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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:
51% (03:11) correct
49%
(03:04) wrong
based on 196
sessions
History
Date
Time
Result
Not Attempted Yet
Question 2
E
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:
54% (01:17) correct 46%
(01:25) wrong
based on 278
sessions
History
Date
Time
Result
Not Attempted Yet
Question 3
E
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
85%
(hard)
Question Stats:
31% (01:14) correct 69%
(01:02) wrong
based on 281
sessions
History
Date
Time
Result
Not Attempted Yet
Question 4
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:
76% (00:59) correct 24%
(01:17) wrong
based on 268
sessions
History
Date
Time
Result
Not Attempted Yet
Question 5
B
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:
64% (01:22) correct 36%
(01:38) wrong
based on 252
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:
86% (01:05) correct 14%
(01:21) wrong
based on 234
sessions
History
Date
Time
Result
Not Attempted Yet
Passage A is adapted from a book by a music historian, and passage B from an anthropology journal.
Passage A
Many commentators have described the blues musician of the United States as an extension of the griot of West Africa, yet one could hardly find two performers with less in common from a sociological perspective. Griots were the historians of their communities, representatives of time-honored traditions, the preservers of lore and cultural identity. They took these traditions and transformed them into song, and as a result often enjoyed great status in their communities. In societies that lacked libraries and museums, official documents and archives, the griot's song filled many of the roles that these institutions serve in other societies.
The blues musician, in contrast, honed a music of personal expression, often reflecting a lack of connection to the broader streams of society, evoking feelings of alienation and anomie. Slavery caused this terrible disjunction. Slavery destroyed in large part the traditional social fabric, the communal values, the historical continuities that made the griot's art possible. Blues music was, in. many ways, a response to this deprivation.
And here we encounter the fundamental tragedy of the blues and one of the sources of its unparalleled symbolic power. For the music sings of small, everyday details of individual lives. But behind this facade always sits a larger reality, invariably unspoken, but no less present for this silence. Separated from the social institutions that gave life its meaning and resonance within their traditional societies, African Americans struggled 'to find substitutes for what was lost within the smaller cosmos of their personal relationships and daily life. Blues music reflected this dynamic, gave it powerful poetic expression.
From this perspective, the perennial themes of blues music—heartache and hardships—capture in a personal dimension the larger social truth.
Passage B
Fifteenth-century Portuguese explorers observed a stratified social hierarchy in the Wolof culture of Senegal, with a high-status noble sector (ger) and low-status caste groups (fleeflo). Wolof elites of the day ranked fieeflo in six subcastes, the lowest of which was griot.
Griots alone specialized in the spoken word. Raising one's voice in public was considered inappropriate for socially prominent people, but griots, considered unmarriageable outside their caste, shouted and sang their patrons' praises to crowds of people, often with a drum, and always with great eloquence.
At community gatherings, griots accompanied their patrons, with whom they had usually inherited a close relationship through generations of service. Reciting vivid histories about the brave deeds of their patrons' family ancestors and singing praises about their exemplary work and daily conduct, griots used their music to sway public opinion in favor of their patrons. Their songs invoked specific public values and described their patrons' adherence to them, making the griot a blend of community historian, storyteller, spokesperson, and ultimately, guardian of norms and culture. Despite the griots' public loudness, these performances and the prestige they brought their patrons required griots to be sensitive to Wolof community values and conceptions of correct social conduct.
Passage A
Many commentators have described the blues musician of the United States as an extension of the griot of West Africa, yet one could hardly find two performers with less in common from a sociological perspective. Griots were the historians of their communities, representatives of time-honored traditions, the preservers of lore and cultural identity. They took these traditions and transformed them into song, and as a result often enjoyed great status in their communities. In societies that lacked libraries and museums, official documents and archives, the griot's song filled many of the roles that these institutions serve in other societies.
The blues musician, in contrast, honed a music of personal expression, often reflecting a lack of connection to the broader streams of society, evoking feelings of alienation and anomie. Slavery caused this terrible disjunction. Slavery destroyed in large part the traditional social fabric, the communal values, the historical continuities that made the griot's art possible. Blues music was, in. many ways, a response to this deprivation.
