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Admission Test Section One : Verbal GRE-Verbal Prüfungsfragen mit Lösungen:

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

2. "Old woman," grumbled the burly white man who had just heard Sojourner Truth speak, "do you think your
talk about slavery does any good? I don't care any more for your talk than I do for the bite of a flea." The
tall, imposing black woman turned her piercing eyes on him. "Perhaps not," she answered, "but I'll keep
you scratching." The little incident of the 1840s sums up all that Sojourner Truth was: utterly dedicated to
spreading her message, afraid of no one, forceful and witty in speech. Yet forty years earlier, who could
have suspected that a spindly slave girl growing up in a damp cellar in upstate New York would become
one of the most remarkable women in American history? Her name then was Isabella (many slaves had
no last names), and by the time she was fourteen she had seen both parents die of cold and hunger. She
herself had been sold several times. By 1827, when New York freed its slaves, she had married and
borne five children. The first hint of Isabella's fighting spirit came soon afterwards, when her youngest son
was illegally seized and sold. She marched to the courthouse and badgered officials until her son was
returned to her. In 1843, inspired by religion, she changed her name to Sojourner (meaning "one who
stays briefly") Truth, and, with only pennies in her purse, set out to preach against slavery. From New
England to Minnesota she trekked, gaining a reputation for her plain but powerful and moving words.
Incredibly, despite being black and female (only white males were expected to be public speakers), she
drew thousands to town halls, tents, and churches to hear her powerful, deep-voiced pleas on equality for
blacks-and for women. Often she had to face threatening hoodlums. Once she stood before armed bullies
and sang a hymn to them. Awed by her courage and her commanding presence, they sheepishly
retreated. During the Civil War she cared for homeless ex-slaves in Washington. President Lincoln invited
her to the White House to bestow praise on her. Later, she petitioned Congress to help former slaves get
land in the West. Even in her old age, she forced the city of Washington to integrate its trolley cars so that
black and white could ride together. Shortly before her death at eighty-six, she was asked what kept her
going. "I think of the great things," replied Sojourner.
This incident occurred in the-

A) 1760s
B) 1700s
C) 1840s
D) 1920s
E) 1900s

3. DISMANTLE : ASSEMBLE

A) rant: rave
B) shirk: malinger
C) abound:teem
D) pamper: mistreat
E) mar: disfigure

4. Charles A. Lindbergh is remembered as the first person to make a nonstop solo flight across the Atlantic,
in 1927. This feat, when Lindbergh was only twenty-five years old, assured him a lifetime of fame and
public attention. Charles Augustus Lindbergh was more interested in flying airplanes than he was in
studying. He dropped out of the University of Wisconsin after two years to earn a living performing
daredevil airplane stunts at country fairs. Two years later, he joined the United States Army so that he
could go to the Army Air Service flight-training school. After completing his training, he was hired to fly
mail between St. Louis and Chicago. Then came the historic flight across the Atlantic. In 1919, a New
York City hotel owner offered a prize of $25,000 to the first pilot to fly nonstop from New York to Paris.
Nine St. Louis business leaders helped pay for the plane Lindbergh designed especially for the flight.
Lindbergh tested the plane by flying it from San Diego to New York, with an overnight stop in St. Louis.
The flight took only 20 hours and 21 minutes, a transcontinental record. Nine days later, on May 20,1927,
Lindbergh took off from Long Island, New York, at 7:52 A. M. He landed at Paris on May 21 at 10:21 P. M.
He had flown more than 3,600 miles in less than thirty four hours. His flight made news around the world.
He was given awards and parades everywhere he went. He was presented with the U. S. Congressional
Medal of Honor and the first Distinguished Flying Cross. For a long time, Lindbergh toured the world as a
U. S. goodwill ambassador. He met his future wife, Anne Morrow, in Mexico, where her father was the
United States ambassador. During the 1930s, Charles and Anne Lindbergh worked for various airline
companies, charting new commercial air routes. In 1931, for a major airline, they charted a new route from
the east coast of the United States to the Orient. The shortest, most efficient route was a great curve
across Canada, over Alaska, and down to China and Japan. Most pilots familiar with the Arctic did not
believe that such a route was possible. The Lindberghs took on the task of proving that it was. They
arranged for fuel and supplies to be set out along the route. On July 29, they took off from Long Island in a
specially equipped small seaplane. They flew by day and each night landed on a lake or a river and
camped. Near Nome, Alaska, they had their first serious emergency. Out of daylight and nearly out of fuel,
they were forced down in a small ocean inlet. In the next morning's light, they discovered they had landed
on barely three feet of water. On September 19, after two more emergency landings and numerous close
calls, they landed in China with the maps for a safe airline passenger route. Even while actively engaged
as a pioneering flier, Lindbergh was also working as an engineer.
In 1935, he and Dr. Alexis Carrel were given a patent for an artificial heart. During
World War I in the 1940s, Lindbergh served as a civilian technical advisor in aviation.
Although he was a civilian, he flew over fifty combat missions in the Pacific. In the
1 950s, Lindbergh helped design the famous 747 jet airliner. In the late 1960s, he spoke widely on
conservation issues. He died August 1974, having lived through aviation history from the time of the first
powered flight to the first steps on the moon and having influenced a big part of that history himself.
What happened immediately after Lindbergh crossed the Atlantic?

A) He attended the Army flight-training school.
B) He flew the mail between St. Louis and Chicago.
C) He was given the Congressional Medal of Honor.
D) He married Anne Morrow.
E) He left college.

5. 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.
The passage mentions all of the following as aspects of performance practice of the early twentieth
century EXCEPT for

A) deciphering outdated music notation
B) reestablishing unannotated performing traditions
C) transcribing older music into modern notation
D) spontaneous vocal and instrumental ornamentation
E) varying the delivery of music to suit particular audiences

Fragen und Antworten: