ACT Practice Test READING Passage IX HUMANITIES: The passage below is an excerpt from American Houses by Philip Langdon (© 1987 by Philip Langdon, published by Stewart, Tabori & Chang, Inc.) People carry in their minds a picture of what constitutes an “American house.” For most of us, it is and has long been a freestanding dwelling that rises from its own piece of land Whether that piece of land is a 40-foot-wide lot on a city street or an expanse of farmland stretching off toward the horizon is almost irrelevant; what matters is that the house stands as an individual object, separate from the walls of its neighbors This may not be the sort of dwelling in which every American actually lives—millions inhabit apartment buildings and blocks of row houses—yet the detached house holds such an allure for the imagination that it remains a national ideal, in good times and bad, in periods both of dense urban development and of outward suburban dispersal So deeply embedded in the country’s consciousness is the ideal of a freestanding dwelling that even young children, when asked to draw a house, will unhesitatingly make a sketch of a familysized dwelling with a pitched roof on top, a few windows in its facade, and a prominent front door Some of the details that embellish this notion of the American house have, of course, changed greatly with the passage of time In the 1850s, when landscape architect Andrew Jackson Downing was exerting a major influence on residential design, the image of an American house would have [5] [10] [15] [20] [25] [30] included verandas and vestibules, parlors, and pantries In the 1920s, a decade enchanted by “Old English” architecture but also gripped by a concern for cleanliness, it often summoned up a picturesque, even quaint, exterior with arched doorways and a steeply pitched roof, yet with a shiny whitesurfaced kitchen and bathroom within In the 1960s, the prevailing vision was of a house that had substituted a back patio or deck for the front porch and had added a “family room” as a casual, unceremonious alternative to the formality of the living room Despite such modifications, the governing ideal remained constant in its essentials—an individual residence enclosing a comfortable amount of space beneath the slopes of its roof and enjoying dominion over a certain amount of land beyond its walls Gradually, too, the American house was accompanied by a standard arrangement of its grounds In the front grew a neatly kept lawn, setting a scene that possessed a measure of dignity and repose To the rear, a more informal yard provided a space for relaxation and outdoor recreation Side yards acted as buffers against the noise and nosiness of neighbors, while at the same time making each household feel more autonomous This was by no means a perfect or universal way to provide shelter, but it did satisfy many of the needs of millions of people From East Coast to West, vast numbers of houses were built in accordance with the common image of the American house— dwellings set apart from one another in a pattern that suited, above all, the interests of families Today much of this arrangement has lost its important reason for being: the traditional family—a working husband, a wife [35] [40] [45] [50] [55] [60] [65] [70] [75] who stays home, and their not-yet-grown children—until recently the predominant form of American household, now makes up a minority of America’s population As the population and the workforce have dramatically changed, the house has been pressed to adapt Detached dwellings accounted for 80 percent of the newly constructed private housing in the United States as late as 1975; a decade later, the proportion had steadily diminished to 62 percent Instead of an “American house,” it’s become more accurate to speak in the plural: “American houses.” The nation has entered a period in which many houses are distinguished less by their lingering similarities than by how they diverge both from one another and from homes of the past The trend towards more varied forms of housing holds contrasting meanings for different people; it can be likened to the mixture of motivations that sent explorers and settlers into the undeveloped reaches of North America before the twentieth century Just as some people confidently opened up a new geographic domain in a quest for a better life, today there are some who launch into new architectural territory, searching for housing superior to the typical dwellings of the past [80] [85] [90] [95] [100] [105] 63 The passage suggests that the most essential characteristic of the ideal “American house” is that it must: A have a neatly kept front lawn B combine traditional architecture with modern cleanliness C have a facade with windows and a prominent front door D be a freestanding dwelling 64 According to the passage, verandas and vestibules became part of the American house during the: F G H J 1850s 1920s 1960s 1970s 65 The passage suggests that the ideal of living in a detached house: A is not realized by many Americans B is more commonly held by those in the suburbs than those in the city C is popular during periods of economic depression D appeals more to young children than to adults 66 According to the passage, the “American house” has recently changed because of: F G H J increasing costs of construction decreasing availability of property due to population growth a shift in the makeup of the workforce and the typical family a shift toward urban development away from outward suburban growth 67 The main point of the second paragraph is that: A American houses are becoming increasingly informal B the image of the ideal American house has remained the same since 1850 C some features of the American house have changed since the 1850s D the ideal American house was designed by Andrew Jackson Downing 68 The main purpose of the passage is to describe the: F influence of architect Andrew Jackson Downing G changing picture of the ideal American house H structure of the traditional American family J latest developments in contemporary architecture 69 Which of the following descriptions are used in the passage to show that changes in the typical American house have “suited, above all, the interests of families” (lines 72-73)? I -The steeply pitched roof of the ideal house of the 1920s II -The addition of a “family room” in the 1960s III -The standard arrangement of a backyard and sideyards IV -The decline of newly constructed detached dwellings A I, II, and III only B II and III only C II, III, and IV only D I, II, III, and IV 70 Based on the last paragraph (lines 95-106), the author’s attitude toward today’s architects could be most accurately described as: F indifferent G admiring H critical J confused Passage X HUMANITIES: In this passage, James Weldon Johnson recalls his first experience of hearing ragtime jazz and defends ragtime as a musical form Johnson was a poet, diplomat, composer, and historian of African American culture of the early 1900s When I had somewhat collected my senses, I realized that in a large back room into which the main room opened, there was a young fellow singing a song, accompanied on the piano by a short, thickset black man After each verse he did some dance steps, which brought forth great applause and a shower of small coins at his feet After the singer had responded to a rousing encore, the stout man at the piano began to run his fingers up and down the keyboard This he did in a manner which indicated that he was a master of a good deal of technique Then he began to play; and such playing! I stopped talking to listen It was music of a kind I had never heard before It was music that demanded physical response, patting of the feet, drumming of the fingers, or nodding of the head in time with the beat The dissonant harmonies, the audacious resolutions, often consisting of an abrupt jump from one key to another, the intricate rhythms in which the accents fell in the most unexpected places, but in which the beat was never lost, produced a most curious effect… This was ragtime music, then a novelty in New York, and just growing to be a rage, which has not yet subsided It was originated in the questionable resorts about Memphis and St Louis by piano players who knew no more of the theory of music than they did of the theory of the universe, but were guided by natural musical instinct and talent It made its way to Chicago, where it was popular some time before it reached New York These players often improvised simple and, at times, vulgar words to fit the [5] [10] [15] [20] [25] [30] [35] melodies This was the beginning of the ragtime song… Classically-trained American musicians, instead of investigating ragtime, attempt to ignore it, or dismiss it with a contemptuous word But that has always been the course of scholasticism in every branch of art Whatever new thing the people like is pooh-poohed; whatever is popular is spoken of as not worth the while The fact is, nothing great or enduring, especially in music, has ever sprung full-fledged and unprecedented from the brain of any master; the best that he gives to the world he gathers from the hearts of the people, and runs it through…his genius In spite of the bans which some musicians and music teachers have placed upon it, the people still demand and enjoy ragtime One thing cannot be denied; it is music which possesses at least one strong element of greatness: it appeals universally; not only the American, but the English, the French, and even the German people find delight in it In fact, there is not a corner of the civilized world in which it is not known, and this proves its originality; for if it were an imitation, the people of Europe, anyhow, would not have found it a novelty… I became so interested in both the music and the player that I left the table where I was sitting, and made my way through the hall into the back room, where I could see as well as hear I talked to the piano player between the musical numbers and found out that he was just a natural musician, never having taken a lesson in his life Not only could he play almost anything he heard, but he could accompany singers in songs he had never heard He had, by ear alone, composed some pieces, several of which he played over for me; each of them was properly proportioned and balanced I began to wonder what this man with such a [40] [45] [50] [55] [60] [65] [70] [75] [80] lavish natural endowment would have done had he been trained Perhaps he wouldn’t have done anything at all; he might have become, at best, a mediocre imitator of the great masters in what they have already done to a finish, or one of the modern innovators who strive after originality by seeing how cleverly they can dodge about through the rules of harmony and at the same time avoid melody It is certain that he would not have been so delightful as he was in ragtime [85] [90] 71 In the passage, the author makes use of which of the following to describe his initial impression of ragtime music? A A comparison with the improvisations of classical music B A reference to the audience’s appreciative applause C A description of the music’s compelling rhythmic effect D An allusion to several popular contemporary tunes 72 It is most likely that the author refers to “the theory of the universe” (line 33) in order to: F emphasize that ragtime at its inception was an unconventional musical form G show that the originators of ragtime were wholly engrossed in their own music H suggest that those who founded ragtime could not have imagined the extent of its future influence J demonstrate that level of education is not commensurate with artistic success 73 As it is used in line 30, questionable most nearly means: A B C D disreputable ambiguous doubtful unconfirmed 74 In the first paragraph, the narrator portrays ragtime as a type of music that: F would be a challenge to play for even the most proficient musician G violated all of the accepted rules governing musical composition H made up for a lack of melody with a seductive rhythm J contained several surprises for the discerning listener 75 The discussion in the third paragraph (lines 41-67) suggests that the author thought that most American musicians: A had little or no interest in pleasing people with their music B needed to be made aware of the popularity of ragtime in Europe C were misguided in their conservative and condescending attitude D attacked ragtime for being merely an imitation of an existing style 76 Which of the following best summarizes the author’s argument in the third paragraph? F Any type of music that is extremely popular should be considered great G The two criteria for musical greatness are popularity and originality H Music that has become popular overseas cannot be ignored by American musicians J Mass appeal in music can be a sign of greatness rather than a stigma 77 From the passage, it is most reasonable to infer that the author would agree with which of the following statements about the ragtime piano player’s lack of formal training? A The piano player’s natural talent had allowed him to develop technically to the point where formal training would have been superfluous B Formal lessons would have severely impaired the piano player’s native ability to play and compose by ear alone C More would have been lost than gained if the piano player had been given formal lessons D The piano player’s potential to be a truly innovative ragtime artist had been squandered because he had not been formally trained 78 The passage suggests that many American musicians “attempt to ignore” ragtime (line 43) because: F popular art is usually criticized by those more concerned with the academic nature of art G so many European countries have popularized the art form H they not respect the improvised nature of the music J they are offended by the sometimes vulgar lyrics Passage XI HUMANITIES: This passage is excerpted from A History of Women Artists by Hugo Munsterberg (© 1975 by Hugo Munsterberg Reprinted by permission of Clarkson N Potter, Inc., a division of Crown Publishers, Inc.) There can be little doubt that women artists have been most prominent in photography and that they have made their greatest contribution in this field One reason for this is not difficult to ascertain As [5] several historians of photography have pointed out, photography, being a new medium outside the traditional academic framework, was wide open to women and offered them opportunities that the older fields did not… All these observations apply to the first woman to have achieved eminence in photography, and that is Julia Margaret Cameron… Born in 1815 in Calcutta into an upper-middle-class family and married to Charles Hay Cameron, a distinguished jurist and member of the Supreme Court of India, Julia Cameron was well-known as a brilliant conversationalist and a woman of personality and intellect who was unconventional to the point of eccentricity Although the mother of six children, she adopted several more and still found time to be active in social causes and literary activities After the Camerons settled in England in 1848 at Freshwater Bay on the Isle of Wight, she became the center of an artistic and literary circle that included such notable figures as the poet Alfred Lord Tennyson and the painter George Frederick Watts Pursuing numerous activities and taking care of her large family, Mrs Cameron might have been remembered as still another rather remarkable and colorful Victorian lady had it not been for the fact that, in 1863, her daughter presented her with photographic equipment, thinking her mother might enjoy taking pictures of her family and friends Although forty-eight years old, Mrs Cameron took up this new hobby with enormous enthusiasm and dedication She was a complete beginner, but within a very few years she developed into one of the greatest photographers of her period and a giant in the history of photography She worked ceaselessly as long as daylight lasted and mastered the technical processes of photography, at that time far more cumbersome than today, turning her [10] [15] [20] [25] [30] [35] [40] [45] [50] coal house into a darkroom and her chicken house into a studio To her, photography was a “divine art,” and in it she found her vocation In 1864, she wrote triumphantly under one of her photographs, “My First Success,” and from then until her death in Ceylon in 1874, she devoted herself wholly to this art Working in a large format (her portrait studies are usually about 11 inches by 14 inches) and requiring a long exposure (on the average five minutes), she produced a large body of work that stands up as one of the notable artistic achievements of the Victorian period The English art critic Roger Fry believed that her portraits were likely to outlive the works of artists who were her contemporaries Her friend Watts, then a very celebrated portrait painter, inscribed on one of her photographs, “I wish I could paint such a picture as this.” …Her work was widely exhibited, and she received gold, silver, and bronze medals in England, America, Germany, and Austria No other female artist of the nineteenth century achieved such acclaim, and no other woman photographer has ever enjoyed such success Her work falls into two main categories on which her contemporaries and people today differ sharply