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GRE #14 Paper 4

1. Psychology has slowly evolved into an----scien-
tific discipline that now functions autonomously
with the same privileges and responsibilities as other
sciences.
(A) independent (B) unusual
(C) outmoded (D) uncontrolled
(E) inactive

2. A major goal of law, to deter potential criminals by
punishing wrongdoers, is not served when the
penalty is so seldom invoked that it----to be a
----threat.
(A) tends.. serious
(B) appears.. real
(C) CEASES.. CREDIBLE
(D) fails.. deceptive
(E) seems.. coercive

3. When people are happy, they tend to give----
interpretations of events they witness: the eye of the
beholder is----by the emotions of the beholder.
(A) charitable.. colored
(B) elaborate.. disquieted
(C) conscientious.. deceived
(D) vague.. sharpened
(E) coherent.. confused

4. Even those who disagreed with Carmen’s views
rarely faulted her for expressing them, for the posi-
tions she took were as----as they were contro-
versial.
(A) complicated (B) political
(C) subjective (D) commonplace
(E) thoughtful

5. New research on technology and public policy
focuses on how seemingly----design features,
generally overlooked in most analyses of public
works projects or industrial machinery, actually
---social choices of profound significance.
(A) INSIGNIFICANT.. MASK
(B) inexpensive.. produce
(C) innovative.. represent
(D) ingenious.. permit
(E) inopportune.. hasten

6. Paradoxically, Robinson’s excessive denials of the
worth of early works of science fiction suggest that
she has become quite----them.
(A) reflective about (B) enamored of
(C) skeptical of (D) encouraged by
(E) offended by

7. Cezanne’s delicate watercolor sketches often served
as----of a subject, a way of gathering fuller
knowledge before the artist’s final engagement
of the subject in an oil painting.
(A) an abstraction (B) an enhancement
(C) a synthesis (D) a reconnaissance
(E) a transcription

8. HAMMER: CARPENTER::
(A) brick: mason (B) road: driver
(C) kitchen: cook (D) letter: secretary
(E) knife: butcher

9. EMBRACE: AFFECTION::
(A) jeer: sullenness (B) glower: ridicule
(C) frown: displeasure
(D) cooperation: respect
(E) flattery: love

10. PLUMMET: FALL::
(A) radiate: glow (B) converge: attract
(C) flounder: move (D) swerve: turn
(E) flow: ebb

11. GRAZING: FORAGERS::
(A) skipping: readers
(B) strolling: prisoners
(C) weeding: gardeners
(D) stalking: hunters
(E) resting: pickers

12. TEXT: EXTEMPORIZE::
(A) score: improvise
(B) style: decorate
(C) exhibit: demonstrate
(D) diagram: realize
(E) sketch: outline

13. PERTINENT: RELEVANCE::
(A) insistent: rudeness
(B) benevolent: perfection
(C) redundant: superfluity
(D) prevalent: universality
(E) aberrant: uniqueness

14. ASSERT: BELABOR::
(A) tend: fuss (B) refine: temper
(C) describe: demean
(D) resemble: portray
(E) contaminate: purge

15. TRANSGRESSION: MORALITY::
(A) mistake: probity
(B) invitation: hospitality
(C) gift: generosity
(D) presumption: propriety
(E) misconception: curiosity

16. BLOWHARD: BOASTFUL::
(A) cynic: perspicacious
(B) highbrow: grandiloquent
(C) exhibitionist: embarrassed
(D) misanthrope: affected
(E) toady: obsequious

Ragtime is a musical form that synthesizes folk
melodies and musical techniques into a brief quadrille-
like structure, designed to be played—exactly as
written—on the piano. A strong analogy exists between
(5) European composers like Ralph Vaughan Williams,
Edvard Grieg, and Anton Dvorak who combined folk
tunes and their own original materials in larger composi-
tions and the pioneer ragtime composers in the United
States. Composers like Scott Joplin and James Scott
(10)were in a sense collectors or musicologists, collecting
dance and folk music in Black communities and
consciously shaping it into brief suites or anthologies
called piano rags.
It has sometimes been charged that ragtime is
(15)mechanical. For instance, Wilfred Mellers comments,
“rags were transferred to the pianola roll and, even if
not played by a machine, should be played like a
machine, with meticulous precision.” However, there is
no reason to assume that ragtime is inherently mechan-
(20)ical simply because commercial manufacturers applied a
mechanical recording method to ragtime, the only way
to record pianos at that date. Ragtime’s is not a mechan-
ical precision, and it is not precision limited to the style
of performance. It arises from ragtime’s following a well-
(25)defined form and obeying simple rules within that form.
The classic formula for the piano rag disposes three
to five themes in sixteen-bar strains, often organized
with repeats. The rag opens with a bright, memorable
strain or theme, followed by a similar theme, leading to
(30)a trio of marked lyrical character, with the structure
concluded by a lyrical strain that parallels the rhythmic
developments of the earlier themes. The aim of the struc-
ture is to rise from one theme to another in a stair-step
manner, ending on a note of triumph or exhilaration.
(35)Typically, each strain is divided into two 8-bar segments
that are essentially alike, so the rhythmic-melodic unit of
ragtime is only eight bars of 2/4 measure. Therefore,
themes must be brief with clear, sharp melodic figures.
Not concerned with development of musical themes, the
(40)ragtime composer instead sets a theme down intact, in
finished form, and links it to various related themes.
Tension in ragtime compositions arises from a polarity
between two basic ingredients: a continuous bass—
called by jazz musicians a boom-chick bass—in the
(45)pianist’s left hand, and its melodic, syncopated counter-
part in the right hand.
Ragtime remains distinct from jazz both as an instru-
mental style and as a genre. Ragtime style stresses a
pattern of repeated rhythms, not the constant inventions
(50)and variations of jazz. As a genre, ragtime requires strict
attention to structure, not inventiveness or virtuosity. It
exists as a tradition, a set of conventions, a body of
written scores, separate from the individual players asso-
ciated with it. In this sense ragtime is more akin to folk
music of the nineteenth century than to jazz.

17. Which of the following best describes the main
purpose of the passage?
(A) To contrast ragtime music and jazz
(B) To acknowledge and counter significant adverse
criticisms of ragtime music
(C) To define ragtime music as an art form and
describe its structural characteristics
(D) To review the history of ragtime music and
analyze ragtime’s effect on listeners
(E) To explore the similarities between ragtime
music and certain European musical
compositions

18. According to the passage, each of the following is a
characteristic of ragtime compositions that follow
the classic ragtime formula EXCEPT
(A) syncopation
(B) well-defined melodic figures
(C) rising rhythmic-melodic intensity
(D) full development of musical themes
(E) a bass line distinct from the melodic line

19. According to the passage, Ralph Vaughan Williams,
Anton Dvorak, and Scott Joplin are similar in that
they all
(A) conducted research into musicological history
(B) wrote original compositions based on folk tunes
(C) collected and recorded abbreviated piano suites
(D) created intricate sonata-like musical structures
(E) explored the relations between Black music and
continental folk music

20. The author rejects the argument that ragtime is a
mechanical music because that argument
(A) overlooks the precision required of the ragtime
player
(B) does not accurately describe the sound of
ragtime pianola music
(C) confuses the means of recording and the essen-
tial character of the music
(D) exaggerates the influence of the performance
style of professional ragtime players on the
reputation of the genre
(E) improperly identifies commercial ragtime music
with the subtler classic ragtime style

21. It can be inferred that the author of the passage
believes that the most important feature of ragtime
music is its
(A) commercial success
(B) formal structure
(C) emotional range
(D) improvisational opportunities
(E) role as a forerunner of jazz

22. It can be inferred from the passage that the essential
nature of ragtime has been obscured by commen-
taries based on
(A) the way ragtime music was first recorded
(B) interpretations of ragtime by jazz musicians
(C) the dance fashions that were contemporary with
ragtime
(D) early reviewers’ accounts of characteristic
structure
(E) the musical sources used by Scott Joplin and
James Scott

