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 influential 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 manuscripts 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 extant.
(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 acclaimed by the leaders of the London Pianoforte school
(D) works by composers of the London Pianoforte school that are relatively well known
(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 innovative music for the Broadwood piano as soon as the instrument became available.
(B) Clementi and his followers 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 drawn 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
6. It can be inferred from the passage as a whole that the author’s purpose in the third paragraph is primarily to(A) cast doubt on the usefulness of Temperley’s study of the London Pianoforte school
(B) introduce a discussion of the coherency of the London Pianoforte school
(C) summarize Ringer’s argument about the London Pianoforte school
(D) emphasize the complex nature of the musicological elements shared by members of the London Pianoforte school
(E) identify the unique contributions made to music by the London Pianoforte school
7. The author of the passage is primarily concerned with(A) explaining the influence of the development of the pianoforte on the music of Beethoven
(B) describing Temperley’s view of the contrast between the development of piano music in England and the development of piano music elsewhere in Europe
(C) presenting Temperley’s evaluation of the impact of changes in piano construction on styles and forms of music composed in the era of the London Pianoforte school
(D) considering an alternative theory to that proposed by Ringer concerning the London Pianoforte school
(E) discussing the contribution of Terperley’s anthology to what is known of the history of the London Pianoforte school
8. It can be inferred that Temperley’s anthology treats the London Pianoforte school as(A) a group of pianist-composers who shared certain stylistic principles and artistic creeds
(B) a group of people who contributed to the development of piano music between 1766 and 1873
(C) a group of composers who influenced the music of Beethoven in the decades just before and just after 1800
(D) a series of compositions for the pianoforte published in the decades just before and just after 1800
(E) a series of compositions that had significant influence on the music of the Continent in the eighteenth and nineteenth centuries