GMAT Section 3 Verbal Ability practice questions, page 10 of 30, with answer review and explanations.
Question 46
For a generation of suppressed, restless, working-class youths living in 1960 Jamaica, ska was a medium through which they could find expression. Since its original appearance, ska has resurfaced twice, each time presenting itself in a different guise to a new generation of music aficionados. Overcoming its humble beginnings, it has become one of the twentieth centurys most enduring and influential styles of music. Since the early 1940's, Jamaica had adopted and adapted many forms of American musical styles. The predominantly black inhabitants of Jamaica took a liking to rhythm and blues music, importing a considerable number of American records that were showcased at dance halls in the early 1960s. Jamaican musicians took up the elements of rhythm and blues and combined it with traditional Jamaican mento music. The result was the first wave of ska. Musically, ska is a shuffle rhythm similar to mento but with even closer ties to rhythm and blues, placing the accent on the second and fourth beats, often moving in a 12-bar blues frame. The after beat, played on the piano or strummed by a rhythm guitar, came to be characteristic of the form. A horn section, usually consisting of trumpets, trombones, and saxophones, was a vital element. Classic bands, such as the Wailers wrote songs written about Trench Town (a ghetto), rude boys (street thugs), romance, and even religious themes. In 1965, ska began to take a backseat to a newly evolved type of music, called rock steady, which was more dependent than ska had been on rhythm provided by the bass guitar and drums. Ska was later exported by traveling Jamaican artists to Great Britain, where it became known as "blue beat." By the mid 1970's, early British punk bands were infusing reggae, a style of music that came from rock steady, into their music. Near the end of the decade, however, there was a resurgence of the influence of ska because of its upbeat, danceable rhythm. This faster paced ska came to be known as two tone. One of the essential messages of two-tone ska was the promotion of racial harmony and of having fun in the face of subjugation. The third wave of ska began in America around 1990. Bands influenced by the two-tone ska scene began to use punk and metal music to a greater extent. The combination, which is much faster than two tone, sounds very different from the original Jamaican brand of ska. In its three different waves, ska has given voice to seemingly voiceless, downtrodden generations. Each time it resurfaces, a new message is taken up; however, the old messages are never forgotten The primary purpose of this passage is to
Contrast the musical rhythm of two-tone music with original Jamaican ska from which it developed
Illustrate various ways in which rhythm and blues has influenced ska music
Outline the influences on the various forms of ska music from its inception in Jamaica in early 1960s through its third wave in the 1990s
Describe events leading to the inception, rise and final demise of Jamaican ska music
Trace to evolution of ska music from its inception in Jamaica in early 1960s through its third wave in the 1990s
Question 47
For a generation of suppressed, restless, working-class youths living in 1960 Jamaica, ska was a medium through which they could find expression. Since its original appearance, ska has resurfaced twice, each time presenting itself in a different guise to a new generation of music aficionados. Overcoming its humble beginnings, it has become one of the twentieth centurys most enduring and influential styles of music. Since the early 1940's, Jamaica had adopted and adapted many forms of American musical styles. The predominantly black inhabitants of Jamaica took a liking to rhythm and blues music, importing a considerable number of American records that were showcased at dance halls in the early 1960s. Jamaican musicians took up the elements of rhythm and blues and combined it with traditional Jamaican mento music. The result was the first wave of ska. Musically, ska is a shuffle rhythm similar to mento but with even closer ties to rhythm and blues, placing the accent on the second and fourth beats, often moving in a 12-bar blues frame. The after beat, played on the piano or strummed by a rhythm guitar, came to be characteristic of the form. A horn section, usually consisting of trumpets, trombones, and saxophones, was a vital element. Classic bands, such as the Wailers wrote songs written about Trench Town (a ghetto), rude boys (street thugs), romance, and even religious themes. In 1965, ska began to take a backseat to a newly evolved type of music, called rock steady, which was more dependent than ska had been on rhythm provided by the bass guitar and drums. Ska was later exported by traveling Jamaican artists to Great Britain, where it became known as "blue beat." By the mid 1970's, early British punk bands were infusing reggae, a style of music that came from rock steady, into their music. Near the end of the decade, however, there was a resurgence of the influence of ska because of its upbeat, danceable rhythm. This faster paced ska came to be known as two tone. One of the essential messages of two-tone ska was the promotion of racial harmony and of having fun in the face of subjugation. The third wave of ska began in America around 1990. Bands influenced by the two-tone ska scene began to use punk and metal music to a greater extent. The combination, which is much faster than two tone, sounds very different from the original Jamaican brand of ska. In its three different waves, ska has given voice to seemingly voiceless, downtrodden generations. Each time it resurfaces, a new message is taken up; however, the old messages are never forgotten According to the passage, Ska music has
Been influenced by rhythm and blues, mento and blue beat
Been influenced by rhythm and blues, and has influenced mento and rock steady
Been influenced by rhythm and blues and rock steady and has influenced punk and metal musicians
Influenced rhythm and blues, reggae and metal musicians.
