501 Critical Reading Questions

a.
not moving forward.
b.
not in sequence.
c.
not bothered by.
d.
not ready for.
e.
not happy about.
501
Critical Reading Questions
(40)
(45)

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315.
In line 41, 
scream machine
indicates that
a.
the new transformer could handle very loud music.
b.
fans screamed when they heard Dale play.
c.
Dale’s guitar sounded like it was screaming.
d.
neighbors of the club screamed because the music was too loud.
e.
you couldn’t hear individual notes being played.
316.
All of the following can explicitly be answered on the basis of the
passage EXCEPT
a.
Who invented the Stratocaster?
b.
Where did Dick Dale meet Leo Fender?
c.
What company made speakers for Dick Dale?
d.
Where did Ozzy Osbourne get his start as a musician?
e.
What do Dick Dale, Ozzy Osbourne, and Tony Iossa have in
common?
Questions 317–323 are based on the following passage.
The following passage discusses the unique musical traditions that developed
along the Rio Grand in colonial New Mexico.
From 1598 to 1821, the area along the Rio Grand that is now the state
of  New  Mexico  formed  the  northernmost  border  of  the  Spanish
colonies in the New World. The colonists lived on a geographic fron-
tier surrounded by deserts and mountains. This remote colony with its
harsh climate was far removed from the cultural centers of the Span-
ish Empire in the New World, and music was a necessary part of social
life. The isolated nature of the region and needs of the community
gave rise to a unique, rich musical tradition that included colorful bal-
lads, popular dances, and some of the most extraordinary ceremonial
music in the Hispanic world.
The popular music along the Rio Grand, especially the heroic and
romantic ballads, reflected the stark and rough nature of the region.
Unlike the refined music found in Mexico, the music of the Rio Grand
had a rough-cut “frontier” quality. The music also reflected the mix-
ing of cultures that characterized the border colony. The close mili-
tary and cultural ties between the Spanish and the native Pueblos of
the region led to a uniquely New Mexican fusion of traditions. Much
of the music borrowed from both European and native cultures. This
mixing of traditions was especially evident in the dances.
The 
bailes,
or village dances—instrumental music played on violin
and  guitar—were  a  lively  focus  of  frontier  life.  Some 
bailes
were
derived from traditional European waltzes, but then adapted to the
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501