Question:
What relation does the “communication problem” mentioned in paragraph 2 have to the questions that the author recounts at the beginning of the passage?
What relation does the “communication problem” mentioned in paragraph 2 have to the questions that the author recounts at the beginning of the passage?
Show Hint
When relating ideas across paragraphs, look for:
repeated themes,
restated concerns,
explanatory links that address earlier questions.
This helps identify how later sections resolve earlier doubts.
repeated themes,
restated concerns,
explanatory links that address earlier questions.
This helps identify how later sections resolve earlier doubts.
Updated On: Jul 6, 2026
- Unfamiliar forms and terms might get in the way of our seeing electronic music as music, but this can be overcome.
- Its unfamiliar “language of forms” and novel terms mean that we cannot see electronic music as music since it does not employ traditional musical concepts.
- None; they are unrelated to one another and form parts of different discussions.
- The communication problem is what allows us to see electronic music as music because music must be difficult to understand.
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The Correct Option is A
Approach Solution - 1
Approach: A "what relation does X have to Y" question wants you to map one part of the passage onto another. Pin down both ends first, then state the link in the author's own spirit \(-\) optimistic, not dismissive.
Step 1: The opening questions ask whether electronic music is really music and whether it is 'inhuman.' That is the doubt the author is working against.
Step 2: The paragraph 2 'communication problem' is the unfamiliar 'language of forms' \(-\) terms like 'densities' and 'indefinite pitch relations' that replace the words we are used to. The author presents this as a barrier of vocabulary, a surface difficulty, not as evidence that the thing behind the words is not music.
Step 3: So the link is: the strangeness of the terms is one reason listeners hesitate to accept electronic music as music, but the author frames it as a hurdle that understanding can clear. That is exactly option 1.
Why the others fail:
Option 2 turns the barrier into a permanent verdict ('we cannot see it as music') \(-\) the author argues the opposite, that it can be overcome. Option 3 ('none, unrelated') is wrong because the communication problem directly feeds the doubt raised at the start. Option 4 inverts the logic, claiming the difficulty is what proves it is music because music 'must be difficult' \(-\) the passage never makes difficulty a requirement for music.
Answer: Unfamiliar forms and terms might get in the way of our seeing electronic music as music, but this can be overcome.
Step 1: The opening questions ask whether electronic music is really music and whether it is 'inhuman.' That is the doubt the author is working against.
Step 2: The paragraph 2 'communication problem' is the unfamiliar 'language of forms' \(-\) terms like 'densities' and 'indefinite pitch relations' that replace the words we are used to. The author presents this as a barrier of vocabulary, a surface difficulty, not as evidence that the thing behind the words is not music.
Step 3: So the link is: the strangeness of the terms is one reason listeners hesitate to accept electronic music as music, but the author frames it as a hurdle that understanding can clear. That is exactly option 1.
Why the others fail:
Option 2 turns the barrier into a permanent verdict ('we cannot see it as music') \(-\) the author argues the opposite, that it can be overcome. Option 3 ('none, unrelated') is wrong because the communication problem directly feeds the doubt raised at the start. Option 4 inverts the logic, claiming the difficulty is what proves it is music because music 'must be difficult' \(-\) the passage never makes difficulty a requirement for music.
Answer: Unfamiliar forms and terms might get in the way of our seeing electronic music as music, but this can be overcome.
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Approach Solution -2
Step 1: Recall the initial questions mentioned in paragraph 1.
The author reports two common doubts about electronic music:
Is electronic music really music?
Is it “inhuman”?
Step 2: Understand the “communication problem” in paragraph 2.
The author explains that electronic music uses new structures and a “new language of forms” — terms like “densities,” “dynamic serialization,” “permutation,” etc. These unfamiliar concepts make it harder for the listener to understand the music at first.
Step 3: Connect the communication problem with the initial questions.
Because electronic music uses unfamiliar terminology and structures, a listener might initially feel that it is not “music” in the traditional sense. However, the author clearly states that {once the listener understands these new structural procedures, the barriers will be removed}. This means the communication problem is temporary and can be overcome.
Step 4: Match with the options.
Option (1) correctly states that unfamiliar forms and terms can hinder our ability to recognize electronic music as music, but that this obstacle is removable.
Option (2) incorrectly claims that the new language makes understanding impossible. The author says the opposite.
Option (3) is incorrect because the communication problem directly relates to the question “is this music at all?”
Option (4) is incorrect because the author never claims that difficulty is necessary for something to be considered music.
Thus, the best answer is Option (1).
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