Question:
Passage: The Internet makes possible the instaotaoeous transmission and retrieval of digital text. It is widely assumed that this capacity will lead to the displacement of printed books by digitized books that are read mainly on computer screens or handheld electronic devices. But it is more likely, I believe, that most digital files of books will be prioted and bound on demand at point of sale by machines that can quickly and inexpensively make single copies that are indistinguishable from books made in fiIctories. Once most books have been digitized, aoyone with access to the Internet will be able to purchase printed books from a practieally limitless digital catalog that includes even those books that, under traditional publishing assumptions, would have been desigoated "out of print." Also, the digital publication of a book online involves no pbysical inventory', thereby eliminating the costs of warehousing, shipping books to wholesalers and to retail stores, displaying pbysieal books in retail stores, and returning unsold books to publishers. This would make digital publishing much less expensive than traditional publishing. Given the economic efficiency and convenience for customers of this new digital model of publishing, it is likely to eventually supplant or at least rival traditional publishingalthough it will be some time before a catalog of printable digitized books becomes large enough to jusillY investment in book prioting machines at numerous regional sites. Moreover, the elimination of whole categories of expensemeans that under the digital publishing model,authors would be responsible for a greater proportion of the value of the final product and would therefore, according to literal)' agents, be entitled to a larger share of the proceeds. Currently a large percentage of publishers' revenue is absorbed by the costs of printing, selling, and distributing pbysical books, costs that are irrelevant to digital publication. LiteraI)' agents marketing new manuscripts could thus be expected to demand a significantly bigger slice of revenue for their authors than has been traditional. But large, established publishing houses, which are heavily invested in the infrastructure of traditional publishing, initially will be reluctant to accede. So the opportunity to bid for new manuscripts will go first to upstart digital-publishing firms unfettered by traditional practices or infrastructure. Under this competitive pressure, traditional publishers will have to reduee their redundant functions in order to accommodate higher royalty payments to authors or else they will lose their authors. Such adjustments are typical of the interval between a departing economic model and its successor and may help explain the caution with which today's publishing conglomerates are approaching the digital future.
Q: It can most reasonably be inferred that the aulbor would agree wilb which one oflbe following statements?
Choices:
A.) Digital publishing will allow publishers to substantially decrease the amount of money they allocate for advertising their books.
B.) Any book will sell more copies ifit is published digitally thau if it is published traditionally.
C.) Those publishers that fail to embrace the new digital model ofpub1ishing will be uuiikely to remain economically competitive.
D.) The growth of digital publishing is likely to revitalize the book retail business.
Answer:

Choices:
- A
- B
- C
- D


Question:
Passage: The Internet makes possible the instaotaoeous transmission and retrieval of digital text. It is widely assumed that this capacity will lead to the displacement of printed books by digitized books that are read mainly on computer screens or handheld electronic devices. But it is more likely, I believe, that most digital files of books will be prioted and bound on demand at point of sale by machines that can quickly and inexpensively make single copies that are indistinguishable from books made in fiIctories. Once most books have been digitized, aoyone with access to the Internet will be able to purchase printed books from a practieally limitless digital catalog that includes even those books that, under traditional publishing assumptions, would have been desigoated "out of print." Also, the digital publication of a book online involves no pbysical inventory', thereby eliminating the costs of warehousing, shipping books to wholesalers and to retail stores, displaying pbysieal books in retail stores, and returning unsold books to publishers. This would make digital publishing much less expensive than traditional publishing. Given the economic efficiency and convenience for customers of this new digital model of publishing, it is likely to eventually supplant or at least rival traditional publishingalthough it will be some time before a catalog of printable digitized books becomes large enough to jusillY investment in book prioting machines at numerous regional sites. Moreover, the elimination of whole categories of expensemeans that under the digital publishing model,authors would be responsible for a greater proportion of the value of the final product and would therefore, according to literal)' agents, be entitled to a larger share of the proceeds. Currently a large percentage of publishers' revenue is absorbed by the costs of printing, selling, and distributing pbysical books, costs that are irrelevant to digital publication. LiteraI)' agents marketing new manuscripts could thus be expected to demand a significantly bigger slice of revenue for their authors than has been traditional. But large, established publishing houses, which are heavily invested in the infrastructure of traditional publishing, initially will be reluctant to accede. So the opportunity to bid for new manuscripts will go first to upstart digital-publishing firms unfettered by traditional practices or infrastructure. Under this competitive pressure, traditional publishers will have to reduee their redundant functions in order to accommodate higher royalty payments to authors or else they will lose their authors. Such adjustments are typical of the interval between a departing economic model and its successor and may help explain the caution with which today's publishing conglomerates are approaching the digital future.
Q: Each of the following is identified in the passage as something digital publishing will dispense with the need for EXCEPT:
Choices:
A.) having unsold books returned to publishers
B.) having books shipped to retail stores
C.) displaying books in retail stores
D.) having book covers designed
Answer:

Choices:
- A
- B
- C
- D


Question:
Passage: The Internet makes possible the instaotaoeous transmission and retrieval of digital text. It is widely assumed that this capacity will lead to the displacement of printed books by digitized books that are read mainly on computer screens or handheld electronic devices. But it is more likely, I believe, that most digital files of books will be prioted and bound on demand at point of sale by machines that can quickly and inexpensively make single copies that are indistinguishable from books made in fiIctories. Once most books have been digitized, aoyone with access to the Internet will be able to purchase printed books from a practieally limitless digital catalog that includes even those books that, under traditional publishing assumptions, would have been desigoated "out of print." Also, the digital publication of a book online involves no pbysical inventory', thereby eliminating the costs of warehousing, shipping books to wholesalers and to retail stores, displaying pbysieal books in retail stores, and returning unsold books to publishers. This would make digital publishing much less expensive than traditional publishing. Given the economic efficiency and convenience for customers of this new digital model of publishing, it is likely to eventually supplant or at least rival traditional publishingalthough it will be some time before a catalog of printable digitized books becomes large enough to jusillY investment in book prioting machines at numerous regional sites. Moreover, the elimination of whole categories of expensemeans that under the digital publishing model,authors would be responsible for a greater proportion of the value of the final product and would therefore, according to literal)' agents, be entitled to a larger share of the proceeds. Currently a large percentage of publishers' revenue is absorbed by the costs of printing, selling, and distributing pbysical books, costs that are irrelevant to digital publication. LiteraI)' agents marketing new manuscripts could thus be expected to demand a significantly bigger slice of revenue for their authors than has been traditional. But large, established publishing houses, which are heavily invested in the infrastructure of traditional publishing, initially will be reluctant to accede. So the opportunity to bid for new manuscripts will go first to upstart digital-publishing firms unfettered by traditional practices or infrastructure. Under this competitive pressure, traditional publishers will have to reduee their redundant functions in order to accommodate higher royalty payments to authors or else they will lose their authors. Such adjustments are typical of the interval between a departing economic model and its successor and may help explain the caution with which today's publishing conglomerates are approaching the digital future.
Q: If the scenario descrthed in the first two paragraphs were to become true, then which one of the following would most likely be the case?
Choices:
A.) The patronage of stores that sell used books will increase significantly.
B.) The demand for book-grade paper will decrease significantly.
C.) The need for warehousing will shift mainly from that of individual books to that of paper and binding material to make books.
D.) There will be significantly less demand by publishers for the services of copy editors and book designers.
Answer:

Choices:
- A
- B
- C
- D


Question:
Passage: The Internet makes possible the instaotaoeous transmission and retrieval of digital text. It is widely assumed that this capacity will lead to the displacement of printed books by digitized books that are read mainly on computer screens or handheld electronic devices. But it is more likely, I believe, that most digital files of books will be prioted and bound on demand at point of sale by machines that can quickly and inexpensively make single copies that are indistinguishable from books made in fiIctories. Once most books have been digitized, aoyone with access to the Internet will be able to purchase printed books from a practieally limitless digital catalog that includes even those books that, under traditional publishing assumptions, would have been desigoated "out of print." Also, the digital publication of a book online involves no pbysical inventory', thereby eliminating the costs of warehousing, shipping books to wholesalers and to retail stores, displaying pbysieal books in retail stores, and returning unsold books to publishers. This would make digital publishing much less expensive than traditional publishing. Given the economic efficiency and convenience for customers of this new digital model of publishing, it is likely to eventually supplant or at least rival traditional publishingalthough it will be some time before a catalog of printable digitized books becomes large enough to jusillY investment in book prioting machines at numerous regional sites. Moreover, the elimination of whole categories of expensemeans that under the digital publishing model,authors would be responsible for a greater proportion of the value of the final product and would therefore, according to literal)' agents, be entitled to a larger share of the proceeds. Currently a large percentage of publishers' revenue is absorbed by the costs of printing, selling, and distributing pbysical books, costs that are irrelevant to digital publication. LiteraI)' agents marketing new manuscripts could thus be expected to demand a significantly bigger slice of revenue for their authors than has been traditional. But large, established publishing houses, which are heavily invested in the infrastructure of traditional publishing, initially will be reluctant to accede. So the opportunity to bid for new manuscripts will go first to upstart digital-publishing firms unfettered by traditional practices or infrastructure. Under this competitive pressure, traditional publishers will have to reduee their redundant functions in order to accommodate higher royalty payments to authors or else they will lose their authors. Such adjustments are typical of the interval between a departing economic model and its successor and may help explain the caution with which today's publishing conglomerates are approaching the digital future.
Q: It can most reasonably be inferred that the author would agree wilb which one oflbe following statements?
Choices:
A.) The demauds of literary agents will be the impetus for completing the transition to the new digital model.
B.) The development of innovative marketing strategies will ensure acceptance of the new digital model.
C.) The ease of keeping books "in print" will be the primary factor in the eventual acceptance of the new digital model.
D.) Widespread familiarily with new ways of storing information will be the primary reason for the acceptance of the new digital model.
Answer:

Choices:
- A
- B
- C
- D


Question:
Passage: The Internet makes possible the instaotaoeous transmission and retrieval of digital text. It is widely assumed that this capacity will lead to the displacement of printed books by digitized books that are read mainly on computer screens or handheld electronic devices. But it is more likely, I believe, that most digital files of books will be prioted and bound on demand at point of sale by machines that can quickly and inexpensively make single copies that are indistinguishable from books made in fiIctories. Once most books have been digitized, aoyone with access to the Internet will be able to purchase printed books from a practieally limitless digital catalog that includes even those books that, under traditional publishing assumptions, would have been desigoated "out of print." Also, the digital publication of a book online involves no pbysical inventory', thereby eliminating the costs of warehousing, shipping books to wholesalers and to retail stores, displaying pbysieal books in retail stores, and returning unsold books to publishers. This would make digital publishing much less expensive than traditional publishing. Given the economic efficiency and convenience for customers of this new digital model of publishing, it is likely to eventually supplant or at least rival traditional publishingalthough it will be some time before a catalog of printable digitized books becomes large enough to jusillY investment in book prioting machines at numerous regional sites. Moreover, the elimination of whole categories of expensemeans that under the digital publishing model,authors would be responsible for a greater proportion of the value of the final product and would therefore, according to literal)' agents, be entitled to a larger share of the proceeds. Currently a large percentage of publishers' revenue is absorbed by the costs of printing, selling, and distributing pbysical books, costs that are irrelevant to digital publication. LiteraI)' agents marketing new manuscripts could thus be expected to demand a significantly bigger slice of revenue for their authors than has been traditional. But large, established publishing houses, which are heavily invested in the infrastructure of traditional publishing, initially will be reluctant to accede. So the opportunity to bid for new manuscripts will go first to upstart digital-publishing firms unfettered by traditional practices or infrastructure. Under this competitive pressure, traditional publishers will have to reduee their redundant functions in order to accommodate higher royalty payments to authors or else they will lose their authors. Such adjustments are typical of the interval between a departing economic model and its successor and may help explain the caution with which today's publishing conglomerates are approaching the digital future.
Q: The primary purpose of the final sentence of the passage is to
Choices:
A.) provide a broader context that helps to clarDY the situation facing traditional publishers
B.) illustrate the primary obstacle facing traditional publishing houses that wish to incorporate digital publishing capabilities
C.) suggest that traditional publishing houses have been too slow to embrace digital publishing
D.) summarize the argument for the claim that digital publishing will likely replace traditional publishing
Answer:

Choices:
- A
- B
- C
- D


Question:
Passage: Passage A In this appeal of his criminal conviction, the defendant challenges the fingerprint evidence used against him at trial, claiming that fingerprint identification theory has not been adequately tested. He cites the inability of the fingerprint examiner who incriminated him at trial to name any studies establishing that no two persons have identical fingerprints. The defendant claims that there are no established error rates revealing how often :fingerprint examiners incorrectly identifY a fingerprint as a particular person's, and asserts that fingerprint examiners lack uniform, objective standards. He cites testimony given by the fingerprint examiner at trial that there is no generally accepted standard regarding the number of "points of identification" required for a positive identification. Although fingerprint identification has not attained the status of scientific law, it has been used in criminal trials for 100 years, and experts have long concurred about its reliability. While further testing and the development of even more consistent standards may be desirable, this court sees no reason to reject outright a form of evidence that has so ably withstood the test of time. While it may be true that different agencies require different degrees of correlation before permitting a positive identification, fingerprint examiners are held to a consistent "points and characteristics" approach to identification. As the fingerprint expert testified at the defendant's trial, examiners are regularly subjected to testing and proficiency requirements, and uniform standards have been established through professional training and peer review. The trial court below was therefore within its diseretion in erediting testimony that fingerprint identification has an exceedingly low error rate. Passage B Fingerprint examiners lack objective standards for evaluating whether two prints "match." There is simply no consensus about what constitutes a sufficient basis fur identification. Some examiners use a "point-counting" method that entails counting the number of similar "ridge" characteristics on prints, but there is no fixed requirement about how many points of similarity are needed, and local practices vary. Others reject point counting for a more holistic approach. Either way, there is no generally agreed-on standard for determining precisely when to declare a match. Although we know that different individuals can share certain ridge characteristics, the chance of two individuals sharing any given number of identifying characteristics is unknown. How likely is it that two people could have four points of resemblance, or five, or eight? Moreover, fingerprints used in forensic identification are typically partial and smndged. Are the odds that two partial prints from different people will match one in a thousand, one in a million, or one in a billion? No :fingerprint examiner can answer such questions decisively, yet the answers are critical to evaluating the value of fingerprint evidence. The error rate for fingerprint identification in actoal practice has received little systematic study. How often do fingerprint examiners mistakenly declare a match? Although some proficiency tests show examiners making few or no errors, these tests have been criticized as lax; a more rigorous test showed a 34 percent rate of erroneous identification.
Q: Which one of the following most accurately expresses the main point of passage B?
Choices:
A.) There are anumberoffundarnentalproblerns in the field of fingerprint identification as it is currently practiced.
B.) The error rate for fingerprint identification is significantly higher than is generally acknowledged.
C.) Criminal defendants do not always have a full and fair opportunity to challenge faulty fingerprint evidence when it is used against them at trial.
D.) There is a growing consensus within the legal community that fingerprint evidence is often unreliable.
Answer:

Choices:
- A
- B
- C
- D


Question:
Passage: Passage A In this appeal of his criminal conviction, the defendant challenges the fingerprint evidence used against him at trial, claiming that fingerprint identification theory has not been adequately tested. He cites the inability of the fingerprint examiner who incriminated him at trial to name any studies establishing that no two persons have identical fingerprints. The defendant claims that there are no established error rates revealing how often :fingerprint examiners incorrectly identifY a fingerprint as a particular person's, and asserts that fingerprint examiners lack uniform, objective standards. He cites testimony given by the fingerprint examiner at trial that there is no generally accepted standard regarding the number of "points of identification" required for a positive identification. Although fingerprint identification has not attained the status of scientific law, it has been used in criminal trials for 100 years, and experts have long concurred about its reliability. While further testing and the development of even more consistent standards may be desirable, this court sees no reason to reject outright a form of evidence that has so ably withstood the test of time. While it may be true that different agencies require different degrees of correlation before permitting a positive identification, fingerprint examiners are held to a consistent "points and characteristics" approach to identification. As the fingerprint expert testified at the defendant's trial, examiners are regularly subjected to testing and proficiency requirements, and uniform standards have been established through professional training and peer review. The trial court below was therefore within its diseretion in erediting testimony that fingerprint identification has an exceedingly low error rate. Passage B Fingerprint examiners lack objective standards for evaluating whether two prints "match." There is simply no consensus about what constitutes a sufficient basis fur identification. Some examiners use a "point-counting" method that entails counting the number of similar "ridge" characteristics on prints, but there is no fixed requirement about how many points of similarity are needed, and local practices vary. Others reject point counting for a more holistic approach. Either way, there is no generally agreed-on standard for determining precisely when to declare a match. Although we know that different individuals can share certain ridge characteristics, the chance of two individuals sharing any given number of identifying characteristics is unknown. How likely is it that two people could have four points of resemblance, or five, or eight? Moreover, fingerprints used in forensic identification are typically partial and smndged. Are the odds that two partial prints from different people will match one in a thousand, one in a million, or one in a billion? No :fingerprint examiner can answer such questions decisively, yet the answers are critical to evaluating the value of fingerprint evidence. The error rate for fingerprint identification in actoal practice has received little systematic study. How often do fingerprint examiners mistakenly declare a match? Although some proficiency tests show examiners making few or no errors, these tests have been criticized as lax; a more rigorous test showed a 34 percent rate of erroneous identification.
Q: The authors would be most likely to disagree about
Choices:
A.) the likelihood that a fingerprint examiner will incorrectly declare a match in a given eriminal case
B.) the relative merits of the point-counting and holistic methods of fingerprint identification
C.) whether uniformity in the training of fingerprint examiners is desirable
D.) whether different agencies vary in the degree of correlation they require for examiners to declare a match
Answer:

