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Admission Test Section One : Verbal Sample Questions:

1. Late Victorian and modern ideas of culture are indebted to Matthew Arnold, who, largely through his
Culture and Anarchy (1869), placed the word at the center of debates about the goals of intellectual life
and humanistic society. Arnold defined culture as "the pursuit of perfection by getting to know the best
which has been thought and said." Through this knowledge, Arnold hoped, we can turn "a fresh and free
thought upon our stock notions and habits." Although Arnold helped to define the purposes of the liberal
arts curriculum in the century following the publication of Culture, three concrete forms of dissent from his
views have had considerable impact of their own. The first protests Arnold's fearful designation of
"anarchy" as culture's enemy, viewing this dichotomy simply as another version of the struggle between a
privileged power structure and radical challenges to its authority. But while Arnold certainly tried to define
the arch-the legitimizing order of value-against the anarch of existentialist democracy, he himself was
plagued in his soul by the blind arrogances of the reactionary powers in his world. The writer who
regarded the contemporary condition with such apprehension in Culture is the poet who wrote "Dover
Beach," not an ideologue rounding up all the usual modern suspects. Another form of opposition saw
Arnold's culture as a perverse perpetuation of classical and literary learning, outlook, and privileges in a
world where science had become the new arch and from which any substantively new order of thinking
must develop. At the center of the "two cultures" debate were the goals of the formal educational
curriculum, the principal vehicle through which Arnoldian culture operates. However, Arnold himself had
viewed culture as enacting its life in a much more broadly conceived set of institutions. A third form is
so-called "multiculturalism," a movement aimed largely at gaining recognition for voices and visions that
Arnoldian culture has implicitly suppressed. In educational practice, multiculturalists are interested in
deflating the imperious authority that "high culture" exercises over curriculum while bringing into play the
principle that we must learn what is representative, for we have overemphasized what is exceptional.
Though the multiculturalists' conflict with Arnoldian culture has clear affinities with the radical critique,
multiculturalism actually affirms Arnold by returning us more specifically to a tension inherent in the idea
of culture rather than to the cultureanarchy dichotomy. The social critics, defenders of science, and
multiculturalists insist that Arnold's culture is simply a device for ordering us about. Instead, however, it is
designed to register the gathering of ideological clouds on the horizon. There is no utopian motive in
Arnold's celebration of perfection. Perfection mattered to Arnold as the only background against which we
could form a just image of our actual circumstances, just as we can conceive finer sunsets and unheard
melodies.
Based on the information in the passage, Arnold would probably agree that the educational curriculum
should

A) deemphasize what is representative
B) focus on the sciences more than the humanities
C) reflect the dominant culture of the day
D) be more rigorous than during the past
E) strike a balance between practicality and theory

2. FALLOW : PRODUCTIVITY ::

A) obscure : clarity
B) handsome : attraction
C) friendly : allegiance
D) bitter : taste
E) poisonous : protection

3. 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.
It can be inferred from the passage that the "standard repertory" mentioned in line 15 might have included
music that was written

A) during the early twentieth century
B) before 1700
C) by the performance-practice composers
D) before the time of Handel
E) to be played using obsolete instruments

4. Americans have always been interested in their Presidents' wives. Many First Ladies have been
remembered because of the ways they have influenced their husbands. Other First Ladies have made the
history books on their own. At least two First Ladies, Bess Truman and Lady Bird Johnson, made it their
business to send signals during their husbands' speeches. When Lady Bird Johnson thought her husband
was talking too long, she wrote a note and sent it up to the platform. It read, "It's time to stop!" And he did.
Once Bess Truman didn't like what her husband was saying on television, so she phoned him and said," If
you can't talk more politely than that in public, you come right home." Abigail Fillmore and Eliza Johnson
actually taught their husbands, Millard Fillmore and Andrew Johnson, the thirteenth and seventeenth
Presidents. A schoolteacher, Abigail eventually married her pupil, Millard. When Eliza Johnson married
Andrew, he could not read or write, so she taught him herself. It was First Lady Helen Taft's idea to plant
the famous cherry trees in Washington, D. C. Each spring these blossoming trees attract thousands of
visitors to the nation's capital. Mrs. Taft also influenced the male members of her family and the White
House staff in a strange way: she convinced them to shave off their beards! Shortly after President Wilson
suffered a stroke, Edith Wilson unofficially took over most of the duties of the Presidency until the end of
her husband's term. Earlier, during World War I, Mrs. Wilson had had sheep brought onto the White
House lawn to eat the grass. The sheep not only kept the lawn mowed but provided wool for an auction
sponsored by the First Lady. Almost $100,000 was raised for the Red Cross. Dolly
Madison saw to it that a magnificent painting of George Washington was not destroyed during the War of
1 812. As the British marched toward Washington, D. C., she remained behind to rescue the painting,
even after the guards had left. The painting is the only object from the original White House that was not
burned. One of the most famous First Ladies was Eleanor Roosevelt, the wife of President Franklin D.
Roosevelt. She was active in political and social causes throughout her husband's tenure in office. After
his death, she became famous for her humanitarian work in the United Nations. She made life better for
thousands of needy people around the world.
What is the main idea of this passage?

A) The Humanitarian work of the First Ladies is critical in American government.
B) The First Ladies are key supporters of the Presidents.
C) The First Ladies are important in American culture.
D) Dolly Madison was the most influential president's wife.
E) Eleanor Roosevelt transformed the First Lady image.

5. HUMDRUM : BORE

A) stodgy:excite
B) grim:amuse
C) heartrending:move
D) pending:worry
E) nutritious:sicken

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