And here we encounter the fundamental tragedy of the blues and one of the sources of its unparalleled symbolic power. For the music sings of small, everyday details of individual lives. But behind this facade always sits a larger reality, invariably unspoken, but no less present for this silence. Separated from the social institutions that gave life its meaning and resonance within their traditional societies, African Americans struggled 'to find substitutes for what was lost within the smaller cosmos of their personal relationships and daily life. Blues music reflected this dynamic, gave it powerful poetic expression.
From this perspective, the perennial themes of blues music—heartache and hardships—capture in a personal dimension the larger social truth.
Passage B
Fifteenth-century Portuguese explorers observed a stratified social hierarchy in the Wolof culture of Senegal, with a high-status noble sector (ger) and low-status caste groups (fleeflo). Wolof elites of the day ranked fieeflo in six subcastes, the lowest of which was griot.
Griots alone specialized in the spoken word. Raising one's voice in public was considered inappropriate for socially prominent people, but griots, considered unmarriageable outside their caste, shouted and sang their patrons' praises to crowds of people, often with a drum, and always with great eloquence.
At community gatherings, griots accompanied their patrons, with whom they had usually inherited a close relationship through generations of service. Reciting vivid histories about the brave deeds of their patrons' family ancestors and singing praises about their exemplary work and daily conduct, griots used their music to sway public opinion in favor of their patrons. Their songs invoked specific public values and described their patrons' adherence to them, making the griot a blend of community historian, storyteller, spokesperson, and ultimately, guardian of norms and culture. Despite the griots' public loudness, these performances and the prestige they brought their patrons required griots to be sensitive to Wolof community values and conceptions of correct social conduct.
1. Which one of the following is a principal purpose of each passage?
(A) to explain how a musical tradition can replace official institutions
(B) to reveal the paradoxical nature of the relationship between a culture's values and the artists who help perpetuate those values
(C) to compare two closely related musical traditions
(D) to explore the relationship between the social standing of a group of musicians and the music they produce
(E) to criticize a characterization of a particular culture
(A) to explain how a musical tradition can replace official institutions
(B) to reveal the paradoxical nature of the relationship between a culture's values and the artists who help perpetuate those values
(C) to compare two closely related musical traditions
(D) to explore the relationship between the social standing of a group of musicians and the music they produce
(E) to criticize a characterization of a particular culture
2. Based on the information in passage A about blues and the information in passage B about the music of Wolof griots, which one of the following can most reasonably be inferred?
(A) Both types of music were drawn from feelings of alienation within a social structure.
(B) Each type of music was created in response to a cultural loss.
(C) Both types of music served to preserve the traditions of their societies.
(D) Both types of music were derived from earlier African musical traditions.
(E) Each type of music is characterized by subject matter that is typically drawn from a circumscribed set of themes.
(A) Both types of music were drawn from feelings of alienation within a social structure.
(B) Each type of music was created in response to a cultural loss.
(C) Both types of music served to preserve the traditions of their societies.
(D) Both types of music were derived from earlier African musical traditions.
(E) Each type of music is characterized by subject matter that is typically drawn from a circumscribed set of themes.
3. The attitude displayed in passage A toward blues musicians and the attitude displayed in passage B toward griots can both be characterized as
(A) admiration for the musicians' ability to represent personal struggle symbolically
(B) unease about the musicians' role in preserving a social structure
(C) envy of the musicians' artistic contributions
(D) approval of the musicians' role as community historians
(E) respect for the musicians' artistry
(A) admiration for the musicians' ability to represent personal struggle symbolically
(B) unease about the musicians' role in preserving a social structure
(C) envy of the musicians' artistic contributions
(D) approval of the musicians' role as community historians
(E) respect for the musicians' artistry
4. Passage B indicates that which one of the following claims made in passage A about griots was not true of griots in fifteenth-century Wolof culture?
(A) They were representatives of time-honored traditions.
(B) They preserved the cultural identity of their societies.
(C) They often enjoyed great status in their communities.
(D) They served a function analogous to that served by libraries in other societies.
(E) Their art was made possible by the communal values of their societies.
(A) They were representatives of time-honored traditions.
(B) They preserved the cultural identity of their societies.
(C) They often enjoyed great status in their communities.
(D) They served a function analogous to that served by libraries in other societies.
