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Admission Test Section One : Verbal Sample Questions:

1. The origin of the attempt to distinguish early from modern music and to establish the canons of
performance practice for each lies in the eighteenth century. In the first half of that century, when
Telemann and Bach ran the collegium musicum in Leipzig, Germany, they performed their own and other
modern music. In the German universities of the early twentieth century, however, the reconstituted
collegium musicum devoted itself to performing music from the centuries before the beginning of the
"standard repertory," by which was understood music from before the time of Bach and Handel. Alongside
this modern collegium musicum, German musicologists developed the historical sub-discipline known as
"performance practice," which included the deciphering of obsolete musical notation and its transcription
into modern notation, the study of obsolete instruments, and the re-establishment of lost oral traditions
associated with those forgotten repertories. The cutoff date for this study was understood to be around
1 750, the year of Bach's death, since the music of Bach, Handel, Telemann and their contemporaries did
call for obsolete instruments and voices and unannotated performing traditions-for instance, the
spontaneous realization of vocal and instrumental melodic ornamentation. Furthermore, with a few
exceptions, late baroque music had ceased to be performed for nearly a century, and the orally
transmitted performing traditions associated with it were forgotten as a result. In contrast, the notation in
the music of Haydn and Mozart from the second half of the eighteenth century was more complete than in
the earlier styles, and the instruments seemed familiar, so no "special" knowledge appeared necessary.
Also, the music of Haydn and Mozart, having never ceased to be performed, had maintained some kind of
oral tradition of performance practice. Beginning around 1960, however, early-music performers began to
encroach upon the music of Haydn, Mozart, and Beethoven. Why? Scholars studying performance
practice had discovered that the living oral traditions associated with the Viennese classics frequently
could not be traced to the eighteenth century and that there were nearly as many performance mysteries
to solve for music after 1750 as for earlier repertories. Furthermore, more and more young singers and
instrumentalists became attracted to early music, and as many of them graduated from student- amateur
to professional status, the technical level of early-music performances took a giant leap forward. As
professional early-music groups, building on these developments, expanded their repertories to include
later music, the mainstream protested vehemently. The differences between the two camps extended
beyond the question of which instruments to use to the more critical matter of style and delivery. At the
heart of their disagreement is whether historical knowledge about performing traditions is a prerequisite
for proper interpretation of music or whether it merely creates an obstacle to inspired musical tradition.
Which of the following is the most appropriate title for the passage?

A) "How Far Should Early Music Extend?"
B) "Competing Views on the Necessity of Historical Knowledge for Inspired Musical Tradition"
C) "Performance Practice: The Legacy of the German Collegium Musicum"
D) "Performance Practice and New Interpretations of the Viennese Classics"
E) "Unannotated Performing Traditions of the Eighteenth and Twentieth Centuries"

2. Victorian poetess Christina Rossetti's potent sensual imagery compelled Edmond Gosse, perhaps the
most influential literary critic in late Victorian England, to observe that she "does not shrink from strong
delineation of the pleasures of life even when denouncing them." In the face of Rossetti's virtual
canonization by critics at the end of the nineteenth century, however, Virginia Woolf ignores her apparent
conservatism, instead seeing in her curiosity value and a model of artistic purity and integrity for women
writers. In 1930, the centenary of Rossetti's birth,Woolf identified her as "one of Shakespeare's more
recent sisters" whose life had been reclusively Victorian but whose achievement as an artist was enduring.
Woolf remembers Rossetti for her four volumes of explosively original poems loaded with vivid images
and dense emotional energy. "A Birthday," for instance, is no typical Victorian poem and is certainly unlike
predictable works of the era's best known women poets. Rossetti's most famous poem, "Goblin Market,"
bridges the space between simplistic fairy tale and complex adult allegory-at once Christian,
psychological, and profeminist. Like many of Rossetti's works, it is extraordinarily original and unorthodox
in form. Its subject matter is radical and therefore risky for a Victorian poetess because it implies
castigation of an economic (and even marital) marketplace dominated by men, whose motives are, at best,
suspect. Its Christian allusions are obvious but grounded in opulent images whose lushness borders on
the erotic. From Rossetti's work emerge not only emotional force, artistic polish, frequently ironic
playfulness, and intellectual vigor but also an intriguing, enigmatic quality. "Winter: My Secret," for
example, combines these traits along with a very high (and un-Victorian) level of poetic selfconsciousness.
"How does one reconcile the aesthetic sensuality of Rossetti's poetry with her repressed, ascetic
lifestyle?" Woolf wondered. That Rossetti did indeed withhold a "secret" both from those intimate with her
and from posterity is Lona Packer's thesis in her 1963 biography of Rossetti. Packer's claim that
Rossetti's was a secret of the heart has since been disproved through the discovery of hundreds of letters
by Rossetti, which reinforce the conventional image of her as pious, scrupulously abstinent, and
semi-reclusive. Yet the passions expressed in her love poems do expose the "secret" at the heart of both
Rossetti's life and art: a willingness to forego worldly pleasures in favor of an aestheticized Christian
version of transcendent fulfillment in heaven. Her sonnet "The World," therefore, becomes pivotal in
understanding Rossetti's literary project as a whole-her rhymes for children, fairy tale narratives, love
poems, and devotional commentaries. The world, for Rossetti, is a fallen place. Her work is pervasively
designed to force upon readers this inescapable Christian truth. The beauty of her poetry must be seen
therefore as an artistic strategy, a means toward a moral end.
It can be inferred from the passage that Rossetti's "The World"

A) is the most helpful expression of Rossetti's motives
B) reflects Rossetti's shift away from her earlier feminist viewpoint
C) was Rossetti's last major work
D) combines several genres of poetry in a single work
E) was Rossetti's longest work

3. ITINERANT:

A) fixated
B) lethargic
C) linear
D) paralyzed
E) settled

4. The amount of bone in the elderly skeleton-a key determinant in its susceptibility to fractures-is believed
to be a function of two major factors. The first is the peak amount of bone mass attained, determined to a
large extent by genetic inheritance. The marked effect of gender is obvious: Elderly men experience only
one-half as many hip fractures per capita as elderly women. But also, African- American women have a
lower incidence of osteoporotic fractures than Caucasian women. Other important variables include diet,
exposure to sunlight, and physical activity. The second major factor is the rate of bone loss after peak
bone mass has been attained. While many of the variables that affect peak bone mass also affect rates of
bone loss, additional factors influencing bone loss include physiological stresses such as pregnancy and
lactation. It is hormonal status, however, reflected primarily by estrogen and progesterone levels, that
may exert the greatest effect on rates of decline in skeletal mass.
It can be inferred from the passage that the peak amount of bone mass in women

A) depends partly upon hormonal status
B) is determined primarily by diet
C) may be a factor in the rate of decrease in estrogen and progesterone levels
D) is not affected by either pregnancy or lactation
E) is not dependent upon genetic makeup

5. COMPLACENT:

A) disagreeable
B) involved
C) critical
D) persistent
E) discontented

Solutions: