Summer School 10th Grade Lit Comp A Final Exam Review

Specific details or facts that support a claim is called

• Inference

• Evidence

• Analysis

• Citation

Tags

CCSS.RL.8.1

CCSS.RI.8.1

CCSS.RI.8.8

CCSS.RL.11-12.1

CCSS.RL.9-10.1

What a Farmer Raises

1

“On this land,” Grandfather exclaimed anxiously, his white hair fluttering in the breeze, “you can raise corn, pumpkins, and peanuts, but first you have to raise a barn!” Sophia stared at him intently. As he said those words, he was gesturing toward the small hill where he would raise that barn. “On a hill,” he rationalized, “the rain won’t bother the critters.” Sophia found her mind wandering as he went on; she was faintly aware of her grandfather pantomiming that he was driving a team of horses up to the imaginary barn. There was nothing there but a bare hill—no roads, no horses, and definitely no barn, just Grandfather and his dogged vision. Sophia appreciated the raw beauty of the countryside: the green pastures and blue skies, the wildflowers that grew undisturbed along the hillside, and the crisp smell of a country morning which gave a sense of renewal and peace.

 

2

Sophia had also enjoyed life in the Williamsburg settlement before Grandfather had decided to farm land along the Rappahannock River; life in the settlement seemed more exciting. There wasn’t more labor involved there, but Sophia felt profound value and usefulness. Why, she practically operated Grandfather’s dry-goods store. Hadn’t everyone always admired how well she managed the store? Yes, Sophia had proven to everyone who shopped in Grandfather’s dry-goods store in Williamsburg that she had a keen sense of marketing and a brilliant young mind for management.

 

3

She smiled, remembering how fulfilling it was to arrange the large bolts of cloth, stock the shelves, and keep essentials around the store organized. She knew instinctively where every kettle, grinder, jar of molasses, sack of dry beans, and needle—along with every other product—was kept in the outlet. Although Sophia was not responsible for keeping the transaction records for the business, she took the initiative to keep a mental record of every sundry item that arrived or was sold and with whom the exchanges were made. Unknown to Grandfather, she also kept her own record of the stock and reminded him to reorder whenever quantities became depleted. She realized she had been a valuable asset to Grandfather. She also knew she had enjoyed the work immensely and now missed it terribly.

 

4

Her grandfather’s voice snapped her out of her reverie. Sophia sighed as she heard Grandfather ask Mr. Henderson, their neighbor, “Why can’t I just build it myself?” 

 

5

“A barn is just too complex, sir. Trust me. Raising a barn isn’t like raising turnips,” he said, chuckling. “Building a barn means more than just pounding nails! It takes the work of many and the skills of a few, but your neighbors are very generous; they will be delighted to help if you ask. And make sure you get Jess Caldwell to be the joiner. He’s unsurpassed.”

 

6

“Yes, he is, yes,” her grandfather repeated, “Jess is a joiner, the best joiner. Of course.” Grandfather immediately began to wonder what a joiner was, although his facial expression displayed no evidence of the mystery. Or so he thought.

 

7

“The joiner is the person who cuts the mortise-and-tenon joints for the beams and makes them all fit together. You need someone with experience to cut the pieces for that puzzle. Mortise-and-tenon joints are very intricate, interlocking pieces of the framework. If they are cut precisely, they can hold the beams together without any other type of fastener; on the other hand, one wrong cut and you’ve ruined a forty-foot beam. That’s why Jess Caldwell is the man to acquire. Besides, he’s always on the lookout for the good food and music played once the work is complete and you have a barn-raising celebration,” said Mr. Henderson, chuckling again.

 

8

“Food and music?” her grandfather asked. Mr. Henderson said something about needing a fiddler, feeding all the people who came to help, and making sure everyone was having a good time while they built the barn. As Sophia watched the two men talk, self-pity increasingly swelled inside of her. It seemed that everyone had a significant responsibility—except her.

 

9

“Oh, and ask Flynn to do the cedar shakes—the shingles for the roof,” Mr. Henderson said. “He does an excellent job; he’ll make that barn of yours waterproof.”

