Admission Test Certification GRE-Verbal

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Admission Test GRE-Verbal Exam Syllabus Topics:

Admission Test Section One : Verbal Sample Questions:

1. DRIP : GUSH

A) stream : tributary
B) bend : angle
C) cry : laugh
D) curl : roll
E) dent : destroy

2. Always read the meter dials from the right to the left. This procedure is much easier, especially if any of
the dial hands are near the zero mark. If the meter has two dials, and one is smaller than the other, it is
not imperative to read the smaller dial since it only registers a small amount. Read the dial at the right first.
As the dial turns clockwise, always record the figure the pointer has just passed. Read the next dial to the
left and record the figure it has just passed. Continue recording the figures on the dials from right to left.
When finished, mark off the number of units recorded. Dials on water and gas meters usually indicate the
amount each dial records.
As you read the first dial, record the figures

A) at the top
B) the pointer has just passed
C) the pointer is approaching
D) on the smaller dial
E) at the bottom

3. 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.
Which of the following is the most appropriate title for the passage?

A) "How Far Should Early Music Extend?"
B) "Performance Practice: The Legacy of the German Collegium Musicum"
C) "Competing Views on the Necessity of Historical Knowledge for Inspired Musical Tradition"
D) "Unannotated Performing Traditions of the Eighteenth and Twentieth Centuries"
E) "Performance Practice and New Interpretations of the Viennese Classics"

4. Many great inventions are greeted with ridicule and disbelief. The invention of the airplane was no
exception. Although many people who heard about the first powered flight on December 17,1903, were
excited and impressed, others reacted with peals of laughter. The idea of flying an aircraft was repulsive
to some people. Such people called Wilbur and Orville Wright, the inventors of the first flying machine,
impulsive fools.
Negative reactions, however, did not stop the Wrights. Impelled by their desire to succeed, they continued
their experiments in aviation. Orville and Wilbur Wright had always had a compelling interest in
aeronautics and mechanics. As young boys they earned money by making and selling kites and
mechanical toys. Later, they designed a newspaper-folding machine, built a printing press, and operated
a bicycle-repair shop. In 1896, when they read about the death of Otto Lilienthal, the brother's interest in
flight grew into a compulsion. Lilienthal, a pioneer in hang-gliding, had controlled his gliders by shifting his
body in the desired direction. This idea was repellent to the Wright brothers, however, and they searched
for more efficient methods to control the balance of airborne vehicles. In 1900 and 1901, the Wrights
tested numerous gliders and developed control techniques. The brothers' inability to obtain enough lift
power for the gliders almost led them to abandon their efforts. After further study, the Wright brothers
concluded that the published tables of air pressure on curved surfaces must be wrong.
They set up a wind tunnel and began a series of experiments with model wings. Because of their efforts,
the old tables were repealed in time and replaced by the first reliable figures for air pressure on curved
surfaces. This work, in turn, made it possible for them to design a machine that would fly. In 1903 the
Wrights built their first airplane, which cost less than one thousand dollars. They even designed and built
their own source of propulsion- a lightweight gasoline engine. When they started the engine on December
1 7, the airplane pulsated wildly before taking off. The plane managed to stay aloft for twelve seconds,
however, and it flew one hundred twenty feet. By 1905 the Wrights had perfected the first airplane that
could turn, circle, and remain airborne for half an hour at a time. Others had flown in balloons or in hang
gliders, but the Wright brothers were the first to build a full-size machine that could fly under its own power.
As the contributors of one of the most outstanding engineering achievements in history, the Wright
brothers are accurately called the fathers of aviation.
The Wrights designed and built their own source of ____.

A) force to going backward
B) turning
C) force for turning around
D) none of the above
E) force for moving forward

5. In the United States, the development of sociology was not _______ controversies; rather, it emerged
from social experience, hence the relatively _______ approach among American sociologists to
identifying and solving social problems.

A) sparked by social . . experimental
B) challenged by academic . .theoretical
C) stimulated by ideological .empirical
D) impeded by political . . academic
E) hindered by petty . . controversial

Solutions: