diners for restaurants that serve large portions
(D) the preference of many young listeners for fast music over slower music
(E) the preference of most children for sweet foods over bitter foods
(A) the preference of some people for falling asleep to white noise, such as the sound of an electric fan
(B) the preference of many moviegoers for movies with plots that are clear and easy to follow
(C) the preference of many diners for restaurants that serve large portions
(D) the preference of many young listeners for fast music over slower music
(E) the preference of most children for sweet foods over bitter foods
4. Which one of the following most accurately expresses the main point of passage B?
(A) The type of musical emotion experienced by a listener is determined by the level to which the listener’s expectations are satisfied.
(B) Trained listeners are more able to consciously manipulate their own emotional experiences of complex music than are naive listeners.
(C) If the development of a piece of music is greatly at odds with the listener’s musical expectations, then the listener will experience negative emotions.
(D) Listeners can learn to appreciate changes in melodic line and other musical complexities.
(E) Music that is experienced by listeners as relaxing usually produces a buildup and release of tension in those listeners.
(A) The type of musical emotion experienced by a listener is determined by the level to which the listener’s expectations are satisfied.
(B) Trained listeners are more able to consciously manipulate their own emotional experiences of complex music than are naive listeners.
(C) If the development of a piece of music is greatly at odds with the listener’s musical expectations, then the listener will experience negative emotions.
(D) Listeners can learn to appreciate changes in melodic line and other musical complexities.
(E) Music that is experienced by listeners as relaxing usually produces a buildup and release of tension in those listeners.
5. Which one of the following most undermines the explanation provided in passage A for the relaxing effect that some music has on listeners?
(A) The musical traditions of different cultures vary greatly in terms of the complexity of the rhythms they employ.
(B) The rhythmic structure of a language is determined in part by the pattern of stressed syllables in the words and sentences of the language.
(C) Many people find the steady and rhythmic sound of a rocking chair to be very unnerving.
(D) The sudden interruption of the expected development of a melody tends to interfere with listeners’ perception of the melody as coherent.
(E) Some of the most admired contemporary composers write music that is notably simpler than is most of the music written in previous centuries.
(A) The musical traditions of different cultures vary greatly in terms of the complexity of the rhythms they employ.
(B) The rhythmic structure of a language is determined in part by the pattern of stressed syllables in the words and sentences of the language.
(C) Many people find the steady and rhythmic sound of a rocking chair to be very unnerving.
(D) The sudden interruption of the expected development of a melody tends to interfere with listeners’ perception of the melody as coherent.
(E) Some of the most admired contemporary composers write music that is notably simpler than is most of the music written in previous centuries.
6. Which one of the following would be most appropriate as a title for each of the passages?
(A) “The Biological Underpinnings of Musical Emotions”
(B) “The Psychology of Listener Response to Music”
(C) “How Music Differs from Other Art Forms”
(D) “Cultural Patterns in Listeners’ Responses to Music”
(E) “How Composers Convey Meaning Through Music”
(A) “The Biological Underpinnings of Musical Emotions”
(B) “The Psychology of Listener Response to Music”
(C) “How Music Differs from Other Art Forms”
(D) “Cultural Patterns in Listeners’ Responses to Music”
(E) “How Composers Convey Meaning Through Music”
7. It can be inferred that both authors would be likely to agree with which one of the following statements?
(A) The more complex a piece of music, the more it is likely to be enjoyed by most listeners.
(B) More knowledgeable listeners tend to prefer music that is discontinuous and unpredictable.
(C) The capacity of music to elicit strong emotional responses from listeners is the central determinant of its artistic value.
(D) Music that lacks a predictable course is unlikely to cause a listener to feel relaxed.
(E) Music that changes from soft to loud is perceived as disturbing and unpleasant by most listeners.
(A) The more complex a piece of music, the more it is likely to be enjoyed by most listeners.
(B) More knowledgeable listeners tend to prefer music that is discontinuous and unpredictable.
(C) The capacity of music to elicit strong emotional responses from listeners is the central determinant of its artistic value.
(D) Music that lacks a predictable course is unlikely to cause a listener to feel relaxed.
(E) Music that changes from soft to loud is perceived as disturbing and unpleasant by most listeners.
RC Butler 2022 - Practice Two RC Passages Everyday.
Passage # 318 Date: 09-Aug-2022
This question is a part of RC Butler 2022. Click here for Details
Passage # 318 Date: 09-Aug-2022
This question is a part of RC Butler 2022. Click here for Details
- Source: LSAT Official PrepTest 58
- Difficulty Level: 700
24 Aug 2022, 10:40
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Prathana
Question #3:
For the gist of passage A's discussion, look at this sentence: "We prefer some sort of coherence, a principle that connects the various sounds and makes them comprehensible."
According to passage A, we need to be able to make sense of music. The patterns into which it is organized need to be just complex enough to arouse our interest, but not so complicated that we cannot comprehend the pattern, and certainly not chaotic or disorganized.
In answer choice (B), there is a preference for movies that are clear and easy to follow. In other words, there are easy to comprehend and to keep up with, being organized (so there is not total chaos) but not so overly complicated that they overwhelm us. There is enough substance to keep us interested, but not so much that we get overwhelmed, and certainly nothing chaotic and confusing. This is the proper analogy with the first paragraph of passage A.
