SECTION IV

Time—35 minutes

27 Questions

Directions: Each passage in this section is followed by a group of questions to be answered on the basis of what is stated or implied in the passage. For some of the questions, more than one of the choices could conceivably answer the question. However, you are to choose the best answer, that is, the response that most accurately¹ and completely answers the question, and blacken the corn conding space on your answer sheet.

　　　Musicoiogists concerned with the "London Pianoforte school," the group 　of composers, pedagogues², pianists, publishers, and builders who 　contributed to the development of the piano in London

(5) at the turn of the nineteenth century have long encountered a formidable 　obstacle in the general unavailability of music of this "school" in modern 　scholarly editions, Indeed, much of this repertory has more or less vanished 　from our historical

(10) consciousness. Granted, the sonatas³ and Gradus ad Parnassum of Muzio 　Clementi and the nocturnes of john Field have remained farniliar enough 　(though more often than not in editions lacking scholarly rigor), but the work 　of other leading representatives, like

(15) Johann Baptist Cramer and Jan Ladislav Dussek, has eluded⁴ serious 　attempts at revival⁵.

　　　Nicholas Temperley s ambitious new anthology decisively overcomes this 　deficiency. What underscores the intrinsic value of Temperley s editions

(20) is that the anthology reproduces nearly all of the original music in 　facsimile. Making available this cross section of English musical life—some 　800 works by 49 composers—should encourage new critical perspectives 　about how piano music evolved in

(25) England, an issue of considerable relevance⁶ to our understanding of how 　piano music developed on the European continent, and of how, finally, the 　instrument was transformed from the fortepiano to what we know today as the 　piano.

(30) To be sure, the London Pianoforte school itself calls for review. "School" 　may well be too strong a word for what was arguably a group unified⁷ not so 　much by stylistic principles or aesthetic⁸ creed⁹ as by the geographical¹⁰ 　circumstance that they worked at

(35) various times in London and produced pianos and piano music for English 　pianos and English markets. Indeed, Temperley concedes that their "variety 　may be so great as to cast doubt on the notion of a school. "

　　　The notion of a school was first propounded¹¹ by

(40) Alexander Ringer, who argued that laws of artistic¹² survival forced the 　young, progressive Beethoven to turn outside Austria for creative models, and 　that he found inspiration in a group of pianists connected with Clementi in 　London. Ringer s proposed London

(45) Pianoforte school did suggest a circumscribed¹³ and fairly unified group—for 　want of a better term, a school—of musicians whose influence was felt 　primarily in the decades just before and after 1800. After all, Beethoven did 　respond to the advances of the

(50) Broadwood piano—its reinforced frame, extended compass, triple strining, 　and pedsals, for example—and it is reasonable to suppose that London 　pianists who composed music for such an instrument during the critical 　phase of its development exercised no small

(55) degree of influence on Continental¹⁴ musicians. Nevertheless, perhaps the 　most sensible approach to this issue is to define the school by the period (c, 　1766-1873) during which it flourished, as Temperley has done in the 　anthology.

1. Which one of the following most accurately states the author s main point?

(A) Temperley has recently called into question the designation of a group of 　　composers. pedagogues, pianists, publishers, and builders as the London 　　Pianoforte school
(B) Temperley s anthology of the music of the London Pianoforte school 　　contributes significantly to an understanding of an influential¹⁵ period in the 　　history of music.
(C) The music of the London Pianoforte school has been revived by the 　　publication of Temperley s new anthology.
(D) Primary sources for musical manuserrpts provide the most reliable basis for 　　musicological research.
(E) The development of the modern piano in England influenced composers and 　　other musicians throughout Europe.

2. It can be inferred that which one of the following is true of the piano music of the London Pianoforte school?

(A) The nocturnes of John Field typify the London Pianoforte school style.
(B) The Gradus ad Parnassum of Muzio Clementi is the best-known work of 　　these composers.
(C) No original scores for this music are exant
(D) Prior to Temperley s edition, no attempts to issue new editions of this music 　　had been made.
(E) In modern times much of the music of this school has been little known 　　even to musicians.

3. The author mentions the sonatas of Muzio Clementi and the nocturnes of John Field as examples of which one of the following?

(A) works by composers of the London Pianoforte school that have been 　　preserved in rigorous scholarly editions
(B) works that are no longer remembered by most people
(C) works acclaimed¹⁶ by the leaders of the London Pianoforte school
(D) works by composers of the London Pianoforte school that are relatively¹⁷ 　　wellknown
(E) works by composers of the London Pianoforte school that have been revived 　　by Temperley in his anthology

4. Which one of the following, if true, would most clearly undermine a portion of Ringer s argument as the argument is described in the passage?

(A) Musicians in Austria composed innovative¹⁸ music for the Broadwood piano 　　as soon as the instrument became available.
(B) Clementi and his followers¹⁹ produced most of their compositions between 　　1790 and 1810.
(C) The influence of Continental musicians is apparent in some of the works of 　　Beethoven.
(D) The pianist-composers of the London Pianoforte school shared many of the 　　same stylistic principles.
(E) Most composers of the London Pianoforte school were born on the 　　Continent and were drawn²⁰ to London by the work of Clementi and his 　　followers.

5. It can be inferred that the author uses the word "advances" (line 49) to refer to

(A) enticements offered musicians by instrument manufacturers
(B) improvements in the structure of a particular instrument
(C) innovations in the forms of music produced for a particular instrument
(D) stylistic elaborations made possible by changes in a particular instrument
(E) changes in musicians opinions about a particular instrument

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