12.Practice.Tests.for.the.SAT_2015-2016_1128p

1 OlO
I Section 2
Practice Test Twelve
12. The phrase "even if this means using a bit of
creative license when it comes to the actual words"
(lines 6-8) serves to
(A) accentuate the contrast between ingenuity
and creativity
(B) imply that the spirit of a translation is totally
unrelated to the actual words used in that
translation
( C) provide a definition of the expression "poetic
license"
(D) draw a parallel between dry, static translations
and translations in which the tone and
flow of the original is preserved
(E) acknowledge that preserving the spirit of the
original may be incompatible with remaining
as faithful as possible to the author's wording
13. The author of the passage demonstrates which
attitude toward the view that translators should be
as faithful as possible to the original poet's wording?
(A) Respectful disagreement
(B) Puzzled appreciation
(C) Guarded curiosity
(D) Firm concurrence
(E) Complete disparagement
Questions 14-24 are based on the following passage.
This passage is excerpted from a historian's account of the
development of European classical music.
During the first half of the nineteenth century,
the political and social currents in Europe in the
aftermath of the French Revolution brought with
Line them significant developments in the world of
(5) music. Patronage of the arts was no longer considered
the exclusive province of the aristocracy. The
increasingly prosperous middle class swelled the
ranks of audiences at public concerts and music
festivals. New opera houses were built to accom-
(10) modate the demand, and these in turn enabled
musicians to reach a larger public. Furthermore,
the elevated status of the middle class increased
the participation of women in the musical field,
which had traditionally been associated with men.
(15) Bourgeois families encouraged their daughters to
take advantage of the newfound leisure time by
studying voice or piano, since this would improve
their marriage possibilities and thus be an asset in
the family's climb to social acceptance. Singing in
(20) particular became a focus of the woman's education,
stemming from the traditional notion that
a mother's singing was beneficial in nurturing a
child. So many women became involved in amateur
musical activities, in fact, that all the busi-
(25) nesses that served music-piano building, music
publishing, and music journalism-burgeoned.
Society was only beginning to enlarge its
concept of appropriate musical education and
activities for women, however. Female musical
(30) professionals were still very uncommon. Even the
most competent could be forbidden by husbands
and fathers to appear in public, to publish music
under their own names, or to accept fees for
their teaching if the men feared that these activi-
(35) ties would have a negative impact on the family's
social status. The advice and support of a man was
still a necessity in the musical career of a woman,
no matter how talented she was.
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