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Admission Test GRE-Verbal Exam Syllabus Topics:

Admission Test Section One : Verbal Sample Questions:

1. Late Victorian and modern ideas of culture are indebted to Matthew Arnold, who, largely through his
Culture and Anarchy (1869), placed the word at the center of debates about the goals of intellectual life
and humanistic society. Arnold defined culture as "the pursuit of perfection by getting to know the best
which has been thought and said." Through this knowledge, Arnold hoped, we can turn "a fresh and free
thought upon our stock notions and habits." Although Arnold helped to define the purposes of the liberal
arts curriculum in the century following the publication of Culture, three concrete forms of dissent from his
views have had considerable impact of their own. The first protests Arnold's fearful designation of
"anarchy" as culture's enemy, viewing this dichotomy simply as another version of the struggle between a
privileged power structure and radical challenges to its authority. But while Arnold certainly tried to define
the arch-the legitimizing order of value-against the anarch of existentialist democracy, he himself was
plagued in his soul by the blind arrogances of the reactionary powers in his world. The writer who
regarded the contemporary condition with such apprehension in Culture is the poet who wrote "Dover
Beach," not an ideologue rounding up all the usual modern suspects. Another form of opposition saw
Arnold's culture as a perverse perpetuation of classical and literary learning, outlook, and privileges in a
world where science had become the new arch and from which any substantively new order of thinking
must develop. At the center of the "two cultures" debate were the goals of the formal educational
curriculum, the principal vehicle through which Arnoldian culture operates. However, Arnold himself had
viewed culture as enacting its life in a much more broadly conceived set of institutions. A third form is
so-called "multiculturalism," a movement aimed largely at gaining recognition for voices and visions that
Arnoldian culture has implicitly suppressed. In educational practice, multiculturalists are interested in
deflating the imperious authority that "high culture" exercises over curriculum while bringing into play the
principle that we must learn what is representative, for we have overemphasized what is exceptional.
Though the multiculturalists' conflict with Arnoldian culture has clear affinities with the radical critique,
multiculturalism actually affirms Arnold by returning us more specifically to a tension inherent in the idea
of culture rather than to the cultureanarchy dichotomy. The social critics, defenders of science, and
multiculturalists insist that Arnold's culture is simply a device for ordering us about. Instead, however, it is
designed to register the gathering of ideological clouds on the horizon. There is no utopian motive in
Arnold's celebration of perfection. Perfection mattered to Arnold as the only background against which we
could form a just image of our actual circumstances, just as we can conceive finer sunsets and unheard
melodies.
Based on the information in the passage, Arnold would probably agree that the educational curriculum
should

A) strike a balance between practicality and theory
B) deemphasize what is representative
C) reflect the dominant culture of the day
D) be more rigorous than during the past
E) focus on the sciences more than the humanities

2. The government's _______ clinical study requirements for new drugs do not _______ pharmaceutical
firms when it comes to research and development, chiefly because of the profit potential afforded by
patent protection.

A) onerous . . dissuade
B) official . . please
C) extensive . . impel
D) vague . . prejudice
E) unenforceable . . favor

3. WAN:

A) comely
B) robust
C) patchy
D) flushed
E) twinkling

4. The origin of the attempt to distinguish early from modern music and to establish the canons of
performance practice for each lies in the eighteenth century. In the first half of that century, when
Telemann and Bach ran the collegium musicum in Leipzig, Germany, they performed their own and other
modern music. In the German universities of the early twentieth century, however, the reconstituted
collegium musicum devoted itself to performing music from the centuries before the beginning of the
"standard repertory," by which was understood music from before the time of Bach and Handel. Alongside
this modern collegium musicum, German musicologists developed the historical sub-discipline known as
"performance practice," which included the deciphering of obsolete musical notation and its transcription
into modern notation, the study of obsolete instruments, and the re-establishment of lost oral traditions
associated with those forgotten repertories. The cutoff date for this study was understood to be around
1 750, the year of Bach's death, since the music of Bach, Handel, Telemann and their contemporaries did
call for obsolete instruments and voices and unannotated performing traditions-for instance, the
spontaneous realization of vocal and instrumental melodic ornamentation. Furthermore, with a few
exceptions, late baroque music had ceased to be performed for nearly a century, and the orally
transmitted performing traditions associated with it were forgotten as a result. In contrast, the notation in
the music of Haydn and Mozart from the second half of the eighteenth century was more complete than in
the earlier styles, and the instruments seemed familiar, so no "special" knowledge appeared necessary.
Also, the music of Haydn and Mozart, having never ceased to be performed, had maintained some kind of
oral tradition of performance practice. Beginning around 1960, however, early-music performers began to
encroach upon the music of Haydn, Mozart, and Beethoven. Why? Scholars studying performance
practice had discovered that the living oral traditions associated with the Viennese classics frequently
could not be traced to the eighteenth century and that there were nearly as many performance mysteries
to solve for music after 1750 as for earlier repertories. Furthermore, more and more young singers and
instrumentalists became attracted to early music, and as many of them graduated from student- amateur
to professional status, the technical level of early-music performances took a giant leap forward. As
professional early-music groups, building on these developments, expanded their repertories to include
later music, the mainstream protested vehemently. The differences between the two camps extended
beyond the question of which instruments to use to the more critical matter of style and delivery. At the
heart of their disagreement is whether historical knowledge about performing traditions is a prerequisite
for proper interpretation of music or whether it merely creates an obstacle to inspired musical tradition.
The passage mentions all of the following as aspects of performance practice of the early twentieth
century EXCEPT for

