PT104.S2.P1.Q6 > Analytics

Hide analysis

The career of trumpeter Miles Davis was one of the most astonishingly productive that jazz music has ever seen. ███

Intro topic · Jazz trumpeter Miles Davis

███ ███ ██████ ███ █████ ████████ ███ ████ ███

Author's perspective · Davis' genius is overlooked

Critics' perspective · Disliked Davis' tendency to change up his style

Davis' first stylistic change · from bebop to slower-tempo, more ensemble-focused music

██ ████ █████ ██████ █ ██████████████ ███████ █████ ██████ ██████ ██ ██ █████ ███████████ ████████ ████████ ██ ███ ████ █████ ██ ██████ █ ███ ████ ████ █████ ████ ████ ██████ ███████████ ███████ ██ █████ ████████ ████████ █████ █████████ ███ ██████ ██ █████ ████████ ███████ █████████ ████ ██ ███ ████ █████████ ██████████ ██ ███████ ██ ████ ███████ █████ █████████ ██ ████ ████ ██████████ ██████████ ███ █████ █████████ ████ █ ███████ ███ ██████████ █████ ███████ ██ ████ ██ █ █████████ ██████████ ██████ ██ ███ ██████████ ███ ████████ ██ ██████ ███ █████████ ███ ██████ ████████████ ███ ███ ████████████ ████████ ████ ██████

Second stylistic change · toward less restrictive chord changes, more unified and understated sound

███████ ██████████ ████ ███ ████ █████ ██████ █████ ████ ██████ ███ █████████ ███ █████████ ██ ██████ ██ ████████████ ███████ ███████ ████ ███████████ ██████ ███████ ████ ████████ ██████ ████ ████████ █████ ██████ █████████████ █████ ████ ███████ ██ ███ █████ █████ ██████ ████████ ██████████ ██████ ███████ ██████████ ████████████████ █ █████ ███████████████ ██████ ███ █ ███████ ███ ██ ██████ ███████ ██ ██████ ██████ ████████████ ██ ████ ███████ ███████ ██████ █████████ ███ ██ ████ █████████ █████████ ████ █ ████ ██████ ██ ████████ ███ ████ ██ █████ ████████ ██████ ███ ██ █████ ████ █ █████ █████████ ███

Third stylistic change · Electronic instrumentation, rock beats, improvisation, heavily produced in studio

Jazz purists' perspective · Negative view of Davis' heavily edited studio work

Purists believed jazz recordings should resemble live improvisation rather than be heavily reworked

████ ████████ █████████ ███ █████████ ██ ███ █████████ ███████ █████ ██ ████ ██ ███ ██████████ ██ █████████████ ████ ██ ████████████ ███████████ ██ ███ ██████ █████ ████ ████ █████████ ████ ██████ █████ ████████ ███ █████████ ███ ████ ███ ███ ████ ███ ███████ ███ ██████ ████████ ███████ ██ ██████ ███ █████ ██ ██████ ████ █████████████ ███ ███████ ██ ███████ ██ █████ ██ ████████ █████ ██ ███ ██████████ ██████ ████ ███████ ████ ██ █████████ ██ ████████████ ████ █████ ██ ███ █████████ █████████ ██ █████ ████ ██████

Main point · Critics' negative views stem from Davis' refusal to meet their expectations

Passage Style

Critique or debate

Spotlight

Which one of the following, ██ █████ █████ ████ █████████ ███ ████████ ███████████ ███ ███ ███ █████ █████ ██ ████████ ██ ████ ████████

Question Type

WSE (RC)

This Weaken question asks us to weaken the author’s explanation for the fact that many critics didn’t support Davis. Remember that the author explains the critics’ response to Davis by claiming that the critics were troubled by Davis’s inconsistency and numerous stylistic changes.

Many jazz musicians ███ ██████████ ██ ███████████████ ███████ ███ ███████ ███████ ██ ████ ████████

The author doesn’t claim that the critics had a problem with Davis’s improvisation, so (A) doesn’t impact the argument. Instead, the author’s argument is that the critics didn’t like Davis’s inconsistency and numerous stylistic changes.

Many jazz musicians █████ ███████ ████ ████ █████████████ ██ ███████ ███████ ███████ ██ █████ ███ ███████ ███████ ██ ████ ████████

The author argues that the critics didn’t like Davis’s numerous stylistic changes. If (B) is true, then we know that jazz critics have been supportive of many jazz musicians who made several radical changes in style. This shows that there’s probably a different reason that the critics didn’t celebrate Davis, thus weakening the author’s argument.

93%

Several jazz musicians ███ ███████ ███████████ ██ ██████████ ███████████ ███ ████ ██████ ████████ ██ ████ ████████

The author doesn’t claim that the critics’ main problem with Davis was his use of electronic instruments, so (C) doesn’t impact the argument. Instead, the author’s argument is that the critics didn’t like Davis’s inconsistency and numerous stylistic changes.

The jazz innovators ███ ███ ████ ██ ███ ███████ ██████ ██ ████ ███████ ███ █████ ███ █████████ ████████

The author doesn’t claim that the critics had a problem with the length of Davis’s career, so (D) doesn’t impact the argument. Instead, the author’s argument is that the critics didn’t like Davis’s inconsistency and numerous stylistic changes.

The author mentioned the length of Davis’s career in P6 because this long career gave him the space to change his style many times, not because the length of the career itself was problematic.

Jazz critics are █████ ██ ████ █ ██████ ██████ ███ ██████████ ████ ███ ████ █████████ ███████████

This passage doesn’t contrast musicality with technical virtuosity with regard to Davis’s career, so this doesn’t impact the author’s argument.

Answer five questions and we'll estimate your score.

It takes about five minutes.

Take the free diagnostic

More free LSAT prep: Sample LSAT questions Full-length diagnostic & practice test All free LSAT resources

PrepTest 104 - Section 2 - Passage 1 - Question 6

Answer five questions and we'll estimate your score.

Difficulty

Analysis

Answer Popularity

Question history

Confirm action

PrepTest 104 - Section 2 - Passage 1 - Question 6

Answer five questions and we'll estimate your score.

Difficulty

Analysis

Answer Popularity

Question history

Want to know why the right answer is right?