CHAPTER I

JUST AN ARGUMENT

"It's positively cruel!" pouted Jennie Allen, one of a group of girls occupying a garden bench in the ample grounds of Miss Stearne's School for Girls, at Beverly.

"It's worse than that; it's insulting," declared Mable Westervelt, her big dark eyes flashing indignantly.

"Doesn't it seem to reflect on our characters?" timidly asked Dorothy Knerr.

"Indeed it does!" asserted Sue Finley. "But here comes Mary Louise; let's ask her opinion."

"Phoo! Mary Louise is only a day scholar," said Jennie. "The restriction doesn't apply to her at all."

"I'd like to hear what she says, anyhow," remarked Dorothy. "Mary Louise has a way of untangling things, you know."

"She's rather too officious to suit me," Mable Westervelt retorted, "and she's younger than any of us. One would think, the way she poses as monitor at this second-rate, run-down boarding school, that Mary Louise Burrows made the world."

"Oh, Mable! I've never known her to pose at all," said Sue. "But, hush; she mustn't overhear us and, besides, if we want her to intercede with Miss Stearne we must not offend her."

The girl they were discussing came leisurely down a path, her books under one arm, the other hand holding a class paper which she examined in a cursory way as she walked. She wore a dark skirt and a simple shirtwaist, both quite modish and becoming, and her shoes were the admiration and envy of half the girls at the school. Dorothy Knerr used to say that "Mary Louise's clothes always looked as if they grew on her," but that may have been partially accounted for by the grace of her slim form and her unconscious but distinctive poise of bearing. Few people would describe Mary Louise Burrows as beautiful, while all would agree that she possessed charming manners. And she was fifteen--an age when many girls are both awkward and shy. What are the answers to this following set of questions: 1. Who pouted?
2. where were the girls?
3. at what school?
4. did mable have light eyes?
5. were her eyes happy in this moment?
6. How did Dorothy ask about their characters?
7. who did sue notice approaching?
8. what did mary louise have under her arm?
9. and in the other hand?
10. did she have a light skirt on?
11. what type of skirt did she have on?
12. Did the other girls like her shoes
13. how many of the girls liked her shoes?
14. What did Mary Louise's clothes always look like?
15. how old is she?
16. what are most girls at that age?
17. Is this chapter 4
18. what chapter is it?
19. what is the name of the chapter?
20. is the school coed?
21. Is Mary Louise a day scholar?
Answer: 1. Jennie Allen.
2. A group of girls occupying a garden bench.
3. Miss Stearne's School for Girls, at Beverly.
4. No
5. No.
6. Timidly
7. Sue Finley
8. Her books
9. A class paper.
10. No
11. A dark skirt
12. Yes
13. Half of them.
14. As if they grew on her
15. Fifteen
16. Awkward and shy.
17. No
18. CHAPTER I
19. JUST AN ARGUMENT
20. No
21. Yes

question: 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.
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?
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answer:
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