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13 Mar 2023, 20:00
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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:
75%
(hard)
Question Stats:
43% (03:22) correct
57%
(03:10) wrong
based on 146
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:
45%
(medium)
Question Stats:
57% (01:15) correct 43%
(01:09) wrong
based on 181
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:
25%
(medium)
Question Stats:
64% (00:51) correct 36%
(00:59) wrong
based on 174
sessions
History
Date
Time
Result
Not Attempted Yet
Question 4
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:
49% (01:45) correct 51%
(01:39) wrong
based on 172
sessions
History
Date
Time
Result
Not Attempted Yet
Question 5
A
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:
44% (01:32) correct 56%
(01:23) wrong
based on 166
sessions
History
Date
Time
Result
Not Attempted Yet
Question 6
E
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% (00:41) correct 24%
(00:52) wrong
based on 153
sessions
History
Date
Time
Result
Not Attempted Yet
Question 7
B
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:
49% (01:13) correct 51%
(01:17) wrong
based on 154
sessions
History
Date
Time
Result
Not Attempted Yet
Passage A
Music does not always gain by association with words. Like images, words can excite the deepest emotions but are inadequate to express the emotions they excite. Music is more adequate, and hence will often seize an emotion that may have been excited by images or words, deepen its expression, and, by so doing, excite still deeper emotion. That is how words can gain by being set to music.
But to set words to music—as in opera or song—is in fact to mix two arts together. A striking effect may be produced, but at the expense of the purity of each art. Poetry is a great art; so is music. But as a medium for emotion, each is greater alone than in company, although various good ends arise from linking the two, providing that the words are subordinated to the more expressive medium of music. What good could any words do for Beethoven's Fifth Symphony? So too an opera is largely independent of words, and depends for its aesthetic value not upon the poetry of the libretto (the words of the opera), or even the plot or scenery, but upon its emotional range—a region dominated by the musical element.
Passage B
Throughout the history of opera, two fundamental types may be distinguished: that in which the music is primary, and that in which there is, essentially, parity between music and other factors. The former, sometimes called "singer's opera"—a term which has earned undeserved contempt—is exemplified by most Italian operas, while the latter, exemplified by the operas of German composer Richard Wagner, depend for their effect on a balance among many factors of which music is only one, albeit the most important. Theoretically, it would seem that there should be a third kind of opera, in which the music is subordinated to the other features. While the earliest operas were of this kind, their appeal was limited, and a fuller participation of music was required to establish opera on a secure basis.
In any event, in any aesthetic judgment of opera, regardless of the opera's type, neither the music nor the poetry of the libretto should be judged in isolation. The music is good not if it would make a good concert piece but if it serves the particular situation in the opera in which it occurs, contributing something no supplied by other elements. Similarly, the poetry is good not because it reads well by itself but primarily if, while embodying a sound dramatic idea, it furnishes opportunity for effective musical and scenic treatment. True, the elements of music and poetry may be considered separately, but only for purposes of analyzing their formal features. In actuality these elements are as united as hydrogen and oxygen are united in water. It is this union—further enriched and clarified by the visual action—that results in opera's inimitable character.
Music does not always gain by association with words. Like images, words can excite the deepest emotions but are inadequate to express the emotions they excite. Music is more adequate, and hence will often seize an emotion that may have been excited by images or words, deepen its expression, and, by so doing, excite still deeper emotion. That is how words can gain by being set to music.
But to set words to music—as in opera or song—is in fact to mix two arts together. A striking effect may be produced, but at the expense of the purity of each art. Poetry is a great art; so is music. But as a medium for emotion, each is greater alone than in company, although various good ends arise from linking the two, providing that the words are subordinated to the more expressive medium of music. What good could any words do for Beethoven's Fifth Symphony? So too an opera is largely independent of words, and depends for its aesthetic value not upon the poetry of the libretto (the words of the opera), or even the plot or scenery, but upon its emotional range—a region dominated by the musical element.
Passage B
Throughout the history of opera, two fundamental types may be distinguished: that in which the music is primary, and that in which there is, essentially, parity between music and other factors. The former, sometimes called "singer's opera"—a term which has earned undeserved contempt—is exemplified by most Italian operas, while the latter, exemplified by the operas of German composer Richard Wagner, depend for their effect on a balance among many factors of which music is only one, albeit the most important. Theoretically, it would seem that there should be a third kind of opera, in which the music is subordinated to the other features. While the earliest operas were of this kind, their appeal was limited, and a fuller participation of music was required to establish opera on a secure basis.
In any event, in any aesthetic judgment of opera, regardless of the opera's type, neither the music nor the poetry of the libretto should be judged in isolation. The music is good not if it would make a good concert piece but if it serves the particular situation in the opera in which it occurs, contributing something no supplied by other elements. Similarly, the poetry is good not because it reads well by itself but primarily if, while embodying a sound dramatic idea, it furnishes opportunity for effective musical and scenic treatment. True, the elements of music and poetry may be considered separately, but only for purposes of analyzing their formal features. In actuality these elements are as united as hydrogen and oxygen are united in water. It is this union—further enriched and clarified by the visual action—that results in opera's inimitable character.
1. The authors of both passages attempt to answer which one of the following questions?
(A) Is music inherently a more expressive medium than poetry?
(B) Is the emotive power of poetry enhanced when it is set to music?
(C) Should opera be accorded the same respect as other forms of classical music?
(D) How important are words to the artistic effectiveness of opera?
(E) How is opera different from all other musical art forms?
(A) Is music inherently a more expressive medium than poetry?
(B) Is the emotive power of poetry enhanced when it is set to music?
(C) Should opera be accorded the same respect as other forms of classical music?
(D) How important are words to the artistic effectiveness of opera?
(E) How is opera different from all other musical art forms?
2. Which one of the following issues is addressed by the author of passage A but not by the author of passage B?
(A) the importance of music to any aesthetic judgment of an operatic work
(B) how music is affected when it is combined with words
(C) the ability of music to evoke an emotional response in the listener
(D) whether music should ever be subordinated to words with which it is combined
(E) whether music should be judged in isolation from the libretto in opera
(A) the importance of music to any aesthetic judgment of an operatic work
(B) how music is affected when it is combined with words
(C) the ability of music to evoke an emotional response in the listener
(D) whether music should ever be subordinated to words with which it is combined
(E) whether music should be judged in isolation from the libretto in opera
3. Passage B, but not passage A, includes which one of the following topics in its discussion of opera?
(A) the importance of plot and scenery to an opera's aesthetic value
(B) the ability of images and words to excite deep emotion
(C) the consequences of combining poetry and music into a single art form
(D) the relative roles of music and libretto in opera
(E) the differences among different types of opera
(A) the importance of plot and scenery to an opera's aesthetic value
(B) the ability of images and words to excite deep emotion
(C) the consequences of combining poetry and music into a single art form
(D) the relative roles of music and libretto in opera
(E) the differences among different types of opera
4. It can be inferred that the author of passage B has which one of the following opinions of opera in which the words are subordinated to the music?
(A) It is primarily a popular art form.
(B) It has been justly criticized for betraying opera's main objectives.
(C) It is emotionally more expressive than other types of opera.
(D) It is as legitimate as other types of opera.
(E) It should be judged as though it were a concert piece.
(A) It is primarily a popular art form.
(B) It has been justly criticized for betraying opera's main objectives.
(C) It is emotionally more expressive than other types of opera.
(D) It is as legitimate as other types of opera.
(E) It should be judged as though it were a concert piece.
5. Which one of the following is a principle that is implicit in the argument made by the author of passage B but that would most likely be rejected by the author of passage A?
(A) An opera's nonmusical elements are essential to the opera's aesthetic value.
(B) Even in operas where there is relative parity among the various elements, the music is the most important element.
(C) An opera cannot be artistically successful unless it skillfully balances many factors.
(D) In order for an opera to be artistically successful, the music should not be subordinated to other features of the opera.
