CAT 2025 Slot 1 Question Paper

For the following questions answer them individually

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.

Often the well intentioned music lover or the traditionally-minded professional composer asks two basic questions when faced with the electronic music phenomena: (1) . . . is this type of artistic
creation music at all? and, (2) given that the product is accepted as music of a new type or order, is not such music “inhuman”? . . . As Lejaren Hiller points out in his book Experimental Music (coauthor Leonard M. Isaacson), two questions which often arise when music is discussed are: (a) the substance of musical communication and its symbolic and semantic significance, if any, and (b) the particular processes, both mental and technical, which are involved in creating and responding to musical composition. The ever-present popular concept of music as a direct, open, emotional expression and as a subjective form of communication from the composer, is, of course still that of the nineteenth century, when composers themselves spoke of music in those terms . . . But since the third decade of our century many composers have preferred more objective definitions of music, epitomized in Stravinsky's description of it as “a form of speculation in terms of sound and time”. An acceptance of this more characteristic twentieth-century view of the art of musical composition will of course immediately bring the layman closer to an understanding of, and sympathetic response to, electronic music, even if the forms, sounds and approaches it uses will still be of a foreign nature to him.

A communication problem however will still remain. The principal barrier that electronic music presents at large, in relation to the communication process, is that composers in this medium are employing a new language of forms . . . where terms like 'densities', 'indefinite pitch relations', 'dynamic serialization', 'permutation', etc., are substitutes (or remote equivalents) for the
traditional concepts of harmony, melody, rhythm, etc. . . . When the new structural procedures of electronic music are at last fully understood by the listener the barriers between him and the work
he faces will be removed. . . .

The medium of electronic music has of course tempted many kinds of composers to try their hand at it . . . But the serious-minded composer approaches the world of electronic music with a more sophisticated and profound concept of creation. Although he knows that he can reproduce and employ melodic, rhythmic patterns and timbres of a traditional nature, he feels that it is in the exploration of sui generis languages and forms that the aesthetic magic of the new medium lies. And, conscientiously, he plunges into this search

The second objection usually levelled against electronic music is much more innocent in nature. When people speak—sometimes very vehemently—of the 'inhuman' quality of this music they seem to forget that the composer is the one who fires the machines, collects the sounds, manipulates them, pushes the buttons, programs the computer, filters the sounds, establishes pitches and scales, splices tape, thinks of forms, and rounds up the over-all structure of the piece, as well as every detail of it.

For the following questions answer them individually

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.

Understanding the key properties of complex systems can help us clarify and deal with many new and existing global challenges, from pandemics to poverty . . . A recent study in Nature Physics found transitions to orderly states such as schooling in fish (all fish swimming in the same direction), can be caused, paradoxically, by randomness, or 'noise' feeding back on itself. That is, a misalignment among the fish causes further misalignment, eventually inducing a transition to schooling. Most of us wouldn't guess that noise can produce predictable behaviour. The result invites us to consider how technology such as contact-tracing apps, although informing us locally, might negatively impact our collective movement. If each of us changes our behaviour to avoid the infected, we might generate a collective pattern we had aimed to avoid: higher levels of interaction between the infected and susceptible, or high levels of interaction among the asymptomatic.

Complex systems also suffer from a special vulnerability to events that don't follow a normal distribution or 'bell curve'. When events are distributed normally, most outcomes are familiar and don't seem particularly striking. Height is a good example: it's pretty unusual for a man to be over 7 feet tall; most adults are between 5 and 6 feet, and there is no known person over 9 feet tall. But in
collective settings where contagion shapes behaviour - a run on the banks, a scramble to buy toilet paper - the probability distributions for possible events are often heavy-tailed. There is a much higher probability of extreme events, such as a stock market crash or a massive surge in infections. These events are still unlikely, but they occur more frequently and are larger than would be expected under normal distributions.

What's more, once a rare but hugely significant 'tail' event takes place, this raises the probability of further tail events. We might call them second-order tail events; they include stock market gyrations after a big fall and earthquake aftershocks. The initial probability of second-order tail events is so tiny it's almost impossible to calculate - but once a first-order tail event occurs, the rules change, and the probability of a second-order tail event increases.

The dynamics of tail events are complicated by the fact that they result from cascades of other unlikely events. When COVID-19 first struck, the stock market suffered stunning losses followed by an equally stunning recovery. Some of these dynamics are potentially attributable to former sports bettors, with no sports to bet on, entering the market as speculators rather than investors. The arrival of these new players might have increased inefficiencies and allowed savvy long-term investors to gain an edge over bettors with different goals. . . .

One reason a first-order tail event can induce further tail events is that it changes the perceived costs of our actions and changes the rules that we play by. This game-change is an example of another key complex systems concept: nonstationarity. A second, canonical example of nonstationarity is adaptation, as illustrated by the arms race involved in the coevolution of hosts and parasites [in
which] each has to 'run' faster, just to keep up with the novel solutions the other one presents as they battle it out in evolutionary time.