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 Beet

hoven'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.

ÆSTHETICS OF MUSIC.

FIRST YEAR.

Professor Marshall-Hall.

FOR PASS AND HONOUR CANDIDATES.

1. Explain the terms "will,” “ idea,” “will-less sub

. ', ject of knowing," objectivity, subjectivity, as

used by Schopenhauer. 2. What are the ideas which, according to Schopen

hauer, 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.