Been influenced by mento music and has influenced punk and metal musicians.
Question 48
For a generation of suppressed, restless, working-class youths living in 1960 Jamaica, ska was a medium through which they could find expression. Since its original appearance, ska has resurfaced twice, each time presenting itself in a different guise to a new generation of music aficionados. Overcoming its humble beginnings, it has become one of the twentieth centurys most enduring and influential styles of music. Since the early 1940's, Jamaica had adopted and adapted many forms of American musical styles. The predominantly black inhabitants of Jamaica took a liking to rhythm and blues music, importing a considerable number of American records that were showcased at dance halls in the early 1960s. Jamaican musicians took up the elements of rhythm and blues and combined it with traditional Jamaican mento music. The result was the first wave of ska. Musically, ska is a shuffle rhythm similar to mento but with even closer ties to rhythm and blues, placing the accent on the second and fourth beats, often moving in a 12-bar blues frame. The after beat, played on the piano or strummed by a rhythm guitar, came to be characteristic of the form. A horn section, usually consisting of trumpets, trombones, and saxophones, was a vital element. Classic bands, such as the Wailers wrote songs written about Trench Town (a ghetto), rude boys (street thugs), romance, and even religious themes. In 1965, ska began to take a backseat to a newly evolved type of music, called rock steady, which was more dependent than ska had been on rhythm provided by the bass guitar and drums. Ska was later exported by traveling Jamaican artists to Great Britain, where it became known as "blue beat." By the mid 1970's, early British punk bands were infusing reggae, a style of music that came from rock steady, into their music. Near the end of the decade, however, there was a resurgence of the influence of ska because of its upbeat, danceable rhythm. This faster paced ska came to be known as two tone. One of the essential messages of two-tone ska was the promotion of racial harmony and of having fun in the face of subjugation. The third wave of ska began in America around 1990. Bands influenced by the two-tone ska scene began to use punk and metal music to a greater extent. The combination, which is much faster than two tone, sounds very different from the original Jamaican brand of ska. In its three different waves, ska has given voice to seemingly voiceless, downtrodden generations. Each time it resurfaces, a new message is taken up; however, the old messages are never forgotten Which of the following statements about ska music is supported by information in the passage?
Rock steady is more dependent than ska on the rhythm provided by the bass guitar and drums.
Reggae, which counts ska as one of its primary influences, developed only after it was exported by traveling Jamaican artists to Great Britain
Ska’s appeal over the last half century has been limited to voiceless, downtrodden generations.
Two-tone is a faster paced form of ska that developed in the late 1970s
Mento music places the accent on the second and fourth beats, often moving in a 12-bar blues-frame.
