1. In PassageA, the words “sacred” and “purists” (line 5) most nearly serve to characterize the Newport Folk Festival and its attendees as:
A. drawn to songs containing moral lessons.
B. driven to discover unknown musicians.
C. devoted to the genre of folk music.
D. dedicated to Dylan’s career.
2. The information about Dylan’s guitar in lines 23–26 of Passage A primarily serves to:
F. outline the development of Dylan’s style of guitar-playing.
G. contribute to an account of Dylan’s rise to fame.
H. emphasize that Dylan switched instruments throughout his career.
J. establish that fans were unaccustomed to Dylan playing electric guitar.
3. According to PassageA, Dylan had the wrong harmonica onstage to sing “Mr. Tambourine Man” because:
A. he hadn’t planned on playing that song.
B. Seeger had tampered with Dylan’s equipment backstage.
C. he was flustered by the crowd’s response to his rock ’n’ roll performance.
D. he wasn’t used to switching instruments between songs.
4. Which of the following statements best captures a main difference in the focus of the two passages?
F. PassageA focuses on describing the Newport Folk Festival, while Passage B focuses on comparing the popularity of folk music to the popularity of rock ’n’ roll.
G. Passage A focuses on analyzing Dylan’s popularity, while Passage B focuses on questioning why Dylan switched from playing folk music to playing rock ’n’ roll.
H. Passage A focuses on defending Dylan’s decision to play rock ’n’ roll at the Newport Folk Festival, while Passage B focuses on reflecting on rock ’n’ roll’s increasingly ambitious sophistication in the 1960s.
J. PassageA focuses on portraying Dylan’s rock ’n’ roll performance at the Newport Folk Festival, while PassageB focuses on exploring the roles of and changes within folk music and rock ’n’ roll in the 1960s.
5. With which of the following claims would the authors of both passages most likely agree?
A. Dylan’s conversion from folk musician to rock ’n’ roll musician temporarily stalled his career.
B. Dylan’s rock ’n’ roll performance at the Newport Folk Festival marked a pivotal moment in the evolution of rock ’n’ roll.
C. The response to Dylan’s rock ’n’ roll performance at the Newport Folk Festival left Dylan confused about the course of his musical development.
D. Changes within rock ’n’ roll motivated Dylan to switch from playing folk music to playing rock ’n’ roll.
6. Compared to Passage A, Passage B provides more information about:
F. the pre-1960s history of rock ’n’ roll.
G. lyrics in folk music and rock ’n’ roll.
H. Dylan’s public persona.
J. Dylan’s background and musical training.
7. The first paragraph most strongly suggests that a barn owl must be able to locate sounds in the vertical dimension mainly because it hunts:
A. from the air.
B. even when it can only partially see the animal it is hunting.
C. animals that move quickly.
D. while detecting sounds in both its right and left ears.
8. The author uses the expression 'the azimuth of the sound' (line 21) most nearly to refer to a sound’s:
F. fluctuation between high and low frequencies.
G. location in the horizontal dimension.
H. transformation into a map of space.
J. loudness and intensity.
9. As it is used in line 20, the word exploiting most nearly means:
A. imposing upon.
B. improving.
C. victimizing.
D. making use of.
10. Which of the following behaviors of a barn owl does the author provide as the strongest evidence of the bird’s ability to detect subtle changes in the origin of a sound?
F. Locating sound originating from small prey
G. Catching prey in complete darkness
H. Realigning its talons as a mouse turns and runs
J. Swooping down on stationary prey
11. The passage indicates that each neuron in the network of neurons in the barn owl’s midbrain is excited only by sounds:
A. from one particular species of animal.
B. from one small region of space.
C. falling within one specific frequency.
D. falling within one predictable timing pattern.
12. The author’s use of the word 'deadly' (line 45) most nearly serves to:
F. hint that the barn owl’s method of attack is sometimes harmful to the owl itself.
G. imply that the barn owl’s prowess as a hunter is both alarming and regrettable.
H. reiterate that the barn owl is feared by many animals for its ability to swiftly kill.
J. emphasize that the barn owl’s means of hunting is both remarkable and lethal.
13. The author directly states that which of the following features of the barn owl is the most visually striking?
A. Its aerodynamic flight
B. Its coloring
C. Its face
D. Its talons
14. According to the passage, in terms of length and width, a barn owl’s troughs are:
F. wider than they are long.
G. longer than they are wide.
H. about as wide as they are long.
J. variable in terms of their relative length and width.
15. The author most likely refers to the feathers that cover the barn owl’s facial structure as being 'acoustically transparent' (line 65) to emphasize that the feathers are:
A. shaped into two flaps that protect the owl’s ear openings.
B. arranged in several layers that allow sound to be amplified.
C. textured and dense enough to block unnecessary sensory stimuli.
D. fine enough to allow sound to pass through them unfiltered.
16. Based on the passage, which of the following statements most accurately compares a human’s ability to locate the source of a sound in azimuth and elevation to the barn owl’s ability to do so?
F. The barn owl is about as accurate as a human in azimuth but is about three times more accurate in elevation.
G. The barn owl is about three times more accurate than a human in both azimuth and elevation.
H. The barn owl is about as accurate as a human in both azimuth and elevation.
J. The barn owl is about three times more accurate as a human in azimuth but is about as accurate in elevation.