PrepTest 156 - Section 3 - Passage 3 - Question 20

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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

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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

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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

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Author's criticism · Other people's argument is attractive but flawed

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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

20.

It can be inferred from ███ ███████ ████ ███ ███████ ██ ███████ ████████ ██ ███ ███████ ██ █████ █████ ██ ████ ██████ ██ █████ ████ █████ ███ ██ ███ █████████ ██████████ █████ █████ █████████ ██ ███ ██████

Question Type

Implied

Other’s perspective

We’re asked what the proponents of the typical accounts of bebop’s origin would agree with regarding swing musicians in the 1940s. Normally, inference questions don’t lend themselves to strong predictions. Here, however, the question is so specific that it’s worth thinking about up front.

We know that the typical accounts think swing musicians were influenced by commercialism. This is supported by the author’s description of those typical accounts in the third paragraph. Let’s see if there’s an answer that sounds something like “swing musicians were influenced by commercialism.”

They continued to ███████ ████ █████ █████ ███ ██████████ ████ ██████ ████████ ████████████ ██ ████ ███ ████████ █████ █████████

The typical accounts would support the opposite of (A). They believe that swing musicians were “seduc[ed] into going through the motions long after they had any legitimate artistic reason to do so.” That means the typical accounts thought swing musicians weren’t very inspired by the music they were making. This suggests that the swing musicians didn’t think their music was innovative.

12%

They resented critics' ████████████ ████ █████ █████ ███ ██████ ██████████████

The passage doesn’t support anything about swing musicians’ opinions about their own critics. Maybe the swing musicians actually agreed that swing was mainly entertainment? We just don’t know from the passage.

They recorded and █████████ █████ ██ █ █████ ████ ████ ██ ████ ██ ██████ █████ ██ ██ ████████████ ███████████

Supported.

70%

They believed they ███ █ ██████████████ ██ ████████ ███ █████ ██████████ ███████████ ██ ███████ ███████████ ██ ████ ██████████

The passage doesn’t support anything about swing musicians’ thoughts about their own responsibilities. Although the typical accounts believe swing musicians were influenced by commercial interests, that doesn’t reveal what typical accounts think about swing musicians’ perception of jazz traditions and responsibility to those traditions.

They sought unsuccessfully ██ ████████ █████ █████ ████ ███ █████████ ██ ██████████████

Anti-supported. This is the opposite of what typical accounts would say about swing musicians. According to them, swing musicians succumbed to commercialism.

10%

PrepTest 156 - Section 3 - Passage 3 - Question 20

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