Bebop lives! cries the newest generation of jazz players. During the 1980s, musicians like Wynton Marsalis revived public interest in bebop, the speedy, angular music that first bubbled up out of Harlem in the early 1940s, changing the face of jazz. That Marsalis and others thought of themselves as celebrating and preserving a noble tradition is, in one sense, inevitable. After the excesses of experimental or "free" jazz in the 1960s and the electronic jazz-rock "fusion" of the 70s, it is hardly surprising that people should hearken back to a time when jazz was "purer," perhaps even at the apex of its development. But the recent enthusiasm for bebop is also ironic in light of the music's initial public reception.

In its infancy, during the first two decades of the 20th century, jazz was played by small groups of musicians improvising variations on blues tunes and popular songs. Most of the musicians were unable to read music, and their improvisations were fairly rudimentary. Nevertheless, jazz attained international recognition in the 1920s. Two of the people most responsible for its rise in popularity were Louis Armstrong, the first great jazz soloist, and Fletcher Henderson, leader of the first great jazz band. Armstrong, with his buoyant personality and virtuosic technical skills, greatly expanded the creative range and importance of the soloist in jazz. Henderson, a pianist with extensive training in music theory, foresaw the orchestral possibilities of jazz played by a larger band. He wrote out arrangements of songs for his band members that preserved the spirit of jazz, while at the same time giving soloists a more structured musical background upon which to shape their solo improvisations. In the 1930s, jazz moved further into the mainstream with the advent of the Swing Era. Big bands in the Henderson mold, led by musicians like Benny Goodman, Count Basie and Duke Ellington, achieved unprecedented popularity with jazz-oriented "swing" music that was eminently danceable.

Against this musical backdrop, bebop arrived on the scene. Like other modernist movements in art and literature, bebop music represented a departure from tradition in both form and content, and was met with initial hostility. Bebop tempos were unusually fast, with the soloist often playing at double time to the backing musicians. The rhythms were tricky and complex, the melodies intricate and frequently dissonant, involving chord changes and notes not previously heard in jazz. Before bebop, jazz players had improvised on popular songs such as those produced by Tin-Pan Alley, but bebop tunes were often originals with which jazz audiences were unfamiliar.

Played mainly by small combos rather than big bands, bebop was not danceable; it demanded intellectual concentration. Soon, jazz began to lose its hold on the popular audience, which found the new music disconcerting. Compounding public alienation was the fact that bebop seemed to have arrived on the scene in a completely mature state of development, without that early phase of experimentation that typifies so many movements in the course of Western music. This was as much the result of an accident of history as anything else. The early development of bebop occurred during a three-year ban on recording in this country made necessary by the petrol and vinyl shortages of World War II. By the time the ban was lifted, and the first bebop records were made, the new music seemed to have sprung fully-formed like Athena from the forehead of Zeus. And though a small core of enthusiasts would continue to worship bebop pioneers like Charlie Parker and Dizzy Gillespie, many bebop musicians were never able to gain acceptance with any audience and went on to lead lives of obscurity and deprivation.

The author mentions Wynton Marsalis and Charlie Parker as:

A. pioneers of jazz-rock "fusion."

B. architects of the bebop movement.

C. Swing Era musicians hostile to bebop.

D. bebop musicians of different eras.

Although nihilism is commonly defined as a form of extremist political thought, the term has a broader meaning. Nihilism is in fact a complex intellectual stance with venerable roots in the history of ideas, which forms the theoretical basis for many positive assertions of modern thought. Its essence is the systematic negation of all perceptual orders and assumptions. A complete view must account for the influence of two historical crosscurrents: philosophical skepticism about the ultimacy of any truth, and the mystical quest for that same pure truth. These are united by their categorical rejection of the "known". The outstanding representative of the former current, David Hume (1711?776), maintained that external reality is unknowable, since sense impressions are actually part of the contents of the mind. Their presumed correspondence to external "things" cannot be verified, since it can be checked only by other sense impressions. Hume further asserts that all abstract conceptions turn out, on examination, to be generalizations from sense impressions. He concludes that even such an apparently objective phenomenon as a cause-and-effect relationship between events may be no more than a subjective fabrication of the observer. Stanley Rosen notes: "Hume terminates in skepticism because he finds nothing within the subject but individual impressions and ideas". For mystics of every faith, the "experience of nothingness" is the goal of spiritual practice. Buddhist meditation techniques involve the systematic negation of all spiritual and intellectual constructs to make way for the apprehension of pure truth. St. John of the Cross similarly rejected every physical and mental symbolization of God as illusory. St. John's spiritual legacy is, as Michael Novak puts it, "the constant return to inner solitude, an unbroken awareness of the emptiness at the heart of consciousness. It is a harsh refusal to allow idols to be placed in the sanctuary. It requires also a scorching gaze upon all the bureaucracies, institutions, manipulators, and hucksters who employ technology and its supposed realities to bewitch and bedazzle the psyche". Novak's interpretation points to the way these philosophical and mystical traditions prepared the ground for the political nihilism of the nineteenth and twentieth centuries. The rejection of existing social institutions and their claims to authority is in the most basic sense made possible by Humean skepticism. The political nihilism of the Russian intelligentsia combined this radical skepticism with a near mystical faith in the power of a new beginning. Hence, their desire to destroy becomes a revolutionary affirmation; in the words of Stanley Rosen, "Nihilism is an attempt to overcome or repudiate the past on behalf of an unknown and unknowable, yet hoped-for, future." This fusion of skepticism and mystical re-creation can be traced in contemporary thought, for example as an element in the counterculture of the 1960s.

Which of the following provides the best continuation for the final paragraph of the passage?

A. Thus, the negative effects of nihilism are still being felt.

B. Classical nihilism has thus been superseded by a new and unrelated type.

C. The revolutionaries of that time did, after all, reject society and hope for something better.

D. The study of nihilism, then, belongs to the past rather than to the present.

According to Piaget, which is the first stage of cognitive development?

A. sensorimotor

B. formal operational

C. concrete operational

D. preoperational

The equation for Ampere law is:

A. µoI = Br

B. µoI = Br2

C. µoI = B2r

D. µoI = B2r2

For a very weak base, the pKb of a solution would likely be:

A. Equal to the pOH

B. Higher than the pOH

C. Lower than the pOH

D. Near 7 at 25篊