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EXAMINATION FOR THE DEGREE OF BACHELOR OF MUSIC.

INTERPRETATION OF SPECIFIED WORKS.

THIRD YEAR.

Professor Marshall-Hall.

1. Give a general indication of the spirit in which Fugue No. 5, Book 1 (G major); Prelude No. VIII., Book 1, Eb minor, are to be rendered.

2. Phrase, add expression marks, and indications of all modifications of Tempo, to the first 9 bars of Fugue No. 5; and to bars 1-15; 23-32; 35-40 of Prelude No. VIII.

3. Write a short essay on the general character of Beethoven's 9th Symphony.

4. Give a detailed description of the character of the various themes in the first movement of the Ninth Symphony, and the manner in which they should be rendered (with quotations).

EXAMINATION FOR THE DEGREE OF BACHELOR OF MUSIC AND DIPLOMA OF MUSICAL ASSOCIATE.

FORM.

FIRST YEAR.

Professor Marshall-Hall.

FOR PASS AND HONOUR CANDIDATES.

1. What is meant by Musical Form?

2. What is meant by Binary Form?

3. Shew how in the works of Beethoven the Binary Form has a purely emotional origin; in this connection touch on the emotional significance of tonality, theme (subject), episode, coda, &c.

4. Institute a rough comparison between the general outlines of Dramatic Form and Binary Form, shewing how the endeavour to portray emotional sequence has produced a similarity in spite of the great difference between the media of expression.

5. Analyze briefly and technically all the movements of Sonata No. 6 (F maj.) of Beethoven. Quote themes and figures.

EXAMINATION FOR THE DIPLOMA OF MUSICAL ASSOCIATE.

FORM.

SECOND YEAR.

Professor Marshall-Hall.

FOR PASS AND HONOUR CANDIDATES.

1. Analyze the first and second movements of Beethoven's Symphony in C minor, making copious quotations. Comment on the general conception of these movements as compared with the 2nd and 3rd Symphonies (D and Eb).

2. Compare critically the overtures to Egmont and Leonore No. III.

3. Give a general outline of Wagner's conception of dramatic form, as embodied in "Die Walküre"; touch on the extent to which the subject-matter is conditioned by the musical exigencies.

EXAMINATION FOR THE DEGREE OF BACHELOR OF

MUSIC.

FORM.

THIRD YEAR.

Professor Marshall-Hall.

1. Write an essay upon Wagner's "Tristan und Isolde," pointing out the more marked distinctions between this and other of Wagner's works, both as regards the music and subject-matter.

2. Write an essay on Beethoven's Choral Symphony, comparing it with other of his works; especially analyze the last movement. Discuss the question of whether the subject-matter of this work as a whole has a purely musical basis or is the carrying out of an idea.

3. Critically compare the Siegmund's scene in "Die Walküre," Act I., "Ein Schwert verliess mir der Vater" with Florestan's soliloquy, Fidelio, Act II., "Gott! welch, Dunkel hier," and with Act I., Scene III., of "Der Freischütz" where Max is alone.

ESTHETICS OF MUSIC.

FIRST YEAR.

Professor Marshall-Hall.

FOR PASS AND HONOUR CANDIDATES.

1. Explain the terms "will," "idea," "will-less subject of knowing," objectivity, subjectivity, as used by Schopenhauer.

2. What are the ideas which, according to Schopenhauer, are portrayed by Architecture, Hydraulics, Sculpture, Painting?

3. In what does the object of music differ from that of the other arts, i.e, what does music portray?

4. Music is the language of the feelings. Give an explanation of this, referring to the purely

physical origin of music, as shewn through the Vocal organs.

5. Show the connection of Spencer's "sensations and emotions" with Schopenhauer's "will," as applied to music.

Additional for Honours.

6. Write a short summary of Spencer's theory of the Origin and Function of Music, pointing out its similarity with Schopenhauer's art theories.

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