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Question

The ideas attributed to Shaw in the passage suggest that he would most likely agree with which of the following statements?

A

A play cannot be comprehended fully without some knowledge and imaginative understanding of its context.

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B

A great music drama like Der Ring des Nibelungen springs from a love of beauty, not from a love of art.

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C

Morality is immutable; it is not something to be discussed and worked out.

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D

Don Giovanni is a masterpiece because it is as relevant today as it was when it was created.

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Solution

The correct option is A

A play cannot be comprehended fully without some knowledge and imaginative understanding of its context.


This is another tough question. This is a data based question where the answer has to be got by running through the entire passage.
Let us use process of elimination to choose the correct answer.
Option (b) - Look at these lines “His teaching is that beauty is a by-product of other activity”. He says that ‘Beauty is a by-product of other activities’. But this option says that the ‘Drama is a product of beauty’.
So Shaw need not agree to this option.
Option (c) - “Morality is immutable”. This statement is correct.
But the second half of the option “it is not something to be discussed and worked out” is not correct. Look at these lines in the last paragraph “Shaw, who has the courage of his historicism, consistently withstands the view that moral problems do not change”. Shaw himself has discussed regarding these views.
So Shaw need not agree to this option.
Option (d): Look at these lines in second paragraph -
“it follows that even the best works of art go out of date in some important aspects and that the generally held view that great works are in all respects eternal is not shared by Shaw”.
So Shaw need not agree to this option.

Option (a) is therefore correct. It is supported by the following lines in the first paragraph “that the artist writes out of moral passion (in forms varying from political conviction to religious zeal)”.

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Q. In recent years the early music movement, which advocates performing a work as it was performed at the time of its composition, has taken on the character of a crusade, particularly as it has moved beyond the sphere of medieval and baroque music and into music from the late eighteenth and early nineteenth centuries by composers such as Mozart and Beethoven. Granted, knowledge about the experience of playing old music on now-obsolete instruments has been of inestimable value to scholars. Nevertheless, the early music approach to performance raises profound and troubling questions.
Early music advocates assume that composers write only for the instruments available to them, but evidence suggests that composers of Beethoven’s stature imagined extraordinarily high and low notes as part of their compositions, even when they recognized that such notes could not be played on instruments available at the time. In the score of Beethoven’s first piano concerto, there is a “wrong” note, a high F-natural where the melody obviously calls for a high F-sharp, but pianos did not have this high, an F-sharp when Beethoven composed the concerto. Because Beethoven once expressed a desire to revise his early works to exploit the extended range of pianos that became available to him some years later, it seems likely that he would have played the F-sharp if given the opportunity. To use a piano exactly contemporary with the work’s composition would require playing a note that was probably frustrating for Beethoven himself to have had to play.
In addition, early music advocates often inadvertently divorce music pandits performance from the life of which they were, and are, a part. The discovery that Haydn’s and Mozart’s symphonies were conducted during their lifetimes by a pianist who played the chords to keep the orchestra together has given rise to early music recordings in which a piano can be heard obtrusively in the foreground, despite evidence indicating that the orchestral piano was virtually inaudible to audiences at eighteenth-century concerts and was dropped as musically unnecessary when a better way to beat time was found. And although in the early nineteenth century the first three movements (sections) of Mozart’s and Beethoven’s symphonies were often played faster, and the last movement slower than today, this difference can readily be explained by the fact that at that time audiences applauded at the end of each movement, rather than withholding applause until the end of the entire work. As a result, musicians were not forced into extra brilliance in the finale in order to generate applause, as they are now. To restore the original tempo of these symphonies represents an irrational denial of the fact that our concepts of musical intensity and excitement have quite simply, changed.


It can be inferred from the passage that the author would be most likely to agree with which one of the following assertions regarding the early music recordings mentioned in the third paragraph?
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