SAT Verbal Reasoning Practice Test
Comprehensive practice test covering sentence completion, grammar, sentence improvement, and reading comprehension skills
Questions
Directions: The sentence below has one or two blanks, each blank indicating that something has been omitted. Beneath the sentence are five words or sets of words labeled (1) through (5). Choose the word or set of words that, when inserted in the sentence, best fits the meaning of the sentence as a whole.
The author has faithfully recorded the _________ role of the nationalist press in __________ the message of the October Revolution.
- demonstrative, suppressing
- rabid, propagating
- glorious, disseminating
- vicious, scandalizing
- unblemished, promulgating
Directions: The sentence below has one or two blanks, each blank indicating that something has been omitted. Beneath the sentence are five words or sets of words labeled (1) through (5). Choose the word or set of words that, when inserted in the sentence, best fits the meaning of the sentence as a whole.
I walked on thinking about his earthy philosophy delivered in the ____________setting of Mumbai's most _________ avenue.
- baneful, detached
- incongruous, bustling
- detrimental, dedicated
- motley, varied
- abnormal, normal
Directions: The sentence below has one or two blanks, each blank indicating that something has been omitted. Beneath the sentence are five words or sets of words labeled (1) through (5). Choose the word or set of words that, when inserted in the sentence, best fits the meaning of the sentence as a whole.
The retreating Japanese were fighting _______ and doggedly pursuing _______ like us.
- desperately, fugitives
- bravely, pedigree
- perfectly, enemy
- convincingly, cronies
- half-heartedly, clam
Directions: The sentence below has one or two blanks, each blank indicating that something has been omitted. Beneath the sentence are five words or sets of words labeled (1) through (5). Choose the word or set of words that, when inserted in the sentence, best fits the meaning of the sentence as a whole.
Water is _________ and even the hardiest plant ________ and dies in Kalahari Desert.
- slaked, flares
- piquant, shatters
- scarce, shrivels
- profuse, obscures
- unwholesome, burgeons
Directions: The sentence below has one or two blanks, each blank indicating that something has been omitted. Beneath the sentence are five words or sets of words labeled (1) through (5). Choose the word or set of words that, when inserted in the sentence, best fits the meaning of the sentence as a whole.
Readers stood in _____ silence before the wall, their eyes ______ to the words.
- engrossed, fixed
- rapt, riveted
- sympathetic, moving
- cautious, looking
Directions: The sentence below has one or two blanks, each blank indicating that something has been omitted. Beneath the sentence are five words or sets of words labeled (1) through (5). Choose the word or set of words that, when inserted in the sentence, best fits the meaning of the sentence as a whole.
_________ on the lonely island after the storm damaged their yacht, they had to devise ways to ______ their food and fresh water stock, until help came.
- Trapped, install
- Marooned, conserve
- Abandoned, estimate
- Sucked, obviate
- Holed up, disseminate
Directions: The following question tests your ability to recognize grammar and usage errors. The sentence contains either a single error or no error at all. No sentence contains more than one error. The error, if there is one, is underlined and lettered. If the sentence contains an error, select the underlined part that must be changed to make the sentence correct. If the sentence is correct, select choice (E). In choosing the answer, follow the requirements of standard written English.
(A) Mathematics, which is sometimes classified (B) within a third group of science called (C) formal science, has both (D) similarities as well as differences with the natural and social sciences. (E) No error
- (A)
- (B)
- (C)
- (D)
- (E)
Directions: The following question tests your ability to recognize grammar and usage errors. The sentence contains either a single error or no error at all. No sentence contains more than one error. The error, if there is one, is underlined and lettered. If the sentence contains an error, select the underlined part that must be changed to make the sentence correct. If the sentence is correct, select choice (E). In choosing the answer, follow the requirements of standard written English.
The police inspector (A) who the local leader praised so (B) highly in the last function (C) has been arrested (D) on charges of bribery. (E) No error
- (A)
- (B)
- (C)
- (D)
- (E)
Directions: The following question tests your ability to recognize grammar and usage errors. The sentence contains either a single error or no error at all. No sentence contains more than one error. The error, if there is one, is underlined and lettered. If the sentence contains an error, select the underlined part that must be changed to make the sentence correct. If the sentence is correct, select choice (E). In choosing the answer, follow the requirements of standard written English.
Nothing (A) survives of the original buildings, La Oriole and the smaller St Martin's Hall in the south-east; (B) both of them were demolished (C) before the quadrangle was built in the (D) artisan mannerist style during the 17th century. (E) No error
- (A)
- (B)
- (C)
- (D)
- (E)
Directions: The following question tests your ability to recognize grammar and usage errors. The sentence contains either a single error or no error at all. No sentence contains more than one error. The error, if there is one, is underlined and lettered. If the sentence contains an error, select the underlined part that must be changed to make the sentence correct. If the sentence is correct, select choice (E). In choosing the answer, follow the requirements of standard written English.
Safety amid physical ills (A) that beset mankind, and safety amid (A) the moral pitfalls that surround so many young people, (C) is the great crying demand (D) of the age. (E) No error
- (A)
- (B)
- (C)
- (D)
- (E)
Directions: The following question tests your ability to recognize grammar and usage errors. The sentence contains either a single error or no error at all. No sentence contains more than one error. The error, if there is one, is underlined and lettered. If the sentence contains an error, select the underlined part that must be changed to make the sentence correct. If the sentence is correct, select choice (E). In choosing the answer, follow the requirements of standard written English.
One of the first steps (A) educationists can take to (B) address the overall development of their students (C) is to build an environment (D) conducive for learning. (E) No error
- (A)
- (B)
- (C)
- (D)
- (E)
Directions: The following question tests your ability to recognize grammar and usage errors. The sentence contains either a single error or no error at all. No sentence contains more than one error. The error, if there is one, is underlined and lettered. If the sentence contains an error, select the underlined part that must be changed to make the sentence correct. If the sentence is correct, select choice (E). In choosing the answer, follow the requirements of standard written English.
(A) Fields Medal, sometimes described as the Nobel Prize of Mathematics, is awarded (B) once in every four years to as many (C) as four young awardees at a time, (D) who are talented mathematicians. (E) No error
- (A)
- (B)
- (C)
- (D)
- (E)
Directions: The following sentence tests correctness and effectiveness of expression. Part of the sentence or the entire sentence is underlined. Beneath the sentence are five ways of phrasing the underlined material. Choice (1) repeats the original phrasing; the other four choices are different. If you think the original phrasing produces a better sentence than any of the alternatives, select choice (1). If not, select one of the other choices.
Shakespeare's' Othello' along with several other dramas are going to be played at the theatre.
- are going to be played at the theatre.
- were going to be played at the theatre.
- are going to be played on the theatre.
- is going to be played at the theatre.
- is going to be played on the theatre.
Directions: The following sentence tests correctness and effectiveness of expression. Part of the sentence or the entire sentence is underlined. Beneath the sentence are five ways of phrasing the underlined material. Choice (1) repeats the original phrasing; the other four choices are different. If you think the original phrasing produces a better sentence than any of the alternatives, select choice (1). If not, select one of the other choices.
Irritated by the contumacy of the chancellor, the Diet had sent a command to him to recognize the authority of the emperor.
- had sent a command to him to recognize the authority of the emperor.
- has sent a command to him to recognize the authority of the emperor.
- sent a command to him to recognize the authority of the emperor.
- sent a command to recognize the authority of the emperor.
- has sent a command to recognize the authority of the emperor.
Directions: The following sentence tests correctness and effectiveness of expression. Part of the sentence or the entire sentence is underlined. Beneath the sentence are five ways of phrasing the underlined material. Choice (1) repeats the original phrasing; the other four choices are different. If you think the original phrasing produces a better sentence than any of the alternatives, select choice (1). If not, select one of the other choices.
The most interesting and the important 15 years in the records of English dramatic literature is undoubtedly those among 1588 and 1603, within which limit all of Shakespeare's poems and the majority of his plays were written.
- The most interesting and the important 15 years in the records of English dramatic literature is undoubtedly those among
- An interesting and the important 15 years in the records of English dramatic literature is undoubtedly those among
- The interesting and the important 15 years in the records of English dramatic literature is undoubtedly those between
- The most interesting and important 15 years in the records of English dramatic literature are undoubtedly those between
Directions: The following sentence tests correctness and effectiveness of expression. Part of the sentence or the entire sentence is underlined. Beneath the sentence are five ways of phrasing the underlined material. Choice (1) repeats the original phrasing; the other four choices are different. If you think the original phrasing produces a better sentence than any of the alternatives, select choice (1). If not, select one of the other choices.
The author's remarkable first book is the story of her meandering journey up the river Indus from its mouth near Karachi to its source in Tibet.
- remarkable first book is the story of her meandering journey up
- first book remarkably is the story of her meandering journey up
- remarkably first book is the story of her meandering journey on
- remarkably first book was the story of her meandering journey on
- remarkable first book is the story of her journey meandering up
Directions: The following sentence tests correctness and effectiveness of expression. Part of the sentence or the entire sentence is underlined. Beneath the sentence are five ways of phrasing the underlined material. Choice (1) repeats the original phrasing; the other four choices are different. If you think the original phrasing produces a better sentence than any of the alternatives, select choice (1). If not, select one of the other choices.
Although nothing that could be called a spelling reform “movement” existed until the 19th century, there was earlier period when this subject was much in the air and a number of people were writing about it.
- there was earlier period when this subject was much in the air and a number of people were
- however, there was earlier period, when this subject was much in the air and a number of people was
- yet were there earlier periods when these subjects were much in the air and a number of people was
- yet there was an earlier period when this subject was much in the air and a number of people were
The expression, “is not in the usual sense natural” (passage 1, lines 46 - 47) is used
Answer this question based on the following passages.
Passage 1
In no other form of expression do art and
nature seem so closely identified as in the
art of singing. A perfect voice speaks so
directly to the soul of the hearer that all
(5) appearance of artfully prepared effect is
absent. Every tone sung by a consummate
vocal artist seems to be poured forth freely
and spontaneously. There is no evidence of
calculation, of carefully directed effort, of
(10) attention to the workings of the voice, in the
tones of a perfect singer. Yet if the accepted
idea of Voice Culture is correct, this semblance
of spontaneity in the use of the voice can result
only from careful and incessant attention to
(15) mechanical rules. That the voice must be
managed or handled in some way neither
spontaneous nor instinctive, is the settled
conviction of almost every authority on the
subject. All authorities believe also that this
(20) manner of handling the voice must be acquired
by every student of singing, in the course of
carefully directed study.
This training in the use of the voice is the
most important feature of education in
(25) singing. Voice Culture embraces a peculiar
and distinct problem, that of the correct
management of the vocal organs. Vocal
training has indeed come to be considered
synonymous with training in the correct use
(30) of the voice. Every method of instruction
in singing must contain as its most important
element some means for dealing with the
problem of tone-production.
No complete and satisfactory solution of
(35) this problem has ever been found. Of this
fact every one acquainted with the practical
side of Voice Culture must be well aware.
It is advisable to define precisely what is
meant by the problem of tone-production.
(40) In theory the question may be stated very
simply. It is generally believed throughout
the vocal profession that the voice has one
correct mode of action, different from a wide
variety of incorrect actions of which it is
(45) capable;—that this mode of action, though
ordained by Nature, is not in the usual sense
natural or instinctive;—that the correct vocal
action must be acquired, through a definite
understanding and conscious management
(50) of the muscular movements involved. The
theoretical problem therefore is: What is the
correct vocal action, and how can it be
acquired?
There is only one way to sing correctly, and
that is to sing naturally, easily, comfortably.
The height of vocal art is to have no apparent
method, but to be able to sing with perfect
(5) facility from one end of the voice to the other,
emitting all the notes clearly and yet with
power and having each note of the scale
sound the same in quality and tonal beauty
as the ones before and after.
(10) There are many methods which lead to the
goal of natural singing — that is to say, the
production of the voice with ease, beauty
and with perfect control. Certainly the highest
art and a lifetime of work and study are
(15) necessary to acquire an easy emission of
tone. There is a multitude of wonderful natural
voices. But these naturally untrained voices
soon break or fail if they are used much unless
the singer supplements the natural, God-given
(20) vocal gifts with a conscious understanding of
how the vocal apparatus should be used.
The singer must have some knowledge of
his or her anatomical structure, particularly
the structure of the throat, mouth and face,
(25) with its resonant cavities, which are so
necessary for the right production of the
voice. Besides that, the lungs and diaphragm
and the whole breathing apparatus must be
understood, because the foundation of
(30) singing is breathing and breath control.
A singer must be able to rely on his breath,
just as he relies upon the solidity of the
ground beneath his feet. A shaky, uncontrolled
breath is like a rickety foundation on which
(35) nothing can be built, and until that foundation
has been developed and strengthened the
would-be singer need expect no satisfactory
results.
In order to insure proper breathing capacity
(40) it is understood that the clothing must be
absolutely loose around the chest and also
across the lower part of the back, for one
should breathe with the back of the lungs as
well as with the front. A singer should stand
(45) freely and easily and should feel as if the
chest were leading, but should not feel
constrained or stiff in any part of the ribs or lungs.
- to stress that vocal actions need to be learnt and cannot be produced without such trainings
- to undermine the role voice training plays for a singer
- to clarify the point that natural talent requires a conscious management for better emulation
- to ponder on the fact that voice profession has a single correct mode of action
The comparison of 'Rickety foundation' in line 34, passage 2 is designed
(i) to have a comparison of singing with architectural techniques
(ii) to analogically state and expound the importance of voice training
(iii) to prove that foundations are important for sturdy buildings same as natural qualities are important for a singer
Answer this question based on the following passages.
Passage 1
In no other form of expression do art and
nature seem so closely identified as in the
art of singing. A perfect voice speaks so
directly to the soul of the hearer that all
(5) appearance of artfully prepared effect is
absent. Every tone sung by a consummate
vocal artist seems to be poured forth freely
and spontaneously. There is no evidence of
calculation, of carefully directed effort, of
(10) attention to the workings of the voice, in the
tones of a perfect singer. Yet if the accepted
idea of Voice Culture is correct, this semblance
of spontaneity in the use of the voice can result
only from careful and incessant attention to
(15) mechanical rules. That the voice must be
managed or handled in some way neither
spontaneous nor instinctive, is the settled
conviction of almost every authority on the
subject. All authorities believe also that this
(20) manner of handling the voice must be acquired
by every student of singing, in the course of
carefully directed study.
This training in the use of the voice is the
most important feature of education in
(25) singing. Voice Culture embraces a peculiar
and distinct problem, that of the correct
management of the vocal organs. Vocal
training has indeed come to be considered
synonymous with training in the correct use
(30) of the voice. Every method of instruction
in singing must contain as its most important
element some means for dealing with the
problem of tone-production.
No complete and satisfactory solution of
(35) this problem has ever been found. Of this
fact every one acquainted with the practical
side of Voice Culture must be well aware.
It is advisable to define precisely what is
meant by the problem of tone-production.
(40) In theory the question may be stated very
simply. It is generally believed throughout
the vocal profession that the voice has one
correct mode of action, different from a wide
variety of incorrect actions of which it is
(45) capable;—that this mode of action, though
ordained by Nature, is not in the usual sense
natural or instinctive;—that the correct vocal
action must be acquired, through a definite
understanding and conscious management
(50) of the muscular movements involved. The
theoretical problem therefore is: What is the
correct vocal action, and how can it be
acquired?
There is only one way to sing correctly, and
that is to sing naturally, easily, comfortably.
The height of vocal art is to have no apparent
method, but to be able to sing with perfect
(5) facility from one end of the voice to the other,
emitting all the notes clearly and yet with
power and having each note of the scale
sound the same in quality and tonal beauty
as the ones before and after.
(10) There are many methods which lead to the
goal of natural singing — that is to say, the
production of the voice with ease, beauty
and with perfect control. Certainly the highest
art and a lifetime of work and study are
(15) necessary to acquire an easy emission of
tone. There is a multitude of wonderful natural
voices. But these naturally untrained voices
soon break or fail if they are used much unless
the singer supplements the natural, God-given
(20) vocal gifts with a conscious understanding of
how the vocal apparatus should be used.
The singer must have some knowledge of
his or her anatomical structure, particularly
the structure of the throat, mouth and face,
(25) with its resonant cavities, which are so
necessary for the right production of the
voice. Besides that, the lungs and diaphragm
and the whole breathing apparatus must be
understood, because the foundation of
(30) singing is breathing and breath control.
A singer must be able to rely on his breath,
just as he relies upon the solidity of the
ground beneath his feet. A shaky, uncontrolled
breath is like a rickety foundation on which
(35) nothing can be built, and until that foundation
has been developed and strengthened the
would-be singer need expect no satisfactory
results.
In order to insure proper breathing capacity
(40) it is understood that the clothing must be
absolutely loose around the chest and also
across the lower part of the back, for one
should breathe with the back of the lungs as
well as with the front. A singer should stand
(45) freely and easily and should feel as if the
chest were leading, but should not feel
constrained or stiff in any part of the ribs or lungs.
- (i) only
- (i) and (iii)
- (iii) only
- (ii) only
What is the central idea of passage 1?
Answer this question based on the following passages.
Passage 1
In no other form of expression do art and
nature seem so closely identified as in the
art of singing. A perfect voice speaks so
directly to the soul of the hearer that all
(5) appearance of artfully prepared effect is
absent. Every tone sung by a consummate
vocal artist seems to be poured forth freely
and spontaneously. There is no evidence of
calculation, of carefully directed effort, of
(10) attention to the workings of the voice, in the
tones of a perfect singer. Yet if the accepted
idea of Voice Culture is correct, this semblance
of spontaneity in the use of the voice can result
only from careful and incessant attention to
(15) mechanical rules. That the voice must be
managed or handled in some way neither
spontaneous nor instinctive, is the settled
conviction of almost every authority on the
subject. All authorities believe also that this
(20) manner of handling the voice must be acquired
by every student of singing, in the course of
carefully directed study.
This training in the use of the voice is the
most important feature of education in
(25) singing. Voice Culture embraces a peculiar
and distinct problem, that of the correct
management of the vocal organs. Vocal
training has indeed come to be considered
synonymous with training in the correct use
(30) of the voice. Every method of instruction
in singing must contain as its most important
element some means for dealing with the
problem of tone-production.
No complete and satisfactory solution of
(35) this problem has ever been found. Of this
fact every one acquainted with the practical
side of Voice Culture must be well aware.
It is advisable to define precisely what is
meant by the problem of tone-production.
(40) In theory the question may be stated very
simply. It is generally believed throughout
the vocal profession that the voice has one
correct mode of action, different from a wide
variety of incorrect actions of which it is
(45) capable;—that this mode of action, though
ordained by Nature, is not in the usual sense
natural or instinctive;—that the correct vocal
action must be acquired, through a definite
understanding and conscious management
(50) of the muscular movements involved. The
theoretical problem therefore is: What is the
correct vocal action, and how can it be
acquired?
There is only one way to sing correctly, and
that is to sing naturally, easily, comfortably.
The height of vocal art is to have no apparent
method, but to be able to sing with perfect
(5) facility from one end of the voice to the other,
emitting all the notes clearly and yet with
power and having each note of the scale
sound the same in quality and tonal beauty
as the ones before and after.
(10) There are many methods which lead to the
goal of natural singing — that is to say, the
production of the voice with ease, beauty
and with perfect control. Certainly the highest
art and a lifetime of work and study are
(15) necessary to acquire an easy emission of
tone. There is a multitude of wonderful natural
voices. But these naturally untrained voices
soon break or fail if they are used much unless
the singer supplements the natural, God-given
(20) vocal gifts with a conscious understanding of
how the vocal apparatus should be used.
The singer must have some knowledge of
his or her anatomical structure, particularly
the structure of the throat, mouth and face,
(25) with its resonant cavities, which are so
necessary for the right production of the
voice. Besides that, the lungs and diaphragm
and the whole breathing apparatus must be
understood, because the foundation of
(30) singing is breathing and breath control.
A singer must be able to rely on his breath,
just as he relies upon the solidity of the
ground beneath his feet. A shaky, uncontrolled
breath is like a rickety foundation on which
(35) nothing can be built, and until that foundation
has been developed and strengthened the
would-be singer need expect no satisfactory
results.
In order to insure proper breathing capacity
(40) it is understood that the clothing must be
absolutely loose around the chest and also
across the lower part of the back, for one
should breathe with the back of the lungs as
well as with the front. A singer should stand
(45) freely and easily and should feel as if the
chest were leading, but should not feel
constrained or stiff in any part of the ribs or lungs.
- To enlist the qualities that a perfect vocalist requires to succeed.
- To profess that voice training is a precise process without which a singer would not be able to perform.
- To state that a natural talent requires modulation through structured training.
- To analyze the best way to attain voice modulation and to elucidate the notion with example.
The point of difference between both passages is
Answer this question based on the following passages.
Passage 1
In no other form of expression do art and
nature seem so closely identified as in the
art of singing. A perfect voice speaks so
directly to the soul of the hearer that all
(5) appearance of artfully prepared effect is
absent. Every tone sung by a consummate
vocal artist seems to be poured forth freely
and spontaneously. There is no evidence of
calculation, of carefully directed effort, of
(10) attention to the workings of the voice, in the
tones of a perfect singer. Yet if the accepted
idea of Voice Culture is correct, this semblance
of spontaneity in the use of the voice can result
only from careful and incessant attention to
(15) mechanical rules. That the voice must be
managed or handled in some way neither
spontaneous nor instinctive, is the settled
conviction of almost every authority on the
subject. All authorities believe also that this
(20) manner of handling the voice must be acquired
by every student of singing, in the course of
carefully directed study.
This training in the use of the voice is the
most important feature of education in
(25) singing. Voice Culture embraces a peculiar
and distinct problem, that of the correct
management of the vocal organs. Vocal
training has indeed come to be considered
synonymous with training in the correct use
(30) of the voice. Every method of instruction
in singing must contain as its most important
element some means for dealing with the
problem of tone-production.
