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TOEFL MODEL TEST --> TOEFL iBT --> Model test

Question 1 of 100

Time: 01:00

Total time: 60:00

Script:

Listen to part of a discussion in a botany class. The class is talking about flowers.

W1: In a perfect, idealized flower, its four organs are

arranged in four whorls, all attached to the receptacle at the end of the stem. Before we go on, let’s quickly go over the four parts of the flower. First, let’s start from the outside and work in. Which organ is on the outside, closest to the stem?

M: The sepal. That’s the part that kind of looks like a leaf ‘cause it’s usually green. The sepal protects the flower bud before it opens up.

W1: Right. Then what comes next?

W2: The petals, the colorful part of the flower. It’s the petals that make the flower attractive to insects and birds ... and people, too.

W1: Right. And inside the petal layers we have ...?

M: The flower’s reproductive parts — the stamens and carpels.

W1: That’s right. So we have the four parts of a flower: sepals, petals, stamens, and carpels. Now, during the millions of years in the history of flowering plants, numerous variations evolved. In certain flowers, one or more of the four basic floral organs—sepals, petals, stamens, and carpels—have been eliminated. Plant biologists distinguish between complete flowers—those with all four organs—and incomplete flowers—those lacking one or more of the four floral parts. For example, most grasses have incomplete flowers that lack petals.

There are many variations in the size, shape, and color of flowers. One important element in plant classification is the arrangement of flowers on their stalks. The large composite family, for example, which includes asters, daisies, and sunflowers, have flower heads that form a central disk. What appears to be a single flower is actually a collection of hundreds of flowers. The central disk consists of tiny, complete flowers. And what appear to be petals surrounding the central disk are actually imperfect flowers called ray flowers.

M: I’m not sure I got that. Could you say that again?

W1: Sure. The flower head the center part of the plant— actually consists of many tiny, tightly packed complete flowers that stand upright on a flat disk.

The whole arrangement looks like a single, symmetrical flower, but it’s actually a collection of hundreds of separate flowers. The petals—what look like petals—are actually larger flowers called rays that extend from the rim of the disk. Does that help? M: Uh, yeah. I guess so. What you’re saying is. a single sunflower is really hundreds of flowers put together.

W1: That’s right. This will make more sense in the lab this afternoon.

So ... in the composite family, there are about 19.000 different species worldwide. Many are grown as ornamentals—cosmos, zinnia, dahlia, marigold, and aster. Probably the most-recognized composite flower is the English daisy. The daisy was introduced from Europe and now is a wildflower found on lawns, in fields, and at roadsides throughout North America. The name of the daisy has an interesting origin. The word "daisy’’ means "day′s eye" and comes from an older Anglo-Saxon word. The English daisy folds up its rays at night and unfolds them again at dawn—the "eye of the day" or "day’s eye.’’ Several cultivated varieties of English daisy are popular as edging plants or in rock gardens. The English daisy comes in lots of colors rose, lavender, pink, and white. It has a long bloom time, from April to September. The plants are compact and attractive, with flower heads up to two inches across. In the lab, we’ll be looking at some different varieties of the daisy, and you’ll see for yourself why they’re so popular.

1. What aspects of flowers does the class mainly discuss? Click on TWO answers.

The organs of a flower

The uses of flowers in art

The composite family of flowers

The evolution of flowers

2. Which part of the flower attracts insects and birds?

Stamens

Carpels

Sepals

Petals

3. Listen again to part of the discussion. Then answer the question. Why does the professor say this?

To remind the student that his lab report is due today

To announce that the location of the lab has moved

To imply that the student will see examples in the lab

To apologize for giving the student incorrect information

4. Based on the information in the discussion, choose TWO true sentences.

All varieties of the English daisy are white with a yellow center.

The arrangement of flowers on the stalk can help identify the plant's family.

The sunflower has one large symmetrical flower on its stalk.

Incomplete flowers do not have all four basic flower organs.

5. According to the professor, how did the daisy get its name?

Its central disk resembles the human eye.

Its flowers open at dawn, the “day's eye."

It blooms for only one day each year.

It was named for an Anglo-Saxon chief.

Script:

Listen to part of a talk in a music education class.

Learning to play a musical instrument is one of the best experiences that a young child can have. Learning to play music begins with listening to others play music. A child’s first experience with playing an instrument should be by ear without the distraction of printed music. Playing by car is the natural beginning for children. The ability to play by ear will help them throughout their lives, and it also enriches the experience of music making. But children should eventually learn to read music. So, when is the right time? And what′s the best way for a child to learn how to read music?

A lot of children start playing an instrument at the age of eight or nine. It′s best for them to spend a couple of years playing by ear before the teacher introduces notation -printed music. Children should first be able to feel that their instrument is a part of them. Playing by ear is the best way for children to become comfortable with their instrument.

The teacher should introduce notation only when the child is ready. The right time is when the child feels a need for notation. This might be when the child has learned so many pieces it’s sort of difficult to remember them all. Then the teacher can present the printed music as a memory aid so learning to read music has a practical purpose and isn’t just a meaningless task.

A good time to teach notation is when a group of children play together. The printed score is a way to help them sort of keep track of who plays what and when. The score will organize their cooperative effort in a way that makes sense to them.

Another good time is when the child wants to play music that’s so complex it would be difficult to learn by ear. In this case, learning to read music is a natural step toward playing the music the child wants to play. The teacher should play the score for the child the first time through, and demonstrate how the notes on the page are transformed into music. The child listens as he or she looks at the printed notes. This way the child can begin to see how the notes represent sound and a printed score becomes a piece of music. As the child listens—and maybe plays along—he or she begins to understand the shape of the new piece.

For students who play a chord-producing instrument- the guitar, for example—a natural first step toward reading music is playing by chord symbols. Chord symbols are found in a lot of different styles of music -like pop and jazz and at various levels of difficulty. Chord symbols are a simple form of written music—they’re kind of a halfway point between playing by ear and reading a standard musical score.

After children can play by ear and then by chord symbols the next step is to read standard music notation. Although that’s the natural order for children to learn, it doesn’t mean that each successive step is better than the one that came before. The three methods of playing music playing by ear playing chords, and playing by standard notation—are all valuable in their own way. Some children will always prefer to play by ear. Others will like chord playing and have no desire to learn another method. And still others will find their musical home in the tradition of note reading. It′s the job of the music teacher to fit the method to the needs of the students.

6. What is playing by ear?

Paying attention to what the teacher says

Listening to music through ear phones

Learning to play music without reading notation

Playing an instrument that is held up to the ear

7. Listen again to part of the talk. Then answer the question. Why does the professor ask this?

To suggest that all children should study music

To find out if everyone in class can read music

To review material for an examination

To introduce the main point he wants to make

8. According to the professor, when should children learn to read musical notation? Click on TWO answers.

When the music is too complex to learn by ear

When they are ready to play in front of an audience

When they first learn how to play an instrument

When a group of children play music together

9. According to the professor, why should a music teacher play the score for a child the first time?

To allow the child to memorize the score by listening

To suggest that the score can be played in different styles

To demonstrate how the printed notes translate into music

To show the child that the teacher is an excellent player

10. According to the professor, what is the natural order for children to learn music?

(i) Learn how to play the instrument by ear. (ii) Learn how to play by chord symbols. (iii) Learn how to read standard notation.

