One clear advantage of selling goods online is that smaller markets can be served without the seller needing to invest in heavy inventory costs. Recordings of classical music, for example, are increasingly hard to find at the larger music chains, where only a handful of recordings sell well enough to make the inventory costs and use of shelf space worthwhile, but the afcionado can now locate nearly any classical CD in print on the Internet. In addition, forward-thinking artists without national reputations have made their music available on personal sites or through services that provide the musicians a more generous share of profits than that offered by the large record labels. For some, this has resulted in increased sales volume, greater return on investment, greater control of product, and a more direct connection with an eager market base. Major orchestras and record labels have taken note, and have created Web sites where one can purchase individual tracks, full CDs, archival recordings, and even music exclusively made available for online downloads. Some symphony orchestras now include, with the price of admission to a concert, the right to download a recording of the concert afterward. Other services allow the listener unlimited streaming or downloading for a monthly fee. The question remains as to whether classical music will remain at the periphery of the online market, just as it is in the big retail chains. The short answer is most likely yes; classical music is now just one more niche market, albeit one with a particularly long and distinguished past. Cultural factors—most notably television—have been at work for some time now, creating a limited audience for music that requires sustained critical listening. However, the digital economy has ensured two important factors. First, for those with an interest, an impressively wide range of classical music will be available for some time to come. Second, motivated new artists can earn enough to continue to produce new recordings。
1. The primary purpose of the passage is to _______.
(A) demonstrate that classical music, though it is part of a culture that is antithetical to its existence, will exist for some time to come
(B) acknowledge that classical music sales are unlikely to capture a significantly larger part of the market share of musical recordings, despite the beneficial effect of online sales
(C) discuss the many ways that the Internet has contributed, and will contribute, to sales of smaller markets
(D) use the effect that online sales has had – and will have – on classical music sales as an example of how the digital economy can change smaller markets
(E) show how a few motivated artists have revolutionized a feld that was in danger of becoming extinct
2. It can be inferred from the passage that the author believes that _______.
(A) classical music recordings available exclusively online are equal to those available in stores
(B) the large music chains have not done enough to promote the sales of classical music recordings
(C) the enjoyment of popular music does not necessitate long periods of intense listening
(D) any classical musician who wishes to increase sales of his or her recordings should set up a personal Web site
(E) the digital economy has had a mixed effect on classical music sales
3. Which of the following is NOT an example of the effect that the digital economy has had on the selling of classical music, as described in the passage?
(A) Consumers are able to purchase CDs that are unavailable in stores.
(B) Artists find it easier to send promotional information to people who have expressed an interest in the artists’ music.
(C) A major record label offers its new artists a greater share of profits than in the past.
(D) Listeners download music without having to concern themselves with the cost of each download.
(E) A new artist sells enough copies of a first CD to pay for the production of a second.
4. It can be inferred from the passage that one factor that has led to the marginalizing of classical music in retail stores is that _______.
(A) classical music must compete with a wide range of other niche market recordings
(B) physical space is needed for better-selling recordings
(C) major orchestras have had a difficult time selling tickets to live performances
(D) inventory costs of classical music recordings tend to be higher than those associated with popular music
(E) recordings are displayed in a way that is disadvantageous to the consumer who is interested in a recording that is not a big seller
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