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2. Write a fugue in three parts, one of the following

subjects :Andante.

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FORM AND ANALYSIS.

FIRST YEAR.

Professor Marshall-Hall. 1. Give a short sketch of the Primary, Binary, Varia

tion, 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. (6) 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.

ÆSTHETICS 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.

ÆSTHETICS OF MUSIC.

SECOND YEAR.

Professor Marshall-Hall.

1. What are Herbert Spencer's views as to the origin

and function of music? 2. Compare with these Schopenhauer's views on the

same subject. 3. What part should music play in popular Education?

HISTORY OF MUSIC.

SECOND YEAR.

Professor Marshall-Hall.

1. Write an essay touching on the following points :

(a) The origin of the overture. (6) Its development, from the time of Gluck to

that of Wagner. (c) The distinctive features of the following over

tures :-Leonore No. III., Beethoven; Der Freischütz, Weber; Tristan, and Isolde, and Meister

singer, Wagner; Don Juan, Mozart. (d) Especially shew the relation of these overtures

to the dramas with which they are associated. 2. What was the main work accomplished by Monte

verde, Peri, Lulli, Palestrina, Pergolesi.

ACOUSTICS.

Professor Lyle.

1. Wind instruments are divided into those of the reed

class and those of the flute class. Give a few examples of each class, explain the difference between the two classes, and on what in each case the pitch of the musical note produced depends.

Do the human vocal organs belong to either class?

2. When two strings are stretched on the same sounding

board, it is found that if they are tuned to the same note one of them can easily be made to vibrate by bowing the other, but when they are out of tune, one is but little affected by the vibrations of the other. Explain this fully, and give other illustrations of the same principle.

3. Explain how beats are produced, and show that the

number produced per second is equal to the difference in the vibration numbers of the two notes producing them.

4. Describe the method of analyzing a musical note

by means of resonators.

5. Define the term musical interval.

Give values for the intervals, major third, fifth, and octave on the diatonic scale, and also on the scale of equal temperament.

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