Explicit and Implicit in Written Text

1) The Woodstock Music and Art Fair—better known to its participants and to history simply as “Woodstock”—should have been a colossal failure. 2) Just a month prior to its August 15, 1969 opening, the fair’s organizers were informed by the council of Wallkill, New York, that permission to hold the festival was withdrawn. 3) Amazingly, not only was a new site found, but word spread to the public of the fair’s new location. 4) At the new site, fences that were supposed to facilitate ticket collection never materialized, and all attempts at gathering tickets were abandoned. 5) Crowd estimates of 30,000 kept rising; by the end of the three days, some estimated the crowd at 500,000.

6) Then, on opening night, it began to rain. 7) Off and on, throughout all three days, huge summer storms rolled over the gathering. 8) In spite of these problems, most people think of Woodstock not only as a fond memory but as the defining moment for an entire generation.

1. Which of the following would be the most appropriate title for this passage?

• Backstage at Woodstock

• Woodstock: From The Band to The Who

• Remembering Woodstock

• Woodstock: The Untold Story

Answer explanation

1. C. The titles in choices a, b, and d all imply that the passage will provide information, which it does not. Choice c is the most ac- curate choice because the passage deals mainly with remember- ing the fair.

1) The Woodstock Music and Art Fair—better known to its participants and to history simply as “Woodstock”—should have been a colossal failure. 2) Just a month prior to its August 15, 1969 opening, the fair’s organizers were informed by the council of Wallkill, New York, that permission to hold the festival was withdrawn. 3) Amazingly, not only was a new site found, but word spread to the public of the fair’s new location. 4) At the new site, fences that were supposed to facilitate ticket collection never materialized, and all attempts at gathering tickets were abandoned. 5) Crowd estimates of 30,000 kept rising; by the end of the three days, some estimated the crowd at 500,000.

6) Then, on opening night, it began to rain. 7) Off and on, throughout all three days, huge summer storms rolled over the gathering. 8) In spite of these problems, most people think of Woodstock not only as a fond memory but as the defining moment for an entire generation.

Which of the following numbered sentences of the passage best represents an opinion rather than a fact?

• Sentence 1

• Sentence 2

• Sentence 3

• Sentence 4

Answer explanation

A. Sentence 1 (choice a) contains the phrase should have been a colos- sal failure, which is an opinion of the author. The other choices are sentences that provide factual information about Woodstock.

1) The Woodstock Music and Art Fair—better known to its participants and to history simply as “Woodstock”—should have been a colossal failure. 2) Just a month prior to its August 15, 1969 opening, the fair’s organizers were informed by the council of Wallkill, New York, that permission to hold the festival was withdrawn. 3) Amazingly, not only was a new site found, but word spread to the public of the fair’s new location. 4) At the new site, fences that were supposed to facilitate ticket collection never materialized, and all attempts at gathering tickets were abandoned. 5) Crowd estimates of 30,000 kept rising; by the end of the three days, some estimated the crowd at 500,000.

6) Then, on opening night, it began to rain. 7) Off and on, throughout all three days, huge summer storms rolled over the gathering. 8) In spite of these problems, most people think of Woodstock not only as a fond memory but as the defining moment for an entire generation.

Why is the word amazingly used in sentence 3?

• The time in which the site move was made and the word sent out was so short.

• The fair drew such an unexpectedly enormous crowd.

• There was such pressure by New York officials against holding the fair.

• The stormy weather was so unfavorable.

Answer explanation

a. The sentence preceding and leading into sentence 3 speaks of the very brief time—a month—that the organizers of the fair had to find a new site and get information out. Choices b and d are incorrect because they could not have been known about at the time the fair was moved. Choice c is incorrect because there is no indication in the passage that New York officials tried to stop the fair.

The composer Wolfgang Amadeus Mozart’s remarkable musical talent was apparent even before most children can sing a simple nursery rhyme. Wolfgang’s older sister Maria Anna (who the family called Nannerl) was learning the clavier, an early keyboard instrument, when her three-year-old brother took an interest in playing. As Nannerl later recalled, Wolfgang “often spent much time at the clavier picking out thirds, which he was always striking, and his pleasure showed that it sounded good.” Their father Leopold, an assistant concertmaster at the Salzburg Court, recognized his children’s unique gifts and soon devoted himself to their musical education.