(E) An opera's libretto has formal features that can be analyzed independently of the opera's music.
(A) An opera's nonmusical elements are essential to the opera's aesthetic value.
(B) Even in operas where there is relative parity among the various elements, the music is the most important element.
(C) An opera cannot be artistically successful unless it skillfully balances many factors.
(D) In order for an opera to be artistically successful, the music should not be subordinated to other features of the opera.
(E) An opera's libretto has formal features that can be analyzed independently of the opera's music.
6. The author of passage B defines a "singer's opera" as an opera
(A) in which there is relative parity between the music and other elements
(B) in which the drama is ofparamount importance
(C) that is generally of lower artistic merit
(D) from the art form's earliest historical period
(E) in which nonmusical elements are subordinate
(A) in which there is relative parity between the music and other elements
(B) in which the drama is ofparamount importance
(C) that is generally of lower artistic merit
(D) from the art form's earliest historical period
(E) in which nonmusical elements are subordinate
7. The author of passage A would be most likely to regard the discussion in passage B regarding "a third kind of opera" (lines 33-38: Highlighted) as evidence of which one of the following propositions?
(A) Both poetry and music are diminished by being joined in one art form.
(B) The aesthetic value of an opera depends largely on the quality of its music.
(C) The musical and nonmusical elements of opera are indivisible from one another.
(D) Music invariably gains by being combined with poetry.
(E) Opera requires the careful balancing of many competing but equal elements.
(A) Both poetry and music are diminished by being joined in one art form.
(B) The aesthetic value of an opera depends largely on the quality of its music.
(C) The musical and nonmusical elements of opera are indivisible from one another.
(D) Music invariably gains by being combined with poetry.
(E) Opera requires the careful balancing of many competing but equal elements.
RC Butler 2023 - Practice Two RC Passages Everyday.
Passage # 59 Date: 14-Mar-2023
This question is a part of RC Butler 2023. Click here for Details
Passage # 59 Date: 14-Mar-2023
This question is a part of RC Butler 2023. Click here for Details
- Source: LSAT Official PrepTest 85
- Difficulty Level: Will be updated after 50+ timer attempts
28 Mar 2023, 12:53
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Explanation
4. It can be inferred that the author of passage B has which one of the following opinions of opera in which the words are subordinated to the music?
Difficulty Level: 700
Explanation
The correct answer is (D) It is as legitimate as other types of opera.
In Passage B, the author discusses the different types of opera and their historical evolution. The author argues that while there may be an argument for a third type of opera in which the music is subordinated to other features, the appeal of such an opera would be limited. The author also argues that in any aesthetic judgment of opera, neither the music nor the poetry of the libretto should be judged in isolation. The author suggests that the elements of music and poetry are united in opera and that it is this union that results in opera's inimitable character.
Nowhere in the passage does the author express an opinion that subordinating words to music "betray[s] opera's main objectives" (B) or that such an opera is "primarily a popular art form" (A). The author does not argue that this type of opera is "emotionally more expressive than other types of opera" (C). Additionally, the author argues against judging the music as though it were a concert piece (E). Therefore, the correct answer is (D) It is as legitimate as other types of opera.
Answer: D
Difficulty Level: 700
Explanation
The correct answer is (D) It is as legitimate as other types of opera.
In Passage B, the author discusses the different types of opera and their historical evolution. The author argues that while there may be an argument for a third type of opera in which the music is subordinated to other features, the appeal of such an opera would be limited. The author also argues that in any aesthetic judgment of opera, neither the music nor the poetry of the libretto should be judged in isolation. The author suggests that the elements of music and poetry are united in opera and that it is this union that results in opera's inimitable character.
Nowhere in the passage does the author express an opinion that subordinating words to music "betray[s] opera's main objectives" (B) or that such an opera is "primarily a popular art form" (A). The author does not argue that this type of opera is "emotionally more expressive than other types of opera" (C). Additionally, the author argues against judging the music as though it were a concert piece (E). Therefore, the correct answer is (D) It is as legitimate as other types of opera.
Answer: D
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