Music Archivist: Accomplished musicians typically leave behind countle

Question

Music Archivist: Accomplished musicians typically leave behind countless songs and albums that were never released to the public. Often, the music was never released because the musician deemed the work of a quality not up to standard for public release at the time it was composed, and when asked if they’d like the music to be released after death, almost without exception the musician will answer “no”. However, the subsequent holders of the musician’s intellectual property frequently decide to release the music irrespective of the integrity of the work. Therefore, accomplished musicians should promptly destroy any music they decide not sufficient for public release.

Which one of the following statements, if true, most calls into question the music archivist’s suggestion?

A) Some subsequent holders of the music acknowledge that they’re ill equipped to determine whether the music is worthy to release.

B) Many songs or albums released after death would have been released anyhow had the musician lived long enough.

C) An accomplished musician’s self-assessment of unreleased work is typically unduly harsh and frequently revised later in life.

D) The most successful musicians understand that many of their memoirs, letters, and lyrics will be publicly released after death.

E) Sometimes well-known musicians were not well-known during their lifetimes, but attained that recognition after their work was released posthumously.

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Abhishek009 · Answer

With (C) as it is clear....

(A) Supports the argument , this is the reason that the musicians wants their music to be destroyed.

(B) Releasing a song is not the issue, but the quality of song (according to the creators will ) is certainly the key point.

(C) If the musicians decisions are not true then the decision to destroy their creation will not be good.

(D) In a way supports the decision of the argument to destroy their works.

(E) It can be true but the option uses the word sometimes which is doubtful...

Now double check for the solution -

Try this trick with any other option which you find a contender if it fits in perfectly ...   None except (C) will work.

Hence I Go for (C)

souvik101990 · Answer

EMPOWERgmat Official Explanation  
  Type  :Weaken
  Boil It Down  : If musician doesn’t want inferior work released after death, destroy it
  Missing Information  : Relevance (of self-assessment) & Capacity (to self-assess work)
  Goal  : Find an option that weakens the underlying reasoning of the argument. There’s a mighty big shift in time frame here in this argument. One timeframe is when the music is composed, but is that necessarily the end of the story? How do we know that the musician might not reassess the work later on? This author is presupposing that musicians are able to reasonably self-assess their own work at the time the music was composed, and that these assessments will be permanent since if the work is destroyed, there’s no option otherwise. It might very well be the case that an accomplished musician could be unreasonably self-critical or harsh in the assessment of that work after composing the work, but for all we know, the musician may have a second opinion later on, and the musician could actually come to appreciate the work.

(A) Some subsequent holders of the music acknowledge that they’re ill equipped to determine whether the music is worthy to release. 
 The opinions of the subsequent holders of the music are irrelevant to an argument dealing with the artist’s assessment of the work.The point at issue: is the artist’s initial assessment of the work the same opinion he or she will hold forever? Whether or not the subsequent holders of the music are able to make that distinction is irrelevant to the missing factor in this argument as to whether the musician was able to permanently nail that assessment.

(B) Many songs or albums released after death would have been released anyhow had the musician lived long enough. 
 There are a couple of problems with the option: first, how relevant is “many”? We just don’t know. “Many” is more than “some”, but “many” still may not be significant enough to be a relevant factor. Additionally, and most importantly, this option isn’t clearly even on subject. The argument deals with works that the musician didn’t like initially. Does option B clearly deal with that group? No. In B, the subject is songs or albums released after death. For all we know, the majority of songs and albums B is referring to are those that artists were comfortable with (as opposed to those the musician disliked), but were just never released.

(C) An accomplished musician’s self-assessment of unreleased work is typically unduly harsh and frequently revised later in life. 
 Bingo! This option massacres the author’s assumption that the musician’s initial assessment is set in stone. If musicians initially negatively overreact to a piece, and then change their minds about those works later on, the argument’s proposal to immediately destroy any music the musician doesn’t like is exposed as a really tragic and bad idea. Music that shouldn’t have been destroyed would be unnecessarily wiped out forever.

(D) The most successful musicians understand that many of their memoirs, letters, and lyrics will will be publicly released after death. 
Similar to B, this option expands beyond the logical focus of the argument to items that don’t necessarily fall under those that are of a quality not up to standard for public release.  In the case of option D, “many memoirs, letters, and lyrics” could be everything but music the musician didn’t like, and thus the option has no clear impact on the logical force of the argument.

(E) Sometimes well-known musicians were not well-known during their lifetimes, but attained that recognition after their work was released posthumously.  
This option is grotesquely out of focus.  Beyond the fact that “sometimes” severely limits the sample, the argument centers on accomplished musicians, and what they do or do not decide to be released to the public. This option appears to be discussing musicians who were probably not even deciding whether to release or not release their music. Additionally, there’s a good chance that the musicians in option E weren’t even particularly concerned about works being released during their lifetimes. Without even going that far, the ambiguity inherent in E renders it irrelevant.

Nevernevergiveup · Answer

Musicians do not want some part of their music to be published.

But people do it anyway after the death of musician.

Hence the piece of art is ought to be destroyed.

Which one of the following statements,  if true , most  calls into question  the music archivist’s suggestion?

A)Some subsequent holders of the music acknowledge that they’re ill equipped to determine whether the music is worthy to release........... doesn't explain why it should or not to be destroyed.

B)Many songs or albums released after death would have been released anyhow had the musician lived long enough..... doesn't affect and strengthens in a way.

D)The most successful musicians understand that many of their memoirs, letters, and lyrics will be publicly released after death............ another strengthener.

Main competition in answer choices is between C and E.

C)An accomplished musician’s self-assessment of unreleased work is typically unduly harsh and frequently revised later in life.......... This works against the argument and thus sounds a weakener.

E)Sometimes well-known musicians were not well-known during their lifetimes, but attained that recognition after their work was released posthumously............. this can be true but does not account for everyone. Main aspect of consideration is their opinion regarding their work and not about fame.

pushkar2014 · Answer

Music Archivist: Accomplished musicians typically leave behind countless songs and albums that were never released to the public. Often, the music was never released because the musician deemed the work of a quality not up to standard for public release at the time it was composed, and when asked if they’d like the music to be released after death, almost without exception the musician will answer “no”. However, the subsequent holders of the musician’s intellectual property frequently decide to release the music irrespective of the integrity of the work. Therefore, accomplished musicians should promptly destroy any music they decide not sufficient for public release.

Which one of the following statements, if true, most calls into question the music archivist’s suggestion?

A)Some subsequent holders of the music acknowledge that they’re ill equipped to determine whether the music is worthy to release. strengthening rather weakening

B)Many songs or albums released after death would have been released anyhow had the musician lived long enough. irrelevant. we have to weaken the argument that musicians should promptly destroy any music they decide not sufficient for public release .

C)An accomplished musician’s self-assessment of unreleased work is typically unduly harsh and frequently revised later in life.  This possibility indicates that the accomplished musicians should not destroy their music .

D)The most successful musicians understand that many of their memoirs, letters, and lyrics will be publicly released after death.  strengthening rather weakening

E)Sometimes well-known musicians were not well-known during their lifetimes, but attained that recognition after their work was released posthumously.   Irrelevant .

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Music Archivist: Accomplished musicians typically leave behind countle

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