Question:
The goal of the author over the course of this passage is to:
The goal of the author over the course of this passage is to:
Show Hint
For “main goal” or “purpose” questions in reading comprehension, focus on:
the opening problem or question raised,
the author’s repeated emphasis or defence, and
how the passage concludes.
These usually reveal what the author is {really} trying to do.
the opening problem or question raised,
the author’s repeated emphasis or defence, and
how the passage concludes.
These usually reveal what the author is {really} trying to do.
Updated On: Jul 6, 2026
- differentiate the modern composer from the nineteenth century composer.
- differentiate between electronic music and other forms of music.
- defend the “serious-minded composer” from Lejaren Hill and Stravinsky.
- defend electronic music from certain common charges.
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The Correct Option is D
Approach Solution - 1
Approach: A "goal of the author" question is answered by the dominant rhetorical move of the whole passage, not by any single interesting detail. Track what the author keeps doing across paragraphs.
Step 1: The passage opens by raising the standard objections to electronic music \(-\) that it is not "real" music and that it is "inhuman." The author does not raise these to agree with them; they are set up as charges to be answered.
Step 2: Each later paragraph rebuts one charge. Stravinsky's definition of music as "speculation in terms of sound and time" is used to widen the definition so electronic sound qualifies. The "communication problem" paragraph explains that strange new terms are only a surface barrier, not proof that this is non-music. The composer's active role (manipulating, programming, shaping forms) answers the "inhuman" charge.
Step 3: The consistent direction is defensive \(-\) the author is shielding electronic music from criticism. That points straight to option 4.
Why the others fail:
Option 1 (modern vs nineteenth-century composer) is a contrast the author uses as a tool, not the destination. Option 2 (electronic vs other music) is again a means, used to show electronic music still counts as music, not the goal itself. Option 3 misreads the text \(-\) Stravinsky and Hill are invoked as support, not as attackers the author is defending against; nothing is defended "from" them.
Answer: defend electronic music from certain common charges.
Step 1: The passage opens by raising the standard objections to electronic music \(-\) that it is not "real" music and that it is "inhuman." The author does not raise these to agree with them; they are set up as charges to be answered.
Step 2: Each later paragraph rebuts one charge. Stravinsky's definition of music as "speculation in terms of sound and time" is used to widen the definition so electronic sound qualifies. The "communication problem" paragraph explains that strange new terms are only a surface barrier, not proof that this is non-music. The composer's active role (manipulating, programming, shaping forms) answers the "inhuman" charge.
Step 3: The consistent direction is defensive \(-\) the author is shielding electronic music from criticism. That points straight to option 4.
Why the others fail:
Option 1 (modern vs nineteenth-century composer) is a contrast the author uses as a tool, not the destination. Option 2 (electronic vs other music) is again a means, used to show electronic music still counts as music, not the goal itself. Option 3 misreads the text \(-\) Stravinsky and Hill are invoked as support, not as attackers the author is defending against; nothing is defended "from" them.
Answer: defend electronic music from certain common charges.
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Approach Solution -2
Step 1: Identify the main concerns discussed in the passage.
At the beginning, the author lists two common doubts about electronic music: whether it is music at all, and whether it is “inhuman”. These are clearly “charges” or objections raised against electronic music.
Step 2: Observe how the author responds to these doubts.
The author explains that:
electronic music uses a new language and new forms, which creates a communication gap, and
despite the machines involved, the human composer is still the one making all the creative decisions (collecting sounds, programming, choosing forms, etc.).
Both points are meant to show that electronic music is understandable as music and is not inhuman.
Step 3: Match this with the options.
Option (1) mentions the difference between modern and nineteenth-century composers. This is referred to, but only as a supporting point, not the main goal.
Option (2) speaks of differentiating between electronic and other music. The author does compare them, but again only to answer the objections.
Option (3) is incorrect, because Lejaren Hiller and Stravinsky are cited as references, not as attackers.
Option (4) correctly captures the overall purpose: the author aims to defend electronic music against the charges that it is not real music and that it is inhuman.
Hence, the best answer is Option (4).
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European translator of . . . Arabian Nights [which] started as a series of translations of an
incomplete manuscript of a medieval Arabic story collection. . . But, though those tales were of
medieval origin, Aladdin may be a more recent invention. Scholars have not found a manuscript of the story that predates the version published in 1712 by Galland, who wrote in his diary that he first heard the tale from a Syrian storyteller from Aleppo named Hanna Diyab . . .
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For 300 years, scholars thought that the rags-to-riches story of Aladdin might have been
inspired by the plots of French fairy tales that came out around the same time, or that the story was invented in that 18th century period as a byproduct of French Orientalism, a fascination with stereotypical exotic Middle Eastern luxuries that was prevalent then. The idea that Diyab might have based it on his own life — the experiences of a Middle Eastern man encountering te French, not vice-versa — flips the script. [According to Horta,] “Diyab was ideally placed to embody the overlapping world of East and West, blending the storytelling traditions of his homeland with his youthful observations of the wonder of 18th-century France.” . . .
To the scholars who study the tale, its narrative drama isn’t the only reason storytellers keep
finding reason to return to Aladdin. It reflects not only “a history of the French and the Middle
East, but also [a story about] Middle Easterners coming to Paris and that speaks to our world
today,” as Horta puts it. “The day Diyab told the story of Aladdin to Galland, there were riots
due to food shortages during the winter and spring of 1708 to 1709, and Diyab was sensitive to those people in a way that Galland is not. When you read this diary, you see this solidarity
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