Born in Salzburg, Austria, on January 27, 1756, Wolfgang had composed his first original work by age five. Leopold planned to take Nannerl and Wolfgang on tour to play before the European courts. Their first venture was to nearby Munich where the children played for Maximillian III Joseph, elector of Bavaria. Leopold soon set his sights on the capital of the Hapsburg Empire, Vienna. On their way to Vienna, the family stopped in Linz, where Wolfgang gave his first public concert. By this time, Wolfgang was not only a virtuoso harpsichord player, but he had also mastered the violin. The audience at Linz was stunned by the six-year-old, and word of his genius soon traveled to Vienna. In a much anticipated concert, the Mozart children appeared at the Schonbrunn Palace on October 13, 1762. They utterly charmed the emperor and empress.

Following this success, Leopold was inundated with invitations for the children to play, for a fee. Leopold seized the opportunity and booked as many concerts as possible at courts throughout Europe. A concert could last three hours, and the children played at least two per a day. Today, Leopold might be considered the worst kind of stage parent, but at the time, it was not uncommon for prodigies to make extensive concert tours. Even so, it was an exhausting schedule for a child who was just past the age of needing an afternoon nap.

A good title for this passage would be

• Classical Music in the Eighteenth Century: An Overview.

• Stage Parents: A Historical Perspective.

• Mozart: The Early Life of a Musical Prodigy.

• Mozart: The Short Career of a Musical Genius.

Answer explanation

c. This title most nearly captures the main idea of the passage and the author’s purpose in writing the piece. The other choices either are not mentioned or are secondary ideas in the passage.

The composer Wolfgang Amadeus Mozart’s remarkable musical talent was apparent even before most children can sing a simple nursery rhyme. Wolfgang’s older sister Maria Anna (who the family called Nannerl) was learning the clavier, an early keyboard instrument, when her three-year-old brother took an interest in playing. As Nannerl later recalled, Wolfgang “often spent much time at the clavier picking out thirds, which he was always striking, and his pleasure showed that it sounded good.” Their father Leopold, an assistant concertmaster at the Salzburg Court, recognized his children’s unique gifts and soon devoted himself to their musical education.

Born in Salzburg, Austria, on January 27, 1756, Wolfgang had composed his first original work by age five. Leopold planned to take Nannerl and Wolfgang on tour to play before the European courts. Their first venture was to nearby Munich where the children played for Maximillian III Joseph, elector of Bavaria. Leopold soon set his sights on the capital of the Hapsburg Empire, Vienna. On their way to Vienna, the family stopped in Linz, where Wolfgang gave his first public concert. By this time, Wolfgang was not only a virtuoso harpsichord player, but he had also mastered the violin. The audience at Linz was stunned by the six-year-old, and word of his genius soon traveled to Vienna. In a much anticipated concert, the Mozart children appeared at the Schonbrunn Palace on October 13, 1762. They utterly charmed the emperor and empress.

Following this success, Leopold was inundated with invitations for the children to play, for a fee. Leopold seized the opportunity and booked as many concerts as possible at courts throughout Europe. A concert could last three hours, and the children played at least two per a day. Today, Leopold might be considered the worst kind of stage parent, but at the time, it was not uncommon for prodigies to make extensive concert tours. Even so, it was an exhausting schedule for a child who was just past the age of needing an afternoon nap.

According to the passage, Wolfgang became interested in music because

• his father thought it would be profitable.

• he had a natural talent.

• he saw his sister learning to play an instrument.

• he came from a musical family.

Answer explanation

c. The passage clearly states that Wolfgang took an interest in the clavier when his sister was learning to play the instrument.

The composer Wolfgang Amadeus Mozart’s remarkable musical talent was apparent even before most children can sing a simple nursery rhyme. Wolfgang’s older sister Maria Anna (who the family called Nannerl) was learning the clavier, an early keyboard instrument, when her three-year-old brother took an interest in playing. As Nannerl later recalled, Wolfgang “often spent much time at the clavier picking out thirds, which he was always striking, and his pleasure showed that it sounded good.” Their father Leopold, an assistant concertmaster at the Salzburg Court, recognized his children’s unique gifts and soon devoted himself to their musical education.

Born in Salzburg, Austria, on January 27, 1756, Wolfgang had composed his first original work by age five. Leopold planned to take Nannerl and Wolfgang on tour to play before the European courts. Their first venture was to nearby Munich where the children played for Maximillian III Joseph, elector of Bavaria. Leopold soon set his sights on the capital of the Hapsburg Empire, Vienna. On their way to Vienna, the family stopped in Linz, where Wolfgang gave his first public concert. By this time, Wolfgang was not only a virtuoso harpsichord player, but he had also mastered the violin. The audience at Linz was stunned by the six-year-old, and word of his genius soon traveled to Vienna. In a much anticipated concert, the Mozart children appeared at the Schonbrunn Palace on October 13, 1762. They utterly charmed the emperor and empress.

