LSAT 111 – Section 1 – Question 01

LSAT 111 - Section 1 - Question 01

October 2001

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Target time: 1:27

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Question
QuickView		 Type Tags Answer
Choices		 Curve Question
Difficulty		 Psg/Game/S
Difficulty		 Explanation
PT111 S1 Q01
+LR
Argument part +AP
A
4%
158
B
1%
150
C
13%
161
D
80%
166
E
2%
155
137
148
160
 +Medium 147.471 +SubsectionMedium

J.Y.’s explanation

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Some critics argue that an opera’s stage directions are never reflected in its music. Many comic scenes in Mozart’s operas, however, open with violin phrases that sound like the squeaking of changing scenery. Clearly Mozart intended the music to echo the sounds occurring while stage directions are carried out. Hence, a change of scenery—the most basic and frequent stage direction—can be reflected in the music, which means that other operatic stage directions can be as well.

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).

A
a change of scenery is the stage direction most frequently reflected in an opera’s music
The statement about Mozart opening scenes with squeaky music does not support the claim that scenery changes are the most frequent stage direction, it’s unrelated. The latter claim isn’t supported by anything, it’s just stated as a fact.
B
an opera’s stage directions are never reflected in its music
Nothing in the argument supports the claim that stage directions are never reflected in opera music. That’s the claim the critics make, and the author’s goal is to prove them wrong.
C
an opera’s music can have an effect on the opera’s stage directions
The author never claims that an opera’s music can impact the stage directions. There’s no indication that the music can change what the stage directions are or how they’re carried out.
D
a variety of stage directions can be reflected in an opera’s music
This is the main conclusion, and it is supported by the claim statement about Mozart opening scenes with squeaky music. The support is offered through a chain of sub-conclusions.
E
the most frequent relation between an opera’s music and its stage directions is one of musical imitation of the sounds that occur when a direction is carried out
The author never claims that this is the most frequent relationship between music and stage directions. It’s offered as a single example, but that doesn’t mean there aren’t others.

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LSAT PrepTest 111 Explanations

Section 1 - Logical Reasoning

Section 2 - Reading Comprehension

Section 3 - Logical Reasoning

Section 4 - Logical Reasoning

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