It is currently 12 Dec 2017, 12:04

### GMAT Club Daily Prep

#### Thank you for using the timer - this advanced tool can estimate your performance and suggest more practice questions. We have subscribed you to Daily Prep Questions via email.

Customized
for You

we will pick new questions that match your level based on your Timer History

Track

every week, we’ll send you an estimated GMAT score based on your performance

Practice
Pays

we will pick new questions that match your level based on your Timer History

# Events & Promotions

###### Events & Promotions in June
Open Detailed Calendar

# Some critics argue that an opera s stage directions are

Author Message
TAGS:

### Hide Tags

BSchool Forum Moderator
Joined: 01 Oct 2009
Posts: 587

Kudos [?]: 477 [3], given: 412

GMAT 1: 530 Q47 V17
GMAT 2: 710 Q50 V36
Some critics argue that an opera s stage directions are [#permalink]

### Show Tags

20 Apr 2010, 08:24
3
KUDOS
7
This post was
BOOKMARKED
00:00

Difficulty:

75% (hard)

Question Stats:

52% (01:41) correct 48% (02:01) wrong based on 807 sessions

### HideShow timer Statistics

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

(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

Q16
[Reveal] Spoiler: OA

Kudos [?]: 477 [3], given: 412

Manager
Joined: 05 Dec 2009
Posts: 126

Kudos [?]: 87 [0], given: 0

### Show Tags

20 Apr 2010, 08:31
RaviChandra wrote:
Q16)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
(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

I think the answer is D.

Kudos [?]: 87 [0], given: 0

Manager
Joined: 13 Dec 2009
Posts: 127

Kudos [?]: 313 [0], given: 10

### Show Tags

20 Apr 2010, 09:31
RaviChandra wrote:
Q16)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
(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

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?

Kudos [?]: 313 [0], given: 10

Senior Manager
Joined: 12 Oct 2009
Posts: 252

Kudos [?]: 233 [0], given: 4

### Show Tags

20 Apr 2010, 10:09
IMO D

Kudos [?]: 233 [0], given: 4

Intern
Joined: 26 Jul 2009
Posts: 39

Kudos [?]: 4 [0], given: 4

### Show Tags

20 Apr 2010, 12:54
16. E

Kudos [?]: 4 [0], given: 4

Manager
Joined: 29 Oct 2009
Posts: 195

Kudos [?]: 112 [0], given: 12

Concentration: General Management, Sustainability
WE: Consulting (Computer Software)

### Show Tags

20 Apr 2010, 19:38
1
This post was
BOOKMARKED
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.
_________________

+1Kudos, if this helps

Kudos [?]: 112 [0], given: 12

Intern
Joined: 11 Jul 2009
Posts: 22

Kudos [?]: 1 [0], given: 0

### Show Tags

20 Apr 2010, 20:52
How do we eliminate B??

Kudos [?]: 1 [0], given: 0

Manager
Joined: 13 Dec 2009
Posts: 127

Kudos [?]: 313 [0], given: 10

### Show Tags

20 Apr 2010, 21:01
FedX wrote:
How do we eliminate B??

author's sole intention is to address the issue as mentioned in option B. first line of the argument forward this issue and after that author clarifies starting with keyword "however".
hope this will help.

Kudos [?]: 313 [0], given: 10

Manager
Joined: 20 Nov 2009
Posts: 162

Kudos [?]: 262 [0], given: 64

### Show Tags

21 Apr 2010, 00:51
I vote for D.
_________________

But there’s something in me that just keeps going on. I think it has something to do with tomorrow, that there is always one, and that everything can change when it comes.
http://aimingformba.blogspot.com

Kudos [?]: 262 [0], given: 64

Intern
Joined: 19 Apr 2010
Posts: 13

Kudos [?]: 4 [1], given: 3

### Show Tags

21 Apr 2010, 00:54
1
KUDOS
RaviChandra wrote:
Q16)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
(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

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.