Following this success, Leopold was inundated with invitations for the children to play, for a fee. Leopold seized the opportunity and booked as many concerts as possible at courts throughout Europe. A concert could last three hours, and the children played at least two per a day. Today, Leopold might be considered the worst kind of stage parent, but at the time, it was not uncommon for prodigies to make extensive concert tours. Even so, it was an exhausting schedule for a child who was just past the age of needing an afternoon nap.

What was the consequence of Wolfgang’s first public appearance?

• He charmed the emperor and empress of Hapsburg.

• Word of Wolfgang’s genius spread to the capital.

• Leopold set his sights on Vienna.

• Invitations for the miracle children to play poured in.

Answer explanation

b. In the second paragraph, the passage states that Wolfgang’s first public appearance was at Linz and that after this concert, word of his genius traveled to Vienna. This paragraph also states that Vienna was the capital of the Hapsburg Empire.

The composer Wolfgang Amadeus Mozart’s remarkable musical talent was apparent even before most children can sing a simple nursery rhyme. Wolfgang’s older sister Maria Anna (who the family called Nannerl) was learning the clavier, an early keyboard instrument, when her three-year-old brother took an interest in playing. As Nannerl later recalled, Wolfgang “often spent much time at the clavier picking out thirds, which he was always striking, and his pleasure showed that it sounded good.” Their father Leopold, an assistant concertmaster at the Salzburg Court, recognized his children’s unique gifts and soon devoted himself to their musical education.

Born in Salzburg, Austria, on January 27, 1756, Wolfgang had composed his first original work by age five. Leopold planned to take Nannerl and Wolfgang on tour to play before the European courts. Their first venture was to nearby Munich where the children played for Maximillian III Joseph, elector of Bavaria. Leopold soon set his sights on the capital of the Hapsburg Empire, Vienna. On their way to Vienna, the family stopped in Linz, where Wolfgang gave his first public concert. By this time, Wolfgang was not only a virtuoso harpsichord player, but he had also mastered the violin. The audience at Linz was stunned by the six-year-old, and word of his genius soon traveled to Vienna. In a much anticipated concert, the Mozart children appeared at the Schonbrunn Palace on October 13, 1762. They utterly charmed the emperor and empress.

Following this success, Leopold was inundated with invitations for the children to play, for a fee. Leopold seized the opportunity and booked as many concerts as possible at courts throughout Europe. A concert could last three hours, and the children played at least two per a day. Today, Leopold might be considered the worst kind of stage parent, but at the time, it was not uncommon for prodigies to make extensive concert tours. Even so, it was an exhausting schedule for a child who was just past the age of needing an afternoon nap.

Each of the following statements about Wolfgang Mozart is directly supported by the passage except

• Mozart’s father, Leopold, was instrumental in shaping his career.

• Maria Anna was a talented musician in her own right.

• Wolfgang’s childhood was devoted to his musical career.

• Wolfgang preferred the violin to other instruments.

Answer explanation

d. The passage does not say anything about Wolfgang preferring one instrument to another.

The composer Wolfgang Amadeus Mozart’s remarkable musical talent was apparent even before most children can sing a simple nursery rhyme. Wolfgang’s older sister Maria Anna (who the family called Nannerl) was learning the clavier, an early keyboard instrument, when her three-year-old brother took an interest in playing. As Nannerl later recalled, Wolfgang “often spent much time at the clavier picking out thirds, which he was always striking, and his pleasure showed that it sounded good.” Their father Leopold, an assistant concertmaster at the Salzburg Court, recognized his children’s unique gifts and soon devoted himself to their musical education.

Born in Salzburg, Austria, on January 27, 1756, Wolfgang had composed his first original work by age five. Leopold planned to take Nannerl and Wolfgang on tour to play before the European courts. Their first venture was to nearby Munich where the children played for Maximillian III Joseph, elector of Bavaria. Leopold soon set his sights on the capital of the Hapsburg Empire, Vienna. On their way to Vienna, the family stopped in Linz, where Wolfgang gave his first public concert. By this time, Wolfgang was not only a virtuoso harpsichord player, but he had also mastered the violin. The audience at Linz was stunned by the six-year-old, and word of his genius soon traveled to Vienna. In a much anticipated concert, the Mozart children appeared at the Schonbrunn Palace on October 13, 1762. They utterly charmed the emperor and empress.

Following this success, Leopold was inundated with invitations for the children to play, for a fee. Leopold seized the opportunity and booked as many concerts as possible at courts throughout Europe. A concert could last three hours, and the children played at least two per a day. Today, Leopold might be considered the worst kind of stage parent, but at the time, it was not uncommon for prodigies to make extensive concert tours. Even so, it was an exhausting schedule for a child who was just past the age of needing an afternoon nap.