A) spontaneous vocal and instrumental ornamentation
B) reestablishing unannotated performing traditions
C) transcribing older music into modern notation
D) varying the delivery of music to suit particular audiences
E) deciphering outdated music notation

5. Charles A. Lindbergh is remembered as the first person to make a nonstop solo flight across the Atlantic,
in 1927. This feat, when Lindbergh was only twenty-five years old, assured him a lifetime of fame and
public attention. Charles Augustus Lindbergh was more interested in flying airplanes than he was in
studying. He dropped out of the University of Wisconsin after two years to earn a living performing
daredevil airplane stunts at country fairs. Two years later, he joined the United States Army so that he
could go to the Army Air Service flight-training school. After completing his training, he was hired to fly
mail between St. Louis and Chicago. Then came the historic flight across the Atlantic. In 1919, a New
York City hotel owner offered a prize of $25,000 to the first pilot to fly nonstop from New York to Paris.
Nine St. Louis business leaders helped pay for the plane Lindbergh designed especially for the flight.
Lindbergh tested the plane by flying it from San Diego to New York, with an overnight stop in St. Louis.
The flight took only 20 hours and 21 minutes, a transcontinental record. Nine days later, on May 20,1927,
Lindbergh took off from Long Island, New York, at 7:52 A. M. He landed at Paris on May 21 at 10:21 P. M.
He had flown more than 3,600 miles in less than thirty four hours. His flight made news around the world.
He was given awards and parades everywhere he went. He was presented with the U. S. Congressional
Medal of Honor and the first Distinguished Flying Cross. For a long time, Lindbergh toured the world as a
U. S. goodwill ambassador. He met his future wife, Anne Morrow, in Mexico, where her father was the
United States ambassador. During the 1930s, Charles and Anne Lindbergh worked for various airline
companies, charting new commercial air routes. In 1931, for a major airline, they charted a new route from
the east coast of the United States to the Orient. The shortest, most efficient route was a great curve
across Canada, over Alaska, and down to China and Japan. Most pilots familiar with the Arctic did not
believe that such a route was possible. The Lindberghs took on the task of proving that it was. They
arranged for fuel and supplies to be set out along the route. On July 29, they took off from Long Island in a
specially equipped small seaplane. They flew by day and each night landed on a lake or a river and
camped. Near Nome, Alaska, they had their first serious emergency. Out of daylight and nearly out of fuel,
they were forced down in a small ocean inlet. In the next morning's light, they discovered they had landed
on barely three feet of water. On September 19, after two more emergency landings and numerous close
calls, they landed in China with the maps for a safe airline passenger route. Even while actively engaged
as a pioneering flier, Lindbergh was also working as an engineer.
In 1935, he and Dr. Alexis Carrel were given a patent for an artificial heart. During World War I in the
1 940s, Lindbergh served as a civilian technical advisor in aviation. Although he was a civilian, he flew
over fifty combat missions in the Pacific. In the 1950s, Lindbergh helped design the famous 747 jet airliner.
In the late 1960s, he spoke widely on conservation issues. He died August 1974, having lived through
aviation history from the time of the first powered flight to the first steps on the moon and having
influenced a big part of that history himself.
When did the Lindberghs map an air route to China?

A) before they worked for an airline
B) when he was thirty
C) while designing the 747
D) after World War II
E) before Charles worked with Dr. Carrel

Solutions: