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I)experimental 2) flexible 3) distinct 4) constant PART B: Cloze Passage ctions: Read the following passage and decide which choice (1), (2), (3), or (4) best fits Hleach space. Then mark the correct choice on your answer sheet. Remembering the past is an integral part of human existence. Without a good memory, you would not be able to drive to work, hold a meaningful conversation with your children, (11) a book or prepare a meal. Memory has fascinated humans since (12) -- memory to a wax tablet that is blank at birth (13) ~ on the impression of the events from our life, Only in the past hundred years, though, (14) ——--— systematic objective techniques that have enabled us to study our recollections of the past with scientific accuracy and reproducibility. These range from laboratory tests of our ability Plato famously compared ourF ante 3254 OF iS) cRmage ele pa degane ogeiT to remember verbal and visual materials (15) more recent brain-imaging approaches. 1-1) then read 2) reading 3) to read 4) read 12- I)ancient times 2) ancient time 3) time of ancient —_ 4) times of ancient 13-1) slowing taking 2) to slowly take 3) and slowly takes 4) that slowly takes 14-1) psychologists have developed 2) have psychologists developed 3) with psychologists developing 4) for psychologists to develop 1s 1) with 2) from, 3) in 4)to PART C: Reading Comprehension: Directions: Read the following three passages and answer the questions by choosing the best choice (1), (2), (3), or (4). Then mark the correct choice on your answer sheet PASSAGE 1 In the traditional music of [ran and Central Asia, instruments play rhythmic patterns that evoke conventional poetic meters. Here the meters are often quantitative, like those of ancient Greek poetry for which such terms as trochee and iamb were first devised. For an ancient Greek poet, the basic trochaic foot was the sequence long-short-long-short. The quantitative meters used in Persian poetry are different from those used in ancient Greek or for that matter, in classical Arabic poetry. The Persian meters were adapted by court poets who composed verses in Turkic languages, such as Ottoman Turkish and Azerbaijani, and for that reason the same musical resources could be used for singing poetry in any of these languages. A system of syllables devised by Arabic prosodists for representing quantitative meters was successfully applied to Persian and Turkic poetry, and music theorists writing in Arabic developed a second system of syllables to represent musical rhythms. 16- What is the passage mainly about? 1) Turkic languages 2) Ancient Greek poetry 3) Classical Arabic poetry 4) Quantitative meters used in Persian poetry 17- What does the word “evoke” in line 2 mean? 1) Infer 2) Shift 3) Elicit 4) Adjust 18- What does the word “those” in line 2 refer to? 1) Meters 2) Patterns 3) Terms 4) Instruments 19- Which of the following statements is TRUE about the Persian meters? 1) They are similar to those of both ancient Greek and classical Arabic poetry. 2) They are different from those of both ancient Greek and classical Arabic poetry 3) They are different from ancient Greek meters but similar to those of classical Arabic poetry. 4) They are similar to ancient Greek meters but different from those of cla: poetry, ‘al Arabicdante 3254 OF iS) cRmage ele pa degane ogeiT 20- Who developed a system of syllables for representing quantitative meters used i Persian and Turkic poetry ? 1) Arabic prosodists 2) Greek music theorists 3) Persian prosodists 4) Turkic music theorists PASSAGE 2: The first basis. of Handel’s style was the north German music of his childhood, but it was soon completely overlaid by the Italian style that he acquired in early adulthood during his travels in Italy. The influences of Arcangelo Corelli and Alessandro Scarlatti can be detected in his work to the end of his long life, and the French style of Jean-Baptiste Lully and, later, that of the English composer Henry Purcell are also evident. There is a robustness in Handel’s later music that gives it a very English quality. Above all, his music is eminently vocal. His choral writing is remarkable for the manner in which it interweaves massive but simple harmonic passages with contrapuntal sections of great ingenuity, the whole most effectively illustrating the text. His writing for the solo voice is outstanding in its suitability for the medium, Handel had a striking ability to depict human character musically in a single scene or aria, a gift used with great dramatic power in his operas and oratorios. Handel had a lifelong attachment to the theatre—even his oratorios were usually performed on the stage rather than in church. Like other composers of his time, he accepted the conventions of Italian opera, with its employment of male sopranos and contraltos and the formalized sequences of stylized recitatives and arias upon which opera seria was constructed. Using these conventions, he produced Italian operas, such as Giulio Cesare (1724), Sosarme (1732), and Alcina (1735), which still make impressive stage spectacles. 21- What is the first paragraph mainly about? 1) Handel's choral writing 2) Handel's biography 3) Handel’s oratorios 4) Handel’s style 22 What does the word “it” in paragraph 1 refer to? 1) Robustness 2) Quality 3) Music 4) Style 23- Which style was Handel’s music NOT affected by? 1) Italian 2) French 3) Russian 4) English 24- What does the word “depict” in paragraph 1 mean? 1) Describe 2) Admire 3) Predict 4) Refine 25- Handel produced all the following operas EXCEPT ---—- 1) Giulio Cesare 2) Sosarme 3) Marsia deluso 4) AleinaF ano 3254 OF iS) cRmage ele pa degane ogeiT PASSAGE 3: Ever since the mid-nineteenth century when flamenco music emerged as a public entertainment genre, it has meant different things to different people. Depending on audience and context, it has been party music for slumming Andalusian aristocrats, an exotic spectacle for tourists and outsiders, a private fiesta entertainment for gypsies, and, last but not least, an art form cultivated and cherished by serious music-lovers. Today, as before, many people enjoy—at some level—the “passion” and expressivity of flamenco music without understanding it in technical terms. Although there may be no point in belittling this rather uninformed sort of enjoyment, there is also no doubt that one’s appreciation of flamenco can acquire an added dimension of depth and richness through understanding of some of its basic formal aspects. Furthermore, with its formal complexity, its idiosyncratic combination of European and Middle Eastern—derived features, and its distinctive harmonic, rhythmic, and stylistic conventions, flamenco music offers particular interest to a transnational study of such musical parameters. Below we will examine some general background data on flamenco style and structure, and look in detail at a single song form called soleares, and a representative performance of it 26- The first paragraph provides an answer to all the following questions EXCEPT — 1) when flamenco music emerged 2) who flamenco music is enjoyed by 3) who flamenco music was developed by 4) what flamenco music means to different people 27- Which of the following do we understand from the passage? 1) Itis better to belittle flamenco music because of its complex formal aspects. 2) Despite its complexity, everyone understands flamenco music. 3) Many people enjoy flamenco music because of its simplicity. 4) Flamenco music is a good topic of transnational research 28- What does the word “its” in paragraph 2 mean? 1) Dimension 2) Flamenco 3) Richness 4) Depth 29- Which word in the passage is closest in meaning to the word “idiosyncratic” in paragraph 2? 1) Distinctive 2) Slumming 3) Stylistic 4) Exotic 30- The paragraphs following the passage will look at all the issues below EXCEPT ————. 1) a single song form called soleares 2) a representative performance of flamenco 3) some data on flamenco style and structure 4) the Middle Eastern-derived features of flamencoV ade 3254 OF iS) cRmage ele pa degane ogeiT Sl plas lyn Saag yyy Sad ol Slag yt cg scl jad 5 Malar jf cwwye oy Xe CF scoala py Bilas 3] oawy> pslae SG (1 al tet Hla jl oe,9 pyle a CF cl ity pj an 9 oie Se OF 25 4 ep iD Saal plas das 2g pln SS pou bbagon Quay Ve ghaett BayruheayS hoayt deepen Vigedlen gst Younagen dans Vowe asc Bb 49 elagseglajlr gh olge NS plas po Jao gS FUL Jas pes Jae BBL Jao a Tea Ip aD paid 9c? 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