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Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 35 to 42.
It may seem as if the art of music by its nature would not lend itself to the exploration and expression of reality characteristic of Romanticism, but that is not so. True, music does not tell stories or paint pictures, but it stirs feelings and evokes moods, through both of which various kinds of reality can be suggested or expressed. It was in the rationalist 18"1 century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally tailed, and the Romanticists profited from the error. Their discovery of new realms of experience proved communicable in the first place because they were in touch with the spirit of renovation, particularly through poetry. What Goethe meant to Beethoven and Berlioz and what Gennan folk tales and contemporary lyricists meant to Weber, Schumann, and Schubert are familiar to all who are acquainted with the music of these men.
There is, of course, no way to demonstrate that Beethoven’s Egrnont music or, indeed, its overture alone corresponds to Goethe’s drama and thereby enlarges the hearer’s consciousness of it; but it cannot be an accident or an aberration that the greatest composers of the period employed the resources of their art for the creation of works expressly related to such lyrical and dramatic subjects. Similarly, the love of nature stirred Beethoven, Weber, and Berlioz, and here too the correspondence is felt and persuades the fit listener that his own experience is being expanded. The words of-the creators themselves record this new comprehensiveness. Beethoven referred to his activity of mingled contemplation and composition as dichten, making a poem; and Berlioz tells in his Memoires of the impetus given to his genius by the music of Beethoven and Weber, by the poetry of Goethe and Shakespeare, and not least by the spectacle of nature. Nor did the public that ultimately understood their works gainsay their claims.
It must be added that the Romantic musicians including Chopin, Mendelssohn, Glinka, and Liszt-had at their disposal greatly improved instruments. The beginning of the 19th century produced the modem piano, of greater range and dynamics than theretfore, and made all wind instruments more exact and powerful by the use of keys and valves. The modem full orchestra was the result. Berlioz, whose classic treatise on instrumentation and orchestration helped to give it definitive form, was also the first to exploit its resources to the full, in the Symphonic fantastique of 1830. This work, besides its technical significance just mentioned, can also be regarded as uniting the characteristics of Romanticism in music, it is both lyrical and dramatic, and, although it makes use of a “story,” that use is not to describe the scenes but to connect them; its slow movement is a “nature poem” in the Beethovenian manner; the second, fourth, and fifth movements include “realistic” detail of the most vivid kind; and the opening one is an introspective reverie.
According to the passage, Romanticism in music extended over _________.
Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 35 to 42.
It may seem as if the art of music by its nature would not lend itself to the exploration and expression of reality characteristic of Romanticism, but that is not so. True, music does not tell stories or paint pictures, but it stirs feelings and evokes moods, through both of which various kinds of reality can be suggested or expressed. It was in the rationalist 18"1 century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally tailed, and the Romanticists profited from the error. Their discovery of new realms of experience proved communicable in the first place because they were in touch with the spirit of renovation, particularly through poetry. What Goethe meant to Beethoven and Berlioz and what Gennan folk tales and contemporary lyricists meant to Weber, Schumann, and Schubert are familiar to all who are acquainted with the music of these men.
There is, of course, no way to demonstrate that Beethoven’s Egrnont music or, indeed, its overture alone corresponds to Goethe’s drama and thereby enlarges the hearer’s consciousness of it; but it cannot be an accident or an aberration that the greatest composers of the period employed the resources of their art for the creation of works expressly related to such lyrical and dramatic subjects. Similarly, the love of nature stirred Beethoven, Weber, and Berlioz, and here too the correspondence is felt and persuades the fit listener that his own experience is being expanded. The words of-the creators themselves record this new comprehensiveness. Beethoven referred to his activity of mingled contemplation and composition as dichten, making a poem; and Berlioz tells in his Memoires of the impetus given to his genius by the music of Beethoven and Weber, by the poetry of Goethe and Shakespeare, and not least by the spectacle of nature. Nor did the public that ultimately understood their works gainsay their claims.
It must be added that the Romantic musicians including Chopin, Mendelssohn, Glinka, and Liszt-had at their disposal greatly improved instruments. The beginning of the 19th century produced the modem piano, of greater range and dynamics than theretfore, and made all wind instruments more exact and powerful by the use of keys and valves. The modem full orchestra was the result. Berlioz, whose classic treatise on instrumentation and orchestration helped to give it definitive form, was also the first to exploit its resources to the full, in the Symphonic fantastique of 1830. This work, besides its technical significance just mentioned, can also be regarded as uniting the characteristics of Romanticism in music, it is both lyrical and dramatic, and, although it makes use of a “story,” that use is not to describe the scenes but to connect them; its slow movement is a “nature poem” in the Beethovenian manner; the second, fourth, and fifth movements include “realistic” detail of the most vivid kind; and the opening one is an introspective reverie.
