Questions 23-33 are based on the following passage.
Before the 1950s, music defined its own circles, but, at best, only shaded the frame of popular American culture. The birth of Rock and Roll forever changed that as larger and larger numbers of youth came, not only to identify with the music they were listening to, but to identify [23] themselves by that music.
We use pop songs to create for ourselves a particular sort of self-definition, a particular place in society. The pleasure that a pop song produces is a pleasure of identification; in responding to a song, we are drawn into [24] affective alliances with the performers and with the performers’ other fans.
[25] Thus, music like sports is clearly a setting in which people directly experience community, feel an immediate bond with other people, and articulate a collective pride.
At the same time, because of its qualities of abstractness, pop music is an individualizing form. Songs have a looseness of reference that makes them immediately accessible. [26] Their open to appropriation for personal use in a way that other popular cultural forms (television soap operas, for example) are not—the latter are tied into meanings which we may reject.
This interplay between personal absorption into music and the sense [27] that it is, nevertheless, something public, is what makes music so important in the cultural placing of the individual: music also gives us a way of managing the relationship [28] among our public and private emotional lives. Popular love songs are important because they give shape and voice to emotions that otherwise cannot be expressed without embarrassment or incoherence.
[29] Our culture has a supply of pop songs that say these things for us in interesting and innovative ways.
Clearly one of the effects of all music, not just pop, is to focus our attention on the feeling of time, and intensify our experience of the present. One measure of good music is its “presence,” its ability to “stop” time, to make us feel we are living within a moment, with no memory or anxiety about what has come before us, or what will come after. We invest most in popular music when we are teenagers and young adults—music ties into a particular kind of emotional
[30] tranquillity when issues of individual identity and social place, and the control of public and private feelings, are at a premium.
What this suggests, though, is not that young people need music, but that “youth” itself is defined by music. Youth is experienced as an intense presence through an [31] impatiens for time to pass and a regret that it is doing so, in a series of speeding, physically insistent moments that have nostalgia coded into [32] it. [33]