Miles Davis - Icon and Iconoclast Reading Answers

Oct 9, 2025

Miles Davis - Icon and Iconoclast Reading Answers is an academic reading answers topic. Miles Davis - Icon and Iconoclast Reading Answers contains a total of 13 IELTS questions, such as Choose the correct heading for paragraphs a-f from the list of headings below. Write the correct number, i-ix. And do the following statements agree with the views of the writer in boxes: yes, no, or not given.

The IELTS Reading section is an essential part of the test that evaluates a candidate's comprehension and analysis of various passage types. You will work through a number of IELTS reading practice problems in this section that resemble actual test situations. These questions are designed to help you improve your ability to recognise essential concepts, extract particular facts, and make inferences. Practising these IELTS reading problems can help you get comfortable with the structure and increase your confidence for the exam, regardless of whether you are studying for the Academic or General Training module.

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Section 1

MILES DAVIS - ICON AND ICONOCLAST

A.At the age of thirteen, Miles Davis was given his first trumpet; lessons were arranged with a local trumpet player, and a musical odyssey began. These early lessons, paid for and supported by his father, had a profound effect on shaping Davis' signature sound. Whereas most trumpeters of the era favoured the use of vibrato (a wobbly quiver in pitch inflected in the instrument's tone), Davis was taught to play with a long, straight tone, a preference his instructor reportedly drilled into the young trumpeter with a rap on the knuckles every time Davis began using vibrato. This clear, distinctive style never left Davis. He continued playing with it for the rest of his career, once remarking, 'If I can't get that sound, I can't play anything.'

B.Having graduated from high school in 1944, Davis moved to New York City, where he continued his musical education both in the clubs and in the classroom. His enrolment in the prestigious Juilliard School of Music was short-lived, however - he soon dropped out, criticising what he perceived as an over-emphasis on the classical European repertoire and a neglect of jazz. Davis did later acknowledge, however, that this time at the school was invaluable in terms of developing his trumpet-playing technique and giving him a solid grounding in music theory, Much of his early training took place in the form of jam sessions and performances in the clubs of 52nd Street, where he played alongside both up-and-coming and established members of the jazz pantheon such as Coleman Hawkins. Eddie 'Lockjaw' Davis, and Thelonious Monk.

CIn the late 1940s, Davis collaborated with nine other instrumentalists, including a French horn and a tuba player, to produce The Birth of Cool, an album now renowned for the inchoate sounds of what would later become known as cool jazz. In contrast to popular jazz styles of the day, which featured rapid, rollicking beats, shrieking vocals, and short, sharp horn blasts, Davis' album was the forerunner of a different kind of sound - thin, light horn-playing, hushed drums and a more restrained, formal arrangement, Although it received little acclaim at the time (the liner notes to one of Davis' later recordings call it a 'spectacular failure'), in hindsight, The Birth of Cool has become recognised as a pivotal moment in jazz history, cementing - alongside his 1958 recording, Kind of Blue - Davis' legacy as one of the most innovative musicians of his era.

D.Though Davis' trumpet playing may have sounded effortless and breezy, this ease rarely carried over into the rest of his life. The early 1950s, in particular, were a time of great personal turmoil. After returning from a stint in Paris, Davis suffered from prolonged depression, which he attributed to the unravelling of a number of relationships, including his romance with a

French actress and some musical partnerships that ruptured as a result of creative disputes. Davis was also frustrated by his perception that he had been overlooked by the music critics, who were hailing the success of his collaborators and descendants in the 'cool' tradition, such as Gerry Mulligan and Dave Brubeck, but who afforded him little credit for introducing the cool sound in the first place.

E.In the latter decades of his career, Davis broke out of exclusive jazz settings and began to diversify his output across a range of musical styles. In the 1960s, he was influenced by early funk performers such as Sly and the Family Stone, which then expanded into the jazz-rock fusion genre — of which he was a frontrunner — in the 1970s. Electronic recording effects

and electric instruments were incorporated into his sound. By the 1980s, Davis was pushing the boundaries further, covering pop anthems such as Cyndi Lauper's Time After Time and Michael Jackson's Human Nature, dabbling in hip hop, and even appearing in some movies.