(i) Learn how to read standard notation. (ii) Learn how to play the instrument by ear. (iii) Learn how to play by chord symbols.

(i) Learn how to play by chord symbols. (ii) Learn how to play the instrument by ear. (iii) Learn how to read standard notation.

11. What does the professor imply about the three methods of playing music?

There is no reason to learn all three methods.

Each method is appropriate for some students.

The best method is playing by standard notation.

Students should use the teacher's favorite method.

Script:

A botanist has been invited to speak to a geography class. She will be discussing aromatic trees of North America. Listen to part of the talk.

When European explorers first approached the coast of North America, even before their ships landed, the first thing they noticed was the pungent aroma carried to the ships by the offshore breezes. Some sea captains thought this aroma was the scent of the valuable Oriental spices that had prompted their voyages of exploration. But in fact, the agreeable smells didn’t come from spices: they came from the lush vegetation of the North American forests.

The fragrance came from the blossoms of numerous trees and from the volatile oils in pine sap. Pine sap is a resinous fluid that pine trees put out to heal wounds caused by wind, fire, and lightning, and also to protect the pine tree’s seeds.

Pine sap was a valuable commodity to the sailors who explored the coast. The smell of pine meant there was an abundant supply of what were known as naval stores pitch and pine tar. Pitch and pine tar were thick, sticky, semi-solid substances that were made by distilling pinewood. Sailors used naval stores for caulking and waterproofing their wooden ships, which kept them seaworthy.

The Europeans found fragrant trees all along the Atlantic coast, from Massachusetts in the north to Florida in the south. Everywhere along the coast, the air was filled with the strong perfume of the flowering dogwood. The Native Americans already knew about the medicinal properties of the dogwood, and they used its bark and roots to treat malaria and other fevers. They brewed the aromatic bark into a bitter, astringent tea. European settlers also used the dogwood to relieve attacks of malaria. They soaked the dogwood bark in whiskey and drank the strong infusion. This was before they knew’ about quinine from South America, and before quinine became available.

In the south, probably the best-known aromatic tree was the sassafras. The sassafras is a fast growing tree, a member of the laurel family. Like the other fragrant laurels cinnamon, bay. and camphor sassafras is noted for its aromatic bark, leaves, roots, flowers, and fruit. I have a sassafras twig with me here, which I′ll pass around so you can all enjoy its smell. Just give it a small scrape with your thumbnail to release the scent.

I think you’ll find it strong but pleasant.

The Choctaw Indians used powdered sassafras leaves as a spice. Other Native American tribes used sassafras tonic as a cure for everything from fever to stomachache. News of this wonder tree reached Europe in the sixteenth century by way of the French and the Spanish, and sassafras was one of the first exports from North America to Europe. It sold for a high price on the London market, which sort of inspired other English explorers to ... um ... seek their fortunes in the North American colonies.

For centuries, sassafras enjoyed a fantastic reputation as a cure for almost every disease. Maybe you′ve heard of the medicinal spring tonic of the old days. Well, sassafras was a main ingredient in spring tonic—the stuff pioneer parents gave their kids. My grandmother had to take the spring tonic that her grandmother made from sassafras.

Sassafras leaves, bark, and roots used to provide the flavoring for root beer and chewing gum. Sassafras was also used in soaps and perfumes. However, in the 1960s, the United States Food and Drug Administration found sassafras oil to be a potential carcinogen for humans because it caused cancer in rats. Since that time, sassafras has been banned for human consumption. No one really knows just how harmful it is to human beings, but some studies show that one cup of strong sassafras tea contains more than four times the amount of the volatile oil safrole that is hazardous to humans if consumed on a regular basis.

12. According to the speaker, what did European explorers notice as they sailed toward the shores of North America?

The Native American villages

The fragrance of the trees

The strength of the wind

The density of the forests

13. According to the speaker, why was pine sap a valuable commodity?

It could make wooden ships waterproof.

It was an effective cure for headaches.

It provided an aromatic spice for food.

It was a good material for starting fires.

14. How was the flowering dogwood used?

As a spring tonic for pioneer children

As a treatment for fevers and malaria

As an ingredient in soaps and perfumes

As a flavoring for candy and soft drinks

15. Why does the speaker say this?

She needs someone to help her lift a heavy tree.

She is giving a recipe for a medicinal tonic.

She wants the students to smell a piece of wood.

She is demonstrating how to brew tea.

16. Why was sassafras once considered a wonder tree?

It provided more board timber than any other tree.

Its fragrance was the sweetest of any American tree.

It was thought to be a cure for almost every disease.

Its sap could be made into a tar to seal wooden ships.

17. Listen again to part of the talk. Then answer the question. What does the speaker imply about sassafras?

It is too expensive for most people.

It is probably not harmful to humans.

It is available only in drugstores.

It is no longer a legal medicine.

Script:

Listen to part of a lecture in a United States history class.

The battle at Antietam Creek in 1862 was the bloodiest twenty -four hours of the Civil War. Nearly 8,000 men lost their lives and another 15,000 were severely wounded. No single day in American history has been as tragic. Antietam was memorable in another way, too—it saw the advent of the war photographer.

The best known pictorial records of the Civil War are the photographs commissioned by Mathew Brady, a leading portrait photographer of the lime. Brady owned studios in New York and in Washington, and was known for his portraits of political leaders and celebrities. At the outbreak of the Civil War, he turned his attention to the conflict. He wanted to document the war on a grand scale, so he hired twenty photographers and sent them into the field with the troops. The battlefield carried dangers and financial risks, but Brady was persistent.

Brady himself did not actually shoot many of the photographs that bore his name. His company of photographers took the vast majority of the pictures—images of camp life, artillery, fortifications, railroads, bridges, battlefields, officers, and ordinary soldiers. Brady was more of a project manager. He spent his time supervising his photographers, preserving their negatives, and buying negatives from other photographers.

Two days after I he battle at Antietam. Two photographers from Brady′s New York gallery took a series of photographs that ushered in a new era in the visual documentation of war. This was the first time that cameras had been allowed near the action before the fallen bodies of the dead were removed. Within a month of the battle, the images of battlefield corpses from Antietam were on display at Brady’s gallery in New York. A sign on the door said simply, "The Dead of Antietam.” America was shocked. The exhibition marked the first time most people had ever seen the carnage of the war. The photographs had a sensational impact, opening people’s eyes as no woodcuts or lithographs had ever done.

The New York Times wrote. “If Mr. Brady has not brought bodies and laid them in our door yards, he has done something very like it." Thousands of people, especially mothers and wives of men serving in the Union forces, flocked to look at these first dramatic images of death and destruction. Suddenly the battlefield was no longer comfortably distant—the camera was bringing it closer, erasing romantic notions about war.

Mathew Brady’s work was the first instance of the comprehensive photo- documentation of a war the Civil War—which as a result became the first media war. Photography had come of age. although it was still a relatively new technology with several limitations. For example, the exposure lime of the camera was slow, and negatives had to be prepared minutes before a shot and developed immediately afterwards. This meant «hat it was not possible for photographers to lake action pictures. They were limited to taking pictures of the battlefield after the fighting was over. Another limitation was that newspapers couldn’t yet reproduce photographs. They could print only artists’ drawings of the scene. Nevertheless, photography made a huge impact, and media coverage of war—and public opinion about war—would never be the same again.

18. What is the main idea of the lecture?

Photographers recorded the battle at Antietam.

The battlefield is too dangerous for photographers.

Photography changed the nature of war reporting.

People should protest against war photography.

19. Listen again to part of the lecture. Then answer the question. What does the professor mean by this statement?

Antietam was the only battle in which Americans died.

More Americans died on that day than on any other day.

Deaths were counted for the first time at Antietam.

Antietam was the shortest battle of the Civil War.

20. Who was Mathew Brady?

The inventor of photography.

A portrait painter in New York

The owner of a photography business

A military leader during the Civil War

21. Listen again to part of the lecture. Then answer the question. Why does the professor say this?

To encourage students to study photography

To warn students not to look at the pictures

To contrast different photographic styles

To emphasize the power of photography

22. What were some of the limitations of photography during the Civil War? Click on TWO answers.

There were only a few schools that taught photography.

The slow exposure time did not allow action shots.

Newspapers were not able to reproduce photographs.

Photographers were not permitted on the battlefield.

23. What does the professor imply about Mathew Brady?

His work had a lasting effect on photography and journalism.

He took more photographs during his life than anyone else did.

He was unfairly criticized for his photographs of the dead.

His Civil War photographs are worth a lot of money today.

Script:

Listen to a conversation between a student and a professor.

Professor: Come in, Will. Did you want to discuss something with me?

Student: Thank you, yes, I have something I need to talk about with you. It’s about our group presentation. I′m here on behalf of our group. We’ve been trying to plan our presentation, but . . . well . . . we’re kind of stuck. So we decided that one of us should come here and talk about it with you, and I’m the one.

Professor: That’s fine, but can you be a bit more specific? I’m not quite sure how′ to answer your question.

Student: Well, we’re not sure how′ to get started, how to get organized. We’ve had a number of meetings, but we just sit around discussing how we should prepare the presentation, and we never set anywhere. Sometimes it seems like everyone in the group has a different idea about how to proceed.

Professor: OK, I see. . . . Tell me, what’s the topic of your presentation? I mean, which company are you discussing?

Student: The Northwest Paper Company.

Professor: OK, so, with your group, first of all you should be outlining what issues the Northwest Paper Company is facing.

Student: But we’ve been trying to divide up tasks first, trying to figure out who’s going to do what part of the presentation.

Professor: That most likely won’t work. You need to concentrate on the issues first, as a group and not individually.

Student: OK, so we should concentrate on the issues first. . . . You did say "issues,” didn’t you? There can be more than one issue?

Professor: Certainly. The company may be facing more than one issue . . . maybe two or three issues. Just concentrate on the major issues.

Student: So, as a group, the first thing we need to do is to decide what the issues are, maybe two or three main issues.

Professor: That′s right. Then, after the group has agreed on what the issues are, as a group, you need to decide on the best solution for each issue.

Student: OK, first we figure out the issues, and then we figure out the best solutions for the issues.

Professor: Yes. Together as a group, you should agree on the issues and the solutions.

And then, only then, you should think about how you’re going to organize your presentation.

Student: And how would you suggest that we organize our presentation?

Professor: Oh, there are many different ways to organize the presentation ... let me give you a couple of examples. How many students are in your group? Four or five?

Student: Four. Our group has four members.

Professor: Well, let’s say you decide that there are two major issues. Then, one person could introduce the presentation, give an overview, you know, and a second person could discuss one issue and its solution, and the third person could discuss the second issue and its solution, and the fourth person could summarize it all. Or maybe you decide that there′re three issues and three of you present issues and solutions and one person introduces and summarizes the presentation. Or maybe two of you present issues and the other two of you discuss possible solutions.

Student: OK. I understand. . . .

Professor: What, exactly, do you understand?

Student: That we need to figure out what the issues and solutions are together as a group before we can decide how we’re going to organize the presentation.

Professor: Exactly!

24. Why does the student go to talk with the professor?

To discuss how to resolve a problem his group is having

To find out who else is working on his group presentation

To discuss the issues his group has developed for their presentation

To set up a meeting with his group and the professor

25. Listen again to part of the passage. Then answer the question. What does the professor mean when she says this?

“Your question is too hard for me to answer."

“Can you please specify what your presentation is about?”

“Your question is a really good one.”

“I can't answer until I understand better what your question is.”

26. What does the professor think the students have done wrong?

They have determined the issues but not the solutions.

They have come up with too many issues.

They need to determine more than one issue.

They are concentrating on dividing up topics too early.

27. What should the students do first?

Find the main issue the company is facing

Determine how to organize their presentation

Determine the main issues and how to solve them

Determine which part of the presentation each student should work on

28. Listen again to part of the passage. Then answer the question. Why does the professor say this?

To clarify that the students should discuss two issues

To apologize for not knowing how the students should organize the presentation

To outline how the students should organize the presentation

To suggest that there are many possible ways to organize the presentation

Script:

Listen to part of a conversation between two students. They are studying for an economics test.

M: OK ... so what do we do next?

W: Why don’t we go over the chapter on analysis of costs? That’ll be on the test.

M: OK.

W: Let’s start with “opportunity cost.” That part’s still confusing to me. I understand fixed cost and variable cost, and marginal cost, the cost of producing one more unit of something. I′m sure there’ll be a question about that on the test. But I don’t get “opportunity cost.”

M: Opportunity cost that’s when you have to consider the things you give up when you make a certain decision. You have an opportunity cost when you’re forced to choose between different alternatives.

W: OK. That sort of makes sense.

M: Say you want to have your own business, so you. so you open a restaurant. You put in 60 hours a week, but you don′t pay yourself wages. At the end of the first year, your restaurant shows a profit of... um ... say. 30 thousand dollars—looks pretty good for a small business. But is it really that good? An economist would say no. because you have to count your own labor as a cost, even if you don’t get paid. You have to consider that you had alternative opportunities for work, and you have to count that lost opportunity as a cost. You could have taken a job at, say. an accounting firm and earned 50 thousand a year. This is the opportunity cost the earnings you gave up—because you decided to open your own business instead.