(E) Their art was made possible by the communal values of their societies.
5. Passage B suggests that which one of the following was true of fifteenth-century Wolof society?
(A) The society's sense of shared communal values was beginning to unravel.
(B) Public shouting and loud singing were acceptable only among lower social classes.
(C) People who served as guardians of societal norms and culture generally enjoyed high social status.
(D) Powerful nobles relied on numerous methods to preserve their social status.
(E) Only members of the highest social class had a conception of correct social conduct.
(A) The society's sense of shared communal values was beginning to unravel.
(B) Public shouting and loud singing were acceptable only among lower social classes.
(C) People who served as guardians of societal norms and culture generally enjoyed high social status.
(D) Powerful nobles relied on numerous methods to preserve their social status.
(E) Only members of the highest social class had a conception of correct social conduct.
6. A difference in the way in which the two passages use the term "griot" is that
(A) passage A uses the term to refer to both musicians and other performers whereas passage B uses the term to refer only to musicians
(B) passage A uses the term only to refer to a type of musician whereas passage B also uses the term to refer to a social class
(C) passage A uses the term to refer to both contemporary and historical musicians whereas passage B uses the term to refer only to historical musicians
(D) passage B uses the term to refer to musicians who perform only at community gatherings whereas passage A uses the term to refer to musicians who also perform for small groups
(E) passage B uses the term to refer only to musicians employed by nobles whereas passage A uses the term to refer to musicians who have a variety of employment arrangements
(A) passage A uses the term to refer to both musicians and other performers whereas passage B uses the term to refer only to musicians
(B) passage A uses the term only to refer to a type of musician whereas passage B also uses the term to refer to a social class
(C) passage A uses the term to refer to both contemporary and historical musicians whereas passage B uses the term to refer only to historical musicians
(D) passage B uses the term to refer to musicians who perform only at community gatherings whereas passage A uses the term to refer to musicians who also perform for small groups
(E) passage B uses the term to refer only to musicians employed by nobles whereas passage A uses the term to refer to musicians who have a variety of employment arrangements
27 Jul 2023, 11:38
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Explanation
2. Based on the information in passage A about blues and the information in passage B about the music of Wolof griots, which one of the following can most reasonably be inferred?
Explanation
Option (E) is the correct answer because both passages provide evidence that the music discussed (blues in Passage A and the music of Wolof griots in Passage B) is characterized by subject matter drawn from a circumscribed set of themes.
In Passage A, it is stated that blues music sings of "small, everyday details of individual lives." The blues musicians expressed heartache and hardships, which capture the larger social truth in a personal dimension. The themes of heartache and hardships are central to blues music and are frequently revisited in various songs, demonstrating a limited set of themes that are deeply explored within the genre.
In Passage B, it is described that griots specialized in the spoken word and recited vivid histories about their patrons' family ancestors and sang praises about their exemplary work and daily conduct. They used their music to invoke specific public values and describe their patrons' adherence to them. Therefore, the subject matter of the music created by Wolof griots revolved around praising their patrons and narrating stories about their ancestors and exemplary behavior. These themes are consistently focused on the noble families they serve, representing a circumscribed set of themes within their music.
Now, let's evaluate why the other options are incorrect:
(A) Both types of music were drawn from feelings of alienation within a social structure.
This option is incorrect because although Passage A mentions that blues music reflected feelings of alienation and anomie resulting from slavery, Passage B does not provide any information about the music of Wolof griots being drawn from feelings of alienation within their social structure.
(B) Each type of music was created in response to a cultural loss.
This option is not explicitly supported by Passage B. While Passage A makes it clear that blues music was created in response to the cultural loss caused by slavery, Passage B does not provide evidence for a direct link between the music of Wolof griots and a specific cultural loss.
(C) Both types of music served to preserve the traditions of their societies.
This option is not supported by either passage. Passage A does not mention that blues music served to preserve traditions, and Passage B primarily describes the role of griots in praising their patrons and upholding community values, rather than focusing on preserving traditions.
(D) Both types of music were derived from earlier African musical traditions.
This option is not explicitly supported by either passage. While Passage A draws a connection between blues musicians and West African griots in terms of historical influence, it does not specify that blues music was directly derived from earlier African musical traditions. Passage B, on the other hand, discusses the Wolof griots' role and function without making any direct reference to earlier African musical traditions.
In conclusion, option (E) is the most reasonable inference based on the information provided in both passages. Both blues music and the music of Wolof griots are characterized by subject matter drawn from a circumscribed set of themes, which are central to their respective genres.
Answer: E
Explanation
Option (E) is the correct answer because both passages provide evidence that the music discussed (blues in Passage A and the music of Wolof griots in Passage B) is characterized by subject matter drawn from a circumscribed set of themes.
In Passage A, it is stated that blues music sings of "small, everyday details of individual lives." The blues musicians expressed heartache and hardships, which capture the larger social truth in a personal dimension. The themes of heartache and hardships are central to blues music and are frequently revisited in various songs, demonstrating a limited set of themes that are deeply explored within the genre.
In Passage B, it is described that griots specialized in the spoken word and recited vivid histories about their patrons' family ancestors and sang praises about their exemplary work and daily conduct. They used their music to invoke specific public values and describe their patrons' adherence to them. Therefore, the subject matter of the music created by Wolof griots revolved around praising their patrons and narrating stories about their ancestors and exemplary behavior. These themes are consistently focused on the noble families they serve, representing a circumscribed set of themes within their music.
Now, let's evaluate why the other options are incorrect:
(A) Both types of music were drawn from feelings of alienation within a social structure.
This option is incorrect because although Passage A mentions that blues music reflected feelings of alienation and anomie resulting from slavery, Passage B does not provide any information about the music of Wolof griots being drawn from feelings of alienation within their social structure.
(B) Each type of music was created in response to a cultural loss.
This option is not explicitly supported by Passage B. While Passage A makes it clear that blues music was created in response to the cultural loss caused by slavery, Passage B does not provide evidence for a direct link between the music of Wolof griots and a specific cultural loss.
(C) Both types of music served to preserve the traditions of their societies.
This option is not supported by either passage. Passage A does not mention that blues music served to preserve traditions, and Passage B primarily describes the role of griots in praising their patrons and upholding community values, rather than focusing on preserving traditions.
(D) Both types of music were derived from earlier African musical traditions.
This option is not explicitly supported by either passage. While Passage A draws a connection between blues musicians and West African griots in terms of historical influence, it does not specify that blues music was directly derived from earlier African musical traditions. Passage B, on the other hand, discusses the Wolof griots' role and function without making any direct reference to earlier African musical traditions.
In conclusion, option (E) is the most reasonable inference based on the information provided in both passages. Both blues music and the music of Wolof griots are characterized by subject matter drawn from a circumscribed set of themes, which are central to their respective genres.
Answer: E
27 Jul 2023, 11:43
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Explanation
3. The attitude displayed in passage A toward blues musicians and the attitude displayed in passage B toward griots can both be characterized as
Explanation
In Passage A, the blues musicians are depicted as artists who hone a music of personal expression. The passage admires the power of blues music to reflect feelings of alienation and struggles faced by African Americans, giving it "powerful poetic expression." The phrase "the fundamental tragedy of the blues and one of the sources of its unparalleled symbolic power" emphasizes the significance and impact of blues music as an art form. This portrayal of the blues musicians indicates a deep respect for their artistry.
In Passage B, the griots are described as specialized artists in the spoken word, recounting histories and singing praises with great eloquence. The passage acknowledges the griots' role as community historians, storytellers, spokespeople, and guardians of norms and culture. The fact that griots inherited a close relationship with their patrons through generations of service indicates a recognized tradition and valued art form. The passage demonstrates respect for the griots' artistry in using music to sway public opinion and evoke specific values within their community.
Now, let's evaluate why the other options are incorrect:
(A) admiration for the musicians' ability to represent personal struggle symbolically
This option is not supported by both passages. While Passage A discusses blues musicians' ability to represent personal expression and struggles, it does not explicitly mention their use of symbolism to represent personal struggles. Passage B does not provide any information about griots representing personal struggles symbolically.
(B) unease about the musicians' role in preserving a social structure
This option is not supported by either passage. Neither passage expresses unease about the musicians' role in preserving a social structure. Passage A actually emphasizes how slavery caused a disjunction, which would imply a lack of preservation of the traditional social structure.
