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B.

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4. Write a Diminished Third, a Major Seventh, and

an Augmented Sixth from the following notes :

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COUNTERPOINT.

FIRST YEAR,

Professor Marshall-Hall.

TWO-PART COUNTERPOINT.

1. Write four notes against one (a) above, (6) below

the following C.F.:

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2. Write a florid part (a) above, (b) below the following

C.F. :

3 4

THREE-PART COUNTERPOINT. 3. Write two notes against one in the Tenor, and four

notes in the Bass, below the following C.F.:

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4. Write a florid Tenor and Soprano above the

following C.F.:

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Professor Marshall-Hall. 1. Analyze technically (a) the Fantasia Sonata of

Mozart; (b) the last movement of Op. 2 No. 1 of Beethoven (Son. No. 1) quoting themes.

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2. Describe tersely the outline of the Primary, Varia

tion, Rondo, and Binary forms.

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means

3. Shew how musical form generally, in Beethoven the

Binary form in particular, are an outcome of the endeavour to express emotion, and are by no

intellectual creations. Compare dramatic structure with the architectural outlines of a Beethoven sonata, especially commenting on the emotional contents of his themes.

4. Comment on the nature of Mozart's and Beethoven's

chief and subsidiary themes, episodes, and codas.

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1. Give a brief account of Spencer's theory of the

origin and function of music.

2. Give a brief account of Schopenhauer's theory of

art, especially pointing out the essential distinction he draws between the object of music and that of the other arts.

3. Shew the essential agreement between Spencer and

Schopenhauer in their art-theories.

JURISPRUDENCE.

The Board of Examiners.

Candidates must not answer more than EIGHT

questions.

1. Distinguish between Statute and Judiciary Law,

and state and examine Austin's objections to Judiciary Law.

2. Define and classify jura in rem and jura in per

sonam.

3. What are Sanctions ? Classify them. Are Re

wards Sanctions ?

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