 

10

At that moment Sophia noticed a familiar look on her grandfather’s face—the same bewildered countenance she had seen when he had to fill out papers in Williamsburg to operate the store in the settlement. He just kept nodding, saying, “Yes, yes, yes,” with no actual comprehension of what was being discussed. Grandfather was adept at so many undertakings, but he was obstinately impatient with details and consequently lost his focus when discussing such simple-but-vital information. Back in Williamsburg, Grandfather had procrastinated about completing the documents for weeks before Sophia had intervened.

 

11

Suddenly, Sophia grasped what her responsibilities during the barn raising would be. She casually strolled over to her grandfather, eased up beside him, and began listening to the conversation. Before long, she knew exactly which neighbors to invite, what their favorite foods were, and where the gala would take place after the barn was built. She ascertained who the best cooks were, who the best fiddle player was, and who would be glad to help her clean up afterwards. She began a mental list of all the necessities and was so busy configuring the details of the social aspect of the barn raising that she hardly noticed what her grandfather had noticed: she was finally smiling again.

 

12

Not a word had passed between Sophia and her grandfather, but he seemed to understand his job too. Patting her on the shoulder, he left her to talk with the neighbors and extract a few final details from Mr. Henderson.

 

13

A few weeks after she had invited all of the appropriate people to assist with the barn-raising celebration, she noticed her grandfather showing an assemblage of people where he would raise his barn. He had just opened an imaginary gate; stepping through, he caught a glimpse of Sophia with Mr. Henderson and waved. She returned his wave without interrupting her conversation. She and Grandfather would do just fine, she thought. They would have the most organized farm in the colony and would raise various crops and animals—just as soon as they raised this barn.

 

 

Where did Sophia and her grandfather live before moving to the farm?

• In the mountains

• On the western plains

• In the settlement of Williamsburg

• Along the Rappahannock River

Tags

CCSS.RL.7.9

CCSS.RL.8.9

What a Farmer Raises

1

“On this land,” Grandfather exclaimed anxiously, his white hair fluttering in the breeze, “you can raise corn, pumpkins, and peanuts, but first you have to raise a barn!” Sophia stared at him intently. As he said those words, he was gesturing toward the small hill where he would raise that barn. “On a hill,” he rationalized, “the rain won’t bother the critters.” Sophia found her mind wandering as he went on; she was faintly aware of her grandfather pantomiming that he was driving a team of horses up to the imaginary barn. There was nothing there but a bare hill—no roads, no horses, and definitely no barn, just Grandfather and his dogged vision. Sophia appreciated the raw beauty of the countryside: the green pastures and blue skies, the wildflowers that grew undisturbed along the hillside, and the crisp smell of a country morning which gave a sense of renewal and peace.

 

2

Sophia had also enjoyed life in the Williamsburg settlement before Grandfather had decided to farm land along the Rappahannock River; life in the settlement seemed more exciting. There wasn’t more labor involved there, but Sophia felt profound value and usefulness. Why, she practically operated Grandfather’s dry-goods store. Hadn’t everyone always admired how well she managed the store? Yes, Sophia had proven to everyone who shopped in Grandfather’s dry-goods store in Williamsburg that she had a keen sense of marketing and a brilliant young mind for management.

 

3

She smiled, remembering how fulfilling it was to arrange the large bolts of cloth, stock the shelves, and keep essentials around the store organized. She knew instinctively where every kettle, grinder, jar of molasses, sack of dry beans, and needle—along with every other product—was kept in the outlet. Although Sophia was not responsible for keeping the transaction records for the business, she took the initiative to keep a mental record of every sundry item that arrived or was sold and with whom the exchanges were made. Unknown to Grandfather, she also kept her own record of the stock and reminded him to reorder whenever quantities became depleted. She realized she had been a valuable asset to Grandfather. She also knew she had enjoyed the work immensely and now missed it terribly.

 

4

Her grandfather’s voice snapped her out of her reverie. Sophia sighed as she heard Grandfather ask Mr. Henderson, their neighbor, “Why can’t I just build it myself?” 

 

5

“A barn is just too complex, sir. Trust me. Raising a barn isn’t like raising turnips,” he said, chuckling. “Building a barn means more than just pounding nails! It takes the work of many and the skills of a few, but your neighbors are very generous; they will be delighted to help if you ask. And make sure you get Jess Caldwell to be the joiner. He’s unsurpassed.”

