Comprehension
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 Experi mental 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 sig nificance, 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.
Acommunication 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, manip ulates 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.
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 Experi mental 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 sig nificance, 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.
Acommunication 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, manip ulates 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.
Question: 1
The goal of the author over the course of this passage is to:
The goal of the author over the course of this passage is to:
Show Hint
For “main goal” or “purpose” questions in reading comprehension, focus on:
the opening problem or question raised,
the author’s repeated emphasis or defence, and
how the passage concludes.
These usually reveal what the author is {really} trying to do.
the opening problem or question raised,
the author’s repeated emphasis or defence, and
how the passage concludes.
These usually reveal what the author is {really} trying to do.
Updated On: Dec 8, 2025
- differentiate the modern composer from the nineteenth century composer.
- differentiate between electronic music and other forms of music.
- defend the “serious-minded composer” from Lejaren Hill and Stravinsky.
- defend electronic music from certain common charges.
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The Correct Option is D
Solution and Explanation
Step 1: Identify the main concerns discussed in the passage.
At the beginning, the author lists two common doubts about electronic music: whether it is music at all, and whether it is “inhuman”. These are clearly “charges” or objections raised against electronic music.
Step 2: Observe how the author responds to these doubts.
The author explains that:
electronic music uses a new language and new forms, which creates a communication gap, and
despite the machines involved, the human composer is still the one making all the creative decisions (collecting sounds, programming, choosing forms, etc.).
Both points are meant to show that electronic music is understandable as music and is not inhuman.
Step 3: Match this with the options.
Option (1) mentions the difference between modern and nineteenth-century composers. This is referred to, but only as a supporting point, not the main goal.
Option (2) speaks of differentiating between electronic and other music. The author does compare them, but again only to answer the objections.
Option (3) is incorrect, because Lejaren Hiller and Stravinsky are cited as references, not as attackers.
Option (4) correctly captures the overall purpose: the author aims to defend electronic music against the charges that it is not real music and that it is inhuman.
Hence, the best answer is Option (4).
At the beginning, the author lists two common doubts about electronic music: whether it is music at all, and whether it is “inhuman”. These are clearly “charges” or objections raised against electronic music.
Step 2: Observe how the author responds to these doubts.
The author explains that:
electronic music uses a new language and new forms, which creates a communication gap, and
despite the machines involved, the human composer is still the one making all the creative decisions (collecting sounds, programming, choosing forms, etc.).
Both points are meant to show that electronic music is understandable as music and is not inhuman.
Step 3: Match this with the options.
Option (1) mentions the difference between modern and nineteenth-century composers. This is referred to, but only as a supporting point, not the main goal.
Option (2) speaks of differentiating between electronic and other music. The author does compare them, but again only to answer the objections.
Option (3) is incorrect, because Lejaren Hiller and Stravinsky are cited as references, not as attackers.
Option (4) correctly captures the overall purpose: the author aims to defend electronic music against the charges that it is not real music and that it is inhuman.
Hence, the best answer is Option (4).
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Question: 2
What relation does the “communication problem” mentioned in paragraph 2 have to the questions that the author recounts at the beginning of the passage?
What relation does the “communication problem” mentioned in paragraph 2 have to the questions that the author recounts at the beginning of the passage?
Show Hint
When relating ideas across paragraphs, look for:
repeated themes,
restated concerns,
explanatory links that address earlier questions.
This helps identify how later sections resolve earlier doubts.
repeated themes,
restated concerns,
explanatory links that address earlier questions.
This helps identify how later sections resolve earlier doubts.
Updated On: Dec 8, 2025
- Unfamiliar forms and terms might get in the way of our seeing electronic music as music, but this can be overcome.
- Its unfamiliar “language of forms” and novel terms mean that we cannot see electronic music as music since it does not employ traditional musical concepts.
- None; they are unrelated to one another and form parts of different discussions.
- The communication problem is what allows us to see electronic music as music because music must be difficult to understand.
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The Correct Option is A
Solution and Explanation
Step 1: Recall the initial questions mentioned in paragraph 1.
The author reports two common doubts about electronic music:
Is electronic music really music?
Is it “inhuman”?
Step 2: Understand the “communication problem” in paragraph 2.
The author explains that electronic music uses new structures and a “new language of forms” — terms like “densities,” “dynamic serialization,” “permutation,” etc. These unfamiliar concepts make it harder for the listener to understand the music at first.
Step 3: Connect the communication problem with the initial questions.
Because electronic music uses unfamiliar terminology and structures, a listener might initially feel that it is not “music” in the traditional sense. However, the author clearly states that {once the listener understands these new structural procedures, the barriers will be removed}. This means the communication problem is temporary and can be overcome.
Step 4: Match with the options.
Option (1) correctly states that unfamiliar forms and terms can hinder our ability to recognize electronic music as music, but that this obstacle is removable.
Option (2) incorrectly claims that the new language makes understanding impossible. The author says the opposite.
Option (3) is incorrect because the communication problem directly relates to the question “is this music at all?”
Option (4) is incorrect because the author never claims that difficulty is necessary for something to be considered music.
Thus, the best answer is Option (1).
The author reports two common doubts about electronic music:
Is electronic music really music?
Is it “inhuman”?
Step 2: Understand the “communication problem” in paragraph 2.
The author explains that electronic music uses new structures and a “new language of forms” — terms like “densities,” “dynamic serialization,” “permutation,” etc. These unfamiliar concepts make it harder for the listener to understand the music at first.
Step 3: Connect the communication problem with the initial questions.
Because electronic music uses unfamiliar terminology and structures, a listener might initially feel that it is not “music” in the traditional sense. However, the author clearly states that {once the listener understands these new structural procedures, the barriers will be removed}. This means the communication problem is temporary and can be overcome.
Step 4: Match with the options.
Option (1) correctly states that unfamiliar forms and terms can hinder our ability to recognize electronic music as music, but that this obstacle is removable.
Option (2) incorrectly claims that the new language makes understanding impossible. The author says the opposite.
Option (3) is incorrect because the communication problem directly relates to the question “is this music at all?”
Option (4) is incorrect because the author never claims that difficulty is necessary for something to be considered music.
Thus, the best answer is Option (1).
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Question: 3
The mention of Stravinsky’s description of music in the first paragraph does all the following EXCEPT:
The mention of Stravinsky’s description of music in the first paragraph does all the following EXCEPT:
Show Hint
For “EXCEPT” questions, verify three options that the passage clearly supports.
The remaining option—unsupported or contradicted—is the correct answer.
Updated On: Dec 8, 2025
- help us determine which sounds are musical and which are not.
- respond to and expand upon earlier understandings of music.
- complicate our notion of what is communicated through music.
- allow us to classify electronic music as music.
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The Correct Option is A
Solution and Explanation
Step 1: Identify why Stravinsky is introduced.
Stravinsky is cited as an example of a twentieth-century composer who favored an objective definition of music: \[ \text{“a form of speculation in terms of sound and time.”} \] This contrasts with the nineteenth-century emotional, subjective definition of music.
Step 2: Determine the role this shift plays in the passage.
The author uses Stravinsky’s viewpoint to:
show that definitions of music have evolved over time (supporting option 2),
help readers adjust to a more modern framework for understanding electronic music (supporting option 4),
shift the idea of music away from emotional communication to something more structural and speculative, thereby complicating what “communication” in music means (supporting option 3).
Step 3: Identify what Stravinsky’s definition does not do.
Stravinsky’s definition does not help us determine which specific sounds are musical and which are not. It redefines the concept of music, but does not offer criteria for labeling sounds as music or non-music.
Thus, option (1) is the statement that Stravinsky’s description does {not} achieve.
Stravinsky is cited as an example of a twentieth-century composer who favored an objective definition of music: \[ \text{“a form of speculation in terms of sound and time.”} \] This contrasts with the nineteenth-century emotional, subjective definition of music.
Step 2: Determine the role this shift plays in the passage.
The author uses Stravinsky’s viewpoint to:
show that definitions of music have evolved over time (supporting option 2),
help readers adjust to a more modern framework for understanding electronic music (supporting option 4),
shift the idea of music away from emotional communication to something more structural and speculative, thereby complicating what “communication” in music means (supporting option 3).
Step 3: Identify what Stravinsky’s definition does not do.
Stravinsky’s definition does not help us determine which specific sounds are musical and which are not. It redefines the concept of music, but does not offer criteria for labeling sounds as music or non-music.
Thus, option (1) is the statement that Stravinsky’s description does {not} achieve.
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Question: 4
From the context in which it is placed, the phrase “sui generis” in paragraph 3 suggests which one of the following?
From the context in which it is placed, the phrase “sui generis” in paragraph 3 suggests which one of the following?
Show Hint
To understand unfamiliar phrases, always rely on the surrounding explanation.
Words like sui generis typically signal uniqueness, not vagueness or generality.
Updated On: Dec 8, 2025
- Particular
- Generic
- Unaesthetic
- Indescribable
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The Correct Option is A
Solution and Explanation
Step 1: Examine the phrase in context.
In paragraph 3, the author says that the serious-minded composer believes that the “aesthetic magic” of electronic music lies in exploring \textit{sui generis} languages and forms.
Step 2: Understand the contextual meaning.
The context makes it clear that the composer is not simply using familiar musical structures but is deliberately creating or discovering forms that are:
new,
unique,
original,
distinctive to electronic music.
Step 3: Evaluate the options.
(1) Particular — fits well because sui generis means “of its own kind,” “unique,” or “particular to itself.”
(2) Generic — opposite of the intended meaning.
(3) Unaesthetic — the passage describes the forms as aesthetically magical, not unaesthetic.
(4) Indescribable — the passage never suggests they cannot be described; only that they are unique.
Thus, the meaning conveyed is best represented by Option (1).
In paragraph 3, the author says that the serious-minded composer believes that the “aesthetic magic” of electronic music lies in exploring \textit{sui generis} languages and forms.
Step 2: Understand the contextual meaning.
The context makes it clear that the composer is not simply using familiar musical structures but is deliberately creating or discovering forms that are:
new,
unique,
original,
distinctive to electronic music.
Step 3: Evaluate the options.
(1) Particular — fits well because sui generis means “of its own kind,” “unique,” or “particular to itself.”
(2) Generic — opposite of the intended meaning.
(3) Unaesthetic — the passage describes the forms as aesthetically magical, not unaesthetic.
(4) Indescribable — the passage never suggests they cannot be described; only that they are unique.
Thus, the meaning conveyed is best represented by Option (1).
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Top Questions on Reading Comprehension
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