The (i) _______ character of the fourteenth-century motets, in the musicologist Margarete Stein's assessment, stems from their having stripped away every compositional element except directly notated rhythmic values and the melodic consequences of an initial modal hypothesis. Her judgment aligned with a larger theoretical framework that (ii) _______ the union of empirical observation of performance practice with formal computation as the (iii) _______ of music as a disciplined inquiry, while denying any legitimacy to speculative hypotheses of a strongly metaphysical sort.

Blank (i)	Blank (ii)	Blank (iii)
A. exuberant	D. legitimized	G. irreducible ground
B. aesthetic	E. denounced	H. peripheral ornament
C. spare	F. muddled	I. provisional speculation