Kudos [?]: 4 [1], given: 3

Intern
Joined: 14 Mar 2010
Posts: 39

Kudos [?]: 3 [1], given: 1

Location: Lexington, KY
WE 1: 6 years in IT

### Show Tags

28 Apr 2010, 22:01
1
KUDOS
toughest of the lot u have got it till now.

Guessing its "D". Hope this is a 700+ question, else I have a long way to go.
_________________

To reach a port, we must sail—Sail, not tie at anchor—Sail, not drift.

Kudos [?]: 3 [1], given: 1

Director
Joined: 01 Apr 2008
Posts: 872

Kudos [?]: 869 [3], given: 18

Name: Ronak Amin
Schools: IIM Lucknow (IPMX) - Class of 2014

### Show Tags

29 Apr 2010, 06:23
3
KUDOS
Should be D.

RaviChandra wrote:
Q16)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
(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

Kudos [?]: 869 [3], given: 18

BSchool Forum Moderator
Joined: 01 Oct 2009
Posts: 587

Kudos [?]: 477 [0], given: 412

GMAT 1: 530 Q47 V17
GMAT 2: 710 Q50 V36

### Show Tags

29 Apr 2010, 07:33
OA is D good explanation guys

Kudos [?]: 477 [0], given: 412

Manager
Joined: 09 Apr 2010
Posts: 72

Kudos [?]: 73 [0], given: 3

### Show Tags

30 Apr 2010, 03:08
yes agree with D .....we need an example that shows that a direction can be identified in the opera ...and D does that for us

Kudos [?]: 73 [0], given: 3

Manager
Joined: 04 Feb 2010
Posts: 61

Kudos [?]: 26 [0], given: 0

Schools: IESE '13
WE 1: Engineer

### Show Tags

04 May 2010, 19:18
D - Based on the most common stage direction being reflected in the music, we can say that the music can reflect many stage directions. Plus the other choices aren't too good.

Kudos [?]: 26 [0], given: 0

Manager
Joined: 16 Apr 2008
Posts: 87

Kudos [?]: 18 [0], given: 7

### Show Tags

05 May 2010, 05:16
I guessed "D"... and guessed right

Kudos [?]: 18 [0], given: 7

Intern
Joined: 09 Mar 2010
Posts: 3

Kudos [?]: 2 [0], given: 0

### Show Tags

05 May 2010, 06:16
My choice is D.

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

We are looking for something that the supports the claim.

Kudos [?]: 2 [0], given: 0

Director
Joined: 21 Dec 2009
Posts: 580

Kudos [?]: 853 [0], given: 20

Concentration: Entrepreneurship, Finance

### Show Tags

05 May 2010, 12:35
The author is basically out to defend / back his claims in opposition of the position
held by critics. A pointer is the use of transitional word "however."
Author's view "that an opera's stage directions are reflected in its music" is clearly
highlighted in option D.
_________________

KUDOS me if you feel my contribution has helped you.

Kudos [?]: 853 [0], given: 20

Manager
Joined: 19 Feb 2010
Posts: 80

Kudos [?]: 35 [1], given: 6

### Show Tags

06 May 2010, 23:51
1
KUDOS
1
This post was
BOOKMARKED
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

(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

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.
_________________

Yogesh Agarwal
yogeshagarwala@gmail.com

CONSIDER AWARDING KUDOS IF MY POST HELPS !!!

Kudos [?]: 35 [1], given: 6

Forum Moderator
Status: mission completed!
Joined: 02 Jul 2009
Posts: 1391

Kudos [?]: 972 [0], given: 621

GPA: 3.77

### Show Tags

08 May 2010, 05:59
D
Easy

Let's look at the argument in this way:

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.

So , opera’s stage directions can be reflected in the music
_________________

Audaces fortuna juvat!

GMAT Club Premium Membership - big benefits and savings

Kudos [?]: 972 [0], given: 621

Re: Mozart’s opera   [#permalink] 08 May 2010, 05:59

Go to page    1   2    Next  [ 34 posts ]

Display posts from previous: Sort by