F.Not everyone was supportive of Davis' change of tune. Compared to the recordings of his early career, universally applauded as linchpins of the jazz oeuvre, trumpeter Wynston Marsalis derided his fusion work as being 'not true jazz', and pianist Bill Evans denounced the 'corrupting influence' of record companies. noting that rock and pop 'draw wider audiences'. In the face of this criticism, Davis remained defiant. commenting that his earlier recordings were part of a moment in time that he had no 'feel' for anymore. He firmly believed that remaining stylistically inert would have hampered his ability to develop new ways of producing music. From this perspective, Davis's continual revamping of genre was not merely a rebellion, but an evolution, a necessary part that allowed him to release his full musical potential.

QUESTIONS 14-19

CHOOSE THE CORRECT HEADING FOR PARAGRAPHS A-F FROM THE LIST OF

HEADINGS BELOW. WRITE THE CORRECT NUMBER, I-IX, IN BOXES 14-19 ON YOUR ANSWER SHEET.

LIST OF HEADINGS

i. A legacy is established

ii. Formal education unhelpful

iii. An education in two parts

iv. Branching out in new directions

v. Childhood and family life

vi. Change necessary to stay creative

vii. Conflicted opinions over Davis' earlier work

viii. Davis' unique style of trumpet playing

ix. Personal and professional struggles

14. Paragraph A

Answer: viii

Supporting statement: Whereas most trumpeters of the era favoured the use of vibrato... Davis was taught to play with a long, straight tone, a preference his instructor reportedly drilled into the young trumpeter... This clear, distinctive style never left Davis.

Keywords: vibrato, long, straight tone, clear, distinctive style

Keyword Location: Para A, Lines 4-7

Explanation: Paragraph A focuses entirely on how Miles Davis acquired his unique, non-vibrato long, straight tone style of trumpet playing, a style he maintained throughout his career.

15. Paragraph B

Answer: iii

Supporting statement: Davis moved to New York City, where he continued his musical education both in the clubs and in the classroom. His enrolment in the prestigious Juilliard School of Music was short-lived... Much of his early training took place in the form of jam sessions and performances in the clubs of 52nd Street

Keywords: clubs and in the classroom, Juilliard School of Music

Keyword Location: Para B, Lines 2-3

Explanation: The paragraph discusses Davis's musical education after high school, highlighting his formal training at Juilliard (the 'classroom') and his informal, practical training through jam sessions and performances in New York clubs. This distinctly presents his education as having two major components.

16. Paragraph C

Answer: i

Supporting statement: In hindsight, The Birth of Cool has become recognised as a pivotal moment in jazz history, cementing - alongside his 1958 recording, Kind of Blue - Davis' legacy as one of the most innovative musicians of his era.

Keywords: pivotal moment, cementing, Davis' legacy

Keyword Location: Para C, Lines 8-9

Explanation: The paragraph C describes two of Davis's most influential albums, The Birth of Cool and Kind of Blue, and concludes by stating that they cemented his legacy as one of the most innovative musicians.

17. Paragraph D

Answer: ix

Supporting statement: The early 1950s, in particular, were a time of great personal turmoil. After returning from a stint in Paris, Davis suffered from prolonged depression, which he attributed to the unravelling of a number of relationships... Davis was also frustrated by his perception that he had been overlooked by the music critics

Keywords: personal turmoil, depression, unravelling, relationships, frustrated, overlooked

Keyword Location: Para D, Lines 2-6

Explanation: The paragraph details both his private difficulties, personal turmoil, depression, unravelling of relationships, and his work-related frustrations, overlooked by the music critics covering both professional and personal struggles.

18. Paragraph E

Answer: iv

Supporting statement: Davis broke out of exclusive jazz settings and began to diversify his output across a range of musical styles." and "he was influenced by early funk... which then expanded into the jazz-rock fusion genre... By the 1980s, Davis was pushing the boundaries further, covering pop anthems... dabbling in hip hop, and even appearing in some movies.

Keywords: broke out, range of musical styles, jazz-rock fusion, boundaries further

Keyword Location: Para E, Lines 2-6

Explanation: This paragraph chronicles the many new musical styles (funk, fusion, pop covers, hip hop) and media (movies) Davis explored later in his career, indicating a clear move into new or different directions.