Choices:
- A
- B
- C
- D


Question:
Passage: Passage A In this appeal of his criminal conviction, the defendant challenges the fingerprint evidence used against him at trial, claiming that fingerprint identification theory has not been adequately tested. He cites the inability of the fingerprint examiner who incriminated him at trial to name any studies establishing that no two persons have identical fingerprints. The defendant claims that there are no established error rates revealing how often :fingerprint examiners incorrectly identifY a fingerprint as a particular person's, and asserts that fingerprint examiners lack uniform, objective standards. He cites testimony given by the fingerprint examiner at trial that there is no generally accepted standard regarding the number of "points of identification" required for a positive identification. Although fingerprint identification has not attained the status of scientific law, it has been used in criminal trials for 100 years, and experts have long concurred about its reliability. While further testing and the development of even more consistent standards may be desirable, this court sees no reason to reject outright a form of evidence that has so ably withstood the test of time. While it may be true that different agencies require different degrees of correlation before permitting a positive identification, fingerprint examiners are held to a consistent "points and characteristics" approach to identification. As the fingerprint expert testified at the defendant's trial, examiners are regularly subjected to testing and proficiency requirements, and uniform standards have been established through professional training and peer review. The trial court below was therefore within its diseretion in erediting testimony that fingerprint identification has an exceedingly low error rate. Passage B Fingerprint examiners lack objective standards for evaluating whether two prints "match." There is simply no consensus about what constitutes a sufficient basis fur identification. Some examiners use a "point-counting" method that entails counting the number of similar "ridge" characteristics on prints, but there is no fixed requirement about how many points of similarity are needed, and local practices vary. Others reject point counting for a more holistic approach. Either way, there is no generally agreed-on standard for determining precisely when to declare a match. Although we know that different individuals can share certain ridge characteristics, the chance of two individuals sharing any given number of identifying characteristics is unknown. How likely is it that two people could have four points of resemblance, or five, or eight? Moreover, fingerprints used in forensic identification are typically partial and smndged. Are the odds that two partial prints from different people will match one in a thousand, one in a million, or one in a billion? No :fingerprint examiner can answer such questions decisively, yet the answers are critical to evaluating the value of fingerprint evidence. The error rate for fingerprint identification in actoal practice has received little systematic study. How often do fingerprint examiners mistakenly declare a match? Although some proficiency tests show examiners making few or no errors, these tests have been criticized as lax; a more rigorous test showed a 34 percent rate of erroneous identification.
Q: It can be inferred that the author of passage A is
Choices:
A.) an academic presenting a paper to a group of legal scholars
B.) a judge presiding over an appeal of a criminal conviction
C.) a professor of law lectuting to a ctiminallaw class
D.) a prosecutor arguing for the affirmation of a guilty verdict
Answer:

Choices:
- A
- B
- C
- D


Question:
Passage: Passage A In this appeal of his criminal conviction, the defendant challenges the fingerprint evidence used against him at trial, claiming that fingerprint identification theory has not been adequately tested. He cites the inability of the fingerprint examiner who incriminated him at trial to name any studies establishing that no two persons have identical fingerprints. The defendant claims that there are no established error rates revealing how often :fingerprint examiners incorrectly identifY a fingerprint as a particular person's, and asserts that fingerprint examiners lack uniform, objective standards. He cites testimony given by the fingerprint examiner at trial that there is no generally accepted standard regarding the number of "points of identification" required for a positive identification. Although fingerprint identification has not attained the status of scientific law, it has been used in criminal trials for 100 years, and experts have long concurred about its reliability. While further testing and the development of even more consistent standards may be desirable, this court sees no reason to reject outright a form of evidence that has so ably withstood the test of time. While it may be true that different agencies require different degrees of correlation before permitting a positive identification, fingerprint examiners are held to a consistent "points and characteristics" approach to identification. As the fingerprint expert testified at the defendant's trial, examiners are regularly subjected to testing and proficiency requirements, and uniform standards have been established through professional training and peer review. The trial court below was therefore within its diseretion in erediting testimony that fingerprint identification has an exceedingly low error rate. Passage B Fingerprint examiners lack objective standards for evaluating whether two prints "match." There is simply no consensus about what constitutes a sufficient basis fur identification. Some examiners use a "point-counting" method that entails counting the number of similar "ridge" characteristics on prints, but there is no fixed requirement about how many points of similarity are needed, and local practices vary. Others reject point counting for a more holistic approach. Either way, there is no generally agreed-on standard for determining precisely when to declare a match. Although we know that different individuals can share certain ridge characteristics, the chance of two individuals sharing any given number of identifying characteristics is unknown. How likely is it that two people could have four points of resemblance, or five, or eight? Moreover, fingerprints used in forensic identification are typically partial and smndged. Are the odds that two partial prints from different people will match one in a thousand, one in a million, or one in a billion? No :fingerprint examiner can answer such questions decisively, yet the answers are critical to evaluating the value of fingerprint evidence. The error rate for fingerprint identification in actoal practice has received little systematic study. How often do fingerprint examiners mistakenly declare a match? Although some proficiency tests show examiners making few or no errors, these tests have been criticized as lax; a more rigorous test showed a 34 percent rate of erroneous identification.
Q: Each passage discusses the relationship between the reliability of the practice of fingerprint identification and which one of the following?
Choices:
A.) differences in the identification practices used by various fingerprint examiners
B.) use of the holistic approach to fingerprint identification
C.) the ability of a criminal defendant to expose weaknesses in the prosecution's case
D.) the personal integrity of individual fingerprint examiners
Answer:

Choices:
- A
- B
- C
- D


Question:
Passage: Passage A In this appeal of his criminal conviction, the defendant challenges the fingerprint evidence used against him at trial, claiming that fingerprint identification theory has not been adequately tested. He cites the inability of the fingerprint examiner who incriminated him at trial to name any studies establishing that no two persons have identical fingerprints. The defendant claims that there are no established error rates revealing how often :fingerprint examiners incorrectly identifY a fingerprint as a particular person's, and asserts that fingerprint examiners lack uniform, objective standards. He cites testimony given by the fingerprint examiner at trial that there is no generally accepted standard regarding the number of "points of identification" required for a positive identification. Although fingerprint identification has not attained the status of scientific law, it has been used in criminal trials for 100 years, and experts have long concurred about its reliability. While further testing and the development of even more consistent standards may be desirable, this court sees no reason to reject outright a form of evidence that has so ably withstood the test of time. While it may be true that different agencies require different degrees of correlation before permitting a positive identification, fingerprint examiners are held to a consistent "points and characteristics" approach to identification. As the fingerprint expert testified at the defendant's trial, examiners are regularly subjected to testing and proficiency requirements, and uniform standards have been established through professional training and peer review. The trial court below was therefore within its diseretion in erediting testimony that fingerprint identification has an exceedingly low error rate. Passage B Fingerprint examiners lack objective standards for evaluating whether two prints "match." There is simply no consensus about what constitutes a sufficient basis fur identification. Some examiners use a "point-counting" method that entails counting the number of similar "ridge" characteristics on prints, but there is no fixed requirement about how many points of similarity are needed, and local practices vary. Others reject point counting for a more holistic approach. Either way, there is no generally agreed-on standard for determining precisely when to declare a match. Although we know that different individuals can share certain ridge characteristics, the chance of two individuals sharing any given number of identifying characteristics is unknown. How likely is it that two people could have four points of resemblance, or five, or eight? Moreover, fingerprints used in forensic identification are typically partial and smndged. Are the odds that two partial prints from different people will match one in a thousand, one in a million, or one in a billion? No :fingerprint examiner can answer such questions decisively, yet the answers are critical to evaluating the value of fingerprint evidence. The error rate for fingerprint identification in actoal practice has received little systematic study. How often do fingerprint examiners mistakenly declare a match? Although some proficiency tests show examiners making few or no errors, these tests have been criticized as lax; a more rigorous test showed a 34 percent rate of erroneous identification.
Q: Which one of the following principles underlies the arguments in both passages?
Choices:
A.) Fingerprint examiners must follow objective standards iffingerprint identification is to be reliable.
B.) Courts should be extremely reluctant to reject those forms of evidence that have withstood the test of time.
C.) Defendants should have the right to challenge forms of evidence whose reliability has not been scientifically proven.
D.) Fingerprint identification should not be considered to have a low error rate Wlless rigorously conducted tests have shown this to be so.
Answer:

Choices:
- A
- B
- C
- D


Question:
Passage: Passage A In this appeal of his criminal conviction, the defendant challenges the fingerprint evidence used against him at trial, claiming that fingerprint identification theory has not been adequately tested. He cites the inability of the fingerprint examiner who incriminated him at trial to name any studies establishing that no two persons have identical fingerprints. The defendant claims that there are no established error rates revealing how often :fingerprint examiners incorrectly identifY a fingerprint as a particular person's, and asserts that fingerprint examiners lack uniform, objective standards. He cites testimony given by the fingerprint examiner at trial that there is no generally accepted standard regarding the number of "points of identification" required for a positive identification. Although fingerprint identification has not attained the status of scientific law, it has been used in criminal trials for 100 years, and experts have long concurred about its reliability. While further testing and the development of even more consistent standards may be desirable, this court sees no reason to reject outright a form of evidence that has so ably withstood the test of time. While it may be true that different agencies require different degrees of correlation before permitting a positive identification, fingerprint examiners are held to a consistent "points and characteristics" approach to identification. As the fingerprint expert testified at the defendant's trial, examiners are regularly subjected to testing and proficiency requirements, and uniform standards have been established through professional training and peer review. The trial court below was therefore within its diseretion in erediting testimony that fingerprint identification has an exceedingly low error rate. Passage B Fingerprint examiners lack objective standards for evaluating whether two prints "match." There is simply no consensus about what constitutes a sufficient basis fur identification. Some examiners use a "point-counting" method that entails counting the number of similar "ridge" characteristics on prints, but there is no fixed requirement about how many points of similarity are needed, and local practices vary. Others reject point counting for a more holistic approach. Either way, there is no generally agreed-on standard for determining precisely when to declare a match. Although we know that different individuals can share certain ridge characteristics, the chance of two individuals sharing any given number of identifying characteristics is unknown. How likely is it that two people could have four points of resemblance, or five, or eight? Moreover, fingerprints used in forensic identification are typically partial and smndged. Are the odds that two partial prints from different people will match one in a thousand, one in a million, or one in a billion? No :fingerprint examiner can answer such questions decisively, yet the answers are critical to evaluating the value of fingerprint evidence. The error rate for fingerprint identification in actoal practice has received little systematic study. How often do fingerprint examiners mistakenly declare a match? Although some proficiency tests show examiners making few or no errors, these tests have been criticized as lax; a more rigorous test showed a 34 percent rate of erroneous identification.
Q: Both passages allude to a method of fingerprint identification in which examiners
Choices:
A.) count the number of characteristics two fingerprints have in common
B.) rely on a holistic impression of how similar two fingerprints are
C.) use computerized databases to search for matching fingerprints
D.) calculate the odds of two different individuals' sharing certain very rare fingerprint characteristics
Answer:

Choices:
- A
- B
- C
- D


Question:
Passage: Passage A In this appeal of his criminal conviction, the defendant challenges the fingerprint evidence used against him at trial, claiming that fingerprint identification theory has not been adequately tested. He cites the inability of the fingerprint examiner who incriminated him at trial to name any studies establishing that no two persons have identical fingerprints. The defendant claims that there are no established error rates revealing how often :fingerprint examiners incorrectly identifY a fingerprint as a particular person's, and asserts that fingerprint examiners lack uniform, objective standards. He cites testimony given by the fingerprint examiner at trial that there is no generally accepted standard regarding the number of "points of identification" required for a positive identification. Although fingerprint identification has not attained the status of scientific law, it has been used in criminal trials for 100 years, and experts have long concurred about its reliability. While further testing and the development of even more consistent standards may be desirable, this court sees no reason to reject outright a form of evidence that has so ably withstood the test of time. While it may be true that different agencies require different degrees of correlation before permitting a positive identification, fingerprint examiners are held to a consistent "points and characteristics" approach to identification. As the fingerprint expert testified at the defendant's trial, examiners are regularly subjected to testing and proficiency requirements, and uniform standards have been established through professional training and peer review. The trial court below was therefore within its diseretion in erediting testimony that fingerprint identification has an exceedingly low error rate. Passage B Fingerprint examiners lack objective standards for evaluating whether two prints "match." There is simply no consensus about what constitutes a sufficient basis fur identification. Some examiners use a "point-counting" method that entails counting the number of similar "ridge" characteristics on prints, but there is no fixed requirement about how many points of similarity are needed, and local practices vary. Others reject point counting for a more holistic approach. Either way, there is no generally agreed-on standard for determining precisely when to declare a match. Although we know that different individuals can share certain ridge characteristics, the chance of two individuals sharing any given number of identifying characteristics is unknown. How likely is it that two people could have four points of resemblance, or five, or eight? Moreover, fingerprints used in forensic identification are typically partial and smndged. Are the odds that two partial prints from different people will match one in a thousand, one in a million, or one in a billion? No :fingerprint examiner can answer such questions decisively, yet the answers are critical to evaluating the value of fingerprint evidence. The error rate for fingerprint identification in actoal practice has received little systematic study. How often do fingerprint examiners mistakenly declare a match? Although some proficiency tests show examiners making few or no errors, these tests have been criticized as lax; a more rigorous test showed a 34 percent rate of erroneous identification.
Q: Passage B differs from passage A in that passage B is more
Choices:
A.) general in focus
B.) tentative in its claims
C.) dependent on unsubstantiated assumptions
D.) optimistic in its conclusions
Answer:

Choices:
- A
- B
- C
- D


Question:
Passage: Music and literature, rivals among the arts, have not coexisted without intruding on each other's terrain. Ever since what we think of as "literature" developed out of the sounds of spoken, sung, and chanted art, writing bas aspired to the condition of music, in which fonn contnbutes significantly to content. Nowhere is this truer than in the African American tradition, whose music is often considered its greatest artistic achievement and one of the greatest contributions to North American art. But while many African American writers have used musicians and music as theme and metaphor in their writing, none had attempted to draw upon a musical genre as the structuring principle for an entire novel until Toni Morrison did so in her 1992 novel Jazz, a novel set in the Harlem section of New York City in 1926 . In Jazz, the connection to music is found not only in the novel's plot but, more strikingly, in the way in which the story is told. The narration slips easily from the third-person omniscience of the narrator's disembodied voice-which, though sensitive and sympathetic, claims no particular identity, gender, or immersion in specific social circumstances-to the first-person lyricism of key characters. But throughout these shifts, the narrator is both generous with the characters' voices and protective of his or her mastery over the narrative as a whole. On the one hand, the central characters are given the responsibility of relating their parts of the overarching story, but on the other hand, their sections are set offby quotation maIks, reminders that the narrator is allowing them to speak.. In this way, the narrative is analogous in structure to the playing of a jazz hand which intertwines its ensemble sound with the individuality of emhedded solo perfunnances. In jazz, composer and conductor Duke Ellington was the first to construct his compositions with his individual musicians and their unique "voices" in mind. Yet no matter how lengthy his musicians' improvisations, no matter how bold or inventive their solos might be, they always performed within the undeniable logic of the composer's frame-they always, in other words, performed as ifwith quotation marks ar01md their improvisations and solos. It is this same effect that Toni Morrison has achieved in Jazz, a literary rendering of an art of composition that Duke Ellington perfected around the time in which Jazz is set. In this novel, Morrison has found a way, paradoxically, to create the sense of an ensemble of characters improvising within the fixed scope of a carefully constructed collective narration. By simulating the style of a genius of music while exhibiting Morrison's own linguistic virtuosity, Jazz serves to redefine the very possibilities of narrative point of view.
Q: Which one of the following most accurately states the main point of the passage?
Choices:
A.) In Jazz, Morrison has realized a significant artistic achievement in creating the first African American work of fiction whose plot, themes, and setting are all drawn from the world of jazz.
B.) In Jazz, Morrison has succeeded in creating an original and effective narrative strategy that is a literary analogne of Duke Ellington's style of musical composition.
C.) Building on the works of many African American writers and musical composers, Morrison has over the years developed an innovative jazzlike style of narration, which she used especially effectively in the novel Jazz.
D.) Although many African American writers have used music as a central metaphor in their works, Morrison's 1992 novel is unique and innovative for using jazz as its central metaphor.
Answer:

Choices:
- A
- B
- C
- D


Question:
Passage: Music and literature, rivals among the arts, have not coexisted without intruding on each other's terrain. Ever since what we think of as "literature" developed out of the sounds of spoken, sung, and chanted art, writing bas aspired to the condition of music, in which fonn contnbutes significantly to content. Nowhere is this truer than in the African American tradition, whose music is often considered its greatest artistic achievement and one of the greatest contributions to North American art. But while many African American writers have used musicians and music as theme and metaphor in their writing, none had attempted to draw upon a musical genre as the structuring principle for an entire novel until Toni Morrison did so in her 1992 novel Jazz, a novel set in the Harlem section of New York City in 1926 . In Jazz, the connection to music is found not only in the novel's plot but, more strikingly, in the way in which the story is told. The narration slips easily from the third-person omniscience of the narrator's disembodied voice-which, though sensitive and sympathetic, claims no particular identity, gender, or immersion in specific social circumstances-to the first-person lyricism of key characters. But throughout these shifts, the narrator is both generous with the characters' voices and protective of his or her mastery over the narrative as a whole. On the one hand, the central characters are given the responsibility of relating their parts of the overarching story, but on the other hand, their sections are set offby quotation maIks, reminders that the narrator is allowing them to speak.. In this way, the narrative is analogous in structure to the playing of a jazz hand which intertwines its ensemble sound with the individuality of emhedded solo perfunnances. In jazz, composer and conductor Duke Ellington was the first to construct his compositions with his individual musicians and their unique "voices" in mind. Yet no matter how lengthy his musicians' improvisations, no matter how bold or inventive their solos might be, they always performed within the undeniable logic of the composer's frame-they always, in other words, performed as ifwith quotation marks ar01md their improvisations and solos. It is this same effect that Toni Morrison has achieved in Jazz, a literary rendering of an art of composition that Duke Ellington perfected around the time in which Jazz is set. In this novel, Morrison has found a way, paradoxically, to create the sense of an ensemble of characters improvising within the fixed scope of a carefully constructed collective narration. By simulating the style of a genius of music while exhibiting Morrison's own linguistic virtuosity, Jazz serves to redefine the very possibilities of narrative point of view.
Q: The author's discussion in the first paragraph proceeds in which one of the following ways?
Choices:
A.) from a general remark about two art forms, to a similar observation about a particular artistic tradition, to a specific comment about a particular work that exemplifies the prior remarks
B.) from an observation about a specific art fonn, to a more general claim about the applicability of that observation to other art forms, to a particular counterexample to the first obsetvation
C.) from a common claim about the arts, to a denial of this claim as applied to a particular artistic tradition, to a hypothesis about a particular individual
D.) from general comments about the arts, to a purported counterexample to the general comments as applied to a particular artistic tradition, to a description of a particular work that bears out the original comments
Answer:

