Self-study
Passage A.
P1
█████ ████ ███ ██████ ████ ██ ███████████ ████ ██████ ████ ███████ █████ ███ ██████ ███ ███████ ████████ ███ ███ ██████████ ██ ███████ ███ ████████ ████ ███████ █████ ██ ████ █████████ ███ █████ ████ █████ █████ ██ ███████ ████ ███ ████ ████ ███████ ██ ██████ ██ ██████ ██████ ███ ███████████ ████ ██ ██ ██████ ██████ █████ ██████ ████████ ████ ██ ███ █████ ███ ████ ██ █████ ███ ██ ██████
Music and Words ·
Can work well together
Words can bring out emotions but words are "inadequate" to express those emotions. This is where music comes in. It can express those emotions and cause further emotions to come out. So words benefit from being set to music.
P2
███ ██ ███ █████ ██ ██████████ ██ █████ ██ █████████ ██ ████ ██ ███ ███ ████ █████████ █ ████████ ██████ ███ ██ █████████ ███ ██ ███ ███████ ██ ███ ██████ ██ ████ ████ ███
Cost ·
Each art loses its purity
Subordinate words to music ·
Music is more expressive
Example ·
Beethoven's Fifth Symphony; operas
The aesthetic value mostly comes from the emotional range that music can bring forth.
███████ █
P3
██████████ ███ ███████ ██ ██████ ███ ███████████ █████ ███ ██ ██████████████ ████ ██ █████ ███ █████ ██ ████████ ███ ████ ██ █████ █████ ███ ████████████ ██████ ███████ █████ ███ █████ ████████ ███ ███████ █████████ ██████ █████████ ██████████ ████ █████ ███ ██████ ██████████ █████████████ ███████████ ██ ████ ███████ ███████ █████ ███ ███████ ███████████ ██ ███ ██████ ██ ██████ ████████ ███████ ███████ ██████ ███ █████ ██████ ██ █ ███████ █████ ████ ███████ ██ █████ █████ ██ ████ ████ ██████ ███ ████ ██████████ ███
Two kinds of operas ·
1. Music is primary; 2. music and other factors have parity
1. Called singer's opera, Italian; 2. German, balances music and other factors.
Third Kind of Opera ·
Music is subordinate
Earliest opera were like this but nobody liked them.
P4
██ ███ ██████ ██ ███ █████████ ████████ ██ ██████ ██████████ ██ ███ ███████ █████ ███████ ███ █████ ███ ███ ██████ ██ ███ ████████ ██████ ██ ██████ ██ ██████████ ███ █████ ██ ████ ███ ██ ██ █████ ████ █ ████ ███████ █████ ███ ██ ██ ██████ ███ ██████████ █████████ ██ ███ █████ ██ █████ ██ ███████ ████████████ █████████ ███ ████████ ██ █████ █████████ ██████████ ███ ██████ ██ ████ ███ ███████ ██ █████ ████ ██ ██████ ███ █████████ ███ █████ █████████ █ █████ ████████ █████ ██ █████████ ███████████ ███ █████████ ███████ ███ ██████ ██████████ █████ ███ ████████ ██ █████ ███ ██████ ███ ██ ██████████ ███████████ ███ ████ ███ ████████ ██ █████████ █████ ██████ █████████ ██ █████████ █████ ████████ ███ ██ ██████ ██ ████████ ███ ██████ ███ ██████ ██ ██████ ██ ██ ████ ███████████████ ████████ ███ █████████ ██ ███ ██████ █████████████ ███████ ██ ███████ ██████████ ██████████
Judging Operas ·
Must judge music and words together
Can be separately judged for formal analysis but in the end they have to work well together along with the other elements of the opera, e.g., "visual action."
Passage Style
21.
The author of passage A █████ ██ ████ ██████ ██ ██████ ███ ██████████ ██ ███████ █ █████████ ██ █████ ████ ██ ██████
a
Both poetry and █████ ███ ██████████ ██ █████ ██████ ██ ███ ███ █████
Although Passage A agrees with (A), there’s no reason Passage A would find the discussion of the third kind of opera to be evidence of (A). The discussion of the third kind of opera relates to the failure of opera that subordinated music to words. That’s evidence of the importance of music, not evidence of the diminishment of poetry by being joined with music. Pay attention to the question stem — this question isn’t just asking “what would Passage A agree with”? The correct answer will be both something Passage A agrees with AND something that is strengthened by the discussion of the third kind of opera in Passage B.
b
The aesthetic value ██ ██ █████ ███████ ███████ ██ ███ ███████ ██ ███ ██████
Correct, because Passage B notes that the third kind of opera had limited appeal and that music’s role needed to be increased in order to establish opera on a secure basis. This suggests that music can’t be subordinated to the words when it comes to making an aesthetically appealing opera. When music was subordinated, as in the third kind of opera, opera wasn’t very successful.
c
The musical and ██████████ ████████ ██ █████ ███ ███████████ ████ ███ ████████
Passage A never argues that the musical and nonmusical elements of opera are indivisible. So it’s not clear why Passage A would view the discussion of the third kind of opera as evidence of (C).
d
Music invariably gains ██ █████ ████████ ████ ███████
Passage A never argues that music always gains by being combined with poetry.
e
Opera requires the ███████ █████████ ██ ████ █████████ ███ █████ █████████
Passage A never argues that opera requires balancing many competing but equal elements. Passage A believes music is the most important part of opera.