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Some critics argue that an opera's stage directions are never reflected in its music. ████ █████ ██████ ██ ████████ ███████ ████████ ████ ████ ██████ ███████ ████ █████ ████ ███ █████████ ██ ████████ ████████ ███████ ██████ ████████ ███ █████ ██ ████ ███ ██████ █████████ █████ █████ ██████████ ███ ███████ ████ ██████ █ ██████ ██ █████████████ ████ █████ ███ ████████ █████ ███████████████ ██ █████████ ██ ███ ██████ █████ █████ ████ █████ ████████ █████ ██████████ ███ ██ ██ █████
Summarize Argument: Counter-Position
The author argues that stage directions in operas can be reflected in their music. In support, we get an example: Mozart began some opera scenes with music that sounded like the squeaking of changing scenery. This establishes the sub-conclusion that Mozart intended the music to sound like the stage direction to change scenery, which leads to another sub-conclusion that at least one stage direction can be reflected in music. The author uses this to conclude that other stage directions can also be reflected.
Identify Argument Part
The statement about scenes in Mozart’s operas opening with music that sounds like the squeaking of changing scenery supports both of the sub-conclusions (Mozart’s intention and music reflecting a stage direction), and through them the main conclusion (music can reflect several stage directions).
1.
In the argument, the statement ████ ████ █████ ██████ ██ ████████ ██████ ████ ████ ██████ ███████ ████ █████ ████ ███ █████████ ██ ████████ ███████ ██ ███████ ██ ███████ ██ ███ █████ ████
a
a change of ███████ ██ ███ █████ █████████ ████ ██████████ █████████ ██ ██ ███████ █████
b
an opera's stage ██████████ ███ █████ █████████ ██ ███ █████
c
an opera's music ███ ████ ██ ██████ ██ ███ ███████ █████ ██████████
d
a variety of █████ ██████████ ███ ██ █████████ ██ ██ ███████ █████
e
the most frequent ████████ ███████ ██ ███████ █████ ███ ███ █████ ██████████ ██ ███ ██ ███████ █████████ ██ ███ ██████ ████ █████ ████ █ █████████ ██ ███████ ███