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I. Form and Analysis [2 hours]

A.听听 The 19th-century analysis exam [1 hour] is an analysis of a large-scale form (usually one movement of a sonata), with discussion of its normative and non-normative aspects (as defined in Part IV of Caplin, Classical Form) and its motivic materials, as well as identification of chromatic harmonies as presented in Chs. 26-31 of Aldwell/Schachter/Cadwallader, Harmony and Voice Leading or a similar theory textbook (applied chords, extended and altered chords, Neapolitan sixth chords, and augmented sixth chords). The chapters include relevant exercises.

Sample question:

Johannes Brahms, Sonata for clarinet and piano in F minor, op. 120 no. 1, mvt. 1-

I. Keys, cadences, harmony. Annotate the score, using the symbols you are used to, in the following two passages: mm. 1-24 and 77-89. Label all cadences and clearly indicate any modulations.

II. Form. Answer the following questions pertaining to the form.

1. In what measure does the main theme end? Why?
2. What are the boundaries of the transition?
3. In what measure does the subordinate theme group begin? Why?
4. To what extent does the tonal organization of the subordinate theme group conform to Classical norms (i.e., the music of Haydn, Mozart, and Beethoven)?
5. What is unusual about the tonal organization of the subordinate theme group in relation to Classical norms?
6. In what measure does the recapitulation begin? Why?
7. To what extent does the tonal organization of the recapitulation conform to Classical norms?
8. What is unusual about the tonal organization of the recapitulation in relation to Classical norms?

B.听听 The post-tonal analysis exam is a consideration of the pitch structures in a work, using set theory or twelve-tone theory where appropriate, discussion of motivic relationships, and structural shifts in rhythm, texture, register and timbre. Chs. 1, 3, 7 and 10 of Roig-Francoli, Understanding Post-Tonal Music are recommended for study and include sample questions.

Sample question:

Charles Ives, 鈥淭he Cage鈥澨� -

1. Analyze the pitch structures within the work, their potential for combinatorial and complement relationships, and the realization of such relationships, and/or lack thereof.
2. Discuss the phrase structure, rhythmic organization, texture within the piano part, relationship of piano and vocal parts, and use of register.
3. How do the musical elements discussed above relate to the title or text of the song?
4. Comment on which aspects of this song are typical of Ives鈥� compositional oeuvre, and which are not.

II. Counterpoint [2 hours]

A. The modal counterpoint exam is a continuation of a melody in 3 voices, as in the exercises in Chs. 13-14 of Schubert, Modal Counterpoint.

Sample question:

Continue the following in an imitative passage for three voices, for an additional 16-20 measures.

AND

B. The tonal counterpoint exam is to write the beginning of a fugue (exposition, first episode, at least one middle entry) on a given subject as in the exercises in Ch. 13 of Schubert and Neidh枚fer, Baroque Counterpoint.

Sample question:

Compose the opening of a fugue in three voices on the subject below. Include the exposition, first episode and at least one middle entry.

III. Musicianship [15 minutes]

The musicianship placement exam will be scheduled directly with the Area Coordinator of the Music Theory Area in September.

A. Keyboard and Harmony Skills

Sample questions:

1. Perform a short piece, prepared ahead of time, at this level of difficulty (RCM level 8):
2. Read at sight on the piano a passage similar to the following Bach chorale:

   听

   

3. Realize a 4-voice from Roman numerals such as the following example:
4. Realize a harmonic progression from a figured bass similar to the following example in 4 voices at the piano after briefly looking at it:
5. Harmonize a melody similar to the following in 4 voices at the piano after briefly looking at it:

B. Musicianship Skills

6. Sight-sing a melody similar to the following:

7. Play a bass line at sight while singing the melody similar to the following:

8. Melodic dictation: transcribe a melody similar to the one in #6 above (but shorter).

The melody will be played 4 times.

9. Harmonic dictation: using Roman numerals, notate a chord progression similar to the one below. The chord progression will be played 4 times.

16th-Century Analysis:

• Mark Everist, ed. Music Before 1600. Models of Musical Analysis. Oxford: Blackwell, 1992.

19th-Century Analysis:

• E. Aldwell, C. Schachter, and A. Cadwallader, Harmony and Voice Leading, 4th ed., chaps. 28-33
• S. Kostka, D. Payne, and B. Almen, Tonal Harmony, 7th ed., chaps. 21-25
• William Caplin. Analyzing Classical Form. New York: Oxford University Press, May 2013.

20th-Century Analysis:

• Joel Lester. Analytic Approaches to Twentieth-Century Music. New York: W.W. Norton, 1989.
• Joseph N. Straus. Introduction to Post-Tonal Theory. 3rd ed. Upper Saddle River, N.J.: Prentice Hall, 2004.
• Miguel Roig-Francoli. Understanding Post-Tonal Music. New York: McGraw-Hill, 2007.

Modal Counterpoint:

• Peter Schubert. Modal Counterpoint, Renaissance Style. 2^nd ed. New York: Oxford University Press, 2008.

Tonal Counterpoint:

• Christoph Neidh枚fer and Peter Schubert. Baroque Counterpoint. Revised and Expanded Edition. Albany: SUNY Press, 2023.

Music History:

• Donald Grout and Claude Palisca. A History of Western Music, sixth edition. New York: Norton, 2001.
• Claude Palisca. Norton Anthology of Western Music, fourth edition. New York: Norton, 2001. (Other editions are also fine).