According to the passage, during Wolfgang’s early years, child prodigies were

• few and far between.

• accustomed to extensive concert tours.

• expected to spend at least six hours per a day practicing their music.

• expected to play for courts throughout Europe.

Answer explanation

b. The third paragraph states that at the time, it was not uncom- mon for child prodigies to have extensive concert tours. The other choices are not supported by the information given in the passage.

The composer Wolfgang Amadeus Mozart’s remarkable musical talent was apparent even before most children can sing a simple nursery rhyme. Wolfgang’s older sister Maria Anna (who the family called Nannerl) was learning the clavier, an early keyboard instrument, when her three-year-old brother took an interest in playing. As Nannerl later recalled, Wolfgang “often spent much time at the clavier picking out thirds, which he was always striking, and his pleasure showed that it sounded good.” Their father Leopold, an assistant concertmaster at the Salzburg Court, recognized his children’s unique gifts and soon devoted himself to their musical education.

Born in Salzburg, Austria, on January 27, 1756, Wolfgang had composed his first original work by age five. Leopold planned to take Nannerl and Wolfgang on tour to play before the European courts. Their first venture was to nearby Munich where the children played for Maximillian III Joseph, elector of Bavaria. Leopold soon set his sights on the capital of the Hapsburg Empire, Vienna. On their way to Vienna, the family stopped in Linz, where Wolfgang gave his first public concert. By this time, Wolfgang was not only a virtuoso harpsichord player, but he had also mastered the violin. The audience at Linz was stunned by the six-year-old, and word of his genius soon traveled to Vienna. In a much anticipated concert, the Mozart children appeared at the Schonbrunn Palace on October 13, 1762. They utterly charmed the emperor and empress.

Following this success, Leopold was inundated with invitations for the children to play, for a fee. Leopold seized the opportunity and booked as many concerts as possible at courts throughout Europe. A concert could last three hours, and the children played at least two per a day. Today, Leopold might be considered the worst kind of stage parent, but at the time, it was not uncommon for prodigies to make extensive concert tours. Even so, it was an exhausting schedule for a child who was just past the age of needing an afternoon nap.

Based on information found in the passage, Mozart can best be described as

• a child prodigy.

• a workaholic.

• the greatest composer of the eighteenth century.

• a victim of his father’s ambition.

Answer explanation

a. The main point of the passage is to describe Mozart’s experi- ences as a child prodigy, or a highly talented child. Choices b, c, and d are not mentioned in the paragraph.

A metaphor is a poetic device that deals with comparison. It compares similar qualities of two dissimilar objects. With a simple metaphor, one object becomes the other: Love is a rose. Although this does not sound like a particularly rich image, a metaphor can communicate so much about a particular image that poets use them more than any other type of figurative language. The reason for this is that poets compose their poetry to express what they are experiencing emotion- ally at that moment. Consequently, what the poet imagines love to be may or may not be our perception of love. Therefore, the poet’s job is to enable us to experience it, to feel it the same way that the poet does. We should be able to nod in agreement and say, “Yes, that’s it! I understand precisely where this person is coming from.”

Let’s analyze this remarkably unsophisticated metaphor concerning love and the rose to see what it offers. Because the poet uses a comparison with a rose, first we must examine the characteristics of that flower. A rose is spectacular in its beauty, its petals are velvety soft, and its aroma is soothing and pleasing. It’s possible to say that a rose is actually a veritable feast to the senses: the visual, the tactile, and the aural [more commonly known as the senses of sight, touch, and sound]. The rose’s appearance seems to border on perfection, each petal seemingly symmetrical in form. Isn’t this the way one’s love should be? A loved one should be a delight to one’s senses and seem perfect. However, there is another dimension added to the comparison by using a rose. Roses have thorns. This is the comprehensive image the poet wants to communicate; otherwise, a daisy or a mum would have been presented to the audience as the ultimate representation of love—but the poet didn’t, instead conveying the idea that roses can be treacherous. So can love, the metaphor tells us. When one reaches out with absolute trust to touch the object of his or her affection, ouch, a thorn can cause great harm! “Be careful,” the metaphor admonishes: Love is a feast to the senses, but it can overwhelm us, and it can also hurt us. It can prick us and cause acute suffering. This is the poet’s perception of love—an admonition. What is the point? Just this: It took almost 14 sentences to clarify what a simple metaphor communicates in only five words! That is the artistry and the joy of the simple metaphor.

The main idea of this passage is

• poetic devices are necessary for poets.

• poetry must never cater to the senses.

• always use words that create one specific image.

• the metaphor is a great poetic device.

Answer explanation

d. The idea of the passage is to convince the reader that the meta- phor is a wonderful poetic device. None of the other choices are approached in the passage.