Self-study
P1
In typical accounts of the beginnings of bebop—the first "modern" jazz style, which was originated in the 1940s by Dizzy Gillespie, Charlie Parker, and Thelonious Monk, among others—commercialism plays an important, though indirect, role. ███
Other people’s position ·
Commercialism played important role in origins of bebop jazz
other people's premise ·
Swing jazz in decline
Doesn't explain the importance of commercialism in bepop's rise... yet
P2
█████ ██████████ ███████ ████ ███████ ████████ ██ █████ ████ ███ ███████ ███████ ██ █████████████████ ████████ █████████ ██████ █████████ █████ ███████ █████████ ████████ ██████ ███
Author’s commentary on other people’s position ·
Author’s analogizes other people’s position to another argument
Other people's accounts of changes in jazz are similar to accounts of changes in classical music
P3
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Author's interpretation of other people's premise ·
Commercialism was responsible for decline of swing jazz
Author's interpretation of other people's premise ·
Bebop was a reaction against decline of commericialized swing
P4
████ ██████████ ████ █████ ██ ██████████████ ███ ████ ███ █████ ██ ████████████ ████ ██████████ ███ ██ ██ █ ████ █████ ███ ██████████ ████████ ███
Author's criticism ·
Other people's argument is attractive but flawed
Author's premise ·
Commercialism actually supported bebop's rise
Commercialism was important to origins of bebop, but not because bebop was a reaction against commercialism; instead, bebop benefited from commercialism
Passage Style
Critique or debate
21.
Which one of the following ██████████ ████ ███ ██████ ███ ██ █████████ ███████ ████████ ██ ███ ███████ ██ ██████
a
Artistic progress in █████ ██ █████████ ███ ██████ ██ ██████████ ██████████
The author never suggests that progress resulted from commercial pressures. Although she thinks bebop musicians were still influenced by commercialism, and attempted to engage with commercialism, that doesn’t mean that commercial pressures caused the developments of bebop. So the author never uses (A) in the course of her argument.
In addition, even if the author believes commercialism caused the development of bebop, that doesn’t mean the author used the principle that progress is “generally” the result of commercial pressures. That would at most support the principle that artistic progress “is sometimes” or “can be” a result of commercial pressures.
b
New movements in █████ █████████ █████ ████ ███ █████████ ██ ███ ███████████ ██████████ ██ ███ ████████ ███████ ██████
The author never suggests that bebop (or any other new movement in music) started by rejecting fundamental principles of the previously reigning musical style. Although the third paragraph does mention that bebop “shed” jazz’s associations with dance, popular song, and entertainment, we don’t know that those components were part of the “fundamental principles” of swing. Keep in mind, too, that the third paragraph is the author’s characterization of the typical accounts’ view. It’s not clear that the author agrees that bebop shed those associations.
Also, the author never uses a principle about what is “typically” true about new movements. Bebop would merely be a single example of a new movement. The author never argued, “Since bebop is a new movement, it probably rejected the fundamental principles of swing.”
c
Music historians should ████ █████████ ██ ██████████ ██████████ ████████ ██ █████████ ███████████ ████████████ ██ ██████
First-hand accounts? The passage never refers to first-hand accounts of musicians and never comments on the kinds of sources historians should use.
d
The turns of ██████ ████████ ██ ██████████ ███ ████████████ ██ ████████ ██ ███████ ███ ███████████ ████████████
e
Music historians must ████ ████ ███ ██ ███ █████ █████████ ███████████ █████████ █████ ██████████ █████████
The author doesn’t comment on music historians’ “aesthetic preferences,” which refers to the artistic features or styles that the historians like. Although the author does say that the typical accounts of bebop’s origin may “suit the needs of contemporary jazz discourse,” the needs of contemporary discourse do not clearly encompass one’s artistic tastes.