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Free MCAT Test Exam Braindumps (page: 13)

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"Bebop lives!" cries the newest generation of jazz players. During the 1980s, musicians like Wynton Marsalis revived public interest in bebop, the speedy, angular music that first bubbled up out of Harlem in the early 1940s, changing the face of jazz. That Marsalis and others thought of themselves as celebrating and preserving a noble tradition is, in one sense, inevitable. After the excesses of experimental or "free" jazz in the 1960s and the electronic jazz-rock "fusion" of the 70s, it is hardly surprising that people should hearken back to a time when jazz was "purer," perhaps even at the apex of its development. But the recent enthusiasm for bebop is also ironic in light of the music's initial public reception.
In its infancy, during the first two decades of the 20th century, jazz was played by small groups of musicians improvising variations on blues tunes and popular songs. Most of the musicians were unable to read music, and their improvisations were fairly rudimentary. Nevertheless, jazz attained international recognition in the 1920s. Two of the people most responsible for its rise in popularity were Louis Armstrong, the first great jazz soloist, and Fletcher Henderson, leader of the first great jazz band. Armstrong, with his buoyant personality and virtuosic technical skills, greatly expanded the creative range and importance of the soloist in jazz. Henderson, a pianist with extensive training in music theory, foresaw the orchestral possibilities of jazz played by a larger band. He wrote out arrangements of songs for his band members that preserved the spirit of jazz, while at the same time giving soloists a more structured musical background upon which to shape their solo improvisations. In the 1930s, jazz moved further into the mainstream with the advent of the Swing Era. Big bands in the Henderson mold, led by musicians like Benny Goodman, Count Basie and Duke Ellington, achieved unprecedented popularity with jazz-oriented "swing" music that was eminently danceable.
Against this musical backdrop, bebop arrived on the scene. Like other modernist movements in art and literature, bebop music represented a departure from tradition in both form and content, and was met with initial hostility. Bebop tempos were unusually fast, with the soloist often playing at double time to the backing musicians. The rhythms were tricky and complex, the melodies intricate and frequently dissonant, involving chord changes and notes not previously heard in jazz. Before bebop, jazz players had improvised on popular songs such as those produced by Tin-Pan Alley, but bebop tunes were often originals with which jazz audiences were unfamiliar.
Played mainly by small combos rather than big bands, bebop was not danceable; it demanded intellectual concentration. Soon, jazz began to lose its hold on the popular audience, which found the new music disconcerting. Compounding public alienation was the fact that bebop seemed to have arrived on the scene in a completely mature state of development, without that early phase of experimentation that typifies so many movements in the course of Western music. This was as much the result of an accident of history as anything else. The early development of bebop occurred during a three-year ban on recording in this country made necessary by the petrol and vinyl shortages of World War II). By the time the ban was lifted, and the first bebop records were made, the new music seemed to have sprung fully-formed like Athena from the forehead of Zeus. And though a small core of enthusiasts would continue to worship bebop pioneers like Charlie Parker and Dizzy Gillespie, many bebop musicians were never able to gain acceptance with any audience and went on to lead lives of obscurity and deprivation.
According to the passage, which of the following is true about the jazz of the 1920s?

  1. It resembled the jazz played during the first two decades of the century.
  2. It placed greater demands on the improvisatory skills of its soloists.
  3. Its fast tempos foreshadowed those of bebop in the 1940s.
  4. It was primarily dance music.

Answer(s): B

Explanation:

This seeks a specific, true statement about jazz of the 1920s. The 1920s are covered in paragraph 2 (lines 14-
31). The correct answer, choice B, is taken from the fifth sentence of that paragraph, where the author says that Louis Armstrong, one of the two musicians "most responsible for" jazz's rise in popularity, "greatly expanded the creative range and importance of the soloist in jazz." In other words, Armstrong raised the stakes for jazz soloists. They had to improve, to rise above the "fairly rudimentary" improvisations that had been played
during the first two decades of the century. So choice B is the correct answer. Regarding choice A, it's clear from paragraph 2 that, in the 1920s, the innovations of people like Armstrong and Henderson really changed jazz, making it more sophisticated and expansive. Choice A says that 1920s' jazz resembled earlier jazz, and this goes against the grain of the author's argument; 1920s jazz was clearly different. Choice (C) is wrong because the author never specifies what kind of tempos were typical of 1920s jazz. The passage never indicates if they were fast or slow, so there's no support for choice (C). And choice D describes jazz music of the Swing Era in the 1930s, not the jazz of the 1920s.