W: OK. So what that means is ... um ... if I lost 50 thousand dollars by not taking an accounting job. then ... my restaurant′s profit of 30 thousand isn’t that great after all—at least in an economic sense. Maybe I had more enjoyment, though I mean the enjoyment of being my own boss.

M: Right. But your enjoyment comes with a cost. An economist would say the real profit of your restaurant isn’t 30 thousand dollars. You’d have to subtract the 50 thousand opportunity cost of your own labor.

When you subtract 50 thousand from 30 thousand, you find you have a net loss of 20 thousand dollars!

W: Wow! That means the enjoyment of having my own business cost me 20 thousand dollars!

M: Yeah. Something like that.

W: This is really different from what we learned about costs in my accounting class. I think an accountant would say my 30 thousand -dollar profit made me a viable business. But an economist—if I understand it correctly—an economist would say my business is a loser!

M: Right. And that’s because an economist tries to look at all the factors, all the costs. An economist would count the opportunity cost.

W: An economist looks at the big picture.

M: Right. An economists definition of costs is broader than an accountants. Opportunity cost is actually a very broad concept. It takes into account the cost of the choices we make. When we choose one thing, we have to give up something else.

W: That′s right. We chose to go to college, so that means we had to give up full time employment, for the time being.

M: Right! So, how do you measure the true cost of a college education?

W: Well, it′s more than what we pay for tuition and books! We have to subtract the income we lose by not working full time.

M: Yeah, and that′s why college is really more expensive than it seems.

29. What are the students mainly discussing?

Various costs that businesses face

Differences between economics and accounting

The concept of opportunity cost

The rising costs of owning a business

30. How does the man help the woman understand a concept that she finds difficult?

He reads a passage from their textbook.

He asks her to explain a similar concept.

He illustrates the concept with an example.

He makes a list of terms for her to study.

31. Listen again to part of the conversation. Then answer the question. Why does the man ask this?

To find out how much money the woman made

To express his concerns about owning a business

To evaluate the food at a restaurant

To suggest that the profit is less than it seems

32. According to the man, how does an economist′s view of costs differ from that of an accountant?

An economist tries to lessen the effect of costs.

An economist's definition of costs never changes.

An economist uses a computer to calculate costs.

An economist looks at a broader range of costs.

33. What can be inferred about the true cost of a college education?

It is not as expensive as it appears.

It is more than the woman can afford.

It continues to increase each year.

It includes the cost of lost income.

II.

PLATE TECTONICS

According to the theory of plate tectonics, the upper portion of the Earth’s lithosphere, which contains the heavier oceanic and the lighter continental crusts, consists of a series of rigid plates that are in constant motion. This theory provides a cohesive model to explain the integrated actions of continental drift, seafloor spreading, and mountain formation.

The Earth’s plates are estimated to have an average depth of approximately 60 miles (or 100 kilometers), but they are believed to vary considerably in size. Some are estimated to be continental or even hemispheric in size, while other are believed to be much smaller. Though the actual boundaries and sizes and shapes of the plates are not known for sure, it has been postulated that there are six major plates and somewhere around the same number of smaller ones. Most of the plates consist of both sial (continental) and sima (oceanic) crust. They are in constant movement, though they move at an extremely slow pace, and these movements cause frequent interactions between plates.

At this time, scientists have identified three different types of boundaries between plates. At a divergent boundary, plates are moving away from each other. This type of boundary occurs at an oceanic ridge, where new material is being added to the seafloor from deeper within the Earth. Shallow earthquakes and underwater volcanoes are associated with this type of plate activity. At a convergent boundary, plates are moving toward each other and collide, causing vast folding and crumpling along the edges of the plates. In addition to the folding and crumpling, one of the plates slowly folds under the other. Though this subduction is slow, it can nonetheless be quite catastrophic as the crustal material of the submerging plate gradually melts into the fiery hot depths below. The area where subduction occurs is usually an area where the crust is relatively unstable and is characterized by numerous deep earthquakes

and a significant amount of volcanic activity. The boundaries between convergent plates are generally found around the edges of ocean basins and are sometimes associated with deep ocean trenches. A third type of boundary is a transcurrent boundary, which involves two plates sliding past each other laterally, without the folding and crumpling that occurs at a convergent boundary. This third type of boundary is thought to be far less common than the other two types of boundaries.

The concept of plate tectonics provides an understanding of the massive rearrangement of the Earth’s crust that has apparently taken place. It is now generally accepted that the single supercontinent known as Pangaea indeed existed, that Pangaea subsequently broke apart into two giant pieces, Gondwanaland in the south and Laurasia in the north, and that the continents attached to the various crustal plates separated and drifted in various directions. As the plates drifted, they may have diverged, which was associated with the spread of the seafloor, or they may have converged, which resulted in collision, subduction, and mountain building.

(1) The majority of the Earth’s major mountain ranges are found in zones where plates converge. (2) The Himalayas, which are the world’s highest mountains, along with the central Asian mountains of varying heights associated with them, were formed by the crumpling and folding of two massive plates that collided at a convergent boundary. (3) The landmass that is today known as India was originally part of Gondwanaland, the giant supercontinent in the Southern Hemisphere, but it broke off from Gondwanaland approximately 200 million years ago and drifted north to collide with part of Laurasia, the giant supercontinent in the Northern Hemisphere, to create the world’s tallest mountains. (4)

34. The word “cohesive” in paragraph 1 is closest in meaning to ................

unified

lengthy

contemporary

tenacious

Explain:

35. It can be inferred from paragraph 2 that ................

there are most likely around 6 minor plates

each of the plates has approximately the same dimensions

none of the plates has a depth of more than 100 kilometers

some plates are relatively stationary

Explain:

36. The word “postulated” in paragraph 2 is closest in meaning to ................

hypothesized

postponed

forgotten

proven

Explain:

37. The author uses the expression “At this time” at the beginning of paragraph 3 in order to indicate that ................

interactions are currently occurring between plates

all possible types of boundaries have already been located

more types of boundaries might be found in the future

the major plates are all currently moving away from each other

Explain:

38. The word “subduction” in paragraph 3 is closest in meaning to ................

downward force

sudden melting

strong attack

lateral movement

Explain:

39. According to the passage, subduction ................

occurs rapidly

generally takes place in stable areas

has little effect

causes one of the plates to sink and melt

Explain:

40. The phrase “associated with” in paragraph 3 is closest in meaning to ................

working with

hidden from

related to

found inside

Explain:

41. It is NOT stated in paragraph 4 that it is generally accepted that ................

Gondwanaland moved to the south and Laurasia moved to the north

the giant continent broke into parts

the continents moved in various directions

there used to be a giant continent

Explain:

42. The word “drifted” in paragraph 4 is closest in meaning to ................

lifted up

were formed

moved slowly

broke down

Explain:

43. The word “them” in paragraph 5 refers to ................

central Asian mountains

zones

the Himalayas

two massive plates

Explain:

44. Which of the sentences below expresses the essential information in the highlighted sentence in paragraph 5? Incorrect choices change the meaning in important ways or leave out essential information.