 

6

“Yes, he is, yes,” her grandfather repeated, “Jess is a joiner, the best joiner. Of course.” Grandfather immediately began to wonder what a joiner was, although his facial expression displayed no evidence of the mystery. Or so he thought.

 

7

“The joiner is the person who cuts the mortise-and-tenon joints for the beams and makes them all fit together. You need someone with experience to cut the pieces for that puzzle. Mortise-and-tenon joints are very intricate, interlocking pieces of the framework. If they are cut precisely, they can hold the beams together without any other type of fastener; on the other hand, one wrong cut and you’ve ruined a forty-foot beam. That’s why Jess Caldwell is the man to acquire. Besides, he’s always on the lookout for the good food and music played once the work is complete and you have a barn-raising celebration,” said Mr. Henderson, chuckling again.

 

8

“Food and music?” her grandfather asked. Mr. Henderson said something about needing a fiddler, feeding all the people who came to help, and making sure everyone was having a good time while they built the barn. As Sophia watched the two men talk, self-pity increasingly swelled inside of her. It seemed that everyone had a significant responsibility—except her.

 

9

“Oh, and ask Flynn to do the cedar shakes—the shingles for the roof,” Mr. Henderson said. “He does an excellent job; he’ll make that barn of yours waterproof.”

 

10

At that moment Sophia noticed a familiar look on her grandfather’s face—the same bewildered countenance she had seen when he had to fill out papers in Williamsburg to operate the store in the settlement. He just kept nodding, saying, “Yes, yes, yes,” with no actual comprehension of what was being discussed. Grandfather was adept at so many undertakings, but he was obstinately impatient with details and consequently lost his focus when discussing such simple-but-vital information. Back in Williamsburg, Grandfather had procrastinated about completing the documents for weeks before Sophia had intervened.

 

11

Suddenly, Sophia grasped what her responsibilities during the barn raising would be. She casually strolled over to her grandfather, eased up beside him, and began listening to the conversation. Before long, she knew exactly which neighbors to invite, what their favorite foods were, and where the gala would take place after the barn was built. She ascertained who the best cooks were, who the best fiddle player was, and who would be glad to help her clean up afterwards. She began a mental list of all the necessities and was so busy configuring the details of the social aspect of the barn raising that she hardly noticed what her grandfather had noticed: she was finally smiling again.

 

12

Not a word had passed between Sophia and her grandfather, but he seemed to understand his job too. Patting her on the shoulder, he left her to talk with the neighbors and extract a few final details from Mr. Henderson.

 

13

A few weeks after she had invited all of the appropriate people to assist with the barn-raising celebration, she noticed her grandfather showing an assemblage of people where he would raise his barn. He had just opened an imaginary gate; stepping through, he caught a glimpse of Sophia with Mr. Henderson and waved. She returned his wave without interrupting her conversation. She and Grandfather would do just fine, she thought. They would have the most organized farm in the colony and would raise various crops and animals—just as soon as they raised this barn.

 

 

Based on Paragraph 11, what is Sophia’s job?

• to coordinate all the details of the social event.

• to propose a schedule for construction.

• to ensure people know their responsibilities.

• to direct the completion of the work.

Tags

CCSS.RL.8.6

CCSS.RL.6.3

CCSS.RL.7.6

CCSS.RL.9-10.3

CCSS.RL.11-12.3

What a Farmer Raises

1

“On this land,” Grandfather exclaimed anxiously, his white hair fluttering in the breeze, “you can raise corn, pumpkins, and peanuts, but first you have to raise a barn!” Sophia stared at him intently. As he said those words, he was gesturing toward the small hill where he would raise that barn. “On a hill,” he rationalized, “the rain won’t bother the critters.” Sophia found her mind wandering as he went on; she was faintly aware of her grandfather pantomiming that he was driving a team of horses up to the imaginary barn. There was nothing there but a bare hill—no roads, no horses, and definitely no barn, just Grandfather and his dogged vision. Sophia appreciated the raw beauty of the countryside: the green pastures and blue skies, the wildflowers that grew undisturbed along the hillside, and the crisp smell of a country morning which gave a sense of renewal and peace.

 

2

Sophia had also enjoyed life in the Williamsburg settlement before Grandfather had decided to farm land along the Rappahannock River; life in the settlement seemed more exciting. There wasn’t more labor involved there, but Sophia felt profound value and usefulness. Why, she practically operated Grandfather’s dry-goods store. Hadn’t everyone always admired how well she managed the store? Yes, Sophia had proven to everyone who shopped in Grandfather’s dry-goods store in Williamsburg that she had a keen sense of marketing and a brilliant young mind for management.

 

3

She smiled, remembering how fulfilling it was to arrange the large bolts of cloth, stock the shelves, and keep essentials around the store organized. She knew instinctively where every kettle, grinder, jar of molasses, sack of dry beans, and needle—along with every other product—was kept in the outlet. Although Sophia was not responsible for keeping the transaction records for the business, she took the initiative to keep a mental record of every sundry item that arrived or was sold and with whom the exchanges were made. Unknown to Grandfather, she also kept her own record of the stock and reminded him to reorder whenever quantities became depleted. She realized she had been a valuable asset to Grandfather. She also knew she had enjoyed the work immensely and now missed it terribly.

 

4

Her grandfather’s voice snapped her out of her reverie. Sophia sighed as she heard Grandfather ask Mr. Henderson, their neighbor, “Why can’t I just build it myself?” 

 

5

“A barn is just too complex, sir. Trust me. Raising a barn isn’t like raising turnips,” he said, chuckling. “Building a barn means more than just pounding nails! It takes the work of many and the skills of a few, but your neighbors are very generous; they will be delighted to help if you ask. And make sure you get Jess Caldwell to be the joiner. He’s unsurpassed.”

 

6

“Yes, he is, yes,” her grandfather repeated, “Jess is a joiner, the best joiner. Of course.” Grandfather immediately began to wonder what a joiner was, although his facial expression displayed no evidence of the mystery. Or so he thought.

 

7

“The joiner is the person who cuts the mortise-and-tenon joints for the beams and makes them all fit together. You need someone with experience to cut the pieces for that puzzle. Mortise-and-tenon joints are very intricate, interlocking pieces of the framework. If they are cut precisely, they can hold the beams together without any other type of fastener; on the other hand, one wrong cut and you’ve ruined a forty-foot beam. That’s why Jess Caldwell is the man to acquire. Besides, he’s always on the lookout for the good food and music played once the work is complete and you have a barn-raising celebration,” said Mr. Henderson, chuckling again.

 

8

“Food and music?” her grandfather asked. Mr. Henderson said something about needing a fiddler, feeding all the people who came to help, and making sure everyone was having a good time while they built the barn. As Sophia watched the two men talk, self-pity increasingly swelled inside of her. It seemed that everyone had a significant responsibility—except her.

 

9

“Oh, and ask Flynn to do the cedar shakes—the shingles for the roof,” Mr. Henderson said. “He does an excellent job; he’ll make that barn of yours waterproof.”

 

10

At that moment Sophia noticed a familiar look on her grandfather’s face—the same bewildered countenance she had seen when he had to fill out papers in Williamsburg to operate the store in the settlement. He just kept nodding, saying, “Yes, yes, yes,” with no actual comprehension of what was being discussed. Grandfather was adept at so many undertakings, but he was obstinately impatient with details and consequently lost his focus when discussing such simple-but-vital information. Back in Williamsburg, Grandfather had procrastinated about completing the documents for weeks before Sophia had intervened.

 

11

Suddenly, Sophia grasped what her responsibilities during the barn raising would be. She casually strolled over to her grandfather, eased up beside him, and began listening to the conversation. Before long, she knew exactly which neighbors to invite, what their favorite foods were, and where the gala would take place after the barn was built. She ascertained who the best cooks were, who the best fiddle player was, and who would be glad to help her clean up afterwards. She began a mental list of all the necessities and was so busy configuring the details of the social aspect of the barn raising that she hardly noticed what her grandfather had noticed: she was finally smiling again.

 

12

Not a word had passed between Sophia and her grandfather, but he seemed to understand his job too. Patting her on the shoulder, he left her to talk with the neighbors and extract a few final details from Mr. Henderson.

