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Updated on: 21 Jul 2022, 01:26
Originally posted by bubbayusha on 09 Dec 2019, 23:50.
Last edited by Sajjad1994 on 21 Jul 2022, 01:26, edited 5 times in total.
Last edited by Sajjad1994 on 21 Jul 2022, 01:26, edited 5 times in total.
Added q#4
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Question 1
D
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:
43% (02:09) correct
57%
(02:18) wrong
based on 346
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:
15%
(low)
Question Stats:
77% (00:56) correct 23%
(01:09) wrong
based on 333
sessions
History
Date
Time
Result
Not Attempted Yet
Question 3
A
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
45%
(medium)
Question Stats:
54% (01:05) correct 46%
(01:09) wrong
based on 278
sessions
History
Date
Time
Result
Not Attempted Yet
Question 4
B
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:
67% (01:04) correct 33%
(01:02) wrong
based on 232
sessions
History
Date
Time
Result
Not Attempted Yet
Isadora Duncan's masterly writings on the dance reveal the depth of her determination to create a lyric form of the art which was free of characterization, storytelling, and the theatrical exhibition' of skills, She wished to discard the traditional methods and established vocabularies of such dance forms as ballet and to explore the internal sourees of human expressiveness. She shunned bodily ornamentation and strove to use only the natural movements of her body, undistorted by acrobatic exaggeration and stimulated only by internal compulsion. In her recitals Duncan danced to the music of Beethoven, Wagner, and Gluck, among others, but, contrary to popular belief, she made no attempt to visualize or to interpret the music; rather, she simply relied on it to provide the inspiration for expressing inner feelings through movement. She did not regard this use of music as ideal, however, believing that she would someday dispense with music entirely. That day never came.
D
(A) masterful lyricism as expressed in her writings on the dance
(B) concerted efforts to subdue the natural move- ments of the dance
(C) belated recognition that she could not actually fulfill all of her ideals for the dance
(D) basic standards for the dance form that she wished to create and perform
(E) continuous responsiveness to a popular misconception about the nature of her new art form
C
(A) interpret musical works solely by means of natural body movements
(B) foster the illusion that music serves as an inspi- ration for the dance
(C) inspire the expression of inner feeling when she danced
(D) validate the public belief that music inspires the expression of feeling through movement
(E) counter the public belief that she made no attempt to visualize music
A
A. Using music to stimulate the inspiration to dance
B. Attempting to free an art form of both characterization and storytelling
C. Minimizing the theatrical exhibition of skills
D. Being inspired to express inner feeling through movement
E. Creating a lyric art form by drawing on inner personal resources
B
(A) avoid the use of standard ballet techniques
(B) revitalize an earlier established vocabulary
(C) draw on internal sources of human expressiveness
(D) create intended effects without the use of acrobatic exaggeration
(E) derive inspiration solely from inner feelings
---Edited to include an analysis of a fourth question that was added.---
Hello, everyone. I thought I would take a moment to post my thoughts on the three-question set, since the bookends seem to be causing a little confusion.
QUESTION ONE
Isadora Duncan's masterly writings on the dance reveal the depth of her determination to create a lyric form of the art...
The passage goes on to discuss Duncan's ideas on dance. The focus is on dance itself, not on the manner in which the ideas of the author are expressed (her writings).
Choice (B) is a reversal. Duncan embraced natural movements, but, the passage tells us, shunned bodily ornamentation and acrobatic exaggeration.
Choice (C) is completely off the mark. The author does not dwell on the belated recognition of the subject; rather, we are told upfront about the goals that Duncan had set for the art of dance, and the passage continues in this thread. It is a stretch to call the final line of the passage a primary concern. The author merely indicates that Duncan died, or at least stopped dancing, before she could realize her ambition of dancing freely without musical accompaniment.
Choice (D) is correct. The first two lines of the passage explicitly state that Duncan had wished to discard the traditional methods of dance and to create a lyric form of the art which was free of characterization, storytelling, and the theatrical exhibition of skills.
Choice (E) is altogether wayward. Duncan was not continuously responding to critics of her new art form. The line in the passage that says contrary to popular belief seems to be commenting on after-the-fact views of Duncan (post-dancing career), so the idea that she was responding to a popular misconception is anachronistic at best.
QUESTION TWO
inspire the expression of inner feeling when she danced
There is no case that can be made for any other answer.
QUESTION THREE
Choice (A) is correct. The penultimate line of the passage tells us that Duncan
did not regard [the] use of music as ideal, however, believing that she would someday dispense with music entirely.
Thus, we can say that Duncan would not prefer using music to stimulate the inspiration to dance. I did not choose this answer right away, but, as we will see, it is definitely the best of the bunch.
Choice (B) is a reversal. The opening line of the passage tells us that Duncan wanted to create a lyric form of the art which was free of characterization, storytelling... End of story.
Choice (C) fits the same mold as (B) and, in fact, stems from the same line of the passage. The third element in the list above is the theatrical exhibition of skills. If Duncan sought to eliminate the theatrical exhibition of skills in dance, then that would represent the ultimate form of minimizing such exhibitionism.
Choice (D), once again, can be found directly in the text as an element of dance for which Duncan strove. In the line about her use of music during recitals, quoted in the previous question, we learn that she relied on music to provide the inspiration for expressing inner feelings through movement. Even though she would ultimately seek to discard the music, she was working toward the expression of inner feelings all the while.
Choice (E) fails because the second line of the passage says that Duncan wished to explore the internal sources of human expressiveness within her goal of creating a lyric form of dance (from line one), not to mention, of course, that we can also lean on the line quoted just above in (D), specifically the part about expressing inner feelings.