The world's tallest mountains used to be in India, but they broke off from India and drifted to the north.

India was formed when a landmass from the Southern Hemisphere broke off and collided with a landmass in the Northern Hemisphere.

Gondwanaland drifted north 200 million years ago to merge with Laurasia.

India was formed 200 million years ago when two giant supercontinents drifted north and collided.

Explain:

45. Look at the four numbers (1), (2), (3) and (4) which indicate where the sentence “Mountain building is clearly explained through the concept of plate tectonics.” can be added to paragraph 5. Where would the sentence best fit?

Number 4

Number 1

Number 3

Number 2

Explain:

46. Choose TWO phrases that describe the divergent boundary

Occurs when plates moving toward each other collide

Occurs when two plates remain stationary in relation to each other

Can result in the spreading of the seafloor

Occurs when plates move away from each other

Occurs when plates moving toward each other do not collide

Can result in the creation of mountains

Is the least common type of boundary

Causes the continents to shift

Explain:

47. Choose TWO phrases that describe the convergent boundary

Occurs when plates moving toward each other collide

Occurs when plates move away from each other

Occurs when two plates remain stationary in relation to each other

Occurs when plates moving toward each other do not collide

Is the least common type of boundary

Can result in the spreading of the seafloor

Can result in the creation of mountains

Causes the continents to shift

Explain:

48. Choose TWO phrases that describe the transcurrent boundary

Occurs when plates move away from each other

Occurs when plates moving toward each other collide

Occurs when plates moving toward each other do not collide

Is the least common type of boundary

Causes the continents to shift

Can result in the spreading of the seafloor

Occurs when two plates remain stationary in relation to each other

Can result in the creation of mountains

Explain:

PULSARS

There is still much for astronomers to learn about pulsars. Based on what is known, the term pulsar is used to describe the phenomenon of short, precisely timed radio bursts that are emitted from somewhere in space. Though all is not known about pulsars, they are now believed in reality to emanate from spinning neutron stars, highly reduced cores of collapsed stars that are theorized to exist.

Pulsars were discovered in 1967, when Jocelyn Bell, a graduate student at Cambridge University, noticed an unusual pattern on a chart from a radio telescope. What made this pattern unusual was that, unlike other radio signals from celestial objects, this series of pulses had a highly regular period of 1.33730119 seconds. Because day after day the pulses came from the same place among the stars, Cambridge researchers came to the conclusion that they could not have come from a local source such as an Earth satellite.

(1) A name was needed for this newly discovered phenomenon. (2) The possibility that the signals were coming from a distant civilization was considered, and at that point the idea of naming the phenomenon L.G.M. (short for Little Green Men) was raised. (3) However, after researchers had found three more regularly pulsing objects in other parts of the sky over the next few weeks, the name pulsar was selected instead of L.G.M. (4)

As more and more pulsars were found, astronomers engaged in debates over their nature. It was determined that a pulsar could not be a star inasmuch as a normal star is too big to pulse so fast. The question was also raised as to whether a pulsar might be a white dwarf star, a dying star that has collapsed to approximately the size of the Earth and is slowly cooling off. However, this idea was also rejected because the fastest pulsar known at the time pulsed around thirty times per second and a white dwarf, which is the smallest known type of star, would not hold together if it were to spin that fast.

The final conclusion among astronomers was that only a neutron star, which is theorized to be the remaining core of a collapsed star that has been reduced to a highly dense radius of only around 10 kilometers, was small enough to be a pulsar. Further evidence of the link between pulsars and neutron stars was found in 1968, when a pulsar was found in the middle of the Crab Nebula. The Crab Nebula is what remains of the supernova of the year 1054, and inasmuch as it has been theorized that neutron stars sometimes remain following supernova explosions, it is believed that the pulsar coming from the Crab Nebula is evidently just such a neutron star.

(5) The generally accepted theory for pulsars is the lighthouse theory, which is based upon a consideration of the theoretical properties of neutron stars and the observed properties of pulsars. (6) According to the lighthouse theory, a spinning neutron star emits beams of radiation that sweep through the sky, and when one of the beams passes over the Earth, it is detectable on Earth. (7) It is known as the lighthouse theory because the emissions from neutron stars are similar to the pulses of light emitted from lighthouses as they sweep over the ocean; the name lighthouse is therefore actually more appropriate than the name pulsar. (8)

49. The phrase “emanate from” in paragraph 1 is closest in meaning to ................

wander away from

revolve around

develop from

receive directions from

Explain:

50. Which of the sentences below expresses the essential information in the highlighted sentence in paragraph 2? Incorrect choices change the meaning in important ways or leave out essential information. ................

It was unusual for celestial objects to emit radio signals.

It was unusual for researchers to hear patterns from space.

It was unusual that the period of pulses was only slightly more than a second in length.

It was unusual that the pattern of the pulsars was so regular.

Explain:

51. The word “they” in paragraph 2 refers to ................

the pulses

Cambridge researchers

day after day

the stars

Explain:

52. The word “raised” in paragraph 3 could best be replaced by ................

lifted

elevated

discovered

suggested

Explain:

53. Look at the four numbers (1), (2), (3) and (4) which indicate where the sentence “This name was selected because it indicates a regularly pulsing radio source.” can be added to paragraph 3. Where would the sentence best fit? ................

Number 4

Number 3

Number 2

Number 1

Explain:

54. The phrase “engaged in” in paragraph 4 could best be replaced by ................

took part in

made promises about

became attached to

were disappointed in

Explain:

55. The word “their” in paragraph 4 refers to ................

astronomers

weeks

pulsars

details

Explain:

56. Which of the sentences below expresses the essential information in the highlighted sentence in paragraph 4? Incorrect choices change the meaning in important ways or leave out essential information. ................

Pulsars cannot spin very fast because they will fall apart if they spin fast.

White dwarfs cannot contain pulsars because white dwarfs spin much faster than pulsars.

White dwarfs cannot be dying stars because they cannot pulse at around thirty times per second.

Pulsars could not be white dwarfs because the frequency of the pulsars is too high.

Explain:

57. The word “Further” in paragraph 5 is closest in meaning to ................

unreliable

additional

irrelevant

distant

Explain:

58. Which of the sentences below expresses the essential information in the highlighted sentence in paragraph 5? Incorrect choices change the meaning in important ways or leave out essential information. ................

It is believed that the Crab Nebula is a pulsar that is on the verge of becoming a supernova.

It is believed that a pulsar created the Crab Nebula, which exploded in a supernova in 1054.

It is believed that the supernova of1054 created the Crab Nebula, which contains a pulsing neutron star.

It is believed that a neutron star exploded in the supernova of 1054, creating the Crab Nebula.

