Reading ComprehensionDifficulty: Hard

PT21 S4 P1 Q2 Explanation

Pianoforte School

A free, expert breakdown of this official LSAT Reading Comprehension question.

TopicsInferenceHumanities

Keep going in LSAT Lab

  • Save & drill this skill build targeted practice sets from questions like this one

  • Video walkthroughs watch every question solved step by step

  • 81 official LSATs as questions, timed sections & full-length tests

Full official LSAT questions are available through LawHub. This page provides LSAT Lab's explanation, strategy, and review tools without republishing the full official question.

Passage

Musicologists 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 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. leading representatives, like 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 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 instrument was transformed from the fortepiano to what we know today as the piano.

To be sure, the concept of 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 various times in London and be so great as to cast doubt on the notion of a ‘school.’”

The notion of a school was first propounded by 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 Pianoforte school did suggest by the period (c. 1766–1873) during which it flourished, as Temperley has done in the anthology.

What this question is testing

Inference

Your task

Find what must be true based on what the passage or stimulus states.

Common trap

Answers that are plausible or likely but not actually guaranteed by the text.

Winning move

Keep only the choice the statements fully support — eliminate anything that requires an extra assumption.

Reading along? Open the full official question in LawHub — we show a fragment here and keep the reasoning in our own words.

The question
2.

It can be inferred that which one of the following is true of the piano music of the

Answer choices

  1. Too Strong: typify Opposite14% picked this

    The nocturnes of John Field typify the London Pianoforte

    We're saying in the 3rd paragraph that the Pianoforte school doesn't really have a consistent style, so to say that anyone's music typifies it would seem to go against that thought. John Field is only mentioned once, in the first paragraph, and he's in a sentence where Clementi is at least as important.

  2. Too Strong: best-known2% picked this

    The Gradus ad Parnassum of Muzio Clementi is the best-known work

    Clementi is brought up in the final sentence of the 1st paragraph. It says his sonatas, his Gradus ad Parnassum, and Field's nocturnes have remained fairly well known. We can't derive from those three thinks (sonatas, GaP, and nocturnes) which if any of those three is the best known work of the Pianoforte composers.

  3. Contradicted Too Strong: no5% picked this

    No original scores for this music

    We'd have to have a really good line reference to support that "NOT A SINGLE original score of this music still exists". The 2nd sentence of the 2nd paragraph says that Temperley's anthology reproduces "nearly all of the original music", so apparently there were original scores.

  4. Too Strong: no attempts ever made15% picked this

    Prior to Temperley’s edition, no attempts to issue new editions of this music

    All we're told is that Temperley has "an ambitious new anthology". Just because his anthology is the only one we hear about doesn't mean it's the only attempt of its kind. The last sentence of the first paragraph obliquely nods to the existence of other "editions lacking scholarly rigor". So Temperley's edition might be the best or most comprehensive attempt to issue new editions of Pianoforte's music, but we can't support that it's the only attempt anyone has made.

  5. Correct64% picked this

    In modern times much of the music of this school has been little known

    Why this is right

    The first two sentences of the passage provide pretty good support for this answer. - people hoping to study this Pianoforte school "have long encountered a formidable obstacle in the general unavailability of music". - "much of this repertory has more or less vanished from our historical consciousness" If musicologists can't get their hands on this music, then musicians can't. If much of the repertory has vanished from "our historical consciousness", that includes musicians.

    Skill tested: Inference · how this choice captures the passage's function is the move to repeat next time.

Continue the review in LSAT Lab

Save this question, watch the video walkthrough, and drill similar questions in your LSAT Lab account.

LSAT Lab

Turn this review into a targeted study plan.

Save this question, drill more like it, watch the video walkthrough, and track your progress in your LSAT Lab account.

Start practicing free