Question 49
For a generation of suppressed, restless, working-class youths living in 1960 Jamaica, ska was a medium through which they could find expression. Since its original appearance, ska has resurfaced twice, each time presenting itself in a different guise to a new generation of music aficionados. Overcoming its humble beginnings, it has become one of the twentieth centurys most enduring and influential styles of music. Since the early 1940's, Jamaica had adopted and adapted many forms of American musical styles. The predominantly black inhabitants of Jamaica took a liking to rhythm and blues music, importing a considerable number of American records that were showcased at dance halls in the early 1960s. Jamaican musicians took up the elements of rhythm and blues and combined it with traditional Jamaican mento music. The result was the first wave of ska. Musically, ska is a shuffle rhythm similar to mento but with even closer ties to rhythm and blues, placing the accent on the second and fourth beats, often moving in a 12-bar blues frame. The after beat, played on the piano or strummed by a rhythm guitar, came to be characteristic of the form. A horn section, usually consisting of trumpets, trombones, and saxophones, was a vital element. Classic bands, such as the Wailers wrote songs written about Trench Town (a ghetto), rude boys (street thugs), romance, and even religious themes. In 1965, ska began to take a backseat to a newly evolved type of music, called rock steady, which was more dependent than ska had been on rhythm provided by the bass guitar and drums. Ska was later exported by traveling Jamaican artists to Great Britain, where it became known as "blue beat." By the mid 1970's, early British punk bands were infusing reggae, a style of music that came from rock steady, into their music. Near the end of the decade, however, there was a resurgence of the influence of ska because of its upbeat, danceable rhythm. This faster paced ska came to be known as two tone. One of the essential messages of two-tone ska was the promotion of racial harmony and of having fun in the face of subjugation. The third wave of ska began in America around 1990. Bands influenced by the two-tone ska scene began to use punk and metal music to a greater extent. The combination, which is much faster than two tone, sounds very different from the original Jamaican brand of ska. In its three different waves, ska has given voice to seemingly voiceless, downtrodden generations. Each time it resurfaces, a new message is taken up, however, the old messages are never forgotten The passage suggests that two tone music I. Resurged near the end of the 1970s II. Influenced bands in America in the 1990s III. Promoted of racial harmony and of having fun in the face of oppression.
I only
II only
III only
II and III only
I, and II, and III
Question 50
Coca-Cola, which sold 10 billion cases of soft drinks in 1992, now finds itself asking, where will sales of the next 10 billion cases come from? The answer lies overseas, where income levels and appetites for Western products are at an all time high. Often, the company that gets into a foreign market earliest dominates that country's market. Coke patriarch Robert Woodruff realized this and unleashed a brilliant ploy to make Coke the early bird in many of the major foreign markets. At the height of World War II, Woodruff proclaimed, "Wherever American boys were fighting, they'd be able to get a Coke." By the time Pepsi tried to make its first international pitch in the 1950s, Coke had established its brand name along with a powerful distribution network. During the last 40 years, many new markets have emerged. In order to tap into these opportunities, both coke and Pepsi have attempted to find ways to cut through the red tape that thwarts their efforts to conduct business in these new regions. One key maneuver in the soda wars occurred in 1972, when Pepsi signed an agreement with the Soviet Union that made it the first Western product to be sold to consumers in Russia. This landmark agreement gave Pepsi the upper hand. At present, Pepsi has 23 plants in the former Soviet Union and is the leader in the soft-drink industry in Russia. It outsells Coca-Cola by a ratio of 6 to 1 and is seen there as a local brand, similar to Cokes homegrown reputation in Japan. However, Pepsi has also encountered some obstacles. An expected increase in brand loyalty for Pepsi subsequent to its advertising blitz in Russia has not materialized; even though Pepsi produced commercials tailored to the Russian market and sponsored televised concerts. Some analysts believe that Pepsis domination of the Russian market has more to do with pricing. While Pepsi sells for 250 Rubles (about 25 cents) a bottle, Coca-Cola sells for 450 Rubles. Likewise, Pepsi sells their 2 liter economy bottle for 1,300 Rubles, while Coca-Colas 1.5 liters is marketed at 1,800 rubles. On the other hand, Coca-Cola only made its first inroads into Russia 2 years ago. What's more, although Coca-Cola's bottle and label give it a high-class image, Russians do not perceive Coca-Cola as a premium brand in the Russian market. Consequently, it has so far been unable to capture a market share. According to the passage, all of the following have been used to attract customers to buy a one of the two brands of soft drink mentioned in the passage EXCEPT
Offering soft drinks for a limited time at specially reduced prices
Sponsoring televised concerts
Designing a bottle and label to create a high-class image
Staging an advertising blitz including commercials tailored to the local market