(C) envy of the musicians' artistic contributions
This option is not supported by either passage. There is no indication of envy in either passage. Both passages objectively describe the roles of blues musicians and griots without any hint of envy.
(D) approval of the musicians' role as community historians
This option is partially supported by Passage B, which indeed describes griots as community historians, storytellers, and guardians of norms and culture. However, Passage A does not explicitly mention approval of blues musicians' role as community historians. Instead, it focuses on their role as artists expressing personal struggles.
In conclusion, option (E) is the most reasonable inference based on the information provided in both passages. Both passages display respect for the musicians' artistry, with Passage A admiring the blues musicians' ability to represent personal struggle symbolically, and Passage B approving the griots' role as community historians and artists with great eloquence.
Answer: E
Explanation
In Passage A, the blues musicians are depicted as artists who hone a music of personal expression. The passage admires the power of blues music to reflect feelings of alienation and struggles faced by African Americans, giving it "powerful poetic expression." The phrase "the fundamental tragedy of the blues and one of the sources of its unparalleled symbolic power" emphasizes the significance and impact of blues music as an art form. This portrayal of the blues musicians indicates a deep respect for their artistry.
In Passage B, the griots are described as specialized artists in the spoken word, recounting histories and singing praises with great eloquence. The passage acknowledges the griots' role as community historians, storytellers, spokespeople, and guardians of norms and culture. The fact that griots inherited a close relationship with their patrons through generations of service indicates a recognized tradition and valued art form. The passage demonstrates respect for the griots' artistry in using music to sway public opinion and evoke specific values within their community.
Now, let's evaluate why the other options are incorrect:
(A) admiration for the musicians' ability to represent personal struggle symbolically
This option is not supported by both passages. While Passage A discusses blues musicians' ability to represent personal expression and struggles, it does not explicitly mention their use of symbolism to represent personal struggles. Passage B does not provide any information about griots representing personal struggles symbolically.
(B) unease about the musicians' role in preserving a social structure
This option is not supported by either passage. Neither passage expresses unease about the musicians' role in preserving a social structure. Passage A actually emphasizes how slavery caused a disjunction, which would imply a lack of preservation of the traditional social structure.
(C) envy of the musicians' artistic contributions
This option is not supported by either passage. There is no indication of envy in either passage. Both passages objectively describe the roles of blues musicians and griots without any hint of envy.
(D) approval of the musicians' role as community historians
This option is partially supported by Passage B, which indeed describes griots as community historians, storytellers, and guardians of norms and culture. However, Passage A does not explicitly mention approval of blues musicians' role as community historians. Instead, it focuses on their role as artists expressing personal struggles.
In conclusion, option (E) is the most reasonable inference based on the information provided in both passages. Both passages display respect for the musicians' artistry, with Passage A admiring the blues musicians' ability to represent personal struggle symbolically, and Passage B approving the griots' role as community historians and artists with great eloquence.
Answer: E
02 Sep 2023, 01:02
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5. Passage B suggests that which one of the following was true of fifteenth-century Wolof society?
(A) The society's sense of shared communal values was beginning to unravel.
(B) Public shouting and loud singing were acceptable only among lower social classes.
(C) People who served as guardians of societal norms and culture generally enjoyed high social status.
(D) Powerful nobles relied on numerous methods to preserve their social status.
(E) Only members of the highest social class had a conception of correct social conduct.
(B) is correct, as supported in the second paragraph, which claims that “raising ones voice in public was considered inappropriate for socially prominent people” (lines 45–46). That suggests it’s only appropriate for the lower classes (e.g., the griots).
(A) The society's sense of shared communal values was beginning to unravel.
(B) Public shouting and loud singing were acceptable only among lower social classes.
(C) People who served as guardians of societal norms and culture generally enjoyed high social status.
(D) Powerful nobles relied on numerous methods to preserve their social status.
(E) Only members of the highest social class had a conception of correct social conduct.
(B) is correct, as supported in the second paragraph, which claims that “raising ones voice in public was considered inappropriate for socially prominent people” (lines 45–46). That suggests it’s only appropriate for the lower classes (e.g., the griots).