In a second pass of the answer choices, only (A) can reasonably be defended.
QUESTION FOUR
she wished to discard the traditional methods and established vocabularies of such dance forms as ballet
[she wished] to explore the internal sources of human expressiveness
Also, as discussed in a previous question, sentence four:
she simply relied on [music] to provide the inspiration for expressing inner feelings through movement
She shunned bodily ornamentation and strove to use only the natural movements of her body, undistorted by acrobatic exaggeration and stimulated only by internal compulsion.
She did not regard this use of music as ideal, however, believing that she would someday dispense with music entirely.
Perhaps these questions make a little more sense now. As always, good luck with your studies.
- Andrew
Hello, everyone. I thought I would take a moment to post my thoughts on the three-question set, since the bookends seem to be causing a little confusion.
QUESTION ONE
Quote:
Answer choice (A) can be tempting at a glance, but masterful lyricism simply smashes together two independent descriptions from the first line of the passage:
Isadora Duncan's masterly writings on the dance reveal the depth of her determination to create a lyric form of the art...
The passage goes on to discuss Duncan's ideas on dance. The focus is on dance itself, not on the manner in which the ideas of the author are expressed (her writings).
Choice (B) is a reversal. Duncan embraced natural movements, but, the passage tells us, shunned bodily ornamentation and acrobatic exaggeration.
Choice (C) is completely off the mark. The author does not dwell on the belated recognition of the subject; rather, we are told upfront about the goals that Duncan had set for the art of dance, and the passage continues in this thread. It is a stretch to call the final line of the passage a primary concern. The author merely indicates that Duncan died, or at least stopped dancing, before she could realize her ambition of dancing freely without musical accompaniment.
Choice (D) is correct. The first two lines of the passage explicitly state that Duncan had wished to discard the traditional methods of dance and to create a lyric form of the art which was free of characterization, storytelling, and the theatrical exhibition of skills.
Choice (E) is altogether wayward. Duncan was not continuously responding to critics of her new art form. The line in the passage that says contrary to popular belief seems to be commenting on after-the-fact views of Duncan (post-dancing career), so the idea that she was responding to a popular misconception is anachronistic at best.
QUESTION TWO
Quote:
What does the passage tell us about Duncan relying on music in her recitals? Toward the end of the passage, we find our answer.
Quote:
Although the question frame is that of an inference, answer choice (C) reads more like a supporting idea, nearly verbatim what we see highlighted above:
inspire the expression of inner feeling when she danced
There is no case that can be made for any other answer.
QUESTION THREE
Quote:
I spent the longest amount of time on this one—2:44—even longer than I took on the first question, with the reading factored in. We want an easy answer that fits a description of what Duncan had aimed to move away from—characterization, storytelling, and the theatrical exhibition of skills—but the answer choices do not deliver to that end. Rather, we have to infer from the text that the content of one of the answer choices would be less desirable in the eyes of Duncan, specifically pertaining to her ideals for the art form. What do we know about her views on the ideal form of dance?
Choice (A) is correct. The penultimate line of the passage tells us that Duncan
did not regard [the] use of music as ideal, however, believing that she would someday dispense with music entirely.
Thus, we can say that Duncan would not prefer using music to stimulate the inspiration to dance. I did not choose this answer right away, but, as we will see, it is definitely the best of the bunch.
Choice (B) is a reversal. The opening line of the passage tells us that Duncan wanted to create a lyric form of the art which was free of characterization, storytelling... End of story.
Choice (C) fits the same mold as (B) and, in fact, stems from the same line of the passage. The third element in the list above is the theatrical exhibition of skills. If Duncan sought to eliminate the theatrical exhibition of skills in dance, then that would represent the ultimate form of minimizing such exhibitionism.
Choice (D), once again, can be found directly in the text as an element of dance for which Duncan strove. In the line about her use of music during recitals, quoted in the previous question, we learn that she relied on music to provide the inspiration for expressing inner feelings through movement. Even though she would ultimately seek to discard the music, she was working toward the expression of inner feelings all the while.
Choice (E) fails because the second line of the passage says that Duncan wished to explore the internal sources of human expressiveness within her goal of creating a lyric form of dance (from line one), not to mention, of course, that we can also lean on the line quoted just above in (D), specifically the part about expressing inner feelings.
In a second pass of the answer choices, only (A) can reasonably be defended.
QUESTION FOUR
Quote:
The tag at the beginning of the question stem tells us that we just need to spot details, so match away.
Quote:
Second sentence of the passage:
she wished to discard the traditional methods and established vocabularies of such dance forms as ballet
Quote:
Correct. Nowhere does the passage mention such a revitalization or renaissance of earlier forms.
Quote:
Tail-end of the second sentence from before:
[she wished] to explore the internal sources of human expressiveness
Also, as discussed in a previous question, sentence four:
she simply relied on [music] to provide the inspiration for expressing inner feelings through movement
Quote:
Sentence three:
She shunned bodily ornamentation and strove to use only the natural movements of her body, undistorted by acrobatic exaggeration and stimulated only by internal compulsion.
Quote:
See the same lines from (C) and (D) above. Although solely might seem extreme, we see its counterpart in only right above, and, remember, the passage tells us that Duncan hoped to move away from using musical accompaniment altogether during her performances so that the dance alone could express her inner feelings through movement. The penultimate line further supports the extreme language:
She did not regard this use of music as ideal, however, believing that she would someday dispense with music entirely.
Perhaps these questions make a little more sense now. As always, good luck with your studies.
- Andrew
General Discussion
