Question

whim. some friend; more like an adversary, you might
80 say.

or is the violin my partner? a woman once went
backstage to congratulate the great violinist jascha
heifetz after a concert. “what a wonderful sound your
violin has, mr. heifetz!” she exclaimed. heifetz leaned
85 over his violin that lay in its open case, listened intently
for a moment, and said, “funny, i don’t hear a thing.”
my violin also lies mute in its case without me—but, on
the other hand, i stand mute on the concert stage with-
out it.

1. in passage a, the parenthetical information in line 19

and lines 21–23 mainly serves to:
a. specify how luc identified certain aspects of a
piano’s history.
b. portray luc as overly judgmental about piano
transportation.
c. describe the types of rules that visitors to luc’s
shop were required to follow.
d. indicate some of luc’s firm beliefs about piano
care.

1. based on the assertion in passage a that luc’s “atti-

tude about how people treated their pianos seemed to
mirror his philosophy of life” (lines 25–26), which of
the following statements would most nearly describe
luc’s philosophy of life?
f. it’s better to live a full and imperfect life than not
participate because something might go wrong.
g. life is a fragile gift that must be cherished and
kept safe at all times.
h. living well is like playing the piano well; it
requires dedication and practice.
j. it’s important not to take life’s opportunities for
granted because they may not come a second time.

1. as it is used in line 32, the phrase bit into most nearly

means:
a. pinched.
b. ingested.
c. marred.
d. severed.

1. in the third paragraph of passage b (lines 61–65), the

author most clearly shifts from:
f. making an argument against musicians selling
their instruments to using evidence from his life to
support that argument.
g. introducing musicians he admires to explaining
why he hopes people admire him as a musician.
h. examining his own emotions about his violin to
explaining why musicians must develop a partner-
ship with their instruments.
j. discussing the connection between other musicians
and their instruments to pondering his own con-
nection with his violin.

1. in passage b, the statement that lifshey “was not

merely an excellent oboist; he was a great artist”
(lines 44–45) can best be described as:
a. a fact supported by details about lifshey’s career.
b. a fact confirmed by experts quoted in the passage.
c. an opinion that the author attributes to lifshey’s
colleagues and students.
d. an opinion that the author asserts but does not
explain.

1. in passage b, it can most reasonably be inferred that

heifetz’s response to the woman who congratulates
him is intended to point out that:
f. the woman hears heifetz’s violin differently than
heifetz does.
g. the woman isn’t qualified to judge the quality of
heifetz’s violin.
h. heifetz enjoyed the woman’s humorous comment.
j. heifetz’s violin doesn’t make sounds by itself.

1. in passage b, the author most directly indicates that

the violin is sometimes an adversary by stating that it:
a. lies mute in its case.
b. makes him adjust to its whims.
c. responds with a range of emotion.
d. can’t speak with words.

1. compared to passage a, passage b is more directly

focused on the:
f. damage a musician can do to an instrument.
g. characteristics of an instrument that give clues to
its history.
h. interdependence between musicians and instrument.
j. benefits of making instruments available to young
children.

1. in contrast to the way the pianos are described in pas-

sage a, the passage author’s violin in passage b is
described as:
a. exhibiting unique characteristics.
b. having an active personality of its own.
c. sustaining damage from careless children.
d. being important to daily life.

1. which of the following assertions about instruments is

most strongly supported by details provided in both
passage a and passage b?
f. familiarity with your instrument is an important
part of the joy of playing music.
g. instruments should be revered and never treated
like furniture.
h. selling your instrument shows disrespect for the
music you have made together.
j. maintaining proper humidity levels is essential to
preserving an instrument.

Answer:

To solve these reading comprehension questions, we analyze each one based on the passages (even though the full passages aren't provided, we use the context from the questions):

Question 1

• Analysis: The parenthetical information in Passage A (line 19 and lines 21 - 23) is about Luc's beliefs on piano care. Option D says it indicates some of Luc’s firm beliefs about piano care, which matches the purpose of parenthetical info (providing details on beliefs). Other options: A is wrong as it's not about piano history identification; B is wrong (not judgmental about transport); C is wrong (not about visitor rules).
• Answer: D

Question 2

• Analysis: Luc’s attitude towards piano care (not over - protecting, letting it be used) mirrors a philosophy of living fully even with risks. Option F: “It’s better to live a full and imperfect life than not participate because something might go wrong” matches. G is about cherishing life as fragile (not about taking risks); H is about piano - like dedication (not matching); J is about seizing opportunities (not the focus here).
• Answer: F

Question 3

• Analysis: The phrase “bit into” in line 32. We need a synonym. “Marred” (option C) means damaged or affected, which fits the context of the piano being affected (maybe by use or time). “Pinched” (A) is physical squeezing; “Ingested” (B) is eating; “Severed” (D) is cutting off.
• Answer: C

Question 4

• Analysis: In Passage B's third paragraph (lines 61 - 65), the author shifts from discussing other musicians and their instruments to his own connection with his violin. Option J: “Discussing the connection between other musicians and their instruments to pondering his own connection with his violin” matches. F is about arguing against selling (not the shift); G is about introducing admired musicians (not the main shift); H is about emotions about violin (not the shift).
• Answer: J

Question 5

• Analysis: The statement about Lifshey is an opinion the author asserts (says he was a great artist, not just an oboist) but doesn't explain. Option D: “an opinion that the author asserts but does not explain” fits. A: no details about career; B: no expert confirmation; C: not attributed to colleagues/students.
• Answer: D

Question 6

• Analysis: Heifetz’s response (“Funny, I don’t hear a thing” about his violin in the case) shows the violin doesn't make sound by itself. Option J: “Heifetz’s violin doesn’t make sounds by itself” matches. F: woman hears differently? No, Heifetz says he hears nothing in the case; G: woman not qualified? Not the point; H: Heifetz enjoyed the comment? Not indicated.
• Answer: J

Question 7

• Analysis: The author says the violin is an adversary because it “makes him adjust to its whims” (option B). A: lies mute in case (not why it's an adversary); C: responds with emotion? No; D: can't speak with words (not relevant to adversary).
• Answer: B

Question 8

• Analysis: Passage B focuses on the interdependence between musicians and instruments (Heifetz and his violin, author and his violin). Option H: “its interdependence between musicians and instrument” matches. F: damage to instrument? No; G: characteristics for history? No; J: benefits for children? No.
• Answer: H

Question 9

• Analysis: In Passage B, the violin is described as having a personality (adversary, partner), so “having an active personality of its own” (option B). A: unique characteristics? Not the focus; C: sustaining damage? No; D: important to daily life? No.
• Answer: B

Question 10

• Analysis: Both passages support that familiarity with the instrument is part of the joy of playing. Option F: “Familiarity with your instrument is an important part of the joy of playing music” matches. G: instruments like furniture? No; H: selling shows disrespect? Not in both; J: humidity levels? Not in both.
• Answer: F