2. Write four notes against one (a) above, (b) below the following C.F.: 3. Write a part in florid counterpoint above the following C.F.: THREE-PART COUNTERPOINT. 4. Write two parts in florid counterpoint, above and below the following C.F.: COUNTERPOINT. SECOND YEAR. Professor Marshall-Hall. 1. Add one part in double counterpoint, and two free parts to the following C.F.: FORM AND ANALYSIS. FIRST YEAR. Professor Marshall-Hall. 1. Give a short sketch of the Primary, Binary, Variation, and Rondo forms. 2. Analyze the 2nd and 3rd movements (Adagio and Scherzo) of Beethoven's Op. 2 No. 3 (3rd Sonata), explaining how the spirit in which the melody is conceived has caused the form to develop. 3. Comment on Beethoven's Episodes and Codas. FORM AND ANALYSIS. SECOND YEAR. Professor Marshall-Hall. 1. (a) Draw out a table shewing (pedantically) the general outline of the Binary, Variation, and Rondo forms. (b) Analyze the form of both movements of Beethoven's Op. 90 (Sonata in E minor.) (c) Notice the various characteristic points in the form of this Sonata. (d) To what extent and in what manner does Beethoven's conception of form, as exhibited in this Opus 90, coincide with Wagner's conception of dramatic form? 2. Give a general idea of the form of Wagner's Walküre, and Tristan and Isolde. 3. Mention the main developments in form noticeable in the Preludes to Lohengrin, Tannhauser, Tristan, and Meistersinger. ESTHETICS OF MUSIC. FIRST YEAR. Professor Marshall-Hall. 1. What is the object of art? 2. How does music attain this object? 3. What constitutes vulgarity in art? 4. What constitutes the sublime, the beautiful, the graceful, the charming? 5. "Music is an idealized language of the emotions." Explain this. |