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 accurately 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, pedagogues, 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 sonatas 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 eluded serious 　attempts at revival.

　　　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 relevance 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 unified not so 　much by stylistic principles or aesthetic creed as by the geographical 　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 propounded by

(40) Alexander Ringer, who argued that laws of artistic 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 circumscribed 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 Continental 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?

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