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Question 11 questions

Time 14 minutes

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This passage is adapted from Priit Vesilind, The Singing Revolution. © 2008 by Sky Films Incorporated.

Diagram of Europe following the Nazi-Soviet Pact of 1939, also known as the Molotov-Ribbentrop Pact. Image adapted from CQ Researcher.

1. The point of view from which the passage is written is best described as

  • A. condemnatory of the Soviet Union's treacherous actions.
  • B. sympathetic to the Baltic states' struggle for freedom.
  • C. dismissive of the idea of non-violent revolution.
  • D. conflicted about the underlying cause of the revolution.

2. As used in line 18, "collusion" most nearly means

  • A. conspiracy.
  • B. impact.
  • C. separation.
  • D. danger.

3. In lines 33-36, the author draws a distinction between

  • A. the tone of Estonian songs and the people's true feelings.
  • B. the themes of Estonian folk songs and anthems.
  • C. the military strength of Estonia and that of the Soviet Union.
  • D. song festivals in Estonia and those in Latvia and Lithuania.

4. In the context of the passage, the phrase "their reluctance to be absorbed" suggests that Estonians

  • A. refused to speak Russian with the many foreigners settlers in Estonia.
  • B. wanted to have an independent nation.
  • C. worked to ensure their culture stayed distinct from those of the other Baltic states.
  • D. were unwilling to devote the amount of concentration to song festivals that the Soviets demanded.

5. The author includes statistics about the size of the song stage in Tallinn (lines 47-49) primarily to

  • A. provide a sense of how large the amphitheater is.
  • B. indicate the popularity of the tributes to Stalin and Lenin.
  • C. compare the size to that of similar stages in Latvia and Lithuania.
  • D. illustrate the wide appeal of the mass song festivals in Estonia.

6. As used in line 66, "burden" most nearly means

  • A. weight.
  • B. travail.
  • C. responsibility.
  • D. need.

7. The primary rhetorical effect of the last sentence of the passage is to

  • A. convey the sense of dread that hung over Estonia at the height of the Singing Revolution.
  • B. indicate the depth of disagreement between violent and non-violent revolutionaries.
  • C. show how crucial music and poetry were to Estonia's fight for independence.
  • D. communicate the sense of optimistic tension that Estonians felt after the Night Song Festivals.

8. Which of the following does the passage suggest about Estonia's relation to the Soviet Union?

  • A. Estonia had a richer cultural tradition of singing than the Soviet Union had.
  • B. Estonia had the political leverage necessary to free itself from the Soviet Union.
  • C. Estonia was smaller and weaker than the Soviet Union, making violent revolution impractical.
  • D. Estonia held song festivals during the Soviet occupation primarily to pay tribute to Communist icons.

9. The author implies which of the following about Estonian song festivals?

  • A. They afforded Estonians a medium through which national and cultural pride could be expressed.
  • B. They were started during the Soviet occupation to preserve Estonian culture and language.
  • C. They were unique in size and format to the country where they were founded.
  • D. They provided an opportunity to sing songs that were more uplifting than those sung while working.

10. Which choice provides the best evidence for the answer to the previous question?

  • A. Lines 19-21 ("So…'divorce'")
  • B. Lines 44-46 ("The festivals…Lithuania")
  • C. Line 62 ("By the late…simmering")
  • D. Lines 79-82 ("This…music")

11. Which of the following claims is supported by the diagram?

  • A. In the 1939 pact, Germany gained the entirety of Poland.
  • B. The Soviet Union doubled in size after the pact.
  • C. Lithuania and Estonia are contiguous countries.
  • D. The Soviet Union's gains stretched from the Baltic Sea to the Black Sea.