Pembahasan PBI Ambis 3S 17 Maret 2021 [PDF]

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PBI Ambis 3S 17 Maret 2021



Questions 1-10 are based on the following passage. This passage describes the formative experiences of the composer Wolfgang Amadeus Mozart. The composer Wolfgang Amadeus Mozart’s remarkableThe composer Wolfgang Amadeus Mozart’s remarkable musical talent was apparent even before most children can sing a simple nursery rhyme. Wolfgang’s older sister Maria Anna, who the family called Nannerl, was learning the clavier, an early keyboard instrument, when her three-year-old brother took an interest in playing. As Nannerl later recalled, Wolfgang “often spent much time at the clavier, picking out thirds, which he was always striking, and his pleasure showed that it sounded good.” Their father Leopold, an assistant concertmaster at the Salzburg Court, recognized his children’s unique gifts and soon devoted himself to their musical education. Born in Salzburg, Austria, on January 27, 1756, Wolfgang was five when he learned his first musical composition—in less than half an hour. He quickly learned other pieces, and by age five composed his first original work. Leopold settled on a plan to take Nannerl and Wolfgang on tour to play before the European courts. Their first venture was to nearby Munich where the children played for Maximillian III Joseph, elector of Bavaria. Leopold soon set his sights on the capital of the Hapsburg Empire, Vienna. On their way to Vienna, the family stopped in Linz, where Wolfgang gave his first public concert. By this time, Wolfgang was not only a virtuoso harpsichord player but he had also mastered the violin. The audience at Linz was stunned by the six-year-old, and word of his genius soon traveled to Vienna. In a much-anticipated concert, the children appeared at the Schönbrunn Palace on October 13, 1762. They utterly charmed the emperor and empress. Following this success, Leopold was inundated with invitations for the children to play, for a fee. Leopold seized the opportunity and booked as many concerts as possible at courts throughout Europe. After the children performed at the major court in a region, other nobles competed to have the “miracle children of Salzburg” play a private concert in their homes. A concert could last three hours, and the children played at least two a day. Today, Leopold might be considered the worst kind of stage parent, but at the time it was not uncommon for prodigies



to make extensive concert tours. Even so, it was an exhausting schedule for a child who was just past the age of needing an afternoon nap. Wolfgang fell ill on tour, and when the family returned to Salzburg on January 5, 1763, Wolfgang spent his first week at home in bed with acute rheumatoid arthritis. In June, Leopold accepted an invitation for the children to play at Versailles, the *lavish* palace built by Loius XIV, king of France. Wolfgang did not see his home in Salzburg for another three years. When they weren’t performing, the Mozart children were likely to be found bumping along the rutted roads in an unheated carriage. Wolfgang passed the long uncomfortable hours in the imaginary Kingdom of Back, of which he was king. He became so engrossed in the intricacies of his makebelieve court that he persuaded a family servant to make a map showing all the cities, villages, and towns over which he reigned. The king of Back was also busy composing. Wolfgang completed his first symphony at age nine and published his first sonatas that same year. Before the family returned to Salzburg, Wolfgang had played for, and amazed, the heads of the French and British royal families. He had also been plagued with numerous illnesses. Despite Wolfgang and Nannerl’s arduous schedule and international renown, the family’s finances were often strained. The pattern established in his childhood would be the template for the rest of his short life. Wolfgang Amadeus Mozart toiled constantly, was *lauded* for his genius, suffered from illness, and struggled financially, until he died at age 35. The remarkable child prodigy who more than fulfilled his potential was buried in an unmarked grave, as was the custom at the time, in a Vienna suburb.



1. The primary purpose of the passage is to a. illustrate the early career and formative experiences of a musical prodigy. b. describe the classical music scene in the eighteenth century. c. uncover the source of Wolfgang Amadeus Mozart’s musical genius. d. prove the importance of starting a musical instrument at an early age. e. denounce Leopold Mozart for exploiting his children’s talent. Pembahasan: The passage is a neutral narration of Mozart’s childhood and the beginnings of his musical career. Choices c, d, and e can be eliminated because the author does not take a side or try to



prove a point. Choice b is incorrect because the author does not make any generalizations about the classical music “scene.” Bagian ini adalah narasi netral masa kecil Mozart dan awal karir musiknya. Pilihan c, d, dan e bisa dihilangkan karena penulis tidak memihak atau berusaha membuktikan suatu hal. Pilihan b salah karena penulis tidak membuat generalisasi tentang "scene" musik klasik.



2. According to the passage, Wolfgang became interested in music because a. his father thought it would be profitable. b. he had a natural talent. c. he saw his sister learning to play. d. he came from a musical family. e. he wanted to go on tour. Pembahasan: The passage clearly states that Wolfgang took an interest in the clavier when his sister was learning the instrument. Bacaan tersebut dengan jelas menyatakan bahwa Wolfgang tertarik pada clavier ketika saudara perempuannya sedang mempelajari instrumen. 3. What was the consequence of Wolfgang’s first public appearance? a. He charmed the emperor and empress of Hapsburg. b. Leopold set his sights on Vienna. c. Word of Wolfgang’s genius spread to the capital. d. He mastered the violin. e. Invitations for the “miracle children” to play poured in. Pembahasan The second paragraph states that Wolfgang’s first public appearance was at Linz and that after this concert word of his genius traveled to Vienna. The passage states earlier that Vienna was the capital of the Hapsburg Empire. Paragraf kedua menyatakan bahwa penampilan publik pertama Wolfgang adalah di Linz dan setelah konser ini,kabar kejeniusannya menyebar ke Wina. Bacaan ini sebelumnya menyatakan bahwa Wina adalah ibu kota Kekaisaran Hapsburg.



