Q: CHAPTER XLVII.

THE GEM OF THE FOUR FAMILIES.

And now we will go back to Noningsby. On that evening Graham ate his pheasant with a relish although so many cares sat heavy on his mind, and declared, to Mrs. Baker's great satisfaction, that the cook had managed to preserve the bread sauce uninjured through all the perils of delay which it had encountered.

"Bread sauce is so ticklish; a simmer too much and it's clean done for," Mrs. Baker said with a voice of great solicitude. But she had been accustomed perhaps to patients whose appetites were fastidious. The pheasant and the bread sauce and the mashed potatoes, all prepared by Mrs. Baker's own hands to be eaten as spoon meat, disappeared with great celerity; and then, as Graham sat sipping the solitary glass of sherry that was allowed to him, meditating that he would begin his letter the moment the glass was empty, Augustus Staveley again made his appearance.

[Illustration: "Bread Sauce is so ticklish."]

"Well, old fellow," said he, "how are you now?" and he was particularly careful so to speak as to show by his voice that his affection for his friend was as strong as ever. But in doing so he showed also that there was some special thought still present in his mind,--some feeling which was serious in its nature if not absolutely painful.

"Staveley," said the other, gravely, "I have acquired knowledge to-day which I trust I may carry with me to my grave."

"And what is that?" said Augustus, looking round to Mrs. Baker as though he thought it well that she should be out of the room before the expected communication was made. But Mrs. Baker's attention was so riveted by her patient's earnestness, that she made no attempt to go.

1. yes
2. Mrs. Baker
3. sherry
4. solitary glass
5. Bread sauce
6. a simmer too much
7. Augustus Staveley
8. yes
9. Noningsby
10. knowledge
11. yes

Numbered questions:
1. Did Graham enjoy his meal?
2. Who was in the room with him?
3. What was he drinking?
4. How many had he drunk?
5. What food did he complement the cook on?
6. What did she say would damage it if overly done?
7. Who walked in?
8. Was he an empathetic person?
9. Where were these people?
10. What would the man take to his death?
11. Did Augusts inquire further?

Q: One day, Phoebe woke up and found that her house had been broken into. Her front door was wide open. She went into the living room and saw that her television set and stereo were missing. She checked the kitchen, but didn't find anything missing there except for a clock. Then she saw that her purse had been stolen too. She called the police to report what had happened. The police officer told her that there had been a lot of cases like this in her neighborhood lately, and they were looking for the criminals. Phoebe went into her bedroom and started to cry. She had no money to buy a new television set or stereo. She was scared that the robbers might try to break into her house again. She called her friend Mary and asked her what to do. Mary told Phoebe to change her front door lock right away. She said she knew a detective who could try to find the robber who had broken into her house. Phoebe thanked Mary, and said she felt safe knowing that there was someone who could help her catch the robber so he wouldn't do it again.

1. Two
2. her television set and stereo
3. Her front door
4. the police
5. unknown
6. Mary
7. to change her front door lock right away.
8. a detective
9. no
10. She had no money
11. no

Numbered questions:
1. How many things were stolen?
2. What where they?
3. How did they get in?
4. Who did she call first?
5. Had they found the robbers?
6. Who was the next person she talked to
7. What advice did she give?
8. Who did she say cold be of assistance?
9. Could she replace her taken belongings?
10. why not?
11. Was she the only victim?

Q: A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from "musical form" and "musical style", although in practice these terms are sometimes used interchangeably. Recently, academics have argued that categorizing music by genre is inaccurate and outdated.

Music can be divided into different genres in many different ways. The artistic nature of music means that these classifications are often subjective and controversial, and some genres may overlap. There are even varying academic definitions of the term "genre "itself. In his book "Form in Tonal Music", Douglass M. Green distinguishes between genre and form. He lists madrigal, motet, canzona, ricercar, and dance as examples of genres from the Renaissance period. To further clarify the meaning of "genre", Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre both are violin concertos but different in form. However, Mozart's Rondo for Piano, K. 511, and the "Agnus Dei" from his Mass, K. 317 are quite different in genre but happen to be similar in form." Some, like Peter van der Merwe, treat the terms "genre" and "style" as the same, saying that "genre" should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that "genre" and "style" are two separate terms, and that secondary characteristics such as subject matter can also differentiate between genres. A music genre or subgenre may also be defined by the musical techniques, the style, the cultural context, and the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will often include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an almost ubiquitous framework for constituting and evaluating musical research objects".

1. different genres
2. no
3. no
4. "Form in Tonal Music"
5. Five
6. yes
7. no
8. Beethoven's Op. 61 and Mendelssohn's Op. 64
9. Mozart's Rondo for Piano, K. 511, and the "Agnus Dei" from his Mass, K. 317
10. concertos
11. no
12. Peter van der Merwe
13. as pieces of music that share a certain style
14. yes
15. the style
16. yes
17. a single geographical category will often include a wide variety of subgenres
18. Timothy Laurie
19. for constituting and evaluating musical research objects
20. that it is inaccurate and outdated

Numbered questions:
1. What is music often divided into?
2. Are these objective categorizations?
3. Is there distinct boundaries between all genres?
4. What did Green publish?
5. How many categories of Renassiance music did he list?
6. Is dance one of those?
7. Did he argue that genre and form were essentially the same?
8. Which pieces did he argue with the same genre but had different forms?
9. Which works were examples of the exact opposite of that?
10. What genre would The Beethoven and Mendelssohn pieces be listed as?
11. Do van der Merwe and Moore argue the same point?
12. Which one of them thinks genre and style are the same?
13. How does he define it?
14. Is musical technique one way define a genre?
15. What is another?
16. Is geographical origin ever used?
17. What is one issue with that?
18. Who said that the term has graduated from being a subset of popular music studies?
19. What type of framework has it become in his opinion?
20. What do recent academics think about this type of categorization?