Explain:

59. The word “properties” in paragraph 6 is closest in meaning to ................

masses

lands

surroundings

characteristics

Explain:

60. The word “it” in paragraph 6 refers to ................

the Earth

the sky

a spinning neutron star

one of the beams

Explain:

61. Look at the four numbers (5), (6), (7) and (8) which indicate where the sentence “The periodic flashing of pulsars is related to rotation rather than pulsing, so the name pulsar is actually not very accurate.” can be added to paragraph 6. Where would the sentence best fit? ................

Number 6

Number 7

Number 5

Number 8

Explain:

LOIE FULLER

The United States dancer Loie Fuller (1862-1928) found theatrical dance in the late nineteenth century artistically unfulfilling. She considered herself an artist rather than a mere entertainer, and she, in turn, attracted the notice of other artists.

Fuller devised a type of dance that focused on the shifting play of lights and colors on the voluminous skirts or draperies she wore, which she kept in constant motion principally through movements of her arms, sometimes extended with wands concealed under her costumes. She rejected the technical virtuosity of movement in ballet, the most prestigious form of theatrical dance at that time, perhaps because her formal dance training was minimal. Although her early theatrical career had included stints as an actress, she was not primarily interested in storytelling or expressing emotions through dance; the drama of her dancing emanated from her visual effects.

Although she discovered and introduced her art in the United States, she achieved her greatest glory in Paris, where she was engaged by the Folies Bergère in 1892 and soon became "La Loie," the darling of Parisian audiences. Many of her dances represented elements or natural objects—Fire, the Lily, the Butterfly, and so on—and thus accorded well with the fashionable Art Nouveau style, which emphasized nature imagery and fluid, sinuous lines. Her dancing also attracted the attention of French poets and painters of the period, for it appealed to their liking for mystery, their belief in art for art's sake, a nineteenth-century idea that art is valuable in itself rather than because it may have some moral or educational benefit, and their efforts to synthesize form and content.

Fuller had scientific leanings and constantly experimented with electrical lighting (which was then in its infancy), colored gels, slide projections, and other aspects of stage technology. She invented and patented special arrangements of mirrors and concocted chemical dyes for her draperies. Her interest in color and light paralleled the research of several artists of the period, notably the painter Seurat, famed for his Pointillist technique of creating a sense of shapes and light on canvas by applying extremely small dots of color rather than by painting lines. One of Fuller's major inventions was underlighting, in which she stood on a pane of frosted glass illuminated from underneath. This was particularly effective in her Fire Dance (1895), performed to the music of Richard Wagner's "Ride of the Valkyries." The dance caught the eye of artist Henri de Toulouse-Lautrec, who depicted it in a lithograph.

As her technological expertise grew more sophisticated, so did the other aspects of her dances. (1) Although she gave little thought to music in her earliest dances, she later used scores by Gluck, Beethoven, Schubert, Chopin, and Wagner, eventually graduating to Stravinsky, Fauré, Debussy, and Mussorgsky, composers who were then considered progressive. (2) She began to address more ambitious themes in her dances such as The Sea, in which her dancers invisibly agitated a huge expanse of silk, played upon by colored lights. (3) Always open to scientific and technological innovations, she befriended the scientists Marie and Pierre Curie upon their discovery of radium and created a Radium Dance, which simulated the phosphorescence of that element. (4) She both appeared in films—then in an early stage of development—and made them herself; the hero of her fairy-tale film Le Lys de la Vie (1919) was played by René Clair, later a leading French film director.

At the Paris Exposition in 1900, she had her own theater, where, in addition to her own dances, she presented pantomimes by the Japanese actress Sada Yocco. She as-sembled an all-female company at this time and established a school around 1908, but neither survived her. Although she is remembered today chiefly for her innovations in stage lighting, her activities also touched Isadora Duncan and Ruth St. Denis, two other United States dancers who were experimenting with new types of dance. She sponsored Duncan's first appearance in Europe. Her theater at the Paris Exposition was visited by St. Denis, who found new ideas about stagecraft in Fuller's work and fresh sources for her art in Sada Yocco's plays. In 1924 St. Denis paid tribute to Fuller with the duet Valse a la Loie.

62. What can be inferred from paragraph 1 about theatrical dance in the late nineteenth century?

It was a relatively new art form in the United States.

It was very similar to theatrical dance of the early nineteenth century.

It was more a form of entertainment than a form of serious art.

It influenced many artists outside of the field of dance.

Explain:

63. According to paragraph 2, all of the following are characteristic of Fuller′s type of dance EXCEPT ................

experimentation using color

technical virtuosity of movement

large and full costumes

continuous movement of her costumes

Explain:

64. The word “prestigious” in the passage is closest in meaning to ................

financially rewarding

serious

demanding

highly regarded

Explain:

65. Which of the sentences below best expresses the essential information in the highlighted sentence in the passage? Incorrect choices change the meaning in important ways or leave out essential information.

Fuller was more interested in dance's visual impact than in its narrative or emotional possibilities.

Fuller believed that the drama of her dancing sprang from her emotional style of storytelling.

Fuller used visual effects to dramatize the stories and emotions expressed in her work.

Fuller's focus on the visual effects of dance resulted from her early theatrical training as an actress.

Explain:

66. The word “engaged” in the passage is closest in meaning to ................

praised

attracted

hired

noticed

Explain:

67. The word “synthesize” in the passage is closest in meaning to ................

integrate

improve

simplify

define

Explain:

68. According to paragraph 3, why was Fuller′s work well received in Paris?

Parisian audiences were particularly interested in artists and artistic movements from the United States.

Fuller's work at this time borrowed directly from French artists working in other media.

Influential poets tried to interest dancers in Fuller's work when she arrived in Paris.

Fuller's dances were in harmony with the artistic values already present in Paris.

Explain:

69. According to paragraph 4, Fuller′s Fire Dance was notable in part for its ................

use of dyes and paints to create an image of fire

use of colored gels to illuminate glass

technique of lighting the dancer from beneath

draperies with small dots resembling the Pointillist technique of Seurat

Explain:

70. Why does the author mention Fuller′s The Sea?

To explain why Fuller sometimes used music by progressive composers

To illustrate how Fuller's interest in science was reflected in her work

To illustrate a particular way in which Fuller developed as an artist

To point out a dance of Fuller's in which music did not play an important role

Explain:

71. The word “agitated” in the passage is closest in meaning to ................

emerged from beneath

created movement in

pretended to be

arranged themselves in

Explain:

72. According to paragraph 6, what was true of Fuller′s theater at the Paris Exposition?

It became a famous school that is still named in honor of Fuller.

It featured performances by prominent male as well as female dancers.

It presented some works that were not by Fuller.

It continued to operate as a theater after Fuller died.

Explain:

73. The passage mentions which of the following as a dance of Fuller′s that was set to music?

Valse a la Loie

Le Lys de la Vie

Radium Dance

Fire Dance

Explain:

74. Look at the four numbers (1), (2), (3) and (4) that indicate where the sentence “For all her originality in dance, her interests expanded beyond it into newly emerging artistic media.” could be added to the passage. Where would the sentence best fit?

Number 2

Number 3

Number 1

Number 4

Explain:

75. An introductory sentence for a brief summary of the passage is “Loie Fuller was an important and innovative dancer.”. Complete the summary by selecting the THREE answer choices that express the most important ideas in the passage. Some sentences do not belong in the summary because they express ideas that are not presented in the passage or are minor ideas in the passage.

Fuller's work influenced a number of other dancers who were interested in experimental dance.

Fuller believed that audiences in the late nineteenth century had lost interest in most theatrical dance.

By the 1920's, Fuller's theater at the Paris Exhibition had become the world center for innovative dance.

Fuller introduced many technical innovations to the staging of theatrical dance.

Fuller transformed dance in part by creating dance interpretations of works by poets and painters.

Fuller continued to develop throughout her career, creating more complex works and exploring new artistic media.

Explain:

CARETAKER SPEECH

Children learn to construct language from those around them. Until about the age of three, children tend to learn to develop their language by modeling the speech of their parents, but from that time on, peers have a growing influence as models for language development in children. It is easy to observe that, when adults and older children interact with younger children, they tend to modify their language to improve communication with younger children, and this modified language is called caretaker speech.

Caretaker speech is used often quite unconsciously; few people actually study how to modify language when speaking to young children but, instead, without thinking, find ways to reduce the complexity of language in order to communicate effectively with young children. (1) A caretaker will unconsciously speak in one way with adults and in a very different way with young children. (2) Caretaker speech tends to be slower speech with short, simple words and sentences which are said in a higher-pitched voice with exaggerated inflections and many repetitions of essential information. (3) It is not limited to what is commonly called baby talk, which generally refers to the use of simplified, repeated syllable expressions such as ma-ma, boo-boo, bye-bye, wa-wa, but also includes the simplified sentence structures repeated in sing-song inflections. (4)

Caretaker speech serves the very important function of allowing young children to acquire language more easily. The higher-pitched voice and the exaggerated inflections tend to focus the small child on what the caretaker is saying, the simplified words and sentences make it easier for the small child to begin to comprehend, and the repetitions reinforce the child’s developing understanding. Then, as a child’s speech develops, caretakers tend to adjust their language in response to the improved language skills, again quite unconsciously. Parents and older children regularly adjust their speech to a level that is slightly above that of a younger child; without studied recognition of what they are doing, these caretakers will speak in one way to a one-year-old and in a progressively more complex way as the child reaches the age of two or three.

(1) An important point to note is that the function covered by caretaker speech, that of assisting a child to acquire language in small and simple steps, is an unconsciously used but extremely important part of the process of language acquisition and as such is quite universal. (2) Studying cultures where children do not acquire language through caretaker speech is difficult because such cultures are difficult to find. (3) The question of why caretaker speech is universal is not clearly understood; instead proponents on either side of the nature vs. nurture debate argue over whether caretaker speech is a natural function or a learned one. (4) Those who believe that caretaker speech is a natural and inherent function in humans believe that it is human nature for children to acquire language and for those around them to encourage their language acquisition naturally; the presence of a child is itself a natural stimulus that increases the rate of caretaker speech among those present. In contrast, those who believe that caretaker speech develops through nurturing rather than nature argue that a person who is attempting to communicate with a child will learn by trying out different ways of communicating to determine which is the most effective from the reactions to the communication attempts; a parent might, for example, learn to use speech with exaggerated inflections with a small child because the exaggerated inflections do a better job of attracting the child’s attention than do more subtle inflections. Whether caretaker speech results from nature or nurture, it does play an important and universal role in child language acquisition.

76. According to paragraph 1, children over the age of three ................

are no longer influenced by the language of their parents

learn little language from those around them

first begin to respond to caretaker speech

are influenced more and more by those closer to their own age

Explain:

77. The word “modeling” in paragraph 1 could best be replaced by ................

building

designing

mimicking

demonstrating

Explain:

78. Which of the sentences below expresses the essential information in the highlighted sentence in paragraph 2? Incorrect choices change the meaning in important ways or leave out essential information. ................

Young children tend to use caretaker speech quite unconsciously in order to reduce the complexity of their thoughts to language that they can express.

People generally seem to be able to adapt their language to the level of a child's language without thinking consciously about it.

Most people are quite aware of the use of caretaker speech because of thorough study and research about it.

The unconscious use of caretaker speech involves a reduction in the complexity of language, while the conscious use of caretaker speech involves an increase in complexity.

Explain:

79. The word “It” in paragraph 2 refers to ................

a higher-pitched voice

baby talk

essential information

caretaker speech

Explain:

80. Look at the four numbers (1), (2), (3) and (4) in paragraph 2 which indicate where the sentence “Examples of these are expressions such as “Say bye-bye” or “Where′s da-da?”” can be added to paragraph 2. Where would the sentence best fit? ................

Number 2

Number 1

Number 4

Number 3

Explain:

81. All of the following are mentioned in paragraph 3 as characteristics of caretaker speech EXCEPT ................

the use of easier words and structures

the use of rhyming sounds

overemphasized inflections

the tendency to repeat oneself

Explain:

82. It is indicated in paragraph 3 that parents tend to ................

speak in a progressively less complex way as a child matures

use language that is far above the language level of a child

speak in basically the same way to a one-year-old and a three-year-old

modify their speech according to the language development of a child

Explain:

83. The word “reaches” in paragraph 3 could best be replaced by ................

arrives at

takes charge of

holds on to

extends out to

Explain:

84. The word “that” in paragraph 4 refers to ................

an important point

a child

caretaker speech

the function

Explain:

85. Which of the sentences beiow expresses the essential information in the highlighted sentence in paragraph 4? Incorrect choices change the meaning in important ways or leave out essential information. ................

Caretaker speech is one of many natural functions that are used to stimulate young children to develop more rapidly.

The natural human tendency to acquire language makes caretaker speech unimportant in improving the rate of language acquisition by children.

It is human nature for children to develop the use of caretaker speech in order to take part effectively in conversations around them.

People who believe in nature over nurture feel that adults or older children who are around younger children will naturally make changes in their language.

Explain:

86. According to paragraph 4, it is NOT expected that someone who believes in nurture over nature ................

would learn to use different styles of caretaker speech with different children

would believe that caretaker speech is more of a learned style of language - than a natural one

would use less caretaker speech than do those who believe in nature over nurture

would use different styles of caretaker speech with children in response to what is working best

Explain:

87. The phrase “trying out” in paragraph 4 is closest in meaning to ................

experimenting with

throwing away

bringing about

taking over

Explain:

88. Look at the four numbers (1), (2), (3) and (4) in paragraph 4 which indicate where the sentence “It is not merely a device used by English-speaking parents.” can be added to paragraph 4. Where would the sentence best fit? ................