"Bebop lives!" cries the newest generation of jazz players. During the 1980s, musicians like Wynton Marsalis revived public interest in bebop, the speedy, angular music that first bubbled up out of Harlem in the early 1940s, changing the face of jazz. That Marsalis and others thought of themselves as celebrating and preserving a noble tradition is, in one sense, inevitable. After the excesses of experimental or "free" jazz in the 1960s and the electronic jazz-rock "fusion" of the 70s, it is hardly surprising that people should hearken back to a time when jazz was "purer," perhaps even at the apex of its development. But the recent enthusiasm for bebop is also ironic in light of the music's initial public reception.
In its infancy, during the first two decades of the 20th century, jazz was played by small groups of musicians improvising variations on blues tunes and popular songs. Most of the musicians were unable to read music, and their improvisations were fairly rudimentary. Nevertheless, jazz attained international recognition in the 1920s. Two of the people most responsible for its rise in popularity were Louis Armstrong, the first great jazz soloist, and Fletcher Henderson, leader of the first great jazz band. Armstrong, with his buoyant personality and virtuosic technical skills, greatly expanded the creative range and importance of the soloist in jazz. Henderson, a pianist with extensive training in music theory, foresaw the orchestral possibilities of jazz played by a larger band. He wrote out arrangements of songs for his band members that preserved the spirit of jazz, while at the same time giving soloists a more structured musical background upon which to shape their solo improvisations. In the 1930s, jazz moved further into the mainstream with the advent of the Swing Era. Big bands in the Henderson mold, led by musicians like Benny Goodman, Count Basie and Duke Ellington, achieved unprecedented popularity with jazz-oriented "swing" music that was eminently danceable.
Against this musical backdrop, bebop arrived on the scene. Like other modernist movements in art and literature, bebop music represented a departure from tradition in both form and content, and was met with initial hostility. Bebop tempos were unusually fast, with the soloist often playing at double time to the backing musicians. The rhythms were tricky and complex, the melodies intricate and frequently dissonant, involving chord changes and notes not previously heard in jazz. Before bebop, jazz players had improvised on popular songs such as those produced by Tin-Pan Alley, but bebop tunes were often originals with which jazz audiences were unfamiliar.
Played mainly by small combos rather than big bands, bebop was not danceable; it demanded intellectual concentration. Soon, jazz began to lose its hold on the popular audience, which found the new music disconcerting. Compounding public alienation was the fact that bebop seemed to have arrived on the scene in a completely mature state of development, without that early phase of experimentation that typifies so many movements in the course of Western music. This was as much the result of an accident of history as anything else. The early development of bebop occurred during a three-year ban on recording in this country made necessary by the petrol and vinyl shortages of World War II). By the time the ban was lifted, and the first bebop records were made, the new music seemed to have sprung fully-formed like Athena from the forehead of Zeus. And though a small core of enthusiasts would continue to worship bebop pioneers like Charlie Parker and Dizzy Gillespie, many bebop musicians were never able to gain acceptance with any audience and went on to lead lives of obscurity and deprivation.
Based on the information in the passage comparing bebop to other movements in the history of Western music, it is reasonable to conclude that:
I). most movements in music history passed through a stage of experimentation before reaching mature expression.
II). World War II prevented bebop from reaching a more appreciative audience.
III). bebop did not go through a developmental stage before reaching mature expression.

  1. I only
  2. III only
  3. I and II only
  4. II and III only

Answer(s): A

Explanation:

This is in Roman Numeral format. It asks one to draw a reasonable conclusion from information in the passage "comparing bebop to other movements in the history of Western music". That phrase "Western music" appears only once in the passage. It's in the third sentence of the final paragraph. That's where the author compares bebop to "other movements in the course of Western music." The author says there that public alienation or estrangement toward bebop was intense because bebop seemed to have arrived "in a completely mature state of development, without that early phase of experimentation that typifies so many movements in the course of Western music". This not only indicates something about bebop, it educates about most movements in the course of Western music ­ namely, that they go through at least two phases: an early, experimental phase, and a later, more mature, more fully developed phase. This is the substance of Roman Numeral statement I, which is a reasonable conclusion and therefore will be part of the correct answer. Notice that choices (B) and (D) do not include Roman Numeral Statement I; thus, they can be eliminated. Since either choice (A), which offers statement I only, or choice (C), which offers statements I and II, must be the correct answer. One can review only statement II to determine the right answer. Statement II says that W.W.II prevented bebop from reaching a more appreciative audience. This is a distortion of the fifth sentence of the final paragraph, which says that a petrol shortage during World War II necessitated a three-year ban on the making of records. But, according to the author, it was not the recording ban that prevented bebop from reaching a more appreciative audience.
Instead, the recording ban was responsible for making it seem to audiences as if bebop had bypassed that early, experimental stage and instantly achieved mature development. It was the radical elements of bebop itself that prevented the music from appealing to a wider audience. So statement II is false, and choice (A), statement I only, is the correct answer. Statement III says that bebop did not go through a developmental stage before reaching mature expression. This is not true. Bebop did go through a developmental stage, and it is discussed in the middle of the last paragraph. The key point here is that few people heard the music during this phase because of the ban on recording. Statement III is false.



