N1 Reading · Test 30

The author states in the first paragraph: 「音楽体験において一番大切なのは、他人の意見や世評などに惑わされず、まずは自分の内なる声に耳を澄ませてみることではないかと、私は考えている」— the most important thing in music experience is to listen to one's own inner voice, i.e., to properly grasp how one oneself is reacting/feeling. Option 4 (自身がどう感じているかをしっかりとらえること) restates this idea accurately.

• 1「音楽に対する純粋な感覚を磨くこと」(sharpening one's pure senses toward music) is a plausible distractor based on the mention of 「純粋に感覚的な『第一印象』」, but the author does not say one should 'sharpen' or 'polish' that sense. The point is to listen to how one already feels, not to refine a skill.
• 2「自身の興味に合っている音楽と向き合うこと」(engaging with music that matches one's interests) is not what the author emphasizes. The passage is about listening to one's inner reaction regardless of whether the music matches one's interests.
• 3「自身が感じたことをすなおに言葉にすること」(honestly putting one's feelings into words) is tempting because the passage mentions not yet being able to put things into words, but the author's point is not about verbalizing feelings—it is about listening to and grasping one's inner response.

• 内なる声（うちなるこえ） — inner voice
• 耳を澄ませる（みみをすませる） — to listen carefully, to strain one's ears
• 惑まどわされる — to be misled, to be swayed

The sentence immediately following 「①簡単なことではない」explains why: 「マスメディア時代に生きる私たちは、音楽を聴くより以前に既に大量の情報にさらされているし、知らないうちに『音楽の聴き方』についていろいろなことを刷り込まれている。それに他人の意見や反応だって気になる。」We are unconsciously influenced by surrounding information and others' opinions before we even listen. Option 1 captures this precisely.

• 2「『音楽の聴き方』の情報と自身の聴き方は違うから」(the information about 'how to listen to music' differs from one's own way of listening) is not stated. The passage says we are unconsciously influenced by preconceived notions of 'how to listen,' not that there is a discrepancy between that information and our own way.
• 3「自身が音楽にどう反応しているかを考えたことがないから」(because one has never thought about how one reacts to music) is not mentioned in the passage. The difficulty is external influence, not lack of prior reflection.
• 4「自身の反応より他人の意見や反応のほうが大切だと考えているから」(because one considers others' opinions more important than one's own reaction) is too strong. The passage says others' opinions '気になる' (bother us), not that we consider them more important.

• 刷り込まれる（すりこまれる） — to be imprinted/instilled (unconsciously)
• さらされる — to be exposed to (information, etc.)

「これ」refers back to the author's criterion: 「音楽を細切れにすることへのためらいの気持ちが働くか否か」—whether one feels hesitation about breaking the music into pieces (i.e., interrupting it partway). The author elaborates: 細切れ means leaving one's seat mid-concert or arbitrarily stopping a CD, and the key feeling is 「立ち去りがたいような感覚」—a sense of not wanting to leave/stop. Option 2 (音楽を途中でやめずに聴きたいと思えるかどうか) restates this accurately.

• 1「音楽を最後まで聴いて印象に残るかどうか」(whether one listens to the end and it leaves an impression) is close but shifts the focus to 'impression remaining,' which the author does not mention. The criterion is about the feeling of not wanting to interrupt, not about whether an impression lingers.
• 3「音楽を中断しても、後でまた聴きたいと思えるかどうか」(whether one can interrupt but still want to listen again later) contradicts the author's point. The author values the feeling of NOT wanting to interrupt at all, not the willingness to resume later.
• 4「音楽を細切れにしても、共体験しているという気持ちになれるかどうか」(whether one can feel a sense of co-experiencing even when breaking the music into pieces) directly contradicts the passage. The author's criterion is whether hesitation arises against cutting the music up, not whether one can co-experience despite doing so.

• 細切こまぎれ — cutting into small pieces; here, interrupting music partway
• ためらい — hesitation, reluctance
• 不可逆ふかぎゃく — irreversible
• 不可分ふかぶん — indivisible