4. The author’s attitude toward Leopold Mozart can best be characterized as a. vehement condemnation. b. mild disapproval. c. glowing admiration. d. incredulity. e. veiled disgust. The author’s tone toward Leopold is mild—neither strongly approving nor disapproving. In a few places, however, the author conveys some disappointment, especially last sentence in the third paragraph in which she states that Leopold set an exhausting schedule for Wolfgang. “Even so, it was an exhausting schedule for a child who was just past the age of needing an afternoon nap.” Nada penulis terhadap Leopold lembut — tidak sangat setuju atau tidak setuju. Namun di beberapa tempat, penulis menyampaikan kekecewaan, terutama kalimat terakhir di paragraf ketiga yang menyatakan bahwa Leopold menetapkan jadwal yang melelahkan bagi Wolfgang.



5. In paragraph 4, the word lavish most nearly means a. wasteful. b. clean. c. extravagant. d. beautiful. e. glorious. Pembahasan: Lavish means expended or produced in abundance. Both wasteful and extravagant are synonyms for lavish, but, because it is modifying palace, extravagant is the more logical choice. Wasteful= boros, clean = bersih, extravagan= boros, beautiful= cantik/indah, glorious=mulia Lavish (mewah, boros, berkelimpahan) berarti dihabiskan atau diproduksi secara berlimpah. Baik wasteful maupun exrtavagant adalah sinonim untuk boros/kemewahan, tetapi, karena itu adalah modifikasi istana, maka extravagant adalah pilihan yang lebih logis. 6. The author uses the anecdote about Mozart’s Kingdom of Back to illustrate a. Mozart’s admiration for the composer Johann Sebastian Bach.



b. the role imagination plays in musical composition. c. that Mozart was mentally unstable. d. that Mozart was an imaginative child. e. that Mozart’s only friends were imaginary people and family servants. Pembahasan: The author’s language emphasizes Mozart’s imagination. The phrase engrossed in the intricacies of his make-believe court suggests a child with a lively imagination. None of the other choices is directly supported by the text. Bahasa penulis menekankan imajinasi Mozart. Ungkapan yang asyik dengan seluk-beluk pengadilan khayalannya mengisyaratkan seorang anak dengan imajinasi yang hidup. Tidak ada pilihan lain yang secara langsung didukung oleh teks. 7. The author suggests that Mozart’s adult life a. was ruined by repeated illness. b. was a disappointment after his brilliant childhood. c. was nothing but misery. d. ended in poverty and anonymity. e. followed the pattern of his childhood. Pembahasan: The text directly states that the pattern established in his childhood would be the template for the rest of his short life. Choice d could be misleading as the text states that Mozart was buried in an unmarked grave. However, it also states that this was customary at the time so one cannot infer that he died an anonymous pauper. Bacaan tersebut secara langsung menyatakan bahwa pola yang ditetapkan di masa kecilnya akan menjadi pola selama sisa hidupnya yang singkat. Pilihan d bisa menyesatkan karena dalam bacaan menyatakan bahwa Mozart dikuburkan di kuburan tak bertanda. Namun, itu juga menyatakan bahwa ini adalah kebiasaan/tradisi pada saat itu sehingga orang tidak dapat menyimpulkan bahwa dia meninggal sebagai orang miskin tanpa nama.



8. In paragraph 5, the word lauded most nearly means a. derided.



b. praised. c. punished. d. compensated. e. coveted. Pembahasan: Derided= dicemooh, praised= dipuji, punished= dihukum, compensated= dikompensasi, covoted= didambakan Lauded means praised or blessed. The meaning of the word can be inferred from the structure of the paragraph. The paragraph begins by summing up Mozart’s childhood, and then describes how the features of his childhood were mirrored in his adult life. In his childhood Mozart played for, and amazed, the heads of the British and French royal families and likewise as an adult he was lauded for his genius. From the structure, one can infer that to be lauded is something positive. Of the positive choices, praised makes more sense in the sentence than coveted.



9. Each of the following statements about Wolfgang Mozart is directly supported by the passage EXCEPT a. Mozart’s father, Leopold, was instrumental in shaping his career. b. Wolfgang had a vivid imagination. c. Wolfgang’s childhood was devoted to his musical career. d. Wolfgang’s illnesses were the result of exhaustion. e. Maria Anna was a talented musician in her own right. Pembahasan: The author does not directly state that Mozart’s illnesses were the result of exhaustion. She may imply this by describing Mozart’s exhausting schedule and then stating that he became ill on tour. However, she does not make the connection explicit. Penulis tidak secara langsung menyatakan bahwa penyakit Mozart adalah akibat kelelahan. Dia mungkin menyiratkan hal ini dengan menggambarkan jadwal Mozart yang melelahkan dan kemudian menyatakan bahwa dia sakit selama tur. Namun, dia tidak membuat hubungannya secara eksplisit.



10. Based on information found in the passage, Mozart can best be described as a. a workaholic. b. a child prodigy. c. a sickly child. d. a victim of his father’s ambition. e. the greatest composer of the eighteenth century. Pembahasan: The main point of the passage is to describe Mozart’s experiences as a child prodigy, or a highly talented child. Choices a and c are too narrow in scope, and choices d and e are not explicitly stated in the passage. Poin utama dari bagian ini adalah untuk mendeskripsikan pengalaman Mozart sebagai anak ajaib, atau anak yang sangat berbakat. Pilihan a dan c terlalu sempit cakupannya, dan pilihan d dan e tidak secara eksplisit disebutkan dalam bagian ini.