 

13

A few weeks after she had invited all of the appropriate people to assist with the barn-raising celebration, she noticed her grandfather showing an assemblage of people where he would raise his barn. He had just opened an imaginary gate; stepping through, he caught a glimpse of Sophia with Mr. Henderson and waved. She returned his wave without interrupting her conversation. She and Grandfather would do just fine, she thought. They would have the most organized farm in the colony and would raise various crops and animals—just as soon as they raised this barn.

 

 

What word BEST describes the grandfather's character?

• Argumentative

• Practical

• Rebellious

• Visionary

Tags

CCSS.RL.11-12.6

CCSS.RL.6.3

CCSS.RL.8.3

CCSS.RL.9-10.3

CCSS.RL.7.3

Read the sentence from Paragraph 13

They would have the most organized farm in the colony and would raise various crops and animals—just as soon as they raised this barn.

 

 

 

Which word best describes Sophia’s attitude in this sentence?

• accepting

• determined

• nonchalant

• resigned

Tags

CCSS.RL.8.3

CCSS.RL.2.6

The Night the Stars FellCollapse

 

by Arthur Gordon

1

One summer night in a seaside cottage, a small boy felt himself lifted from bed. Dazed with sleep, he heard his mother murmur about the lateness of the hour, heard his father laugh. Then he was borne in his father’s arms, with the swiftness of a dream, down the porch steps, out onto the beach.

2

Overhead the sky blazed with stars. “Watch!” his father said. And incredibly, as he spoke, one of the stars moved. In a streak of golden fire, it flashed across the astonished heavens. And before the wonder of this could fade, another star leaped from its place, and then another, plunging toward the restless sea. “What is it?” the child whispered. “Shooting stars,” his father said. “They come every year on certain nights in August. I thought you’d like to see the show.”

3

That was all: just an unexpected glimpse of something haunting and mysterious and beautiful. But, back in bed, the child stared for a long time into the dark, rapt with the knowledge that all around the quiet house the night was full of the silent music of the falling stars.

4

Decades have passed, but I remember that night still, because I was the fortunate seven-year-old whose father believed that a new experience was more important for a small boy than an unbroken night’s sleep. No doubt in my childhood I had the usual quota of playthings, but these are forgotten now. What I remember is the night the stars fell. I remember the “trophy table” in the hall where we children were encouraged to exhibit things we had found—snake skins, seashells, flowers, arrowheads, anything unusual or beautiful.

5

My father had, to a marvelous degree, the gift of opening doors for his children, of leading them into areas of splendid newness. This subtle art of adding dimensions to a child’s world doesn’t necessarily require a great deal of time. It simply involves doing things more often with our children instead of for them. One woman I know keeps what she calls a “Why not?” notebook, and in it she scribbles all sorts of offbeat and fascinating proposals: “Why not take kids to police headquarters to get them finger-printed?” “Why not visit a farm and attempt to milk a cow?” “Why not arrange a ride on a tugboat?” “Why not follow a river dredge and hunt for fossilized shark teeth?” And so they do.

6

Always a new dimension, always a magic door opening, an experience to be shared. That’s the key word: we shared.

7

The easiest door to open for a child, usually, is one that leads to something you love yourself. All good teachers know this. And all good teachers know the ultimate reward: the marvelous moment when the spark you are breathing on bursts into a flame that henceforth will burn brightly on its own.

8

Children are naturally inquisitive and love to try new things. But they cannot find these things by themselves; someone must offer them the choices.

9

The real purpose, then, of trying to open doors for children is not to divert them or amuse ourselves; it is to build eager, outgoing attitudes toward the demanding and complicated business of living. This, surely, is the most valuable legacy we can pass on to the next generation: not money, not houses or heirlooms, but a capacity for wonder and gratitude, a sense of aliveness and joy. Why don’t we work harder at it? Probably because, as Thoreau said, our lives are frittered away in detail. Because there are times when we don’t have the awareness or the selflessness or the energy.

10

And yet, for those of us who care what becomes of our children, the challenge is always there. None of us meets it fully, but the opportunities come again and again. Many years have passed since that night in my life when the stars fell, but the earth still turns, the sun still sets, night still sweeps over the changeless sea. And next year, when August comes with its shooting stars, my son will be seven.

“The Night the Stars Fell” by Arthur Gordon, copyright © 1964 by Arthur Gordon. Reprinted with permission of the family of Arthur Gordon. All rights reserved.

Question:

Based on the passage, the reader can conclude that shooting stars are special to the narrator because

• his son is interested in observing the sky.

• they remind him of the marvel of his childhood.

• he wants to someday be a professional astronomer.

• they remind him of an experieince he had with his mother.

Tags

CCSS.RL.8.1

CCSS.RL.11-12.2

CCSS.RL.9-10.2

CCSS.RI. 9-10.1

CCSS.RI.11-12.1

The Night the Stars FellCollapse

 

by Arthur Gordon

1

One summer night in a seaside cottage, a small boy felt himself lifted from bed. Dazed with sleep, he heard his mother murmur about the lateness of the hour, heard his father laugh. Then he was borne in his father’s arms, with the swiftness of a dream, down the porch steps, out onto the beach.

2

Overhead the sky blazed with stars. “Watch!” his father said. And incredibly, as he spoke, one of the stars moved. In a streak of golden fire, it flashed across the astonished heavens. And before the wonder of this could fade, another star leaped from its place, and then another, plunging toward the restless sea. “What is it?” the child whispered. “Shooting stars,” his father said. “They come every year on certain nights in August. I thought you’d like to see the show.”

3

That was all: just an unexpected glimpse of something haunting and mysterious and beautiful. But, back in bed, the child stared for a long time into the dark, rapt with the knowledge that all around the quiet house the night was full of the silent music of the falling stars.

4

Decades have passed, but I remember that night still, because I was the fortunate seven-year-old whose father believed that a new experience was more important for a small boy than an unbroken night’s sleep. No doubt in my childhood I had the usual quota of playthings, but these are forgotten now. What I remember is the night the stars fell. I remember the “trophy table” in the hall where we children were encouraged to exhibit things we had found—snake skins, seashells, flowers, arrowheads, anything unusual or beautiful.

5

My father had, to a marvelous degree, the gift of opening doors for his children, of leading them into areas of splendid newness. This subtle art of adding dimensions to a child’s world doesn’t necessarily require a great deal of time. It simply involves doing things more often with our children instead of for them. One woman I know keeps what she calls a “Why not?” notebook, and in it she scribbles all sorts of offbeat and fascinating proposals: “Why not take kids to police headquarters to get them finger-printed?” “Why not visit a farm and attempt to milk a cow?” “Why not arrange a ride on a tugboat?” “Why not follow a river dredge and hunt for fossilized shark teeth?” And so they do.

6

Always a new dimension, always a magic door opening, an experience to be shared. That’s the key word: we shared.

7

The easiest door to open for a child, usually, is one that leads to something you love yourself. All good teachers know this. And all good teachers know the ultimate reward: the marvelous moment when the spark you are breathing on bursts into a flame that henceforth will burn brightly on its own.

8

Children are naturally inquisitive and love to try new things. But they cannot find these things by themselves; someone must offer them the choices.

9

The real purpose, then, of trying to open doors for children is not to divert them or amuse ourselves; it is to build eager, outgoing attitudes toward the demanding and complicated business of living. This, surely, is the most valuable legacy we can pass on to the next generation: not money, not houses or heirlooms, but a capacity for wonder and gratitude, a sense of aliveness and joy. Why don’t we work harder at it? Probably because, as Thoreau said, our lives are frittered away in detail. Because there are times when we don’t have the awareness or the selflessness or the energy.

10

And yet, for those of us who care what becomes of our children, the challenge is always there. None of us meets it fully, but the opportunities come again and again. Many years have passed since that night in my life when the stars fell, but the earth still turns, the sun still sets, night still sweeps over the changeless sea. And next year, when August comes with its shooting stars, my son will be seven.

“The Night the Stars Fell” by Arthur Gordon, copyright © 1964 by Arthur Gordon. Reprinted with permission of the family of Arthur Gordon. All rights reserved.

Question:

In Paragraph 5 of “The Night the Stars Fell,” the narrator’s father is characterized as someone who

• completes tasks for his children.

• participates in activities with his children.

• is interested in teaching other parents about raising children.

• is unaware of opportunities for involvement with his children.