No complete and satisfactory solution of
(35) this problem has ever been found. Of this
fact every one acquainted with the practical
side of Voice Culture must be well aware.
It is advisable to define precisely what is
meant by the problem of tone-production.
(40) In theory the question may be stated very
simply. It is generally believed throughout
the vocal profession that the voice has one
correct mode of action, different from a wide
variety of incorrect actions of which it is
(45) capable;—that this mode of action, though
ordained by Nature, is not in the usual sense
natural or instinctive;—that the correct vocal
action must be acquired, through a definite
understanding and conscious management
(50) of the muscular movements involved. The
theoretical problem therefore is: What is the
correct vocal action, and how can it be
acquired?
There is only one way to sing correctly, and
that is to sing naturally, easily, comfortably.
The height of vocal art is to have no apparent
method, but to be able to sing with perfect
(5) facility from one end of the voice to the other,
emitting all the notes clearly and yet with
power and having each note of the scale
sound the same in quality and tonal beauty
as the ones before and after.
(10) There are many methods which lead to the
goal of natural singing — that is to say, the
production of the voice with ease, beauty
and with perfect control. Certainly the highest
art and a lifetime of work and study are
(15) necessary to acquire an easy emission of
tone. There is a multitude of wonderful natural
voices. But these naturally untrained voices
soon break or fail if they are used much unless
the singer supplements the natural, God-given
(20) vocal gifts with a conscious understanding of
how the vocal apparatus should be used.
The singer must have some knowledge of
his or her anatomical structure, particularly
the structure of the throat, mouth and face,
(25) with its resonant cavities, which are so
necessary for the right production of the
voice. Besides that, the lungs and diaphragm
and the whole breathing apparatus must be
understood, because the foundation of
(30) singing is breathing and breath control.
A singer must be able to rely on his breath,
just as he relies upon the solidity of the
ground beneath his feet. A shaky, uncontrolled
breath is like a rickety foundation on which
(35) nothing can be built, and until that foundation
has been developed and strengthened the
would-be singer need expect no satisfactory
results.
In order to insure proper breathing capacity
(40) it is understood that the clothing must be
absolutely loose around the chest and also
across the lower part of the back, for one
should breathe with the back of the lungs as
well as with the front. A singer should stand
(45) freely and easily and should feel as if the
chest were leading, but should not feel
constrained or stiff in any part of the ribs or lungs.
- unlike passage 2, passage 1 asserts that an untrained voice can be mellifluous
- both the passages elucidate different methods of perfection in music
- passage 1 emphasizes the mechanics of training; passage 2 emphasizes the chemistry of training
- passage 2 professes singing as a natural phenomenon, unlike in passage 1
What can be inferred about the relationship of the two passages?
Answer this question based on the following passages.
Passage 1
In no other form of expression do art and
nature seem so closely identified as in the
art of singing. A perfect voice speaks so
directly to the soul of the hearer that all
(5) appearance of artfully prepared effect is
absent. Every tone sung by a consummate
vocal artist seems to be poured forth freely
and spontaneously. There is no evidence of
calculation, of carefully directed effort, of
(10) attention to the workings of the voice, in the
tones of a perfect singer. Yet if the accepted
idea of Voice Culture is correct, this semblance
of spontaneity in the use of the voice can result
only from careful and incessant attention to
(15) mechanical rules. That the voice must be
managed or handled in some way neither
spontaneous nor instinctive, is the settled
conviction of almost every authority on the
subject. All authorities believe also that this
(20) manner of handling the voice must be acquired
by every student of singing, in the course of
carefully directed study.
This training in the use of the voice is the
most important feature of education in
(25) singing. Voice Culture embraces a peculiar
and distinct problem, that of the correct
management of the vocal organs. Vocal
training has indeed come to be considered
synonymous with training in the correct use
(30) of the voice. Every method of instruction
in singing must contain as its most important
element some means for dealing with the
problem of tone-production.
No complete and satisfactory solution of
(35) this problem has ever been found. Of this
fact every one acquainted with the practical
side of Voice Culture must be well aware.
It is advisable to define precisely what is
meant by the problem of tone-production.
(40) In theory the question may be stated very
simply. It is generally believed throughout
the vocal profession that the voice has one
correct mode of action, different from a wide
variety of incorrect actions of which it is
(45) capable;—that this mode of action, though
ordained by Nature, is not in the usual sense
natural or instinctive;—that the correct vocal
action must be acquired, through a definite
understanding and conscious management
(50) of the muscular movements involved. The
theoretical problem therefore is: What is the
correct vocal action, and how can it be
acquired?
There is only one way to sing correctly, and
that is to sing naturally, easily, comfortably.
The height of vocal art is to have no apparent
method, but to be able to sing with perfect
(5) facility from one end of the voice to the other,
emitting all the notes clearly and yet with
power and having each note of the scale
sound the same in quality and tonal beauty
as the ones before and after.
(10) There are many methods which lead to the
goal of natural singing — that is to say, the
production of the voice with ease, beauty
and with perfect control. Certainly the highest
art and a lifetime of work and study are
(15) necessary to acquire an easy emission of
tone. There is a multitude of wonderful natural
voices. But these naturally untrained voices
soon break or fail if they are used much unless
the singer supplements the natural, God-given
(20) vocal gifts with a conscious understanding of
how the vocal apparatus should be used.
The singer must have some knowledge of
his or her anatomical structure, particularly
the structure of the throat, mouth and face,
(25) with its resonant cavities, which are so
necessary for the right production of the
voice. Besides that, the lungs and diaphragm
and the whole breathing apparatus must be
understood, because the foundation of
(30) singing is breathing and breath control.
A singer must be able to rely on his breath,
just as he relies upon the solidity of the
ground beneath his feet. A shaky, uncontrolled
breath is like a rickety foundation on which
(35) nothing can be built, and until that foundation
has been developed and strengthened the
would-be singer need expect no satisfactory
results.
In order to insure proper breathing capacity
(40) it is understood that the clothing must be
absolutely loose around the chest and also
across the lower part of the back, for one
should breathe with the back of the lungs as
well as with the front. A singer should stand
(45) freely and easily and should feel as if the
chest were leading, but should not feel
constrained or stiff in any part of the ribs or lungs.
- An idea is presented in passage 1 and passage 2 exemplifies the contradictory side of it.
- A hypothesis is presented in passage 1 and then proved in passage 2.
- A problem is pondered upon in passage 1 and a similar generalization is contrived in passage 2.
- A problem is thought upon in passage 1 and is proven through detailed examples in passage 2.
What is the main purpose of the passage?
Answer this question based on the following passage.
The Germans were formerly the best fighting
men and the most warlike nation of Europe.
Germans have bled and conquered on
countless battlefields in every part of the
(5) world. In striking contrast to this military
attitude they have today become a peace
loving nation. The change springs first from
the reverses the Germans suffered in the
two world wars, but also in part from the
(10) good-natured character of the German
people, which finds intense satisfaction in
doctrinaire disputations and partisanship,
but dislikes pushing things to an extreme.
It is connected with another characteristic of
(15) the German nature. Our aim is to be just,
and we strangely imagine that all other
nations with whom we exchange relations
share this aim. We are always ready to
consider the peaceful assurances of foreign
(20) diplomacy. We obstinately resist the view
that the political world is only ruled by
interests and never from ideal aims of
philanthropy. "Justice," Goethe says aptly,
"is a quality and a phantom of the Germans."
(25) We are always inclined to assume that
disputes between States can find a peaceful
solution on the basis of justice without clearly
realizing what international justice is.