"Bebop lives!" cries the newest generation of jazz players. During the 1980s, musicians like Wynton Marsalis revived public interest in bebop, the speedy, angular music that first bubbled up out of Harlem in the early 1940s, changing the face of jazz. That Marsalis and others thought of themselves as celebrating and preserving a noble tradition is, in one sense, inevitable. After the excesses of experimental or "free" jazz in the 1960s and the electronic jazz-rock "fusion" of the 70s, it is hardly surprising that people should hearken back to a time when jazz was "purer", perhaps even at the apex of its development. But the recent enthusiasm for bebop is also ironic in light of the music's initial public reception.
In its infancy, during the first two decades of the 20th century, jazz was played by small groups of musicians improvising variations on blues tunes and popular songs. Most of the musicians were unable to read music, and their improvisations were fairly rudimentary. Nevertheless, jazz attained international recognition in the 1920s. Two of the people most responsible for its rise in popularity were Louis Armstrong, the first great jazz soloist, and Fletcher Henderson, leader of the first great jazz band. Armstrong, with his buoyant personality and virtuosic technical skills, greatly expanded the creative range and importance of the soloist in jazz. Henderson, a pianist with extensive training in music theory, foresaw the orchestral possibilities of jazz played by a larger band. He wrote out arrangements of songs for his band members that preserved the spirit of jazz, while at the same time giving soloists a more structured musical background upon which to shape their solo improvisations. In the 1930s, jazz moved further into the mainstream with the advent of the Swing Era. Big bands in the Henderson mold, led by musicians like Benny Goodman, Count Basie and Duke Ellington, achieved unprecedented popularity with jazz-oriented "swing" music that was eminently danceable.
Against this musical backdrop, bebop arrived on the scene. Like other modernist movements in art and literature, bebop music represented a departure from tradition in both form and content, and was met with initial hostility. Bebop tempos were unusually fast, with the soloist often playing at double time to the backing musicians. The rhythms were tricky and complex, the melodies intricate and frequently dissonant, involving chord changes and notes not previously heard in jazz. Before bebop, jazz players had improvised on popular songs such as those produced by Tin-Pan Alley, but bebop tunes were often originals with which jazz audiences were unfamiliar.
Played mainly by small combos rather than big bands, bebop was not danceable; it demanded intellectual concentration. Soon, jazz began to lose its hold on the popular audience, which found the new music disconcerting. Compounding public alienation was the fact that bebop seemed to have arrived on the scene in a completely mature state of development, without that early phase of experimentation that typifies so many movements in the course of Western music. This was as much the result of an accident of history as anything else. The early development of bebop occurred during a three-year ban on recording in this country made necessary by the petrol and vinyl shortages of World War II). By the time the ban was lifted, and the first bebop records were made, the new music seemed to have sprung fully-formed like Athena from the forehead of Zeus. And though a small core of enthusiasts would continue to worship bebop pioneers like Charlie Parker and Dizzy Gillespie, many bebop musicians were never able to gain acceptance with any audience and went on to lead lives of obscurity and deprivation.
It can be inferred from the passage that the innovations of Fletcher Henderson (lines 27-34) were inspired primarily by:

  1. his admiration for Louis Armstrong.
  2. a hunger for international recognition.
  3. the realization that the public favored large bands over small combos.
  4. a desire to go beyond the structural limitations of early jazz music.

Answer(s): D

Explanation:

This is an inference question about the innovations of Fletcher Henderson, a key figure in jazz during the 1920s. Henderson's innovations are discussed in the sixth and seventh sentences of the second paragraph.
Remember that the question stem seeks something that inspired Henderson. Sentence six says that Henderson, unlike many jazz musicians before him, had extensive training in music theory, and that he saw the creative possibilities in jazz played by a larger band. Sentence 7 says that Henderson's song arrangements gave jazz soloists "a more structured musical background upon which to shape their solo improvisations". We know from the second sentence of that same paragraph that most jazz prior to the 1920s was played by musicians who couldn't read music, and who consequently had to keep their improvisations fairly simple. That is, the structure of early jazz was simple, but in Henderson's arrangements the structure was raised to a grander scale and more sophisticated levels of complexity and structure. It can therefore be inferred that Henderson was inspired by the desire to go beyond the simple structure of early jazz, to go beyond its structural limitations. Therefore, choice (D) is correct. Choice (A) is a strong distracter. Armstrong is mentioned in the passage as the other key figure in jazz of the 1920s. But whether Henderson admired Armstrong or not is never discussed, so you can't infer that Henderson's innovations were inspired by his admiration for Armstrong.
Choice (B) reflects the author's remark, in the third sentence of paragraph 2, that jazz attained international recognition in the 1920s. This choice distorts that point in suggesting that Henderson hungered for international recognition. There's simply no evidence for this in the passage, so (B) is wrong. Choice (C) is correct in suggesting that one of Henderson's innovations was in the application of jazz to the big band setting. A problem with choice C is that the public's preference for big bands over small combos did not become apparent until a decade after Henderson's contribution ­ in the 1930s, during the Swing Era. Another problem with this choice is the implication that Henderson merely exploited the realization that the public liked the big band sound. The author gives only one reason why Henderson was drawn to large bands ­ this is in the sixth sentence of paragraph 2: Henderson was drawn to large bands because, with his training in music theory, he "foresaw the orchestral possibilities of jazz played by a larger band."