Tags

CCSS.RL.8.6

CCSS.RL.7.6

CCSS.RL.1.6

CCSS.RL.5.6

CCSS.RL.6.6

The Blues and American Music

1

The landscape of American music has undergone crucial changes over the past one hundred years. During this period, many musical forms and genres have risen to prominence; some have faded into obscurity, while others have endured. The musical form of the blues, which first became popular in the 1920s, proved to be one of the most influential genres of music throughout the twentieth century and continues to maintain an important place in our culture today.

2

The exact origin of the blues as a musical form is very difficult to pinpoint. It has roots in African and European traditions, but many of its essential characteristics can be traced to African-American work songs and chants from the 1800s. Many of these songs employed a call-and-response structure. One man or woman, often a leader of a group of workers, would sing several lines, and then the rest of the group would answer with a refrain—a repeated phrase or series of lines. These work songs served the important purpose of providing a distraction from difficult and sometimes monotonous labor, as well as promoting a sense of community and companionship among workers. Many of the songs also had a much more strategic purpose: they helped coordinate the tasks of laborers through a shared sense of rhythm. For instance, railroad workers, performing the dangerous business of installing cross ties and spikes, would move their ties, place their spikes, and swing their hammers in time with a song. In this case, the music not only helped to keep the men's spirits up, it also kept them from being injured.

3

When the blues evolved as an art form in the late 1800s and early 1900s, it kept the spirit of the call-and-response structure, while focusing more on individual artists. During this time, many African-American actors and musicians came into contact with country and western singers while traveling in Vaudeville circuits throughout the United States. These artists had quite a profound influence on African-American music, since they were often quite polished musicians who could perform alone at different venues, accompanying their singing with only a guitar. African-American artists were fascinated by the possibility of artistic and personal freedom that such independence allowed. Many of them adapted the words and spirit of older work songs to fit the constraints of the country music genre, with one artist playing guitar and singing, thus giving birth to the “country blues.”

4

Although many of the first genuine blues artists were men, female artists made country blues widely popular. The 1920s saw the emergence of a movement called the “Classic Blues,” featuring such talented and charismatic singers as Mamie Smith, Ida B. Cox, and Bessie Smith. These women charted a new course for the blues, making it a more polished form of music and more urban than “country.” They tended to dress in lavish dresses and costumes, and to perform with large bands in larger venues, while country bluesmen dressed more modestly and most often performed alone outdoors or at small, rural venues. During the 1920s, the United States enjoyed a time of unprecedented prosperity, in which people from all walks of life benefited, including musicians. During this time, many artists moved to the cities, where there was more demand for music, which led to more opportunities to perform and record. Since Thomas Edison's invention of the phonograph in 1877, many Americans had begun to buy musical recordings for the first time. Some of the most popular records of this era were of songs by Mamie Smith, such as “Crazy Blues” and “St. Louis Blues.”

5

Because of the feeling that is evoked by expressions like “I feel blue” or “I have the blues,” many people believe that all blues music has a sad or melancholy quality. Upon listening to recordings from classic blues artists, such as Ida B. Cox and Bessie Smith, however, one quickly realizes that many blues songs are upbeat and even inspiring. Just as the songs and chants of nineteenth century laborers had helped lift their hearts and distract them from the difficulty of their work, blues music in the twentieth century helped artists and audiences to acknowledge and work through difficult times. Thus, the purpose of this form of music is really to “lose the blues,” rather than “get the blues.”

6

Though the blues declined in popularity after the 1920s, the 1960s saw a reawakening of interest in this historically and musically rich genre. Unquestionably, blues music has had a monumental effect on popular musicians from the 1960s onward. Today, blues artists continue to record and thrive as composers and performers, and they often pay tribute to the great men and women of the country and classic blues eras by singing and recording their amazing, timeless songs.

Question:

Which sentence best describes the main idea of the passage?

• Blues has influenced country and western music.

• Blues has been an obscure form of American music until recent years.

• Blues has impacted American music and continues to be an influential music form.

• Blues has transformed over the past one hundred years and will continue to evolve.

Tags

CCSS.RL.11-12.2

CCSS.RL.9-10.2

CCSS.RI. 9-10.2

CCSS.RI.11-12.2

CCSS.RI.8.2

Read the sentence from Paragraph 3.

 

 

Many of them adapted the words and spirit of older work songs to fit the constraints of the country music genre, with one artist playing guitar and singing, thus giving birth to the “country blues.”

As used in the sentence, what does the word constraints mean?

