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
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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
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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
19.
According to the passage, which ███ ██ ███ █████████ ██ ████ ██ ███████ ████████ ██ ███ ███████ ██ ██████
a
They assert that █████ ███ ██████████ ██ █████████ ███████ ██████████ ████████
This is the opposite of what those accounts assert. The typical accounts of bebop’s origin say that bebop was anti-commercial.
b
They represent bebop ██ ██ █████████ ██ ███ █████████ ████████ ██ █████████ ██████
The typical accounts of bebop’s origin don’t have any opinion about classical music. The analogy to classical music in the second paragraph is made by the author, not by the typical accounts. And, in any case, the analogy to classical music in the second paragraph does not make a direct causal connection between classical music and bebop.
c
They identify bebop ██ ███ █████ ████ ████████ ████ ███ ███ ████ ██████ ██████████ ███████
(C) is tempting, because we know the typical accounts believe that bebop was anti-commercial. They say that the musicians who originated bebop were reacting to swing, which had heavy commercial influences. However, there’s a difference between bebop’s originators being unmotivated by commercial concerns and bebop itself lacking commercial appeal. And, we don’t know about the “first” jazz movements.
d
They overly idealize ███ █████████ ██ ████████ █████████
e
They were themselves ██████ ██ ██████████ ██████████
(E) states that the typical accounts of bebop’s origin were themselves influenced by commercial interests. But, we don’t know that the proponents of these accounts were motivated by commercial interest. The author merely says in the beginning of the last paragraph that these accounts “may suit the needs of contemporary jazz discourse.” But that’s not a comment on commercial interests.