All of the following are true about the Symphonic fantastique EXCEPT _________.
Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 35 to 42.
It may seem as if the art of music by its nature would not lend itself to the exploration and expression of reality characteristic of Romanticism, but that is not so. True, music does not tell stories or paint pictures, but it stirs feelings and evokes moods, through both of which various kinds of reality can be suggested or expressed. It was in the rationalist 18"1 century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally tailed, and the Romanticists profited from the error. Their discovery of new realms of experience proved communicable in the first place because they were in touch with the spirit of renovation, particularly through poetry. What Goethe meant to Beethoven and Berlioz and what Gennan folk tales and contemporary lyricists meant to Weber, Schumann, and Schubert are familiar to all who are acquainted with the music of these men.
There is, of course, no way to demonstrate that Beethoven’s Egrnont music or, indeed, its overture alone corresponds to Goethe’s drama and thereby enlarges the hearer’s consciousness of it; but it cannot be an accident or an aberration that the greatest composers of the period employed the resources of their art for the creation of works expressly related to such lyrical and dramatic subjects. Similarly, the love of nature stirred Beethoven, Weber, and Berlioz, and here too the correspondence is felt and persuades the fit listener that his own experience is being expanded. The words of-the creators themselves record this new comprehensiveness. Beethoven referred to his activity of mingled contemplation and composition as dichten, making a poem; and Berlioz tells in his Memoires of the impetus given to his genius by the music of Beethoven and Weber, by the poetry of Goethe and Shakespeare, and not least by the spectacle of nature. Nor did the public that ultimately understood their works gainsay their claims.
It must be added that the Romantic musicians including Chopin, Mendelssohn, Glinka, and Liszt-had at their disposal greatly improved instruments. The beginning of the 19th century produced the modem piano, of greater range and dynamics than theretfore, and made all wind instruments more exact and powerful by the use of keys and valves. The modem full orchestra was the result. Berlioz, whose classic treatise on instrumentation and orchestration helped to give it definitive form, was also the first to exploit its resources to the full, in the Symphonic fantastique of 1830. This work, besides its technical significance just mentioned, can also be regarded as uniting the characteristics of Romanticism in music, it is both lyrical and dramatic, and, although it makes use of a “story,” that use is not to describe the scenes but to connect them; its slow movement is a “nature poem” in the Beethovenian manner; the second, fourth, and fifth movements include “realistic” detail of the most vivid kind; and the opening one is an introspective reverie.
Romanticism in music is characterized as being _________.
Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 35 to 42.
It may seem as if the art of music by its nature would not lend itself to the exploration and expression of reality characteristic of Romanticism, but that is not so. True, music does not tell stories or paint pictures, but it stirs feelings and evokes moods, through both of which various kinds of reality can be suggested or expressed. It was in the rationalist 18"1 century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally tailed, and the Romanticists profited from the error. Their discovery of new realms of experience proved communicable in the first place because they were in touch with the spirit of renovation, particularly through poetry. What Goethe meant to Beethoven and Berlioz and what Gennan folk tales and contemporary lyricists meant to Weber, Schumann, and Schubert are familiar to all who are acquainted with the music of these men.
There is, of course, no way to demonstrate that Beethoven’s Egrnont music or, indeed, its overture alone corresponds to Goethe’s drama and thereby enlarges the hearer’s consciousness of it; but it cannot be an accident or an aberration that the greatest composers of the period employed the resources of their art for the creation of works expressly related to such lyrical and dramatic subjects. Similarly, the love of nature stirred Beethoven, Weber, and Berlioz, and here too the correspondence is felt and persuades the fit listener that his own experience is being expanded. The words of-the creators themselves record this new comprehensiveness. Beethoven referred to his activity of mingled contemplation and composition as dichten, making a poem; and Berlioz tells in his Memoires of the impetus given to his genius by the music of Beethoven and Weber, by the poetry of Goethe and Shakespeare, and not least by the spectacle of nature. Nor did the public that ultimately understood their works gainsay their claims.