Number 1

Number 4

Number 3

Number 2

Explain:

MUSICAL TALENT

Among all the abilities with which an individual may be endowed, musical talent appears earliest in life. Very young children can exhibit musical precocity for different reasons. Some develop exceptional skill as a result of a well-designed instructional regime, such as the Suzuki method for the violin. Some have the good fortune to be born into a musical family in a household filled with music. In a number of interesting cases, musical talent is part of an otherwise disabling condition such as autism or mental retardation. A musically gifted child has an inborn talent; however, the extent to which the talent is expressed publicly will depend upon the environment in which the child lives.

Musically gifted children master at an early age the principal elements of music, including pitch and rhythm. Pitch—or melody—is more central in certain cultures, for example, in Eastern societies that make use of tiny quarter-tone intervals. Rhythm, sounds produced at certain auditory frequencies and grouped according to a prescribed system, is emphasized in sub-Saharan Africa, where the rhythmic ratios can be very complex.

All children have some aptitude for making music. (1) During infancy, normal children sing as well as babble, and they can produce individual sounds and sound patterns. (2) Infants as young as two months can match their mother’s songs in pitch, loudness, and melodic shape, and infants at four months can match rhythmic structure as well. (3) Infants are especially predisposed to acquire these core aspects of music, and they can also engage in sound play that clearly exhibits creativity. (4)

Individual differences begin to emerge in young children as they learn to sing. Some children can match large segments of a song by the age of two or three. Many others can only approximate pitch at this age and may still have difficulty in producing accurate melodies by the age of five or six. However, by the time they reach school age, most children in any culture have a schema of what a song should be like and can produce a reasonably accurate imitation of the songs commonly heard in their environment.

The early appearance of superior musical ability in some children provides evidence that musical talent may be a separate and unique form of intelligence. There are numerous tales of young artists who have a remarkable “ear” or extraordinary memory for music and a natural understanding of musical structure. In many of these cases, the child is average in every other way but displays an exceptional ability in music. Even the most gifted child, however, takes about ten years to achieve the levels of performance or composition that would constitute mastery of the musical sphere.

Every generation in music history has had its famous prodigies—individuals with exceptional musical powers that emerge at a young age. In the eighteenth century, Wolfgang Amadeus Mozart began composing and performing at the age of six. As a child, Mozart could play the piano like an adult. He had perfect pitch, and at age nine he was also a master of the art of modulation—transitions from one key to another—which became one of the hallmarks of his style. By the age of eleven, he had composed three symphonies and 30 other major works. Mozart’s well-developed talent was preserved into adulthood.

Unusual musical ability is a regular characteristic of certain anomalies such as autism. In one case, an autistic girl was able to play “Happy Birthday” in the style of various composers, including Mozart, Beethoven, Verdi, and Schubert. When the girl was three, her mother called her by playing incomplete melodies, which the child would complete with the appropriate tone in the proper octave. For the autistic child, music may be the primary mode of communication, and the child may cling to music because it represents a haven in a world that is largely confusing and frightening.

Glossary:

- schema: a mental outline or model

- anomaly: departure from what is normal; abnormal condition

- autism: a developmental disorder involving impaired communication and emotional separation

89. The word “precocity” in paragraph 1 is closest in meaning to ................

strong interest

good luck

personal style

advanced skill

Explain:

90. Which sentence below best expresses the essential information in the highlighted sentence in paragraph 1? Incorrect choices change the meaning in important ways or leave out essential information.

Children with exceptional musical talent will look for the best way to express themselves through music-making.

Children may be born with superior musical ability, but their environment will determine how this ability is developed.

Some musically talented children live in an environment surrounded by music, while others have little exposure to music.

Every child is naturally gifted, and it is the responsibility of the public schools to recognize and develop these talents.

Explain:

91. The author makes the point that musical elements such as pitch and rhythm ................

express different human emotions

distinguish music from other art forms

make music difficult to learn

vary in emphasis in different cultures

Explain:

92. The word “predisposed” in paragraph 3 is closest in meaning to ................

gifted

pushed

amused

inclined

Explain:

93. According to the passage, when does musical talent usually begin to appear?

When children learn to sing at two or three years old

between ten years old and adolescence

When infants start to babble and produce sound patterns

between the ages of two and four months

Explain:

94. According to the passage, which of the following suggests that musical talent is a separate form of intelligence?

Differences between learning music and learning language

the ability of all babies to acquire core elements of music

Recognition of the emotional power of music

Exceptional musical ability in an otherwise average child

Explain:

95. Why does the author discuss Mozart in paragraph 6?

to compare past and present views of musical talent

To give an example of a well-known musical prodigy

to describe the development of individual musical skill

to list musical accomplishments of the eighteenth century

Explain:

96. In music, the change from one key to another is known as ................

rhythm

prodigy

perfect pitch

modulation

Explain:

97. All of the following are given as examples of exceptional musical talent EXCEPT ................

ability to compose major works at a young age

a remarkable “ear” or perfect memory for music

appreciation for a wide variety of musical styles

playing a single song in the style of various composers

Explain:

98. The word “haven” in paragraph 7 is closest in meaning to ................

beautiful art

safe place

personal goal

simple problem

Explain:

99. Which of the following can be inferred from the passage about exceptional musical ability?

It is the result of natural talent and a supportive environment.

It is evidence of a superior level of intelligence in other areas.

occurs more frequently in some cultures than in others.

It has been documented and studied but is little understood.

Explain:

100. Look at the four numbers (1), (2), (3) and (4) which indicate where the sentence “They can even imitate patterns and tones sung by other people.” could be added to the passage. Where would the sentence best fit?

Number 3

Number 1

Number 2

Number 4

Explain:

101. An introductory sentence for a brief summary of the passage is: “Musical talent usually appears early in life.” Complete the summary by selecting the THREE answer choices that express the most important ideas in the passage. Some sentences do not belong in the summary because they express ideas that are not presented in the passage or are minor ideas in the passage.

Wolfgang Amadeus Mozart had composed several major works and symphonies by the age of eleven

Exceptional musical ability is often part of an otherwise disabling condition such as autism.

Very young children can develop exceptional skill in playing the violin by the Suzuki method.

While all children have a basic ability to make music, some exhibit extraordinary skill at a very early age.

Prodigies have a natural understanding of musical structure that enables them to play and compose music with great skill.

Autistic children cannot relate to their environment realistically and therefore have difficulty in communicating.

Explain:

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54.

55.

56.

57.

58.

59.

60.

61.

62.

63.

64.

65.

66.

67.

68.

69.

70.

71.

72.

73.

74.

75.

76.

77.

78.

79.

80.

81.

82.

83.

84.

85.

86.

87.

88.

89.

90.

91.

92.

93.

94.

95.

96.

97.

98.

99.

100.

101.

Score: 0/10

SCORE NEW TEST

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Date

Right Score

Total Score

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