19. Paragraph F

Answer: vi

Supporting statement: In the face of this criticism, Davis remained defiant. commenting that his earlier recordings were part of a moment in time that he had no 'feel' for anymore. He firmly believed that remaining stylistically inert would have hampered his ability to develop new ways of producing music.

Keywords: stylistically inert, producing music

Keyword Location: Para F, Lines 6-7

Explanation: Paragraph F focuses on Davis's justification for his stylistic changes—his belief that change was essential to avoid stagnation and to continue developing his musical potential, thus linking change directly to maintaining creativity.

QUESTIONS 20-26

DO THE FOLLOWING STATEMENTS AGREE WITH THE VIEWS OF THE WRITER IN BOXES 20-26 ON YOUR ANSWER SHEET, WRITE

YES - if the statement agrees with the views of the writer

NO - if the statement contradicts the views of the writer

NOT GIVEN - if it is impossible to say what the writer thinks about this

20. Davis' trumpet teacher wanted him to play with vibrato.

Answer: NO

Supporting statement: Davis was taught to play with a long, straight tone, a preference his instructor reportedly drilled into the young trumpeter with a rap on the knuckles every time Davis began using vibrato.

Keywords: instructor, rap on the knuckles

Keyword Location: Para A, Lines 5-6

Explanation: The text explicitly states that Davis's instructor discouraged the use of vibrato, going so far as to punish him for using it, directly contradicting the statement.

21. According to Davis, studying at Juilliard helped him improve his musical abilities.

Answer: YES

Supporting statement: Davis did later acknowledge, however, that this time at the school was invaluable in terms of developing his trumpet-playing technique and giving him a solid grounding in music theory

Keywords: acknowledge, invaluable, trumpet-playing technique

Keyword Location: Para B, Lines 5-6

Explanation: While Davis criticized Juilliard's curriculum, the text confirms that he acknowledged the school's value in improving his technique and music theory.

22. Playing in jazz clubs in New York was the best way to become famous.

Answer: NOT GIVEN

Explanation: The text confirms that Davis trained in the clubs, but it never offers an opinion, from the writer or Davis, on whether this was the best way to become famous.

23. The Birth of Cool featured music that was faster and louder than most jazz at the time.

Answer: NO

Supporting statement: In contrast to popular jazz styles of the day, which featured rapid, rollicking beats, shrieking vocals, and short, sharp horn blasts, Davis' album was the forerunner of a different kind of sound - thin, light horn-playing, hushed drums and a more restrained, formal arrangement

Keywords: contrast, rapid, rollicking beats, shrieking vocals

Keyword Location: Para C, Lines 4-5

Explanation: The text states that The Birth of Cool was a contrast to the fast, loud styles, featuring thin, light, and restrained sounds.

24. Davis' personal troubles had a negative effect on his trumpet playing.

Answer: NOT GIVEN

Explanation: The paragraph discusses his personal and professional struggles, but it never establishes a direct link between his depression/turmoil and the quality or ability of his trumpet playing.

25. Davis felt that his contribution to cool jazz had not been acknowledged.

Answer: YES

Supporting statement: Davis was also frustrated by his perception that he had been overlooked by the music critics, who were hailing the success of his collaborators and descendants in the 'cool' tradition... but who afforded him little credit for introducing the cool sound in the first place.

Keywords: frustrated, overlooked by the music critics, afforded him little credit

Keyword Location: Para D, Lines 6-7

Explanation: The text explicitly mentions Davis's frustration that critics gave him little credit for introducing the cool sound.

26. Davis was a traditionalist who wanted to keep the jazz sound pure.

Answer: NO

Supporting statement: He firmly believed that remaining stylistically inert would have hampered his ability to develop new ways of producing music. From this perspective, Davis's continual revamping of genre was not merely a rebellion, but an evolution, a necessary part that allowed him to release his full musical potential.

Keywords: continual revamping of genre, evolution, remaining stylistically inert

Keyword Location: Para F, Line 6- 8

Explanation: Davis's late-career move into funk, rock, and pop fusion, his rejection of pure jazz criticism, and his belief that remaining stylistically inert would be harmful clearly show he was an iconoclast who sought to change and evolve the sound, not a traditionalist seeking purity.

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