It must be added that the Romantic musicians including Chopin, Mendelssohn, Glinka, and Liszt-had at their disposal greatly improved instruments. The beginning of the 19th century produced the modem piano, of greater range and dynamics than theretfore, and made all wind instruments more exact and powerful by the use of keys and valves. The modem full orchestra was the result. Berlioz, whose classic treatise on instrumentation and orchestration helped to give it definitive form, was also the first to exploit its resources to the full, in the Symphonic fantastique of 1830. This work, besides its technical significance just mentioned, can also be regarded as uniting the characteristics of Romanticism in music, it is both lyrical and dramatic, and, although it makes use of a “story,” that use is not to describe the scenes but to connect them; its slow movement is a “nature poem” in the Beethovenian manner; the second, fourth, and fifth movements include “realistic” detail of the most vivid kind; and the opening one is an introspective reverie.
The Romantic musicians also made use of modem technologies such as _________.
Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 35 to 42.
It may seem as if the art of music by its nature would not lend itself to the exploration and expression of reality characteristic of Romanticism, but that is not so. True, music does not tell stories or paint pictures, but it stirs feelings and evokes moods, through both of which various kinds of reality can be suggested or expressed. It was in the rationalist 18"1 century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally tailed, and the Romanticists profited from the error. Their discovery of new realms of experience proved communicable in the first place because they were in touch with the spirit of renovation, particularly through poetry. What Goethe meant to Beethoven and Berlioz and what Gennan folk tales and contemporary lyricists meant to Weber, Schumann, and Schubert are familiar to all who are acquainted with the music of these men.
There is, of course, no way to demonstrate that Beethoven’s Egrnont music or, indeed, its overture alone corresponds to Goethe’s drama and thereby enlarges the hearer’s consciousness of it; but it cannot be an accident or an aberration that the greatest composers of the period employed the resources of their art for the creation of works expressly related to such lyrical and dramatic subjects. Similarly, the love of nature stirred Beethoven, Weber, and Berlioz, and here too the correspondence is felt and persuades the fit listener that his own experience is being expanded. The words of-the creators themselves record this new comprehensiveness. Beethoven referred to his activity of mingled contemplation and composition as dichten, making a poem; and Berlioz tells in his Memoires of the impetus given to his genius by the music of Beethoven and Weber, by the poetry of Goethe and Shakespeare, and not least by the spectacle of nature. Nor did the public that ultimately understood their works gainsay their claims.
It must be added that the Romantic musicians including Chopin, Mendelssohn, Glinka, and Liszt-had at their disposal greatly improved instruments. The beginning of the 19th century produced the modem piano, of greater range and dynamics than theretfore, and made all wind instruments more exact and powerful by the use of keys and valves. The modem full orchestra was the result. Berlioz, whose classic treatise on instrumentation and orchestration helped to give it definitive form, was also the first to exploit its resources to the full, in the Symphonic fantastique of 1830. This work, besides its technical significance just mentioned, can also be regarded as uniting the characteristics of Romanticism in music, it is both lyrical and dramatic, and, although it makes use of a “story,” that use is not to describe the scenes but to connect them; its slow movement is a “nature poem” in the Beethovenian manner; the second, fourth, and fifth movements include “realistic” detail of the most vivid kind; and the opening one is an introspective reverie.
The passage indicates that the Romanticist composers were inspired not only by lyrical and dramatic subjects but also by _________.
Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 35 to 42.
It may seem as if the art of music by its nature would not lend itself to the exploration and expression of reality characteristic of Romanticism, but that is not so. True, music does not tell stories or paint pictures, but it stirs feelings and evokes moods, through both of which various kinds of reality can be suggested or expressed. It was in the rationalist 18"1 century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally tailed, and the Romanticists profited from the error. Their discovery of new realms of experience proved communicable in the first place because they were in touch with the spirit of renovation, particularly through poetry. What Goethe meant to Beethoven and Berlioz and what Gennan folk tales and contemporary lyricists meant to Weber, Schumann, and Schubert are familiar to all who are acquainted with the music of these men.
There is, of course, no way to demonstrate that Beethoven’s Egrnont music or, indeed, its overture alone corresponds to Goethe’s drama and thereby enlarges the hearer’s consciousness of it; but it cannot be an accident or an aberration that the greatest composers of the period employed the resources of their art for the creation of works expressly related to such lyrical and dramatic subjects. Similarly, the love of nature stirred Beethoven, Weber, and Berlioz, and here too the correspondence is felt and persuades the fit listener that his own experience is being expanded. The words of-the creators themselves record this new comprehensiveness. Beethoven referred to his activity of mingled contemplation and composition as dichten, making a poem; and Berlioz tells in his Memoires of the impetus given to his genius by the music of Beethoven and Weber, by the poetry of Goethe and Shakespeare, and not least by the spectacle of nature. Nor did the public that ultimately understood their works gainsay their claims.