An additional cause of the love of peace,
(30) besides those which are rooted in the very
soul of the German people, is the wish not
to be disturbed in commercial life. The
Germans are born businessmen, more than
any others in the world. Notwithstanding the
(35) reverses in the none-too-distant past, we
have made marvelous progress, and our
young industries challenge competition with
all the great industrial states. German
merchants traverse every quarter of the
(40) globe. Under these conditions our national
wealth has increased with rapid strides. Our
trade and our industries -- owners no less
than employees -- do not want this
development to be interrupted. They believe
(45) that peace is the essential condition of
commerce.
- To highlight the transformation of Germany from a war mongering and military oriented country to a commercial hub.
- To showcase the 'philanthropic' leanings of the Germans.
- To elucidate the causes of change in the temperament of Germans from warring people to excessively peace loving people.
- To discuss Germany's evolution as a truly commercial hub.
The tone of the passage is
Answer this question based on the following passage.
The Germans were formerly the best fighting
men and the most warlike nation of Europe.
Germans have bled and conquered on
countless battlefields in every part of the
(5) world. In striking contrast to this military
attitude they have today become a peace
loving nation. The change springs first from
the reverses the Germans suffered in the
two world wars, but also in part from the
(10) good-natured character of the German
people, which finds intense satisfaction in
doctrinaire disputations and partisanship,
but dislikes pushing things to an extreme.
It is connected with another characteristic of
(15) the German nature. Our aim is to be just,
and we strangely imagine that all other
nations with whom we exchange relations
share this aim. We are always ready to
consider the peaceful assurances of foreign
(20) diplomacy. We obstinately resist the view
that the political world is only ruled by
interests and never from ideal aims of
philanthropy. "Justice," Goethe says aptly,
"is a quality and a phantom of the Germans."
(25) We are always inclined to assume that
disputes between States can find a peaceful
solution on the basis of justice without clearly
realizing what international justice is.
An additional cause of the love of peace,
(30) besides those which are rooted in the very
soul of the German people, is the wish not
to be disturbed in commercial life. The
Germans are born businessmen, more than
any others in the world. Notwithstanding the
(35) reverses in the none-too-distant past, we
have made marvelous progress, and our
young industries challenge competition with
all the great industrial states. German
merchants traverse every quarter of the
(40) globe. Under these conditions our national
wealth has increased with rapid strides. Our
trade and our industries -- owners no less
than employees -- do not want this
development to be interrupted. They believe
(45) that peace is the essential condition of
commerce.
- ambivalent
- intensely respectful
- detached
- ironical
- indignant
All the following causes are helpful to the Germans for maintaining peace, except
Answer this question based on the following passage.
The Germans were formerly the best fighting
men and the most warlike nation of Europe.
Germans have bled and conquered on
countless battlefields in every part of the
(5) world. In striking contrast to this military
attitude they have today become a peace
loving nation. The change springs first from
the reverses the Germans suffered in the
two world wars, but also in part from the
(10) good-natured character of the German
people, which finds intense satisfaction in
doctrinaire disputations and partisanship,
but dislikes pushing things to an extreme.
It is connected with another characteristic of
(15) the German nature. Our aim is to be just,
and we strangely imagine that all other
nations with whom we exchange relations
share this aim. We are always ready to
consider the peaceful assurances of foreign
(20) diplomacy. We obstinately resist the view
that the political world is only ruled by
interests and never from ideal aims of
philanthropy. "Justice," Goethe says aptly,
"is a quality and a phantom of the Germans."
(25) We are always inclined to assume that
disputes between States can find a peaceful
solution on the basis of justice without clearly
realizing what international justice is.
An additional cause of the love of peace,
(30) besides those which are rooted in the very
soul of the German people, is the wish not
to be disturbed in commercial life. The
Germans are born businessmen, more than
any others in the world. Notwithstanding the
(35) reverses in the none-too-distant past, we
have made marvelous progress, and our
young industries challenge competition with
all the great industrial states. German
merchants traverse every quarter of the
(40) globe. Under these conditions our national
wealth has increased with rapid strides. Our
trade and our industries -- owners no less
than employees -- do not want this
development to be interrupted. They believe
(45) that peace is the essential condition of
commerce.
- their philanthropic optimism
- the spirit to resolve argumentation
- disbelief in the notion that world is governed by self interest
- the will to establish communal justice and peace as an omnipresent feature globally
Which of the following statements will the author most likely agree with?
Answer this question based on the following passage.
The Germans were formerly the best fighting
men and the most warlike nation of Europe.
Germans have bled and conquered on
countless battlefields in every part of the
(5) world. In striking contrast to this military
attitude they have today become a peace
loving nation. The change springs first from
the reverses the Germans suffered in the
two world wars, but also in part from the
(10) good-natured character of the German
people, which finds intense satisfaction in
doctrinaire disputations and partisanship,
but dislikes pushing things to an extreme.
It is connected with another characteristic of
(15) the German nature. Our aim is to be just,
and we strangely imagine that all other
nations with whom we exchange relations
share this aim. We are always ready to
consider the peaceful assurances of foreign
(20) diplomacy. We obstinately resist the view
that the political world is only ruled by
interests and never from ideal aims of
philanthropy. "Justice," Goethe says aptly,
"is a quality and a phantom of the Germans."
(25) We are always inclined to assume that
disputes between States can find a peaceful
solution on the basis of justice without clearly
realizing what international justice is.
An additional cause of the love of peace,
(30) besides those which are rooted in the very
soul of the German people, is the wish not
to be disturbed in commercial life. The
Germans are born businessmen, more than
any others in the world. Notwithstanding the
(35) reverses in the none-too-distant past, we
have made marvelous progress, and our
young industries challenge competition with
all the great industrial states. German
merchants traverse every quarter of the
(40) globe. Under these conditions our national
wealth has increased with rapid strides. Our
trade and our industries -- owners no less
than employees -- do not want this
development to be interrupted. They believe
(45) that peace is the essential condition of
commerce.
- The Germans are fiercely antagonistic people.
- The Germans share the world view about solving their disputes through military means.
- The will to succeed in international business gets only second priority in German psyche.
- The will to succeed in international business gets only a second priority in German psyche.
- Peace is professed by the Germans to gain strategic advantages.
Which of the following is not a quality of the Germans as per the passage?
Answer this question based on the following passage.
The Germans were formerly the best fighting
men and the most warlike nation of Europe.
Germans have bled and conquered on
countless battlefields in every part of the
(5) world. In striking contrast to this military
attitude they have today become a peace
loving nation. The change springs first from
the reverses the Germans suffered in the
two world wars, but also in part from the
(10) good-natured character of the German
people, which finds intense satisfaction in
doctrinaire disputations and partisanship,
but dislikes pushing things to an extreme.
It is connected with another characteristic of
(15) the German nature. Our aim is to be just,
and we strangely imagine that all other
nations with whom we exchange relations
share this aim. We are always ready to
consider the peaceful assurances of foreign
(20) diplomacy. We obstinately resist the view
that the political world is only ruled by
interests and never from ideal aims of
philanthropy. "Justice," Goethe says aptly,
"is a quality and a phantom of the Germans."
(25) We are always inclined to assume that
disputes between States can find a peaceful
solution on the basis of justice without clearly
realizing what international justice is.
