ideology of what the Victorian socialist William Morris called the "anti-scrape", or an
anticapitalist conservationism (not conservatism) that solaced itself with the vision of a
preindustrial golden age. In Britain, folk may often appear a cosy, fossilised form, but when you look more closely, the idea of folk – who has the right to sing it, dance it, invoke it, collect it, belong to it or appropriate it for political or cultural ends – has always been contested territory. . . .
In our own time, though, the word "folk" . . . has achieved the rare distinction of occupying
fashionable and unfashionable status simultaneously. Just as the effusive floral prints of the
radical William Morris now cover genteel sofas, so the revolutionary intentions of many folk
historians and revivalists have led to music that is commonly regarded as parochial and
conservative. And yet – as newspaper columns periodically rejoice – folk is hip again,
influencing artists, clothing and furniture designers, celebrated at music festivals, awards
ceremonies and on TV, reissued on countless record labels. Folk is a sonic "shabby chic",
containing elements of the uncanny and eerie, as well as an antique veneer, a whiff of Britain's heathen dark ages. The very obscurity and anonymity of folk music's origins open up space for rampant imaginative fancies. . . .
[Cecil Sharp, who wrote about this subject, believed that] folk songs existed in constant
transformation, a living example of an art form in a perpetual state of renewal. "One man sings
a song, and then others sing it after him, changing what they do not like" is the most concise
summary of his conclusions on its origins. He compared each rendition of a ballad to an acorn
falling from an oak tree; every subsequent iteration sows the song anew. But there is tension in newness. In the late 1960s, purists were suspicious of folk songs recast in rock idioms.
Electrification, however, comes in many forms. For the early-20th-century composers such as
Vaughan Williams and Holst, there were thunderbolts of inspiration from oriental mysticism,
angular modernism and the body blow of the first world war, as well as input from the
rediscovered folk tradition itself.
For the second wave of folk revivalists, such as Ewan MacColl and AL Lloyd, starting in the 40s, the vital spark was communism's dream of a post-revolutionary New Jerusalem. For their
younger successors in the 60s, who thronged the folk clubs set up by the old guard, the lyrical
freedom of Dylan and the unchained melodies of psychedelia created the conditions for
folkrock's own golden age, a brief Indian summer that lasted from about 1969 to 1971. . . . Four decades on, even that progressive period has become just one more era ripe for fashionable emulation and pastiche. The idea of a folk tradition being exclusively confined to oral transmission has become a much looser, less severely guarded concept. Recorded music and television, for today's metropolitan generation, are where the equivalent of folk memories are seeded. . . .
The author says that folk “may often appear a cosy, fossilised form” because:
- it has been arrogated for various political and cultural purposes.
- folk is a sonic “shabby chic” with an antique veneer.
- the notion of folk has led to several debates and disagreements.
- of its nostalgic association with a pre-industrial past.
The Correct Option is D
Solution and Explanation
The term "fossilized" implies something that is preserved or has become fixed and unchanging, often carrying connotations of being outdated or reminiscent of the past. In the given context, where the attribute "fossilized" is applied, it suggests a connection to or a reminder of historical or past elements. Analyzing the choices:
- Option 4, "old-fashioned," aligns perfectly with the concept of something being fossilized, as it denotes a style or idea that is reminiscent of the past.
- The other options do not convincingly capture the essence of "fossilized." Options 1, 2, and 3 may convey an enduring quality, but they do not explicitly convey the sense of being outdated or belonging to the past.
In conclusion, Option 4, "old-fashioned," is the most appropriate choice that convincingly reflects the meaning of "fossilized" in the given context.
All of the following are causes for plurality and diversity within the British folk tradition EXCEPT:
- paradoxically, folk forms are both popular and unpopular.
- that British folk continues to have traces of pagan influence from the dark ages.
- that British folk forms can be traced to the remote past of the country.
- the fluidity of folk forms owing to their history of oral mode of transmission.
The Correct Option is A
Solution and Explanation
The solution to this question lies in a careful reading and understanding of the options.
If there is a long history of past influence, diversity is likely to emerge, a concept supported by both Option 1 and Option 2.
Additionally, Option 4, which highlights the fluidity of folk forms, aligns with the idea of adaptability or flexibility, thus justifying diversity.
However, Option 1 is eliminated as popularity or unpopularity is unrelated to the concept of diversity.
At a conference on folk forms, the author of the passage is least likely to agree with which one of the following views?
- The power of folk resides in its contradictory ability to influence and be influenced by the present while remaining rooted in the past.
- Folk forms, despite their archaic origins, remain intellectually relevant in contemporary times.
- Folk forms, in their ability to constantly adapt to the changing world, exhibit an unusual poise and homogeneity with each change.
- The plurality and democratising impulse of folk forms emanate from the improvisation that its practitioners bring to it.
The Correct Option is C
Solution and Explanation
Throughout the passage, the author expresses admiration for how modern musicians have utilized folk forms and commends the fusion of folk music with other genres. Examining the provided options:
- Option 1 aligns with the author's viewpoint, asserting that folk forms have the capacity to both influence and be influenced by other musical styles, a sentiment that the author is likely to support.
- Option 2 supports the author's contention that folk forms were relevant in the past and continue to be relevant today, making it consistent with the author's perspective.
- Option 4 also resonates with the author's point, suggesting that folk forms have a lasting impact and relevance.
- Option 3 is the correct choice because it introduces the idea of "unusual homogeneity" in folk music. Given the author's emphasis on the adaptability and fusion of folk music with other genres, the notion of homogeneity contradicts the author's stance. The author is more likely to assert that folk music, through its influences and interactions, becomes heterogeneous rather than homogenous.
Therefore, Option 3 is the most appropriate choice as it presents a statement that the author is unlikely to agree with based on the overall context of the passage.
The primary purpose of the reference to William Morris and his floral prints is to show:
- the pervasive influence of folk on contemporary art, culture, and fashion.
- that what was once derided as genteel is now considered revolutionary.
- that what is once regarded as radical in folk, can later be seen as conformist.
- that despite its archaic origins, folk continues to remain a popular tradition.
The Correct Option is C
Solution and Explanation
While our team encountered challenges in providing the precise explanation for this question, through a process of elimination and careful consideration of the context, we can determine that option 3 is the most fitting choice.
This selection is supported by a nuanced understanding of the given information.
Which of the following statements about folk revivalism of the 1940s and 1960s cannot be inferred from the passage?
- Even though it led to folk-rock’s golden age, it wasn’t entirely free from critique.
- Electrification of music would not have happened without the influence of rock music.
- Freedom and rebellion were popular themes during the second wave of folk revivalism.
- It reinforced Cecil Sharp’s observation about folk’s constant transformation.
The Correct Option is B
Solution and Explanation
The question requires selecting a choice that cannot be inferred from the passage. Let's examine the options based on the provided explanations:
- Option 2 cannot be inferred from the passage because the author mentions that electrification comes in many forms, not just through rock idioms.
- Option 4 can be inferred as the passage discusses Cecil Sharp and the adaptability of folk music, supporting the idea presented in this option.
- Choice 1, referring to purists as critics, aligns with the passage, as it mentions that purists in the late 1960s were suspicious of folk songs recast in rock idioms.
- Choice 3 is supported by the passage, which mentions "the lyrical freedom of Bob Dylan" in the context of folk music.
Therefore, Option 2 is the choice that cannot be inferred from the passage.
Top Questions on Reading Comprehension
Passage: Toru Dutt is considered the earliest Indian female writer in English. She travelled extensively in Europe from a young age with her family. She and her sister Aru became fascinated with Paris and French literature. In London, they came in contact with such august personages such as Sir Bartle Frere, the Gover- nor of Bombay from 1862 to 1867, and Sir Edward Ryan, the Chief Justice of the Supreme Court, Calcutta, from 1837 to 1843. Toru Dutt was greatly influenced in her writings by French Romantic poets like Victor Hugo and English writers like Elizabeth Browning, John Keats, Charlotte Bronte and Jane Austen. She was also intrigued by the legends and myths of India, and even learned Sanskrit. Her writings were marked by romantic melancholia and an obsession and preoccupation with death. This was partly due to her suffering and pain following the early tragic deaths of her siblings, especially her older sister Aru, with whom she was quite close. Her chosen subjects often portrayed separation, loneliness, captivity, dejec- tion, declining seasons and untimely death. She led an ”Ivory Tower existence” and her own death came quite early, at the age of 21, in the full bloom of her talent and on the eve of the awakening of her genius. Toru Dutt’s most famous work is A Sheaf Gleaned in French Fields, an anthology of poems translated from French to English. It also contained a few original poems that showcase her vast insight into French literature. She used to publish poems in the Bengal Magazine, under the pseudonym ”TD”. But most of her powerful work was published posthumously, in- cluding the French novel Le Journal de Mademoiselle D’Arvers and the unfinished English novel Bianca, or, the Young Spanish Maiden. Her work Ancient Ballads and Legends of Hindustan depicts a shrewd knowledge of Hindu mythology and an instinctive empathy with the conditions of life they represent. An assimilation of the Occident and the Orient nourished Toru’s poetic skills; in her, we find a tripartite influence of a French education, lectures at Cambridge and the study of Sanskrit literature.
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- Reading Comprehension
“Why do they pull down and do away with crooked streets, I wonder, which are my delight, and hurt no man living? Every day the wealthier nations are pulling down one or another in their capitals and their great towns: they do not know why they do it; neither do I. It ought to be enough, surely, to drive the great broad ways which commerce needs and which are the life-channels of a modern city, without destroying all history and all the humanity in between: the islands of the past.”
(From Hilaire Belloc’s “The Crooked Streets”)
Based only on the information provided in the above passage, which one of the following statements is true?- GATE PH - 2025
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“Why do they pull down and do away with crooked streets, I wonder, which are my delight, and hurt no man living? Every day the wealthier nations are pulling down one or another in their capitals and their great towns: they do not know why they do it; neither do I. It ought to be enough, surely, to drive the great broad ways which commerce needs and which are the life-channels of a modern city, without destroying all history and all the humanity in between: the islands of the past.” (From Hilaire Belloc’s “The Crooked Streets”)
Based only on the information provided in the above passage, which one of the following statements is true?
- GATE CE - 2025
- General Aptitude
- Reading Comprehension
- “His life was divided between the books, his friends, and long walks. A solitary man, he worked at all hours without much method, and probably courted his fatal illness in this way. To his own name there is not much to show; but such was his liberality that he was continually helping others, and fruits of his erudition are widely scattered, and have gone to increase many a comparative stranger’s reputation.”
(From E.V. Lucas’s “A Funeral”)
Based only on the information provided in the above passage, which one of the following statements is true?- GATE CE - 2025
- General Aptitude
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- Read the excerpt from a Handicrafts Manual: ‘Advanced Knitting Techniques’ and answer the following questions by choosing the most appropriate answer.
THE FAIR ISLE METHOD: Fair Isle knitting is a traditional technique that involves using two or more colours of yarn in a single row to create intricate patterns and designs. This method requires careful tension management to ensure even stitches and prevent puckering. To begin, select your colours and cast on the desired number of stitches. As you knit, alternate between colours every few stitches, carrying the unused yarn along the back of the work. Mastering the Fair Isle technique allows you to create stunning visual effects in garments, accessories, and home textiles.
THE CONTINENTAL STYLE: The Continental knitting style, often referred to as “picking,” involves holding the yarn in the left hand while the right hand manipulates the needles. This method allows for greater speed and efficiency, particularly when working with complex patterns or multiple colours. To practice this style, start by casting on your stitches and using your left hand to tension the yarn. With each stitch, simply “pick” the yarn with your right needle, forming a quick and fluid motion. As you become comfortable with this technique, you may find that your overall knitting speed and comfort improve significantly.
THE SHORT-ROW TECHNIQUE: Short-row knitting is an advanced technique that allows for the creation of shaped garments, such as sleeves and shoulders, without the need for complex shaping. To make a sleeve using this technique, begin by casting on the required number of stitches. Work a portion of the row, then turn your work and return without completing the full row to create the “short rows” that shape the curves of the sleeve. To prevent holes at the turn, wrap the stitch before you turn your work. Repeat this process as needed to achieve the desired shaping and dimension of the sleeve. Once you have shaped the sleeve, you can then sew the side seams to connect the pieces of your garment and finally, complete the edges to ensure a clean finish. This method not only helps shape curves but also adds dimension to your piece, allowing you to enhance fit and style.- AILET BALLB (Hons.) - 2025
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