It must be added that the Romantic musicians including Chopin, Mendelssohn, Glinka, and Liszt-had at their disposal greatly improved instruments. The beginning of the 19th century produced the modem piano, of greater range and dynamics than theretfore, and made all wind instruments more exact and powerful by the use of keys and valves. The modem full orchestra was the result. Berlioz, whose classic treatise on instrumentation and orchestration helped to give it definitive form, was also the first to exploit its resources to the full, in the Symphonic fantastique of 1830. This work, besides its technical significance just mentioned, can also be regarded as uniting the characteristics of Romanticism in music, it is both lyrical and dramatic, and, although it makes use of a “story,” that use is not to describe the scenes but to connect them; its slow movement is a “nature poem” in the Beethovenian manner; the second, fourth, and fifth movements include “realistic” detail of the most vivid kind; and the opening one is an introspective reverie.
It is stated in the passage that the Romanticists were influenced by _________.
Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 35 to 42.
It may seem as if the art of music by its nature would not lend itself to the exploration and expression of reality characteristic of Romanticism, but that is not so. True, music does not tell stories or paint pictures, but it stirs feelings and evokes moods, through both of which various kinds of reality can be suggested or expressed. It was in the rationalist 18"1 century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally tailed, and the Romanticists profited from the error. Their discovery of new realms of experience proved communicable in the first place because they were in touch with the spirit of renovation, particularly through poetry. What Goethe meant to Beethoven and Berlioz and what Gennan folk tales and contemporary lyricists meant to Weber, Schumann, and Schubert are familiar to all who are acquainted with the music of these men.
There is, of course, no way to demonstrate that Beethoven’s Egrnont music or, indeed, its overture alone corresponds to Goethe’s drama and thereby enlarges the hearer’s consciousness of it; but it cannot be an accident or an aberration that the greatest composers of the period employed the resources of their art for the creation of works expressly related to such lyrical and dramatic subjects. Similarly, the love of nature stirred Beethoven, Weber, and Berlioz, and here too the correspondence is felt and persuades the fit listener that his own experience is being expanded. The words of-the creators themselves record this new comprehensiveness. Beethoven referred to his activity of mingled contemplation and composition as dichten, making a poem; and Berlioz tells in his Memoires of the impetus given to his genius by the music of Beethoven and Weber, by the poetry of Goethe and Shakespeare, and not least by the spectacle of nature. Nor did the public that ultimately understood their works gainsay their claims.
It must be added that the Romantic musicians including Chopin, Mendelssohn, Glinka, and Liszt-had at their disposal greatly improved instruments. The beginning of the 19th century produced the modem piano, of greater range and dynamics than theretfore, and made all wind instruments more exact and powerful by the use of keys and valves. The modem full orchestra was the result. Berlioz, whose classic treatise on instrumentation and orchestration helped to give it definitive form, was also the first to exploit its resources to the full, in the Symphonic fantastique of 1830. This work, besides its technical significance just mentioned, can also be regarded as uniting the characteristics of Romanticism in music, it is both lyrical and dramatic, and, although it makes use of a “story,” that use is not to describe the scenes but to connect them; its slow movement is a “nature poem” in the Beethovenian manner; the second, fourth, and fifth movements include “realistic” detail of the most vivid kind; and the opening one is an introspective reverie.
The word “error” in paragraph 1 refers to _________.
Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 35 to 42.
Being aware of one’s own emotions - recognizing and acknowledging feelings as they happen - is at the very heart of Emotional Intelligence. And this awareness encompasses not only moods but also thoughts about those moods. People who are able to monitor their feelings as they arise are less likely to be ruled by them and are thus better able to manage their emotions.
Managing emotions does not mean suppressing them; nor does it mean giving free rein to every feeling. Psychologist Daniel Goleman, one of several authors who have popularized the notion of Emotional Intelligence, insisted that the goal is balance and that every feeling has value and significance. As Goleman said, “A life without passion would be a dull wasteland of neutrality, cut off and isolated from the richness of life itself.” Thus, we manage our emotions by expressing them in an appropriate manner. Emotions can also be managed by engaging in activities that cheer us up, soothe our hurts, or reassure us when we feel anxious.
Clearly, awareness and management of emotions are not independent. For instance, you might think that individuals who seem to experience their feelings more intensely than others would be less able to manage them. However, a critical component of awareness of emotions is the ability to assign meaning to them - to know why we are experiencing a particular feeling or mood. Psychologists have found that, among individuals who experience intense emotions, individual differences in the ability to assign meaning to those feelings predict differences in the ability to manage them. In other words, if two individuals are intensely angry, the one who is better able to 'understand why he or she is angry will also be better able to manage the anger.
Self-motivation refers to strong emotional self-control, which enables a person to get moving and pursue worthy goals, persist at tasks even when frustrated, and resist the temptation to act on impulse. Resisting impulsive behavior is, according to Goleman, “the root of all emotional self-control.”
Of all the attributes of Emotional Intelligence, the ability to postpone immediate gratification and to persist in working toward some greater future gain is most closely related to success - whether one is trying to build a business, get a college degree, or even stay on a diet. One researcher examined whether this trait can predict a child’s success in school. The study showed that 4-year- old children who can delay instant gratification in order to advance toward some future goal will be “far superior as students” when they graduate from high school than will 4-year-olds who are not able to resist the impulse to satisfy their immediate wishes.
The word “critical” in paragraph 3 is closest in meaning to _____________ .
Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 35 to 42.
It may seem as if the art of music by its nature would not lend itself to the exploration and expression of reality characteristic of Romanticism, but that is not so. True, music does not tell stories or paint pictures, but it stirs feelings and evokes moods, through both of which various kinds of reality can be suggested or expressed. It was in the rationalist 18"1 century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally tailed, and the Romanticists profited from the error. Their discovery of new realms of experience proved communicable in the first place because they were in touch with the spirit of renovation, particularly through poetry. What Goethe meant to Beethoven and Berlioz and what Gennan folk tales and contemporary lyricists meant to Weber, Schumann, and Schubert are familiar to all who are acquainted with the music of these men.
There is, of course, no way to demonstrate that Beethoven’s Egrnont music or, indeed, its overture alone corresponds to Goethe’s drama and thereby enlarges the hearer’s consciousness of it; but it cannot be an accident or an aberration that the greatest composers of the period employed the resources of their art for the creation of works expressly related to such lyrical and dramatic subjects. Similarly, the love of nature stirred Beethoven, Weber, and Berlioz, and here too the correspondence is felt and persuades the fit listener that his own experience is being expanded. The words of-the creators themselves record this new comprehensiveness. Beethoven referred to his activity of mingled contemplation and composition as dichten, making a poem; and Berlioz tells in his Memoires of the impetus given to his genius by the music of Beethoven and Weber, by the poetry of Goethe and Shakespeare, and not least by the spectacle of nature. Nor did the public that ultimately understood their works gainsay their claims.
It must be added that the Romantic musicians including Chopin, Mendelssohn, Glinka, and Liszt-had at their disposal greatly improved instruments. The beginning of the 19th century produced the modem piano, of greater range and dynamics than theretfore, and made all wind instruments more exact and powerful by the use of keys and valves. The modem full orchestra was the result. Berlioz, whose classic treatise on instrumentation and orchestration helped to give it definitive form, was also the first to exploit its resources to the full, in the Symphonic fantastique of 1830. This work, besides its technical significance just mentioned, can also be regarded as uniting the characteristics of Romanticism in music, it is both lyrical and dramatic, and, although it makes use of a “story,” that use is not to describe the scenes but to connect them; its slow movement is a “nature poem” in the Beethovenian manner; the second, fourth, and fifth movements include “realistic” detail of the most vivid kind; and the opening one is an introspective reverie.
Music can suggest or express various kinds of reality by _________.
Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 28 to 34.
Very few people in the modem world obtain their food supply by hunting and gathering in the natural environment surrounding their homes. This method of harvesting from nature s provision is the oldest subsistence strategy, and has been practiced for at least two million years. It was, indeed, the only way to obtain food until rudimentary farming and the domestication of animals were introduced about 10,000 years ago.