• volume

• limitations

• beauty

• character

Tags

CCSS.RI.11-12.4

CCSS.RI.9-10.4

CCSS.RL.11-12.4

CCSS.RL.8.4

CCSS.RL.9-10.4

The Blues and American Music

1

The landscape of American music has undergone crucial changes over the past one hundred years. During this period, many musical forms and genres have risen to prominence; some have faded into obscurity, while others have endured. The musical form of the blues, which first became popular in the 1920s, proved to be one of the most influential genres of music throughout the twentieth century and continues to maintain an important place in our culture today.

2

The exact origin of the blues as a musical form is very difficult to pinpoint. It has roots in African and European traditions, but many of its essential characteristics can be traced to African-American work songs and chants from the 1800s. Many of these songs employed a call-and-response structure. One man or woman, often a leader of a group of workers, would sing several lines, and then the rest of the group would answer with a refrain—a repeated phrase or series of lines. These work songs served the important purpose of providing a distraction from difficult and sometimes monotonous labor, as well as promoting a sense of community and companionship among workers. Many of the songs also had a much more strategic purpose: they helped coordinate the tasks of laborers through a shared sense of rhythm. For instance, railroad workers, performing the dangerous business of installing cross ties and spikes, would move their ties, place their spikes, and swing their hammers in time with a song. In this case, the music not only helped to keep the men's spirits up, it also kept them from being injured.

3

When the blues evolved as an art form in the late 1800s and early 1900s, it kept the spirit of the call-and-response structure, while focusing more on individual artists. During this time, many African-American actors and musicians came into contact with country and western singers while traveling in Vaudeville circuits throughout the United States. These artists had quite a profound influence on African-American music, since they were often quite polished musicians who could perform alone at different venues, accompanying their singing with only a guitar. African-American artists were fascinated by the possibility of artistic and personal freedom that such independence allowed. Many of them adapted the words and spirit of older work songs to fit the constraints of the country music genre, with one artist playing guitar and singing, thus giving birth to the “country blues.”

4

Although many of the first genuine blues artists were men, female artists made country blues widely popular. The 1920s saw the emergence of a movement called the “Classic Blues,” featuring such talented and charismatic singers as Mamie Smith, Ida B. Cox, and Bessie Smith. These women charted a new course for the blues, making it a more polished form of music and more urban than “country.” They tended to dress in lavish dresses and costumes, and to perform with large bands in larger venues, while country bluesmen dressed more modestly and most often performed alone outdoors or at small, rural venues. During the 1920s, the United States enjoyed a time of unprecedented prosperity, in which people from all walks of life benefited, including musicians. During this time, many artists moved to the cities, where there was more demand for music, which led to more opportunities to perform and record. Since Thomas Edison's invention of the phonograph in 1877, many Americans had begun to buy musical recordings for the first time. Some of the most popular records of this era were of songs by Mamie Smith, such as “Crazy Blues” and “St. Louis Blues.”

5

Because of the feeling that is evoked by expressions like “I feel blue” or “I have the blues,” many people believe that all blues music has a sad or melancholy quality. Upon listening to recordings from classic blues artists, such as Ida B. Cox and Bessie Smith, however, one quickly realizes that many blues songs are upbeat and even inspiring. Just as the songs and chants of nineteenth century laborers had helped lift their hearts and distract them from the difficulty of their work, blues music in the twentieth century helped artists and audiences to acknowledge and work through difficult times. Thus, the purpose of this form of music is really to “lose the blues,” rather than “get the blues.”

6

Though the blues declined in popularity after the 1920s, the 1960s saw a reawakening of interest in this historically and musically rich genre. Unquestionably, blues music has had a monumental effect on popular musicians from the 1960s onward. Today, blues artists continue to record and thrive as composers and performers, and they often pay tribute to the great men and women of the country and classic blues eras by singing and recording their amazing, timeless songs.

Question:

What is the author’s main purpose for writing this passage?

• to inspire readers to become blues singers

• to explain to readers the distinguishing features of blues music

• to express to readers the importance of blues in American music

• to introduce readers to popular American blues artists

Tags

CCSS.RL.8.6

CCSS.RL.11-12.6

CCSS.RI. 9-10.6

CCSS.RL.9-10.6

CCSS.RI.8.6