Q: CHAPTER I

WYNDHAM PAYS DUTY

Red reflections trembled on the sea, a fringe of languid surf broke along the beach, and as the liner turned a point, a white town that rose in terraces, glimmered like a pearl. A yellow flag ran up to the masthead, the throb of engines slowed, and a noisy launch steamed out from behind the mole. Marston, leaning on the rail, watched her approach, and his look was thoughtful when he turned to Wyndham.

"If Don Ramon got our telegram, he's probably on board," he said. "I hope he is, because if he doesn't come it might imply he means to make things difficult for us. He could if he liked."

"Larrinaga will come," Wyndham replied. "From all accounts, he's a pretty good officer, but I don't expect he neglects his interests while he looks after the State's. I'm counting on this."

"I s'pose one mustn't be fastidious, but I don't want to get involved in fresh intrigue. The job we've undertaken is awkward enough."

"Very awkward," Wyndham agreed, with some dryness. "In a way, it looks too big for us. To begin with, we have got to pay duties we dodged, and satisfy the Government we cheated. Then, without exciting the latter's curiosity, we're going to stop a rebellion and carry off its leader. There's the worst puzzle. The fellow's cunning and powerful. Moreover, he's my uncle."

He stopped, for the engines clanked noisily as the screw turned astern; then the anchor splashed and the launch swung in to the gangway. The port doctor came on board and after him a man in tight-fitting American clothes. His wide black belt was spun from the finest silk and Marston noted his hat. Indians had woven the delicate material under running water; presidents and dictators wore hats like that, and none of the few produced were sent to Europe. It was obvious that Senor Larrinaga was now a man of importance.

Answer the following questions:
1. Do the characters know if Don Ramon is on board the ship?
2. Why might he be?
3. Do they want to see him there?
4. Why?
5. What color was the ship's flag?
6. Are Marston and Wyndham on the ship?
7. Where are they?
8. What are they doing there?
9. Have Wyndham and Marston been acting honestly?
10. What immoral things have they done?
11. What do they have to do after making amends for those things?
12. who is the leader?
13. Is he intelligent?
14. Who was the first person they saw after the anchor dropped?
15. and the second?
16. what did Marston pay attention to in the man's outfit?
17. what was special about the hat?
18. what kinds of people wore similar hats?
19. Were a large number produced?
20. could they be purchased in Europe?
A: 1. No
2. If he got their telegram
3. Yes
4. if he doesn't come he might be making things difficult
5. Yellow
6. No
7. Leaning on the rail at the port
8. Watching the ship approach
9. No
10. dodged duties and cheated the government
11. stop a rebellion and carry off its leader
12. Wyndham's uncle
13. Yes
14. the port doctor
15. a man in tight-fitting American clothes
16. his hat
17. the material was woven by Indians under running water
18. presidents and dictators
19. no
20. no
Q: Experimental music is a general label for any music that pushes existing boundaries and genre definitions . Experimental compositional practice is defined broadly by exploratory sensibilites radically opposed to, and questioning of, institutionalized compositional, performing, and aesthetic conventions in music . Elements of experimental music include indeterminate music, in which the composer introduces the elements of chance or unpredictability with regard to either the composition or its performance. Artists may also approach a hybrid of disparate styles or incoprorate unorthodox and unique elements .

The practice became prominent in the mid-20th century, particularly in Europe and North America. John Cage was one of the earliest composers to use the term and one of experimental music's primary innovators, utilizing indeterminacy techniques and seeking unknown outcomes. In France, as early as 1953, Pierre Schaeffer had begun using the term """" to describe compositional activities that incorporated tape music, musique concrete, and elektronische Musik. Also, in America, a quite distinct sense of the term was used in the late 1950s to describe computer-controlled composition associated with composers such as Lejaren Hiller. Harry Partch as well as Ivor Darreg worked with other tuning scales based on the physical laws for harmonic music. For this music they both developed a group of experimental musical instruments. Musique concrete (French; literally, "concrete music"), is a form of electroacoustic music that utilises acousmatic sound as a compositional resource. Free improvisation or free music is improvised music without any rules beyond the taste or inclination of the musician(s) involved; in many cases the musicians make an active effort to avoid "cliches", i.e., overt references to recognizable musical conventions or genres.

Answer the following questions:
1. What is the topic of this article?
2. When did this become prominent ?
3. On what continents was it generally found?
4. Who was one of the first people to use the term?
5. What "instrument" did Lejaren Hiller use in his works?
6. Did Harry Partch and Ivor Darreg use traditional instruments?
7. How did they get these instruments?
8. Is the element of change important to some types of this music?
9. Could this music include nontraditional musical scales?
10. Do some types of this music include multiple styles at the same time?
A:
1. Experimental music
2. mid-20th century
3. Europe and North America
4. John Cage
5. computer
6. No
7. they both developed them
8. Yes
9. Yes
10. Yes