Because hunter-gathers have fared poorly in comparison with their agricultural cousins, their numbers have dwindled, and they have been forced to live in marginal environments such as deserts forests or arctic wasteland. In higher latitudes, the shorter growing season has restricted the availability of plant life. Such conditions have caused a greater independence on hunting, and along the coasts and waterways, on fishing. The abundance of vegetation in the lower latitudes of the tropics, on the other hand, has provided a greater opportunity for gathering a variety of plants. In short, the environmental differences have restricted the diet and have limited possibilities for the development of subsistence societies. Contemporary hunter-gathers may help us understand our prehistoric ancestors. We know from observation of modem hunter- gathers in both Africa and Alaska that society based on hunting and gathering must be very mobile. While the entire community camps in a central location, a smaller party harvests the food within a reasonable distance from the camp. When the food in the area is exhausted, the community moves on to exploit another site. We also notice a seasonal migration on pattern evolving for most hunter gathers, along with a restrict division of labor between sexes. These patterns of behavior may be similar to those practiced by mankind during the Paleolithic Period.
Which of the following is not true according the passage?
Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 28 to 34.
Very few people in the modem world obtain their food supply by hunting and gathering in the natural environment surrounding their homes. This method of harvesting from nature s provision is the oldest subsistence strategy, and has been practiced for at least two million years. It was, indeed, the only way to obtain food until rudimentary farming and the domestication of animals were introduced about 10,000 years ago.
Because hunter-gathers have fared poorly in comparison with their agricultural cousins, their numbers have dwindled, and they have been forced to live in marginal environments such as deserts forests or arctic wasteland. In higher latitudes, the shorter growing season has restricted the availability of plant life. Such conditions have caused a greater independence on hunting, and along the coasts and waterways, on fishing. The abundance of vegetation in the lower latitudes of the tropics, on the other hand, has provided a greater opportunity for gathering a variety of plants. In short, the environmental differences have restricted the diet and have limited possibilities for the development of subsistence societies. Contemporary hunter-gathers may help us understand our prehistoric ancestors. We know from observation of modem hunter- gathers in both Africa and Alaska that society based on hunting and gathering must be very mobile. While the entire community camps in a central location, a smaller party harvests the food within a reasonable distance from the camp. When the food in the area is exhausted, the community moves on to exploit another site. We also notice a seasonal migration on pattern evolving for most hunter gathers, along with a restrict division of labor between sexes. These patterns of behavior may be similar to those practiced by mankind during the Paleolithic Period.
How cun we know more about the hunter- gathers of prehistoric time?
Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 28 to 34.
One of the most difficult questions to answer is how much a job is worth. We naturally expect that a doctor’s salary will be higher than a bus conductor’s wage. But the question becomes much more difficult to answer when we compare, say, a miner with an engineer, or an unskilled man working on an oil-rig in the North Sea with a teacher in a secondary school. What the doctor, the engineer and teacher have is many years of training in order to obtain the necessary qualifications for their professions. We feel instinctively that these skills and these years, when they were studying instead of earning money, should be rewarded. At the same time we recognize that the work of the miner and the oil-rig laborer is both hard and dangerous, and that they must be highly paid for the risks they take.
Another factor we must take into consideration is how socially useful a man’s work is, regardless of the talents he may bring to it. Most people would agree that looking after the sick or teaching children is more important than, say, selling secondhand cars or improving the taste of toothpaste by adding a red stripe to it. Yet it is almost certain that the used car salesman earns more than the nurse, and that research chemist earns more than the schoolteacher.
Indeed, this whole question of just rewards can be turned on its head. You can argue that a man who does a job which brings him personal satisfaction is already receiving part of his reward in the form of a so-called “psychic wage”, and that it is the man with the boring, repetitive job who needs more money to make up for the soul-destroying monotony of his work. It is significant that that those jobs which are traditionally regarded as “vocations” - nursing, teaching and the Church, for example - continue to be poorly paid, while others, such as those in the world of sport or entertainment, carry financial rewards out of all proportion to their social worth.
Although the amount of money that people earn is in reality largely determined by market forces, this should not prevent us from seeking some way to decide what is the right pay for the job. A starting point for such an investigation would be to try to decide the ratio which ought to exist between the highest and the lowest paid. The picture is made more complicate by two factors: firstly by the “social wage”, i.e, the welfare benefits which every citizen receives; and secondly, by the taxation system, which is often used as an instrument of social justice by taxing high incomes at a very high rate indeed. Allowing for these two things, most countries now regard a ratio of 7:1 as socially acceptable. If it is less, the highly-qualified people carrying heavy responsibilities become disillusioned, and might even end up by emigration (the so-called “brain-drain” is an evidence that this can happen). If it is more, the gap between rich and poor will be so great that it will lead social tensions and ultimately to violence.
(Adapted from: "How much is job worth? ")
The word “ultimately” in the final paragraph is closest in meaning to ,