Choices:
- A
- B
- C
- D


Question:
Passage: Music and literature, rivals among the arts, have not coexisted without intruding on each other's terrain. Ever since what we think of as "literature" developed out of the sounds of spoken, sung, and chanted art, writing bas aspired to the condition of music, in which fonn contnbutes significantly to content. Nowhere is this truer than in the African American tradition, whose music is often considered its greatest artistic achievement and one of the greatest contributions to North American art. But while many African American writers have used musicians and music as theme and metaphor in their writing, none had attempted to draw upon a musical genre as the structuring principle for an entire novel until Toni Morrison did so in her 1992 novel Jazz, a novel set in the Harlem section of New York City in 1926 . In Jazz, the connection to music is found not only in the novel's plot but, more strikingly, in the way in which the story is told. The narration slips easily from the third-person omniscience of the narrator's disembodied voice-which, though sensitive and sympathetic, claims no particular identity, gender, or immersion in specific social circumstances-to the first-person lyricism of key characters. But throughout these shifts, the narrator is both generous with the characters' voices and protective of his or her mastery over the narrative as a whole. On the one hand, the central characters are given the responsibility of relating their parts of the overarching story, but on the other hand, their sections are set offby quotation maIks, reminders that the narrator is allowing them to speak.. In this way, the narrative is analogous in structure to the playing of a jazz hand which intertwines its ensemble sound with the individuality of emhedded solo perfunnances. In jazz, composer and conductor Duke Ellington was the first to construct his compositions with his individual musicians and their unique "voices" in mind. Yet no matter how lengthy his musicians' improvisations, no matter how bold or inventive their solos might be, they always performed within the undeniable logic of the composer's frame-they always, in other words, performed as ifwith quotation marks ar01md their improvisations and solos. It is this same effect that Toni Morrison has achieved in Jazz, a literary rendering of an art of composition that Duke Ellington perfected around the time in which Jazz is set. In this novel, Morrison has found a way, paradoxically, to create the sense of an ensemble of characters improvising within the fixed scope of a carefully constructed collective narration. By simulating the style of a genius of music while exhibiting Morrison's own linguistic virtuosity, Jazz serves to redefine the very possibilities of narrative point of view.
Q: The author's assertion in lines 11-16 would be most called in 10 question if which one of the following were true?
Choices:
A.) All novels about nonliterary arts and artists appear as if their authors have tried to make their narrative styles reminiscent of the arts in question.
B.) A small number of African American novelists writing earlier in the twentieth century sought to base the form of their work on the typical structme of blues music.
C.) Even a casual reading of Jazz makes it evident that the author has intentionally tried to simulate a style of jazz performance in the narration of the story.
D.) Depending partly on whether or not it is read aloud, any novel can be found to be somewhat musical in nature.
Answer:

Choices:
- A
- B
- C
- D


Question:
Passage: Music and literature, rivals among the arts, have not coexisted without intruding on each other's terrain. Ever since what we think of as "literature" developed out of the sounds of spoken, sung, and chanted art, writing bas aspired to the condition of music, in which fonn contnbutes significantly to content. Nowhere is this truer than in the African American tradition, whose music is often considered its greatest artistic achievement and one of the greatest contributions to North American art. But while many African American writers have used musicians and music as theme and metaphor in their writing, none had attempted to draw upon a musical genre as the structuring principle for an entire novel until Toni Morrison did so in her 1992 novel Jazz, a novel set in the Harlem section of New York City in 1926 . In Jazz, the connection to music is found not only in the novel's plot but, more strikingly, in the way in which the story is told. The narration slips easily from the third-person omniscience of the narrator's disembodied voice-which, though sensitive and sympathetic, claims no particular identity, gender, or immersion in specific social circumstances-to the first-person lyricism of key characters. But throughout these shifts, the narrator is both generous with the characters' voices and protective of his or her mastery over the narrative as a whole. On the one hand, the central characters are given the responsibility of relating their parts of the overarching story, but on the other hand, their sections are set offby quotation maIks, reminders that the narrator is allowing them to speak.. In this way, the narrative is analogous in structure to the playing of a jazz hand which intertwines its ensemble sound with the individuality of emhedded solo perfunnances. In jazz, composer and conductor Duke Ellington was the first to construct his compositions with his individual musicians and their unique "voices" in mind. Yet no matter how lengthy his musicians' improvisations, no matter how bold or inventive their solos might be, they always performed within the undeniable logic of the composer's frame-they always, in other words, performed as ifwith quotation marks ar01md their improvisations and solos. It is this same effect that Toni Morrison has achieved in Jazz, a literary rendering of an art of composition that Duke Ellington perfected around the time in which Jazz is set. In this novel, Morrison has found a way, paradoxically, to create the sense of an ensemble of characters improvising within the fixed scope of a carefully constructed collective narration. By simulating the style of a genius of music while exhibiting Morrison's own linguistic virtuosity, Jazz serves to redefine the very possibilities of narrative point of view.
Q: The information in the passage most supports which one of the following statements regarding Ellington?
Choices:
A.) Morrison has explicitly credited him with inspiring the style of narration that she developed in Jazz.
B.) He composed music that was originally intended to be performed by the specific musicians he condueted.
C.) He prevented his musicians from perfonuing lengthy solos in order to preserve the unity of his compositions.
D.) Though he composed and condueted primarily jazz, he also composed some music of other genres.
Answer:

Choices:
- A
- B
- C
- D


Question:
Passage: Music and literature, rivals among the arts, have not coexisted without intruding on each other's terrain. Ever since what we think of as "literature" developed out of the sounds of spoken, sung, and chanted art, writing bas aspired to the condition of music, in which fonn contnbutes significantly to content. Nowhere is this truer than in the African American tradition, whose music is often considered its greatest artistic achievement and one of the greatest contributions to North American art. But while many African American writers have used musicians and music as theme and metaphor in their writing, none had attempted to draw upon a musical genre as the structuring principle for an entire novel until Toni Morrison did so in her 1992 novel Jazz, a novel set in the Harlem section of New York City in 1926 . In Jazz, the connection to music is found not only in the novel's plot but, more strikingly, in the way in which the story is told. The narration slips easily from the third-person omniscience of the narrator's disembodied voice-which, though sensitive and sympathetic, claims no particular identity, gender, or immersion in specific social circumstances-to the first-person lyricism of key characters. But throughout these shifts, the narrator is both generous with the characters' voices and protective of his or her mastery over the narrative as a whole. On the one hand, the central characters are given the responsibility of relating their parts of the overarching story, but on the other hand, their sections are set offby quotation maIks, reminders that the narrator is allowing them to speak.. In this way, the narrative is analogous in structure to the playing of a jazz hand which intertwines its ensemble sound with the individuality of emhedded solo perfunnances. In jazz, composer and conductor Duke Ellington was the first to construct his compositions with his individual musicians and their unique "voices" in mind. Yet no matter how lengthy his musicians' improvisations, no matter how bold or inventive their solos might be, they always performed within the undeniable logic of the composer's frame-they always, in other words, performed as ifwith quotation marks ar01md their improvisations and solos. It is this same effect that Toni Morrison has achieved in Jazz, a literary rendering of an art of composition that Duke Ellington perfected around the time in which Jazz is set. In this novel, Morrison has found a way, paradoxically, to create the sense of an ensemble of characters improvising within the fixed scope of a carefully constructed collective narration. By simulating the style of a genius of music while exhibiting Morrison's own linguistic virtuosity, Jazz serves to redefine the very possibilities of narrative point of view.
Q: The author's primary purpose in the passage is to
Choices:
A.) demonstrate the ways in which two apparently dissimilar arts are, on a deeper analysis, actually quite similar
B.) descrthe a particular aspect of one wOIk by a particular writer
C.) contrast a particular AfricanAmerican writer's work with the work of African American practitioners of another art
D.) detail the thematic concems in the work ofa particular writer and identifY the sources of those concerns
Answer:

Choices:
- A
- B
- C
- D


Question:
Passage: Music and literature, rivals among the arts, have not coexisted without intruding on each other's terrain. Ever since what we think of as "literature" developed out of the sounds of spoken, sung, and chanted art, writing bas aspired to the condition of music, in which fonn contnbutes significantly to content. Nowhere is this truer than in the African American tradition, whose music is often considered its greatest artistic achievement and one of the greatest contributions to North American art. But while many African American writers have used musicians and music as theme and metaphor in their writing, none had attempted to draw upon a musical genre as the structuring principle for an entire novel until Toni Morrison did so in her 1992 novel Jazz, a novel set in the Harlem section of New York City in 1926 . In Jazz, the connection to music is found not only in the novel's plot but, more strikingly, in the way in which the story is told. The narration slips easily from the third-person omniscience of the narrator's disembodied voice-which, though sensitive and sympathetic, claims no particular identity, gender, or immersion in specific social circumstances-to the first-person lyricism of key characters. But throughout these shifts, the narrator is both generous with the characters' voices and protective of his or her mastery over the narrative as a whole. On the one hand, the central characters are given the responsibility of relating their parts of the overarching story, but on the other hand, their sections are set offby quotation maIks, reminders that the narrator is allowing them to speak.. In this way, the narrative is analogous in structure to the playing of a jazz hand which intertwines its ensemble sound with the individuality of emhedded solo perfunnances. In jazz, composer and conductor Duke Ellington was the first to construct his compositions with his individual musicians and their unique "voices" in mind. Yet no matter how lengthy his musicians' improvisations, no matter how bold or inventive their solos might be, they always performed within the undeniable logic of the composer's frame-they always, in other words, performed as ifwith quotation marks ar01md their improvisations and solos. It is this same effect that Toni Morrison has achieved in Jazz, a literary rendering of an art of composition that Duke Ellington perfected around the time in which Jazz is set. In this novel, Morrison has found a way, paradoxically, to create the sense of an ensemble of characters improvising within the fixed scope of a carefully constructed collective narration. By simulating the style of a genius of music while exhibiting Morrison's own linguistic virtuosity, Jazz serves to redefine the very possibilities of narrative point of view.
Q: Each of the following excerpts from the passage exhibits the author's attitude toward the novel Jazz EXCEPT:
Choices:
A.) "...whose music is often considered its greatest artistic achievement and one of the greatest con1nbutions to North American art" (lines 8-10)
B.) "... Morrison has found a way, paradoxically, to create the sense of an ensemble of characters improvising within the fixed scope ....." (lines 49-51)
C.) "In Jazz, the connection to music is found not only in the novel's plot but, more strikingly, in the way in which the story is told" (lines 17-19)
D.) "By simulating the style of a genius of music while exhibiting Morrison's own linguistic virtuosity ..." (lines 52-54)
Answer:

Choices:
- A
- B
- C
- D


Question:
Passage: Music and literature, rivals among the arts, have not coexisted without intruding on each other's terrain. Ever since what we think of as "literature" developed out of the sounds of spoken, sung, and chanted art, writing bas aspired to the condition of music, in which fonn contnbutes significantly to content. Nowhere is this truer than in the African American tradition, whose music is often considered its greatest artistic achievement and one of the greatest contributions to North American art. But while many African American writers have used musicians and music as theme and metaphor in their writing, none had attempted to draw upon a musical genre as the structuring principle for an entire novel until Toni Morrison did so in her 1992 novel Jazz, a novel set in the Harlem section of New York City in 1926 . In Jazz, the connection to music is found not only in the novel's plot but, more strikingly, in the way in which the story is told. The narration slips easily from the third-person omniscience of the narrator's disembodied voice-which, though sensitive and sympathetic, claims no particular identity, gender, or immersion in specific social circumstances-to the first-person lyricism of key characters. But throughout these shifts, the narrator is both generous with the characters' voices and protective of his or her mastery over the narrative as a whole. On the one hand, the central characters are given the responsibility of relating their parts of the overarching story, but on the other hand, their sections are set offby quotation maIks, reminders that the narrator is allowing them to speak.. In this way, the narrative is analogous in structure to the playing of a jazz hand which intertwines its ensemble sound with the individuality of emhedded solo perfunnances. In jazz, composer and conductor Duke Ellington was the first to construct his compositions with his individual musicians and their unique "voices" in mind. Yet no matter how lengthy his musicians' improvisations, no matter how bold or inventive their solos might be, they always performed within the undeniable logic of the composer's frame-they always, in other words, performed as ifwith quotation marks ar01md their improvisations and solos. It is this same effect that Toni Morrison has achieved in Jazz, a literary rendering of an art of composition that Duke Ellington perfected around the time in which Jazz is set. In this novel, Morrison has found a way, paradoxically, to create the sense of an ensemble of characters improvising within the fixed scope of a carefully constructed collective narration. By simulating the style of a genius of music while exhibiting Morrison's own linguistic virtuosity, Jazz serves to redefine the very possibilities of narrative point of view.
Q: It can be infirred from the passage that the author woul
Choices:
A.) Because ofits use of narrative techniques inspired by jazz, Mortison's novel represents the most successful representation to date of the milieu in which jazz musicians live and work.
B.) In Jazz, Mortison develops her narrative in such a way that the voices of individual characters are sometimes difficult to distinguish, in much the same way that individual musicians' voices merge in ensemble jazz playing.
C.) Morrison disguises the important struetural connections between her narrative and Duke Ellington's jazz compositions by making the transitions between first- and third-person narrators appear easy.
D.) The structural analogy between Jazz and Duke Ellington's compositional stYle involves more than simply the technique of shifting between first-person and third-person narrators.
Answer:

Choices:
- A
- B
- C
- D


Question:
Passage: Music and literature, rivals among the arts, have not coexisted without intruding on each other's terrain. Ever since what we think of as "literature" developed out of the sounds of spoken, sung, and chanted art, writing bas aspired to the condition of music, in which fonn contnbutes significantly to content. Nowhere is this truer than in the African American tradition, whose music is often considered its greatest artistic achievement and one of the greatest contributions to North American art. But while many African American writers have used musicians and music as theme and metaphor in their writing, none had attempted to draw upon a musical genre as the structuring principle for an entire novel until Toni Morrison did so in her 1992 novel Jazz, a novel set in the Harlem section of New York City in 1926 . In Jazz, the connection to music is found not only in the novel's plot but, more strikingly, in the way in which the story is told. The narration slips easily from the third-person omniscience of the narrator's disembodied voice-which, though sensitive and sympathetic, claims no particular identity, gender, or immersion in specific social circumstances-to the first-person lyricism of key characters. But throughout these shifts, the narrator is both generous with the characters' voices and protective of his or her mastery over the narrative as a whole. On the one hand, the central characters are given the responsibility of relating their parts of the overarching story, but on the other hand, their sections are set offby quotation maIks, reminders that the narrator is allowing them to speak.. In this way, the narrative is analogous in structure to the playing of a jazz hand which intertwines its ensemble sound with the individuality of emhedded solo perfunnances. In jazz, composer and conductor Duke Ellington was the first to construct his compositions with his individual musicians and their unique "voices" in mind. Yet no matter how lengthy his musicians' improvisations, no matter how bold or inventive their solos might be, they always performed within the undeniable logic of the composer's frame-they always, in other words, performed as ifwith quotation marks ar01md their improvisations and solos. It is this same effect that Toni Morrison has achieved in Jazz, a literary rendering of an art of composition that Duke Ellington perfected around the time in which Jazz is set. In this novel, Morrison has found a way, paradoxically, to create the sense of an ensemble of characters improvising within the fixed scope of a carefully constructed collective narration. By simulating the style of a genius of music while exhibiting Morrison's own linguistic virtuosity, Jazz serves to redefine the very possibilities of narrative point of view.
Q: The passage contains information that most helps to answer which one of the following questions?
Choices:
A.) In what way is Jazz stylistically similar to uther literary works by Morrison?
B.) What characteristic of Jazz is also present in the work of some other African American writers?
C.) After the publication of Jazz, did critics quickly acknowledge the innovative nature of the narrative style that Morrison uses in that novel?
D.) How many works by African American writers have been inspired by the music of Duke Ellington?
Answer:

Choices:
- A
- B
- C
- D


Question:
Passage: Advances in scientific understanding often do not build directly or smoothly in response to the data that are amassed, and in retrospect, after a major revision of theory, it may seem strange that a crucial bypothesis was long overlooked. A case in point is the discovery of a means by which the nuclei of atoms can be split Between 1934, when a group ofitalian physicists including Enrico Fermi first bombarded uranium with neutrons, and 1939, when exiled Austrian physicist Lise Meitner provided the crucial theoretical connection, scientists compiled increasing evidence that nuclear fission had been achieved, without, however, recognizing what they were witnessing.Earlier, even before the neutron and proton composition of atomic nuclei had been experimentally demonstrated, sometheoretical physicists had produced calculations indicating that in principle it should be possible to break atoms apart. But the neutron-bombardment experiments were not aimed at achieving such a result, and researchers were not even receptive to the possibility that it might happen in that context. A common view was that a neutron's breaking apart a uranium nucleus would be analogous to a pebble, thrown through a window, causing a house to collapse.In Berlin, Meitner pursued research related to that of the Italians, discovering a puzzling group of radioactive substances produced by neutron bombardment of uranium. Fermi and others achieved numerous similar results. These products remained unidentified partly because precise chemical analyses were hampered by the minute quantities of the substances produced and the dangers of working with highly radioactive materials, but more significantly because of the expectation that they would all be elements close to uranium in nuclear composition. In 1938 Meitner escaped from Nazi Germany and undertook related research in Sweden, but her research partner Otto Hahn kept her informed of his continuing experimentation. Late in that year he wrote to her of a surprising result: one of the substances resulting from the neutron bombardment of uranium had been conclusively identified as barium, an element whose structure would have made it impossible to produce through any mechanism he envisaged as being involved in the experiments. Hahn even remarked that, despite the clear chemical evidence of what had occmred, it went "against all previous experiences of nuclear physics," but be also noted that together the number of protons and neutrons in the nuclei of barium and technetium, the accompanying product of the experiment, added up to the number of such particles that compose a uranium nucleus.It was Meitner who finally recognized the significance of the data in relation to underlying theoretical considerations: the researchers had actually been splitting uranium atoms. Coining the term "nuclear fission," she quickly submitted her conclusion for publication in a paper coauthored with pbysicist Otto Frisch. When scientists in Europe and North America rushed to corroborate the findings, it became clear that the relevant evidence had been present for some rime, lacking mainly the right conceptual link.
Q: The author's primary aim in the passage is to
Choices:
A.) illustrate the often erratic way in which a scientific community achieves progress
B.) take issue with the idea that scientists make slow,steady progress
C.) criticize a traditional view of scientific progress and advocate a replacement
D.) display the way in which intellectual arrogance sometimes hinders scientific progress
Answer:

Choices:
- A
- B
- C
- D


Question:
Passage: Advances in scientific understanding often do not build directly or smoothly in response to the data that are amassed, and in retrospect, after a major revision of theory, it may seem strange that a crucial bypothesis was long overlooked. A case in point is the discovery of a means by which the nuclei of atoms can be split Between 1934, when a group ofitalian physicists including Enrico Fermi first bombarded uranium with neutrons, and 1939, when exiled Austrian physicist Lise Meitner provided the crucial theoretical connection, scientists compiled increasing evidence that nuclear fission had been achieved, without, however, recognizing what they were witnessing.Earlier, even before the neutron and proton composition of atomic nuclei had been experimentally demonstrated, sometheoretical physicists had produced calculations indicating that in principle it should be possible to break atoms apart. But the neutron-bombardment experiments were not aimed at achieving such a result, and researchers were not even receptive to the possibility that it might happen in that context. A common view was that a neutron's breaking apart a uranium nucleus would be analogous to a pebble, thrown through a window, causing a house to collapse.In Berlin, Meitner pursued research related to that of the Italians, discovering a puzzling group of radioactive substances produced by neutron bombardment of uranium. Fermi and others achieved numerous similar results. These products remained unidentified partly because precise chemical analyses were hampered by the minute quantities of the substances produced and the dangers of working with highly radioactive materials, but more significantly because of the expectation that they would all be elements close to uranium in nuclear composition. In 1938 Meitner escaped from Nazi Germany and undertook related research in Sweden, but her research partner Otto Hahn kept her informed of his continuing experimentation. Late in that year he wrote to her of a surprising result: one of the substances resulting from the neutron bombardment of uranium had been conclusively identified as barium, an element whose structure would have made it impossible to produce through any mechanism he envisaged as being involved in the experiments. Hahn even remarked that, despite the clear chemical evidence of what had occmred, it went "against all previous experiences of nuclear physics," but be also noted that together the number of protons and neutrons in the nuclei of barium and technetium, the accompanying product of the experiment, added up to the number of such particles that compose a uranium nucleus.It was Meitner who finally recognized the significance of the data in relation to underlying theoretical considerations: the researchers had actually been splitting uranium atoms. Coining the term "nuclear fission," she quickly submitted her conclusion for publication in a paper coauthored with pbysicist Otto Frisch. When scientists in Europe and North America rushed to corroborate the findings, it became clear that the relevant evidence had been present for some rime, lacking mainly the right conceptual link.
Q: The most likely reason that the theoretical pbysicists in line 16 would have been pleased about Meitner's insight regarding the neutron bombardment experiments is that her insight
Choices:
A.) paved the way for work in theoretical physics to become more acceptable abroad
B.) confinued their earlier work indicating that atoms could be split
C.) was dependent upon the calculations that they had produced
D.) proved that the nuclei of atoms were generally unstable
Answer:

Choices:
- A
- B
- C
- D


Question:
Passage: Advances in scientific understanding often do not build directly or smoothly in response to the data that are amassed, and in retrospect, after a major revision of theory, it may seem strange that a crucial bypothesis was long overlooked. A case in point is the discovery of a means by which the nuclei of atoms can be split Between 1934, when a group ofitalian physicists including Enrico Fermi first bombarded uranium with neutrons, and 1939, when exiled Austrian physicist Lise Meitner provided the crucial theoretical connection, scientists compiled increasing evidence that nuclear fission had been achieved, without, however, recognizing what they were witnessing.Earlier, even before the neutron and proton composition of atomic nuclei had been experimentally demonstrated, sometheoretical physicists had produced calculations indicating that in principle it should be possible to break atoms apart. But the neutron-bombardment experiments were not aimed at achieving such a result, and researchers were not even receptive to the possibility that it might happen in that context. A common view was that a neutron's breaking apart a uranium nucleus would be analogous to a pebble, thrown through a window, causing a house to collapse.In Berlin, Meitner pursued research related to that of the Italians, discovering a puzzling group of radioactive substances produced by neutron bombardment of uranium. Fermi and others achieved numerous similar results. These products remained unidentified partly because precise chemical analyses were hampered by the minute quantities of the substances produced and the dangers of working with highly radioactive materials, but more significantly because of the expectation that they would all be elements close to uranium in nuclear composition. In 1938 Meitner escaped from Nazi Germany and undertook related research in Sweden, but her research partner Otto Hahn kept her informed of his continuing experimentation. Late in that year he wrote to her of a surprising result: one of the substances resulting from the neutron bombardment of uranium had been conclusively identified as barium, an element whose structure would have made it impossible to produce through any mechanism he envisaged as being involved in the experiments. Hahn even remarked that, despite the clear chemical evidence of what had occmred, it went "against all previous experiences of nuclear physics," but be also noted that together the number of protons and neutrons in the nuclei of barium and technetium, the accompanying product of the experiment, added up to the number of such particles that compose a uranium nucleus.It was Meitner who finally recognized the significance of the data in relation to underlying theoretical considerations: the researchers had actually been splitting uranium atoms. Coining the term "nuclear fission," she quickly submitted her conclusion for publication in a paper coauthored with pbysicist Otto Frisch. When scientists in Europe and North America rushed to corroborate the findings, it became clear that the relevant evidence had been present for some rime, lacking mainly the right conceptual link.
Q: Which one of the following is most nearly equivalent to what the author means by "the relevant evidence" (line 62)?
Choices:
A.) the results of experiments in neutron bombardment of uranium conducted by the physics community between 1934 and 1939
B.) the clear chemical evidence that Hahn had found of barium's being produced by neutron bombardment of uranium
C.) the fact that the sum of the number of protons and neutrons in the nuclei of barium and technetium was the same as the number of these particles in a uranium nucleus
D.) the results of related experiments in neutron bombardment of uranium conducted by Meitner in 1938
Answer:

Choices:
- A
- B
- C
- D


Question:
Passage: Advances in scientific understanding often do not build directly or smoothly in response to the data that are amassed, and in retrospect, after a major revision of theory, it may seem strange that a crucial bypothesis was long overlooked. A case in point is the discovery of a means by which the nuclei of atoms can be split Between 1934, when a group ofitalian physicists including Enrico Fermi first bombarded uranium with neutrons, and 1939, when exiled Austrian physicist Lise Meitner provided the crucial theoretical connection, scientists compiled increasing evidence that nuclear fission had been achieved, without, however, recognizing what they were witnessing.Earlier, even before the neutron and proton composition of atomic nuclei had been experimentally demonstrated, sometheoretical physicists had produced calculations indicating that in principle it should be possible to break atoms apart. But the neutron-bombardment experiments were not aimed at achieving such a result, and researchers were not even receptive to the possibility that it might happen in that context. A common view was that a neutron's breaking apart a uranium nucleus would be analogous to a pebble, thrown through a window, causing a house to collapse.In Berlin, Meitner pursued research related to that of the Italians, discovering a puzzling group of radioactive substances produced by neutron bombardment of uranium. Fermi and others achieved numerous similar results. These products remained unidentified partly because precise chemical analyses were hampered by the minute quantities of the substances produced and the dangers of working with highly radioactive materials, but more significantly because of the expectation that they would all be elements close to uranium in nuclear composition. In 1938 Meitner escaped from Nazi Germany and undertook related research in Sweden, but her research partner Otto Hahn kept her informed of his continuing experimentation. Late in that year he wrote to her of a surprising result: one of the substances resulting from the neutron bombardment of uranium had been conclusively identified as barium, an element whose structure would have made it impossible to produce through any mechanism he envisaged as being involved in the experiments. Hahn even remarked that, despite the clear chemical evidence of what had occmred, it went "against all previous experiences of nuclear physics," but be also noted that together the number of protons and neutrons in the nuclei of barium and technetium, the accompanying product of the experiment, added up to the number of such particles that compose a uranium nucleus.It was Meitner who finally recognized the significance of the data in relation to underlying theoretical considerations: the researchers had actually been splitting uranium atoms. Coining the term "nuclear fission," she quickly submitted her conclusion for publication in a paper coauthored with pbysicist Otto Frisch. When scientists in Europe and North America rushed to corroborate the findings, it became clear that the relevant evidence had been present for some rime, lacking mainly the right conceptual link.
Q: Given the information in the passage, which one of the following, if true, would have been most likely to reduce the amount oftime it took for physicists to realize that atoms were being split?
Choices:
A.) The physicists conducting the experiments in neutron bombardment ofuraniwn had not been aware of the calculations indicating that in principle it was possible to split atoms.
B.) Physicists conducted experiments in the neutron bombardment of some substance other than uranium.
C.) The physicists conducting the experiments in neutron bombardment ofuraniwn did not have partieular expectations regarding the likely nuclear composition of the by-products.
D.) More physicists concentrated on oblBining experimental results from the neutron bombardment ofuraniwn.
Answer:

Choices:
- A
- B
- C
- D


Question:
Passage: Advances in scientific understanding often do not build directly or smoothly in response to the data that are amassed, and in retrospect, after a major revision of theory, it may seem strange that a crucial bypothesis was long overlooked. A case in point is the discovery of a means by which the nuclei of atoms can be split Between 1934, when a group ofitalian physicists including Enrico Fermi first bombarded uranium with neutrons, and 1939, when exiled Austrian physicist Lise Meitner provided the crucial theoretical connection, scientists compiled increasing evidence that nuclear fission had been achieved, without, however, recognizing what they were witnessing.Earlier, even before the neutron and proton composition of atomic nuclei had been experimentally demonstrated, sometheoretical physicists had produced calculations indicating that in principle it should be possible to break atoms apart. But the neutron-bombardment experiments were not aimed at achieving such a result, and researchers were not even receptive to the possibility that it might happen in that context. A common view was that a neutron's breaking apart a uranium nucleus would be analogous to a pebble, thrown through a window, causing a house to collapse.In Berlin, Meitner pursued research related to that of the Italians, discovering a puzzling group of radioactive substances produced by neutron bombardment of uranium. Fermi and others achieved numerous similar results. These products remained unidentified partly because precise chemical analyses were hampered by the minute quantities of the substances produced and the dangers of working with highly radioactive materials, but more significantly because of the expectation that they would all be elements close to uranium in nuclear composition. In 1938 Meitner escaped from Nazi Germany and undertook related research in Sweden, but her research partner Otto Hahn kept her informed of his continuing experimentation. Late in that year he wrote to her of a surprising result: one of the substances resulting from the neutron bombardment of uranium had been conclusively identified as barium, an element whose structure would have made it impossible to produce through any mechanism he envisaged as being involved in the experiments. Hahn even remarked that, despite the clear chemical evidence of what had occmred, it went "against all previous experiences of nuclear physics," but be also noted that together the number of protons and neutrons in the nuclei of barium and technetium, the accompanying product of the experiment, added up to the number of such particles that compose a uranium nucleus.It was Meitner who finally recognized the significance of the data in relation to underlying theoretical considerations: the researchers had actually been splitting uranium atoms. Coining the term "nuclear fission," she quickly submitted her conclusion for publication in a paper coauthored with pbysicist Otto Frisch. When scientists in Europe and North America rushed to corroborate the findings, it became clear that the relevant evidence had been present for some rime, lacking mainly the right conceptual link.
Q: According to the passage, which one of the following was true of the physics community during the 1930s?
Choices:
A.) It never identified the by-products ofneutron bombardment ofuraniwn.
B.) It reevaluated caleulations indicating that atoms could be split
C.) It recogoized the daogers of working with radioactive substances.
D.) It showed that uraniwn atoms were the easiest to split.
Answer:

Choices:
- A
- B
- C
- D


Question:
Passage: The corrido, a type of narrative folk song, comes from a region half in Mexico and half in the United States known as the Lower Rio Grande Border. Corridos, which flourished from about 1836 to the late 1930s, are part of a long-standing ballad tradition that has roots in eighteenth-century Spain. Sung in Spanish, corridos combine formal features of several different types of folk songs, but their narratives consistently deal with subject matter specific to the Border region. For example, "El Corrido de Kiansis" (c. 1870), the oldest corrido surviving in complete form, records the first cattle drives to Kansas in the late 1860s. A single important event is likely to have inspired several corrido variants, yet the different versions of any given story all partake of standard generic elements. When sung at social gatherings, corridos served to commemorate significant local happenings, but more importantly, their heavy reliance on familiar linguistic and thematic conventions served to affirm the cohesiveness of Border communities. Corridos take their name from the Spanish verb correr, meaning to run or to flow, for corridos tell their stories simply and swiftly, without embellishments. Figures of speech such as metaphors are generally rare in corridos, and when metaphors are used, they usually incorporate everyday images that are familiar to the songs' listeners. In the popular "El Corrido de Gregorio Cortez," for example, the hero Cortez, fighting off pursuers, uses the metaphor of a thunderstorm to boast that he has had harder fights than the one they gave him: "I have weathered thunderstorms; / This little mist doesn't bother me." Similar storm imagery is found in other corridos including "Kiansis," which tells of stampedes caused by thunderstorms during the Kansas cattle drives. Such imagery, highly conventional and readily recognizable to corrido listeners, reflects and strengthens the continuity of the corrido tradition. The corrido is composed not only of familiar images but also of certain ready-made lines that travel easily from one ballad to another. This is most evident in the corrido's formal closing verse, or despedida. The despedida of one variant of "Gregorio Cortez" is translated as follows: "Now with this I say farewell / In the shade of a cypress tree; / This is the end of the ballad / Of Don Gregorio Cortez." The first and third lines are a set convention. The second and fourth lines are variable, the fourth carrying the name of the corrido or expressing its subject, and the second varying according to exigencies of rhyme. In the despedida, perhaps the clearest marker of both the corrido's uniqueness and its generic continuity, the corrido's maker asserts that the task of relating an authentic Border tale has been accomplished.
Q: Which one of the following most accurately expresses the main point of the passage?
Choices:
A.) The roots of the corrido in the eighteenth-century Spanish ballad tradition are revealed in corridos' conventional themes and language.
B.) The corrido is a type of folk song that promotes cohesiveness in Border communities through the use of familiar conventions.
C.) Corrido imagery is one of the clearest indicators of the unique cohesiveness of Border communities.
D.) Corridos are noted for their vivid use of imagery and their attention to local events.
Answer:

Choices:
- A
- B
- C
- D


Question:
Passage: The corrido, a type of narrative folk song, comes from a region half in Mexico and half in the United States known as the Lower Rio Grande Border. Corridos, which flourished from about 1836 to the late 1930s, are part of a long-standing ballad tradition that has roots in eighteenth-century Spain. Sung in Spanish, corridos combine formal features of several different types of folk songs, but their narratives consistently deal with subject matter specific to the Border region. For example, "El Corrido de Kiansis" (c. 1870), the oldest corrido surviving in complete form, records the first cattle drives to Kansas in the late 1860s. A single important event is likely to have inspired several corrido variants, yet the different versions of any given story all partake of standard generic elements. When sung at social gatherings, corridos served to commemorate significant local happenings, but more importantly, their heavy reliance on familiar linguistic and thematic conventions served to affirm the cohesiveness of Border communities. Corridos take their name from the Spanish verb correr, meaning to run or to flow, for corridos tell their stories simply and swiftly, without embellishments. Figures of speech such as metaphors are generally rare in corridos, and when metaphors are used, they usually incorporate everyday images that are familiar to the songs' listeners. In the popular "El Corrido de Gregorio Cortez," for example, the hero Cortez, fighting off pursuers, uses the metaphor of a thunderstorm to boast that he has had harder fights than the one they gave him: "I have weathered thunderstorms; / This little mist doesn't bother me." Similar storm imagery is found in other corridos including "Kiansis," which tells of stampedes caused by thunderstorms during the Kansas cattle drives. Such imagery, highly conventional and readily recognizable to corrido listeners, reflects and strengthens the continuity of the corrido tradition. The corrido is composed not only of familiar images but also of certain ready-made lines that travel easily from one ballad to another. This is most evident in the corrido's formal closing verse, or despedida. The despedida of one variant of "Gregorio Cortez" is translated as follows: "Now with this I say farewell / In the shade of a cypress tree; / This is the end of the ballad / Of Don Gregorio Cortez." The first and third lines are a set convention. The second and fourth lines are variable, the fourth carrying the name of the corrido or expressing its subject, and the second varying according to exigencies of rhyme. In the despedida, perhaps the clearest marker of both the corrido's uniqueness and its generic continuity, the corrido's maker asserts that the task of relating an authentic Border tale has been accomplished.
Q: According to the passage, which one of the following is characteristic of corridos?
Choices:
A.) use of a formal closing verse
B.) use of complex rhyme schemes
C.) use of numerous figures of speech
D.) use of verses that combine Spanish and English
Answer:

Choices:
- A
- B
- C
- D