Some critics argue that an operas stage directions are never reflecte

Question

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

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

einstein10 · Answer

since evidence is given, and we are asked to find this evidence supports to what, it means we need to find out the conclusion of the argument: conclusion of such arguments which start with some people argue/ think is mostly opposite to that( as author mostly contrast the situation ) so looking at the answer choice D fits into the bill.. 
IMO D, what's OA?

mads · Answer

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 ---  Conclusion .
 many comic scenes in Mozart’s operas open with violin phrases that sound like the squeaking of changing scenery -- Evidence .

My Ans is D.

targetMBA11 · Answer

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.

Economist · Answer

Should be 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

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  >> so what? argument does not ask which is the most frequently reflected stage direction.

(B) an opera’s stage directions are never reflected in its music  >> too generic....notice the phrase "other operatic...", hence the argument does not talk about ALL directions

(C) an opera’s music can have an effect on the opera’s stage directions  >> cause and effect reversal.

(D) a variety of stage directions can be reflected in an opera’s music >> bingo

(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  >> irrelevant

yogeshagarwala · Answer

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

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.

Spongeman · Answer

The statement about Mozart's comic scenes starting with violin phrases that resemble the squeaking of changing scenery is used as evidence to counter the critics' argument that opera's music doesn't reflect stage directions. Specifically, this example demonstrates how music can imitate sounds associated with stage directions, like changing scenery, suggesting a deliberate connection between the music and stage actions.

Here's a breakdown of the answer choices relative to the role this statement plays in the argument:
 (A) a change of scenery is the stage direction most frequently reflected in an opera’s music 
 
 This option implies a frequency judgment about stage directions in opera music in general, which is not specifically supported by the statement about Mozart's comic scenes. The statement does not discuss how often this occurs across all operas.  
 (B) an opera’s stage directions are never reflected in its music 
 
 This option is the exact opposite of what the argument is trying to refute. The statement about Mozart’s music is used to argue against this claim.  
 (C) an opera’s music can have an effect on the opera’s stage directions 
 
 This suggests a causative relationship where music influences the execution of stage directions, which is not the point being made. The argument is about music reflecting or imitating stage actions, not affecting them.  
 (D) a variety of stage directions can be reflected in an opera’s music 
 
 This choice directly aligns with the argument’s use of the Mozart example. The statement is used to illustrate how music can reflect specific stage directions (like changing scenery), implying that if this is possible, other stage directions could also be reflected in the 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 
 
 This option imposes a statement about the "most frequent relation," which goes beyond what the Mozart example alone supports. It suggests a general rule about how opera music relates to stage directions, which is not directly derived from the statement about Mozart’s operas.  
 
Conclusion:  Option  (D) a variety of stage directions can be reflected in an opera’s music  best fits the role of the statement within the argument. It uses the example of Mozart's operas to challenge the broader claim that stage directions are never reflected in opera music by showing that at least one type of stage direction (changing scenery) is reflected musically, suggesting that other directions could be as well.

VerbalBot · Answer

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Some critics argue that an operas stage directions are never reflecte

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