"Bebop lives!" cries the newest generation of jazz players. During the 1980s, musicians like Wynton Marsalis revived public interest in bebop, the speedy, angular music that first bubbled up out of Harlem in the early 1940s, changing the face of jazz. That Marsalis and others thought of themselves as celebrating and preserving a noble tradition is, in one sense, inevitable. After the excesses of experimental or "free" jazz in the 1960s and the electronic jazz-rock "fusion" of the 70s, it is hardly surprising that people should hearken back to a time when jazz was "purer", perhaps even at the apex of its development. But the recent enthusiasm for bebop is also ironic in light of the music's initial public reception.
In its infancy, during the first two decades of the 20th century, jazz was played by small groups of musicians improvising variations on blues tunes and popular songs. Most of the musicians were unable to read music, and their improvisations were fairly rudimentary. Nevertheless, jazz attained international recognition in the 1920s. Two of the people most responsible for its rise in popularity were Louis Armstrong, the first great jazz soloist, and Fletcher Henderson, leader of the first great jazz band. Armstrong, with his buoyant personality and virtuosic technical skills, greatly expanded the creative range and importance of the soloist in jazz. Henderson, a pianist with extensive training in music theory, foresaw the orchestral possibilities of jazz played by a larger band. He wrote out arrangements of songs for his band members that preserved the spirit of jazz, while at the same time giving soloists a more structured musical background upon which to shape their solo improvisations. In the 1930s, jazz moved further into the mainstream with the advent of the Swing Era. Big bands in the Henderson mold, led by musicians like Benny Goodman, Count Basie and Duke Ellington, achieved unprecedented popularity with jazz-oriented "swing" music that was eminently danceable.
Against this musical backdrop, bebop arrived on the scene. Like other modernist movements in art and literature, bebop music represented a departure from tradition in both form and content, and was met with initial hostility. Bebop tempos were unusually fast, with the soloist often playing at double time to the backing musicians. The rhythms were tricky and complex, the melodies intricate and frequently dissonant, involving chord changes and notes not previously heard in jazz. Before bebop, jazz players had improvised on popular songs such as those produced by Tin-Pan Alley, but bebop tunes were often originals with which jazz audiences were unfamiliar.
Played mainly by small combos rather than big bands, bebop was not danceable; it demanded intellectual concentration. Soon, jazz began to lose its hold on the popular audience, which found the new music disconcerting. Compounding public alienation was the fact that bebop seemed to have arrived on the scene in a completely mature state of development, without that early phase of experimentation that typifies so many movements in the course of Western music. This was as much the result of an accident of history as anything else. The early development of bebop occurred during a three-year ban on recording in this country made necessary by the petrol and vinyl shortages of World War II). By the time the ban was lifted, and the first bebop records were made, the new music seemed to have sprung fully-formed like Athena from the forehead of Zeus. And though a small core of enthusiasts would continue to worship bebop pioneers like Charlie Parker and Dizzy Gillespie, many bebop musicians were never able to gain acceptance with any audience and went on to lead lives of obscurity and deprivation.
According to the passage, all of the following are characteristic of bebop music EXCEPT:

  1. eminently danceable tunes.
  2. dissonant melodies.
  3. complex rhythms.
  4. intellectual complexity.

Answer(s): A

Explanation:

This is a detail question. The correct answer, then, will be an item that the passage did not describe as a characteristic of bebop. Choices (B) and (C), complex rhythms and dissonant melodies, are mentioned in the fourth sentence of paragraph 3 as characteristics of bebop, so they can be eliminated. Choice (D), intellectual complexity, is referred to as a characteristic of bebop in the first sentence of paragraph 4. Remaining is choice (A) as the correct answer. And indeed, the author never states that bebop "was eminently danceable". On the
contrary, in the first sentence of the last paragraph the author states that bebop was not danceable. This choice confuses one of the author's comments regarding swing music. In the last sentence of the second paragraph, the author says that swing was eminently danceable. So choice (A) is characteristic of swing but is certainly not characteristic of bebop, making choice (A) correct.



Page 13 of 203



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