Victorian critics were particularly impressed by her allegorical pictures, many of them based on the poems of her friend and neighbor Tennyson Contemporary taste much prefers her portraits and finds her narrative scenes sentimental and sometimes in bad taste Yet, not only Julia Cameron, but also the painters of that time loved to depict subjects such as The Five Foolish Virgins or Pray God, Bring Father Safely Home Still, today her fame rests upon her portraits for, as she herself said, she was intent upon representing not only the outer likeness but [55] [60] [65] [70] [75] [80] [85] [90] also the inner greatness of the people she portrayed Working with the utmost dedication, she produced photographs of such eminent Victorians as Tennyson, Browning, Carlyle, Trollope, Longfellow, Watts, Darwin, Ellen Terry, Sir John Herschel, who was a close friend of hers, and Mrs Duckworth, the mother of Virginia Woolf [95] [100] 79 Which of the following conclusions can be reasonably drawn from the passage’s discussion of Julia Margaret Cameron? A B C D She was a traditional homemaker until she discovered photography Her work holds a significant place in the history of photography She was unable to achieve in her lifetime the artistic recognition she deserved Her eccentricity has kept her from being taken seriously by modern critics of photography 80 According to the passage, Cameron is most respected by modern critics for her: F portraits G allegorical pictures H use of a large format J service in recording the faces of so many twentieth century figures 81 The author uses which of the following methods to develop the second paragraph (lines 12-58)? A A series of anecdotes depicting Cameron’s energy and unconventionality B A presentation of factual data demonstrating Cameron’s importance in the history of photography C A description of the author’s personal acquaintance with Cameron D A chronological account of Cameron’s background and artistic growth 82 As it is used in the passage, cumbersome (line 50) most closely means: F G H J difficult to manage expensive intense enjoyable 83 When the author says that Cameron had found “her vocation” (lines 53-54), his main point is that photography: A offered Cameron an escape from the confines of conventional social life B became the main interest of her life C became her primary source of income D provided her with a way to express her religious beliefs 84 The main point of the third paragraph is that Cameron: F achieved great artistic success during her lifetime G is the greatest photographer that ever lived H was considered a more important artist during her lifetime than she is now J revolutionized photographic methods in the Victorian era 85 According to the passage, the art of photography offered women artists more opportunities than did other art forms because it: A did not require expensive materials B allowed the artist to use family and friends for subject matter C was non-traditional D required little artistic skill 86 The Five Foolish Virgins and Pray God, Bring Father Safely Home are examples of: F portraits of celebrated Victorians G allegorical subjects of the sort that were popular during the Victorian era H photographs in which Cameron sought to show a subject’s outer likeness and inner greatness J photographs by Cameron that were scoffed at by her contemporaries 87 According to the passage, which of the following opinions of Cameron’s work was held by Victorian critics but is NOT held by modern critics? A Photographs should be based on poems B Her portraits are too sentimental C Narrative scenes are often in bad taste D Her allegorical pictures are her best work 88 The author’s treatment of Cameron’s development as a photographer can best be described as: F admiring G condescending H neutral J defensive Passage XII HUMANITIES: The passage below is excerpted from Music Through the Ages by Elizabeth E Rogers and Clair Lingg (© 1987 by Elizabeth E Rogers and Clair Lingg Reprinted by permission of G.P Putnam’s Sons, New York) The passage provides information about two categories of instruments used by the ancient Greeks Greek instruments can be classified into two general categories—string and pipe, or lyre and aulos Our knowledge of them comes from representations on monuments, vases, statues, and friezes and from the testimony of Greek authors The lyre was the national instrument and included a wide variety of types In its most antique form, the chelys, it is traced back to the age of fable and allegedly owed its invention to Hermes Easy to carry, this small lyre became the favorite instrument of the home, amateurs, and women, a popular accompaniment for drinking songs and love songs as well as more noble kinds of poetry… Professional Homeric singers used a kithara, a larger, more powerful instrument, which probably came from Egypt The kithara had a flat wooden sound box and an upper horizontal bar supported by two curving arms Within this frame were stretched strings of equal length, at first but three or four in number Fastened to the performer by means of a sling, the kithara was played with both hands We are not sure in just what manner the instrument was used to accompany the epics It may have been employed for a pitch-fixing prelude and for interludes, or it may have paralleled or decorated the vocal melody in more or less free fashion …Two types of tuning were used: the dynamic, or pitch method, naming the degrees “according to function”; and the thetic, or tablature, naming them “according to position” on the instrument As early as the eighth century B.C., lyres of five strings appeared Terpander (fl c 675 B.C.), one of the first innovators, is said to have increased the number of strings to seven He is also supposed to have completed the octave and created the Mixolydian scale Aristoxenos claimed that the poet- [5] [10] [15] [20] [25] [30] [35] [40] ess Sappho, in the seventh century B.C., in addition to introducing a mode in which Dorian and Lydian characteristics were blended, initiated use of the plectrum or pick At the time of Sophocles (495-406 B.C.), the lyre had eleven strings Another harplike instrument was the magadis, whose tone was described as trumpetlike Of foreign importation, it had twenty strings, which, by means of frets, played octaves As some of the strings were tuned in quartertones, it was an instrument associated with the enharmonic mode Smaller versions, the pectis and the barbitos, were also tuned in quartertones Greek men and boys had a style of singing in octaves that was called magadizing, after the octave-playing instruments The kithara was identified with Apollo and the Apollonian cult, representing the intellectual and idealistic side of Greek art The aulos or reed pipe was the instrument of Dionysians, who represented the unbridled, sensual and passionate aspect of Greek culture Although translated as “flute,” the aulos is more like our oboe Usually found in double form, the pipes set at an angle, the aulos was imputed to have a far more exciting effect than that produced by the subdued lyre About 600 B.C., the aulos was chosen as the official instrument of the Delphian and Pythian festivals It was also used in performances of the Dionysian dithyramb as well as a supplement of the chorus in classic Greek tragedy and comedy There was a complete family of auloi covering the same range as human voices One authority names three species of simple pipes and five varieties of double pipes (The double pipe was the professional instrument.) An early specimen was sup- [45] [50] [55] [60] [65] [70] [75] [80] [85] posed to have been tuned to the chromatic tetrachord D, C sharp, B flat, A—a fact that points to Oriental origin Elegiac songs called aulodia were composed in this mode to be accompanied by an aulos Although the first wooden pipes had only three or four finger holes, the number later increased so that the Dorian, Phrygian and Lydian modes might be performed on a single pair Pictures of auletes show them with a bandage or phorbeia over their faces; this might have been necessary to hold the two pipes in place, to modulate the tone or, perhaps, to aid in storing air in the cheeks for the purpose of sustained performance [90] [95] [100] 89 The passage suggests that the aulos was considered “the instrument of the Dionysians” (lines 65-66) because: A it expressed the excitement and passion of that aspect of Greek culture B it was chosen as the official instrument of the Delphian and Pythian festivals C it represented the intellectual and idealistic side of Greek art D it was invented around the time that the Dionysian cult originated 90 The statement that the chelys can be “traced back to the age of fable” (line 9) implies that the chelys: F was invented by storytellers G was used to accompany the epics H probably existed in legend only J was a particularly ancient instrument 91 The main purpose of the passage is to describe the: A use of the lyre in different musical settings B connection between the ancient Greek arts of music and drama C references to music in ancient Greek literature D origin and development of various Greek instruments 92 According to the passage, the kithara was: F G H J most likely of Greek origin played with one hand used by professional musicians less powerful than a chelys 93 Which of the following is NOT cited as a change that occurred to the lyre between the eighth and fifth centuries B.C.? A B C D Musicians began to use a plectrum Lyres featured increasing numbers of strings Musicians began to use different scales and modes Lyres were used to accompany dramatic productions 94 It can be inferred from the passage that the chromatic tetrachord D, C sharp, B flat, A (line 87) was: F not appropriate for elegaic songs G only used by professional musicians H impossible on the first wooden pipes J present in ancient Oriental music 95 According to the passage, the most ancient form of the lyre was called a: A B C D magadis kithara chelys barbitos 96 According to the passage, one of Sappho’s contributions to ancient Greek music was that she: F completed the octave and created the Myxolydian scale G introduced a mode blending Dorian and Lydian characteristics H incorporated poetry into recitals of lyre music J helped increase the number of strings on the lyre 97 According to the passage, which of the following is/are characteristic of the aulos? A B C D I -It was used in performances of the Dionysian dithyramb II -It sounded more exciting than the lyre III -It resembles the modern-day flute more than it does the oboe I only I and II only II and III only I, II, and III 98 Which of the following does the passage suggest is true about our knowledge of ancient Greek instruments? F Our knowledge is dependent on secondary sources G Little is known about how instruments were tuned H Very few pictures of ancient Greek instruments have survived J More is known about string instruments than about pipe instruments  ... the poet- [5] [10] [15] [20] [25] [30 ] [35 ] [40] ess Sappho, in the seventh century B.C., in addition to introducing a mode in which Dorian and Lydian characteristics were blended, initiated... players often improvised simple and, at times, vulgar words to fit the [5] [10] [15] [20] [25] [30 ] [35 ] melodies This was the beginning of the ragtime song… Classically-trained American musicians,... contemporary tunes 72 It is most likely that the author refers to “the theory of the universe” (line 33 ) in order to: F emphasize that ragtime at its inception was an unconventional musical form G