An additional cause of the love of peace,
(30) besides those which are rooted in the very
soul of the German people, is the wish not
to be disturbed in commercial life. The
Germans are born businessmen, more than
any others in the world. Notwithstanding the
(35) reverses in the none-too-distant past, we
have made marvelous progress, and our
young industries challenge competition with
all the great industrial states. German
merchants traverse every quarter of the
(40) globe. Under these conditions our national
wealth has increased with rapid strides. Our
trade and our industries -- owners no less
than employees -- do not want this
development to be interrupted. They believe
(45) that peace is the essential condition of
commerce.
- Non-partisan bearing
- Aim to be just to all
- Inclination toward their own foreign diplomacy
- Business instinct
Why does the author use the phrase “without clearly realizing what international justice is“ (lines 27 - 28) in the context of German people?
Answer this question based on the following passage.
The Germans were formerly the best fighting
men and the most warlike nation of Europe.
Germans have bled and conquered on
countless battlefields in every part of the
(5) world. In striking contrast to this military
attitude they have today become a peace
loving nation. The change springs first from
the reverses the Germans suffered in the
two world wars, but also in part from the
(10) good-natured character of the German
people, which finds intense satisfaction in
doctrinaire disputations and partisanship,
but dislikes pushing things to an extreme.
It is connected with another characteristic of
(15) the German nature. Our aim is to be just,
and we strangely imagine that all other
nations with whom we exchange relations
share this aim. We are always ready to
consider the peaceful assurances of foreign
(20) diplomacy. We obstinately resist the view
that the political world is only ruled by
interests and never from ideal aims of
philanthropy. "Justice," Goethe says aptly,
"is a quality and a phantom of the Germans."
(25) We are always inclined to assume that
disputes between States can find a peaceful
solution on the basis of justice without clearly
realizing what international justice is.
An additional cause of the love of peace,
(30) besides those which are rooted in the very
soul of the German people, is the wish not
to be disturbed in commercial life. The
Germans are born businessmen, more than
any others in the world. Notwithstanding the
(35) reverses in the none-too-distant past, we
have made marvelous progress, and our
young industries challenge competition with
all the great industrial states. German
merchants traverse every quarter of the
(40) globe. Under these conditions our national
wealth has increased with rapid strides. Our
trade and our industries -- owners no less
than employees -- do not want this
development to be interrupted. They believe
(45) that peace is the essential condition of
commerce.
- Germans have a warped notion of international justice which is not shared by other political powers.
- Germans have a mistaken belief that their ideas of peace and justice are shared by the international community.
- Unhealthy competition among European powers has clouded their sense of justice.
- Conflicting thoughts debar the conduct of peaceful diplomacy.
“A palliative for shortcomings” (line 16) relates to
Questions are based on the following passage.
Despite a current impression to the contrary,
implicit in nearly every printed utterance on
the subject, there should not be any essential
functional disparity between the journalist male
(5) and the journalist female. A woman doctor
(to instance another open calling) is rightly
regarded as a doctor who happens to be a
woman, not as a woman who happens to
be a doctor. She undergoes the same
(10) training, and submits to the same tests, as
the young men who find their distraction in
the music-halls and flirt with nurses. Her
sex is properly sunk, except where it may
prove an advantage, and certainly it is
(15) never allowed to pose as an excuse for
limitations, a palliative for shortcomings.
Least of all is she credited (or debited) with
any abnormality on account of it. But towards
the woman journalist our attitude, and her
(20) own, is mysteriously different. Though
perhaps we do not say so, we leave it to be
inferred that of the dwellers in Fleet Street
there are, not two sexes, but two species–
journalists and women-journalists--and that
(25) the one is about as far removed organically
from the other as a dog from a cat. And we
treat these two species differently. They are
not expected to suffer the same discipline,
nor are they judged by the same standards.
(30) In Fleet Street femininity is an absolution, not
an accident. The statement may be denied,
but it is broadly true, and can easily be
demonstrated.
- condemnation of the shortcomings a female professional has as compared to those of a male
- stress on the difference that exists between the two genders
- emphasis that a woman professional cannot use her limitations as an excuse for the hardships she has to undergo
- undermining of the strength that a woman as a doctor possesses
What is the author's purpose in stating in the opening lines that “Medicine is No Sinecure”?
Answer this question based on the following passage.
The profession of medicine is no sinecure;
its labors are constant, its toils unremitting,
its cares unceasing. The physician is
expected to meet the grim monster, "break
(5) the jaws of death, and pluck the spoil out of
his teeth." His ear is ever attentive to entreaty,
and within his faithful breast are concealed the
disclosures of the suffering. Success may elate
him, as conquest flushes the victor. Honors are
(10) lavished upon the brave soldiers who, in the
struggle with the foe, have covered themselves
with glory, and returned victorious from the field
of battle; but how much more brilliant is the
achievement of those who overwhelm disease,
(15) that common enemy of mankind, whose victims
are numbered by millions! Is it meritorious in the
physician to modestly veil his discoveries,
regardless of their importance? If he have light,
why hide it from the world? Truth should be
(20) made as universal and health-giving as
sunlight. We say, give light to all who are in
darkness, and a remedy to the afflicted
everywhere.
- To compare the profession of medicine with the professions that require every thing, but labor.
- To ponder upon the qualities that a man who professes medicine requires.
- To explicate the idiosyncrasies that a medico requires to practice.
- To expound why a medico's work is not muscle-free and requires much effort.
All of the following categories of expression/figure of speech have been used in the given passage, except
Answer this question based on the following passage.
The profession of medicine is no sinecure;
its labors are constant, its toils unremitting,
its cares unceasing. The physician is
expected to meet the grim monster, "break
(5) the jaws of death, and pluck the spoil out of
his teeth." His ear is ever attentive to entreaty,
and within his faithful breast are concealed the
disclosures of the suffering. Success may elate
him, as conquest flushes the victor. Honors are
(10) lavished upon the brave soldiers who, in the
struggle with the foe, have covered themselves
with glory, and returned victorious from the field
of battle; but how much more brilliant is the
achievement of those who overwhelm disease,
(15) that common enemy of mankind, whose victims
are numbered by millions! Is it meritorious in the
physician to modestly veil his discoveries,
regardless of their importance? If he have light,
why hide it from the world? Truth should be
(20) made as universal and health-giving as
sunlight. We say, give light to all who are in
darkness, and a remedy to the afflicted
everywhere.
- alliteration
- analogical comparison
- inquisitive tone
- metaphor
- eulogy
Which of the following would be the most logical insertion between sentence 2 and sentence 3?
Directions: The following passage is an early draft of an essay. Some parts of the passage need to be rewritten. Read the passage and select the best answer for the question that follows. Keep in mind that some questions are about particular sentences or parts of sentences and ask you to improve sentence structure or word choice. Other questions ask to consider organization and development. In choosing the answer, follow the requirements of standard written English.
[1] The girl, educated to earn her living in the market of the world, no longer marries simply because no other career is open to her. [2] When she does marry, she is less likely than formerly, statistics tell us, to have children-the only remaining work which, in these days, definitely requires a home. [3] Girls are willing to undertake matrimony, but often with the distinct understanding that their "careers" are not to be interfered with. [4] To them, then, marriage becomes more and more an incident in life rather than a life work. [5] For the good of coming generations the true home spirit must be saved; this is a belief, we shall do well to admit at once that the old-time home was an institution suited to its own day, but that we cannot now call it back to being. [6] Nor would we wish to do so. [7] There is no possible reason for wishing our women to spin, weave, knit, bake, brew, preserve, clean, if the products she formerly made can be produced more cheaply and more efficiently outside the home. [8] But generalizing too soon in this regard about these industries, this is dangerous. [9] At least, the factory method has not yet brought really satisfactory results, there are doubts in this directions. [10] How many women can give you reasons why they believe that it no longer "pays" to do this or that at home as they once did and do the factories always turn out as good a product as the housekeeper? [11] If they do, does the housekeeper obtain that product with as little expenditure as when she made it? [12] If she spends more, can she show that the leisure she has thus bought has been a wise purchase? [13] Is she justified in accepting vague generalizations to the effect that it is better economy to buy than to make, or should she test for herself, checking up her individual conditions and results?
- Girls concentrate more on their career and consider marriage as an obstacle in their path.
- Marriage and bearing children, therefore, are no longer connected in the woman's mind.
- In other words they are in favor of marriage but do not want to bear children as it requires full time involvement at home.
- Girls want to excel in their careers and hence do not want to get married.
- Education among girls makes them hostile towards marriage.
In context, which of the following is the best way to rephrase the underlined portion of sentence 5 (reproduced below)?
For the good of coming generations the true home spirit must be saved; this is a belief, we shall do well to admit at once that the old-time home was an institution suited to its own day, but that we cannot now call it back to being.
Directions: The following passage is an early draft of an essay. Some parts of the passage need to be rewritten. Read the passage and select the best answer for the question that follows. Keep in mind that some questions are about particular sentences or parts of sentences and ask you to improve sentence structure or word choice. Other questions ask to consider organization and development. In choosing the answer, follow the requirements of standard written English.
[1] The girl, educated to earn her living in the market of the world, no longer marries simply because no other career is open to her. [2] When she does marry, she is less likely than formerly, statistics tell us, to have children-the only remaining work which, in these days, definitely requires a home. [3] Girls are willing to undertake matrimony, but often with the distinct understanding that their "careers" are not to be interfered with. [4] To them, then, marriage becomes more and more an incident in life rather than a life work. [5] For the good of coming generations the true home spirit must be saved; this is a belief, we shall do well to admit at once that the old-time home was an institution suited to its own day, but that we cannot now call it back to being. [6] Nor would we wish to do so. [7] There is no possible reason for wishing our women to spin, weave, knit, bake, brew, preserve, clean, if the products she formerly made can be produced more cheaply and more efficiently outside the home. [8] But generalizing too soon in this regard about these industries, this is dangerous. [9] At least, the factory method has not yet brought really satisfactory results, there are doubts in this directions. [10] How many women can give you reasons why they believe that it no longer "pays" to do this or that at home as they once did and do the factories always turn out as good a product as the housekeeper? [11] If they do, does the housekeeper obtain that product with as little expenditure as when she made it? [12] If she spends more, can she show that the leisure she has thus bought has been a wise purchase? [13] Is she justified in accepting vague generalizations to the effect that it is better economy to buy than to make, or should she test for herself, checking up her individual conditions and results?
- (As it is now)
- On believing that for the good of generations which are coming next the true home spirit must be saved,
- Believing that for the good of coming generations the true home spirit must be saved,
- As regards the belief that for the good of coming generations the true home spirit must be saved,
- That for the good of coming generations the true home spirit must be saved, is a belief
Of the following, which would be the best way to revise the underlined portion of sentence 8 (reproduced below)?
But generalizing too soon in this regard about these industries, this is dangerous
Directions: The following passage is an early draft of an essay. Some parts of the passage need to be rewritten. Read the passage and select the best answer for the question that follows. Keep in mind that some questions are about particular sentences or parts of sentences and ask you to improve sentence structure or word choice. Other questions ask to consider organization and development. In choosing the answer, follow the requirements of standard written English.
[1] The girl, educated to earn her living in the market of the world, no longer marries simply because no other career is open to her. [2] When she does marry, she is less likely than formerly, statistics tell us, to have children-the only remaining work which, in these days, definitely requires a home. [3] Girls are willing to undertake matrimony, but often with the distinct understanding that their "careers" are not to be interfered with. [4] To them, then, marriage becomes more and more an incident in life rather than a life work. [5] For the good of coming generations the true home spirit must be saved; this is a belief, we shall do well to admit at once that the old-time home was an institution suited to its own day, but that we cannot now call it back to being. [6] Nor would we wish to do so. [7] There is no possible reason for wishing our women to spin, weave, knit, bake, brew, preserve, clean, if the products she formerly made can be produced more cheaply and more efficiently outside the home. [8] But generalizing too soon in this regard about these industries, this is dangerous. [9] At least, the factory method has not yet brought really satisfactory results, there are doubts in this directions. [10] How many women can give you reasons why they believe that it no longer "pays" to do this or that at home as they once did and do the factories always turn out as good a product as the housekeeper? [11] If they do, does the housekeeper obtain that product with as little expenditure as when she made it? [12] If she spends more, can she show that the leisure she has thus bought has been a wise purchase? [13] Is she justified in accepting vague generalizations to the effect that it is better economy to buy than to make, or should she test for herself, checking up her individual conditions and results?
- and this is dangerous
- can thus prove to be very dangerous
- this would be dangerous
- might as well be dangerous
- is dangerous
Which of the following is the best way to improve sentence 7?
Directions: The following passage is an early draft of an essay. Some parts of the passage need to be rewritten. Read the passage and select the best answer for the question that follows. Keep in mind that some questions are about particular sentences or parts of sentences and ask you to improve sentence structure or word choice. Other questions ask to consider organization and development. In choosing the answer, follow the requirements of standard written English.
[1] The girl, educated to earn her living in the market of the world, no longer marries simply because no other career is open to her. [2] When she does marry, she is less likely than formerly, statistics tell us, to have children-the only remaining work which, in these days, definitely requires a home. [3] Girls are willing to undertake matrimony, but often with the distinct understanding that their "careers" are not to be interfered with. [4] To them, then, marriage becomes more and more an incident in life rather than a life work. [5] For the good of coming generations the true home spirit must be saved; this is a belief, we shall do well to admit at once that the old-time home was an institution suited to its own day, but that we cannot now call it back to being. [6] Nor would we wish to do so. [7] There is no possible reason for wishing our women to spin, weave, knit, bake, brew, preserve, clean, if the products she formerly made can be produced more cheaply and more efficiently outside the home. [8] But generalizing too soon in this regard about these industries, this is dangerous. [9] At least, the factory method has not yet brought really satisfactory results, there are doubts in this directions. [10] How many women can give you reasons why they believe that it no longer "pays" to do this or that at home as they once did and do the factories always turn out as good a product as the housekeeper? [11] If they do, does the housekeeper obtain that product with as little expenditure as when she made it? [12] If she spends more, can she show that the leisure she has thus bought has been a wise purchase? [13] Is she justified in accepting vague generalizations to the effect that it is better economy to buy than to make, or should she test for herself, checking up her individual conditions and results?
- Replace 'if' with a semi-colon
- Replace 'formerly' with 'hitherto'
- Replace 'if' with 'unless'
- Replace 'women' by 'woman'
Which of the following, if placed after sentence 13, would be the most effective concluding sentence for the last paragraph?
Directions: The following passage is an early draft of an essay. Some parts of the passage need to be rewritten. Read the passage and select the best answer for the question that follows. Keep in mind that some questions are about particular sentences or parts of sentences and ask you to improve sentence structure or word choice. Other questions ask to consider organization and development. In choosing the answer, follow the requirements of standard written English.
[1] The girl, educated to earn her living in the market of the world, no longer marries simply because no other career is open to her. [2] When she does marry, she is less likely than formerly, statistics tell us, to have children-the only remaining work which, in these days, definitely requires a home. [3] Girls are willing to undertake matrimony, but often with the distinct understanding that their "careers" are not to be interfered with. [4] To them, then, marriage becomes more and more an incident in life rather than a life work. [5] For the good of coming generations the true home spirit must be saved; this is a belief, we shall do well to admit at once that the old-time home was an institution suited to its own day, but that we cannot now call it back to being. [6] Nor would we wish to do so. [7] There is no possible reason for wishing our women to spin, weave, knit, bake, brew, preserve, clean, if the products she formerly made can be produced more cheaply and more efficiently outside the home. [8] But generalizing too soon in this regard about these industries, this is dangerous. [9] At least, the factory method has not yet brought really satisfactory results, there are doubts in this directions. [10] How many women can give you reasons why they believe that it no longer "pays" to do this or that at home as they once did and do the factories always turn out as good a product as the housekeeper? [11] If they do, does the housekeeper obtain that product with as little expenditure as when she made it? [12] If she spends more, can she show that the leisure she has thus bought has been a wise purchase? [13] Is she justified in accepting vague generalizations to the effect that it is better economy to buy than to make, or should she test for herself, checking up her individual conditions and results?
- Spinning, weaving, and knitting are doubtless best left in the hands of the factory worker.
- From earliest ages woman has been the homemaker. No plan for the preservation of the home or for its evolution into a satisfactory social factor can fail to recognize her vital and necessary connection with home.
- The fact is that the pendulum has swung away from the homemade article, and most of us have not taken the trouble to investigate whether we are benefited or harmed.
- Under present conditions, buying readymade garments that are needed for a family may be an expensive and unsatisfactory method.
In context, which of the following is the best way to rephrase sentence 9 (reproduced below)?
Directions: The following passage is an early draft of an essay. Some parts of the passage need to be rewritten. Read the passage and select the best answer for the question that follows. Keep in mind that some questions are about particular sentences or parts of sentences and ask you to improve sentence structure or word choice. Other questions ask to consider organization and development. In choosing the answer, follow the requirements of standard written English.
[1] The girl, educated to earn her living in the market of the world, no longer marries simply because no other career is open to her. [2] When she does marry, she is less likely than formerly, statistics tell us, to have children-the only remaining work which, in these days, definitely requires a home. [3] Girls are willing to undertake matrimony, but often with the distinct understanding that their "careers" are not to be interfered with. [4] To them, then, marriage becomes more and more an incident in life rather than a life work. [5] For the good of coming generations the true home spirit must be saved; this is a belief, we shall do well to admit at once that the old-time home was an institution suited to its own day, but that we cannot now call it back to being. [6] Nor would we wish to do so. [7] There is no possible reason for wishing our women to spin, weave, knit, bake, brew, preserve, clean, if the products she formerly made can be produced more cheaply and more efficiently outside the home. [8] But generalizing too soon in this regard about these industries, this is dangerous. [9] At least, the factory method has not yet brought really satisfactory results, there are doubts in this directions. [10] How many women can give you reasons why they believe that it no longer "pays" to do this or that at home as they once did and do the factories always turn out as good a product as the housekeeper? [11] If they do, does the housekeeper obtain that product with as little expenditure as when she made it? [12] If she spends more, can she show that the leisure she has thus bought has been a wise purchase? [13] Is she justified in accepting vague generalizations to the effect that it is better economy to buy than to make, or should she test for herself, checking up her individual conditions and results?
- (As it is now)
- There is little doubt that in some directions, at least, the factory method has not yet brought really satisfactory results.
- The fact that factory method has not yet brought really satisfactory results, at least, is doubted in some directions.
- In some directions, at least, the factory method has not yet brought really satisfactory results; this is doubtful.
- Most people are doubtful that in some directions, at least, the factory method has not yet brought really satisfactory results.
According to the 2nd passage, singing is
Answer this question based on the following passages.
Passage 1
In no other form of expression do art and
nature seem so closely identified as in the
art of singing. A perfect voice speaks so
directly to the soul of the hearer that all
(5) appearance of artfully prepared effect is
absent. Every tone sung by a consummate
vocal artist seems to be poured forth freely
and spontaneously. There is no evidence of
calculation, of carefully directed effort, of
(10) attention to the workings of the voice, in the
tones of a perfect singer. Yet if the accepted
idea of Voice Culture is correct, this semblance
of spontaneity in the use of the voice can result
only from careful and incessant attention to
(15) mechanical rules. That the voice must be
managed or handled in some way neither
spontaneous nor instinctive, is the settled
conviction of almost every authority on the
subject. All authorities believe also that this
(20) manner of handling the voice must be acquired
by every student of singing, in the course of
carefully directed study.
This training in the use of the voice is the
most important feature of education in
(25) singing. Voice Culture embraces a peculiar
and distinct problem, that of the correct
management of the vocal organs. Vocal
training has indeed come to be considered
synonymous with training in the correct use
(30) of the voice. Every method of instruction
in singing must contain as its most important
element some means for dealing with the
problem of tone-production.
No complete and satisfactory solution of
(35) this problem has ever been found. Of this
fact every one acquainted with the practical
side of Voice Culture must be well aware.
It is advisable to define precisely what is
meant by the problem of tone-production.
(40) In theory the question may be stated very
simply. It is generally believed throughout
the vocal profession that the voice has one
correct mode of action, different from a wide
variety of incorrect actions of which it is
(45) capable;—that this mode of action, though
ordained by Nature, is not in the usual sense
natural or instinctive;—that the correct vocal
action must be acquired, through a definite
understanding and conscious management
(50) of the muscular movements involved. The
theoretical problem therefore is: What is the
correct vocal action, and how can it be
acquired?
There is only one way to sing correctly, and
that is to sing naturally, easily, comfortably.
The height of vocal art is to have no apparent
method, but to be able to sing with perfect
(5) facility from one end of the voice to the other,
emitting all the notes clearly and yet with
power and having each note of the scale
sound the same in quality and tonal beauty
as the ones before and after.
(10) There are many methods which lead to the
goal of natural singing — that is to say, the
production of the voice with ease, beauty
and with perfect control. Certainly the highest
art and a lifetime of work and study are
(15) necessary to acquire an easy emission of
tone. There is a multitude of wonderful natural
voices. But these naturally untrained voices
soon break or fail if they are used much unless
the singer supplements the natural, God-given
(20) vocal gifts with a conscious understanding of
how the vocal apparatus should be used.
The singer must have some knowledge of
his or her anatomical structure, particularly
the structure of the throat, mouth and face,
(25) with its resonant cavities, which are so
necessary for the right production of the
voice. Besides that, the lungs and diaphragm
and the whole breathing apparatus must be
understood, because the foundation of
(30) singing is breathing and breath control.
A singer must be able to rely on his breath,
just as he relies upon the solidity of the
ground beneath his feet. A shaky, uncontrolled
breath is like a rickety foundation on which
(35) nothing can be built, and until that foundation
has been developed and strengthened the
would-be singer need expect no satisfactory
results.
In order to insure proper breathing capacity
(40) it is understood that the clothing must be
absolutely loose around the chest and also
across the lower part of the back, for one
should breathe with the back of the lungs as
well as with the front. A singer should stand
(45) freely and easily and should feel as if the
chest were leading, but should not feel
constrained or stiff in any part of the ribs or lungs.
- a self initiated activity
- a method to emit clear notes for better understanding
- a system of controlled voice production with apparent ease
- a natural talent to produce voice and tones in a beautiful manner