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75. What is this article about?
(A) Colonial religion
(B)
Colonial art
(C) The influence of colonial art on European art
(D) The importance of the architecture of the New World
76. We can say that Spanish colonial art
(A) is very popular
(B)
is unknown
(C) is not interesting
(D) is secular for the most part
77. Hispanoamerican artists had a lot of opportunity to create because
(A) they were rich and had rich patrons
(B)
there were many churches and monasteries
(C) they received the help of European artists
(D) they created for secular institutions
78. According to the author, why is the art of the colonies so little appreciated?
(A)
The scholar didn’t travel much.
(B) It was inferior to European art.
(C) It was affected by the styles fashionable in Europe.
(D) It wasn’t in important museums.
79. According to the author, how do we know that colonial art is valuable?
(A) It is in all of this century’s most important museums.
(B) It is sold for millions of dollars.
(C)
Sometimes it is confused with the work of a European master.
(D) It imitates the inferior European work.

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Spanish Subject Test
115
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80. According to the selection, Mexico and Peru
(A)
had more artists than other countries
(B) were the first Spanish colonies
(C) didn’t have enough money to support art
(D) didn’t have any contact with Europe
There are those who say that the smooth tone of the Bossa Nova was a product of necessity. The
story tells that the musical meetings took place at night in the districts near Rio and lasted until dawn,
obliging the performers to lower their voices so as not to disturb the neighbors. In any case, what no
one knows is that this musical style had various evolutionary phases.
Toward the end of the 1920s, when radio appeared, playing the guitar and singing samba was
considered bohemian and for popular folk theater. With the advent of radio a more dignified version
of the samba developed and it coincided with the strengthening of the phonograph industry. The radio
and records began to direct the fate of popular Brazilian music.
The avalanche of new talent emerged unexpectedly in all social classes, even in the highest strata,
with Mario Reis, whose low voice may have given origin to the Bossa Nova. At this time variations
were introduced, but always at the amateur level. Bando de Lua, the first to form a vocal group, did
not accept payment for its performances, saying “we are not professionals.”
In the early 1930s new harmonies and compositions give the movement a true, professional touch,
especially by Radames Gnatelli, creator of the new style of orchestration, adapting samba rhythms to
the saxophone and brass instruments.