PT144.S1.P1.Q6

PrepTest 144 - Section 1 - Passage 1 - Question 6

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P1

“Never was anything as incoherent, shrill, chaotic and ear-splitting produced in music. ███ ████ ████████ ███████████ █████ ██ █ ██████ █████████ ████████ ███ █ ███ ████ █████ ████ ████████ ███ ████████████ ███ █████████ ███████

Other people's perspective · Strongly negative toward something music-related
Author introduces someone's perspective using a quote. Who's being quoted and what's being referred to? Need to look to the next paragraph to answer.

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P2

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Deepen comparison · Schoenberg and Beethoven were both innovative
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Context on Beethoven · Took time to be fully appreciated
P3

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Traits of Schoenber's music · Combined tradition with innovation
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Introduce list · Schoenberg's three styles
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First style · Late-Romatic style
Comparison to Brahms
P4

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Second style · Nontonal harmonies
Unclear what "no tonal basis" means, but likely an unconventional move. Note Schoenberg's motivation: he believed was a necessary move for his own expression and for music in general.
P5

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Third style · 12-tone technique
Innovation for nontonal music
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Author's perspective · Schoenberg's music shows technical mastery and complexity
P6

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Main point · Schoenberg's music was first to convey certain difficult emotions
Note reference to Mozart: Schoenbern's 12-tone technique may have been influenced by Mozart
Passage Style
Single position
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6.

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

a

Each successive style ██████████ █ ███████ ███████████ ████ ███ ████████ ████

Supported, because the second stage was something Schoenberg viewed as the “next inevitable step,” and the third stage was something Schoenberg developed to bring order to the nontonal sounds he introduced in the second second stage.

67%
b

Each successive style ██████████ ██ ████████████ █████████ ████ ███ ████████ ████

The author wouldn’t call each style an “inexplicable” departure. Each style made sense as a next move from the previous one.

7%
c

The second style ██████████ █ ███████ ███████████ ████ ███ ██████ ███ ███ █████ █████ ██████████ ██ ████████████ █████████ ████ ███ ███████

The author wouldn’t say the third style is an “inexplicable departure” from the second. The third style was something Schoenberg developed to bring order to the nontonal sounds he introduced in the second second stage.

13%
d

The second style ██████████ ██ ████████████ █████████ ████ ███ ██████ ███ ███ █████ █████ ██████████ █ ███████ ███████████ ████ ███ ███████

The author wouldn’t say the second style is an “inexplicable departure” from the first. The second stage was something Schoenberg viewed as the “next inevitable step.”

11%
e

The second style ██████████ ██ ████████████ █████████ ████ ███ ██████ ███ ███ █████ █████ ██████████ █ ███████ ███████████ ████ ███ ██████

The author wouldn’t say the second style is an “inexplicable departure” from the first. The second stage was something Schoenberg viewed as the “next inevitable step.”

1%

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