23. Which of the following is most nearly analogous in
source and artistic character to a ragtime composi-
tion as described in the passage?
(A) Symphonic music derived from complex jazz
motifs
(B) An experimental novel based on well-known
cartoon characters
(C) A dramatic production in which actors invent
scenes and improvise lines
(D) A ballet whose disciplined choreography is
based on folk-dance steps
(E) A painting whose abstract shapes evoke
familiar objects in a natural landscape

Echolocating bats emit sounds in patterns—
characteristic of each species—that contain both
frequency-modulated (FM) and constant-frequency (CF)
signals. The broadband FM signals and the narrowband
(5) CF signals travel out to a target, reflect from it, and
return to the hunting bat. In this process of transmission
and reflection, the sounds are changed, and the changes
in the echoes enable the bat to perceive features of the
target.
(10) The FM signals report information about target char-
acteristics that modify the timing and the fine frequency
structure, or spectrum, of echoes—for example, the
target’s size, shape, texture, surface structure, and direc-
tion in space. Because of their narrow bandwidth, CF
(15)signals portray only the target’s presence and, in the case
of some bat species, its motion relative to the bat’s.
Responding to changes in the CF echo’s frequency, bats
of some species correct in flight for the direction and
velocity of their moving prey.

24. According to the passage, the information provided
to the bat by CF echoes differs from that provided
by FM echoes in which of the following ways?
(A) Only CF echoes alert the bat to moving targets.
(B) Only CF echoes identify the range of widely
spaced targets.
(C) Only CF echoes report the target’s presence to
the bat.
(D) In some species, CF echoes enable the bat to
judge whether it is closing in on its target.
(E) In some species, CF echoes enable the bat to
discriminate the size of its target and the
direction in which the target is moving.

25. According to the passage, the configuration of the
target is reported to the eholocating bat by changes
in the
(A) echo spectrum of CF signals
(B) echo spectrum of FM signals
(C) direction and velocity of the FM echoes
(D) delay between transmission and reflection of the
CF signals
(E) relative frequencies of the FM and the CF
echoes

26. The author presents the information concerning bat
sonar in a manner that could be best described as
(A) argumentative (B) commendatory
(C) critical (D) disbelieving
(E) objective

27. Which of the following best describes the organiza-
tion of the passage?
(A) A fact is stated, a process is outlined, and
specific details of the process are described.
(B) A fact is stated, and examples suggesting that
a distinction needs correction are considered.
(C) A fact is stated, a theory is presented to explain
that fact, and additional facts are introduced
to validate the theory.
(D) A fact is stated, and two theories are compared
in light of their explanations of this fact.
(E) A fact is stated, a process is described, and
examples of still another process are
illustrated in detail.

28. CONSTRAIN:
(A) release (B) sever (C) abandon
(D) unload (E) agree

29. SQUAT:
(A) dim and dark (B) tall and thin
(C) misty and vague (D) sharp and shrill
(E) flat and narrow

30. OPAQUENESS:
(A) opalescence (B) clarity (C) density
(D) magnetism (E) latency

31. COMELINESS:
(A) disagreement (B) humiliation
(C) ambition (D) unattractiveness
(E) shortsightedness

32. PROFUNDITY:
(A) speciousness (B) solicitude
(C) succinctness (D) superficiality
(E) solidarity

33. BURGEON:
(A) subside (B) esteem (C) placate
(D) tempt (E) wean

34. SINEWY:
(A) new (B) weak (C) corrupt
(D) subtle (E) substantial

35. EXHAUSTIVE:
(A) incomplete (B) energetic (C) strong
(D) indecisive (E) conserving

36. PINE:
(A) fall apart (B) become invigorated
(C) become enraged (D) move ahead
(E) stand firm

37. OBSTINACY:
(A) persuasiveness (B) tractability
(C) antipathy (D) neutrality
(E) magnanimity

38. EXACT:
(A) deny (B) judge (C) deprive
(D) forgive (E) establish

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Question Popularity: Submitted 2009-05-13 07:12:42

Question Popularity:
Submitted 2009-05-13 07:12:42