The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question. Often the well intentioned music lover or the traditionally-minded professional composer asks two basic questions when faced with the electronic music phenomena: (1) . . . is this type of artistic creation music at all? and, (2) given that the product is accepted as music of a new type or order, is not such music “inhuman”? . . . As Lejaren Hiller points out in his book Experimental Music (co-author Leonard M. Isaacson), two questions which often arise when music is discussed are: (a) the substance of musical communication and its symbolic and semantic significance, if any, and (b) the particular processes, both mental and technical, which are involved in creating and responding to musical composition. The ever-present popular concept of music as a direct, open, emotional expression and as a subjective form of communication from the composer, is, of course still that of the nineteenth century, when composers themselves spoke of music in those terms . . . But since the third decade of our century many composers have preferred more objective definitions of music, epitomized in Stravinsky’s description of it as “a form of speculation in terms of sound and time”. An acceptance of this more characteristic twentieth-century view of the art of musical composition will of course immediately bring the layman closer to an understanding of, and sympathetic response to, electronic music, even if the forms, sounds and approaches it uses will still be of a foreign nature to him. A communication problem however will still remain. The principal barrier that electronic music presents at large, in relation to the communication process, is that composers in this medium are employing a new language of forms . . . where terms like ‘densities’, ‘indefinite pitch relations’, ‘dynamic serialization’, ‘permutation’, etc., are substitutes (or remote equivalents) for the traditional concepts of harmony, melody, rhythm, etc. . . . When the new structural procedures of electronic music are at last fully understood by the listener the barriers between him and the work he faces will be removed. . . . The medium of electronic music has of course tempted many kinds of composers to try their hand at it . . . But the serious-minded composer approaches the world of electronic music with a more sophisticated and profound concept of creation. Although he knows that he can reproduce and employ melodic, rhythmic patterns and timbres of a traditional nature, he feels that it is in the exploration of sui generis languages and forms that the aesthetic magic of the new medium lies. And, conscientiously, he plunges into this search. The second objection usually levelled against electronic music is much more innocent in nature. When people speak—sometimes very vehemently—of the ‘inhuman’ quality of this music they seem to forget that the composer is the one who fires the machines, collects the sounds, manipulates them, pushes the buttons, programs the computer, filters the sounds, establishes pitches and scales, splices tape, thinks of forms, and rounds up the over-all structure of the piece, as well as every detail of it.
The goal of the author over the course of this passage is to:
defend electronic music from certain common charges.
The passage opens with two common objections: that electronic music is not music, and that it is inhuman.
The author answers the first by pointing to the modern, objective view of music and saying the communication gap can be overcome, and answers the second by showing that the composer controls every step of the work.
Comparing composers of two centuries or separating music types is only a means to this end, and Hiller and Stravinsky are cited in support, not attacked.
Hence, defend electronic music from certain common charges.
Similar Questions
Zombie cells may contribute to age-related chronic inflammation: this finding could help scientists understand more about the aging process and why the immune system becomes less effective as we get older. Zombie or “senescent” cells are damaged cells that can no longer divide and grow like normal cells. Scientists think that these cells can contribute to chronic health problems when they accumulate in the body. In younger people, the immune system is more effective at clearing senescent cells from the body through a process called apoptosis, but as we age this process becomes less efficient. As a result, there is an accumulation of senescent cells in different organs in the body, either through increased production or reduced clearance by the immune system. The zombie cells continue to use energy though they do not divide, and often secrete chemicals that cause inflammation, which if persistent for longer periods of time can damage healthy cells leading to chronic diseases.
Identify the odd sentence out and key in the number of that sentence as your answer.
The last paragraph of the passage refers to “middle-class, white, professional men”. Which one of the following qualities best describes the connection among them?
Study the following sets of concepts and identify the set that is conceptually closest to the concerns and arguments of the passage.
According to the passage, who or what was an “alienist”?
“Conversely, when a defendant struck officials as unlike themselves, whether by dint of disease, gender, confession, or race, the precariousness of judgments about mental state was exposed.” Which one of the following best describes the use of the word “confession” in this sentence?
According to the incentive or moral hazard argument, which one of the designs below is most consistent with the claim that some inequality can raise growth?
Which one of the options below best summarises the passage?
The primary function of the three-part case for a positive income inequality–economic growth link in the first half of the passage is to show that:
The passage refers to "democratization". Choose the one option below that comes closest to the opposite of this process.
Important Questions from Non Grammar
- In formulating Principle VI (a), the ILC clarified the term "waging of a war of aggression" because:
- The author attributes the growing public frustration with the UN primarily to which pair of continuous failures?
- A primary point of divergence between the US Conservative position and the Secretary-General's Conservative position on security matters, according to the summary is:
- According to the critique's conclusion, the immediate, insurmountable barrier preventing the implementation of any reform, major or minor, is:
- The Secretary-General's 'Agenda for Peace' proposed a specific military capability intended to address the gap between traditional peace-keeping and full military action. This proposed unit was explicitly characterized by the summary as being:
