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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, 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, Tannhaüser, 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.

ESTHETICS 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.

(b) Its development, from the time of Gluck to that of Wagner.

(c) The distinctive features of the following overtures:-Leonore No. III., Beethoven; Der Freischütz, Weber; Tristan, and Isolde, and Meistersinger, 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 Monteverde, 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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