DOCTORAL QUALIFYING EXAM, WINTER 2006

MUSIC THEORY

Choose ONE of the compositions from each group, and answer all questions referring to the
three pieces you choose.

GROUP I

Composition #1. Elizabeth Jacquet de la Guerre, Recitatif and Air, from Semele

1. On the score, identify all the key areas in the Recitatif. Notice that tonicizations should not
be considered as key areas.

2. Discuss the form of the Air.. Use an essay, a form diagram, and score annotations as needed
to explain the fonnal type, the sections and their relationships, and the main cadences and tonal
areas.

3. Keeping in mind that the only parts written by the composer were the vocal part and the
figured bass (the keyboard's right hand is an editorial realization ofthe figured bass), discuss
melodic style in these two parts. First, focus on the vocal line. What are the principles that
govern melodic and formal growth in this line? Then focus on the bass line. How is it different
from the vocal line? Why would you say that the bass has more of a unifying function than the
voice from the melodic and formal points of view?

Composition #2. J. S. Bach, Fugue no. 3 in C-sharp major, from The Well Tempered
Clavier, n

Provide an analysis ofthis fugue on the score, including all key areas. The following is a list of
concepts related to :fpgue, each of which mayor may not be present in this fugue. Use this
terminology in your analysis, and mark on the score those elements from the list which are
present in this fugue.

• Subject (mark on sCore as S)

• Answer (real or tonal? Mark as RA or TA)
• Countersubject (CS)
• Bridge
• Exposition
• Middle entries (ME)
• Subject in inversion (mark as SI), augmentation (SA), or diminution (SD)
• Episodes
• Stretto
• Return
• Pedal
GROUP II

Composition #3. Ludwig van Beethoven, Piano Sonata in C Major, Ope 2, no. 3, III

Provide a fonnal analysis of the complete movement Your answer will include three
components:

a. Score annotations including sections (labeled with correct, standard terminology for this
formal type) and all key areas.

b. A formal diagram for the complete movement, including the same elements as your score
annotations (sections, labels for the sections, and key areas).

c. A brief discussion in which you should compare this specific example with the standard
formal paradigm for this formal type. Does this movement depart in any way from what you
could have expected, or is it a "textbook example" of this formal type?

Composition #4. Franz Schubert, "Der Doppleginger," no. 13 from Schwanengesang

1. Examine carefully the poem for this song, and mark the stanzas on the music. After you do
so, discuss the form ofthis song. What is the basic constructive principle? What formal type of
the past (particularly the Baroque) does this principle remind you of?

2. Discuss the general character and style of this music. How is this character related to the
text? Comment on some specific instances of text painting. How is register used to intensify the
story? How is the idea of a double depicted through voice leading in mm. 1-4, and also in mm.
43-47? Two very dramatic moments in the song occur in mm. 31-33 and 40-43. What are the
words in these moments? Identify and explain the specific chord used in mm. 32 and 42 (beat 3)
to emphasize the dramatic content of the words.

3. Provide a detailed harmonic analysis ofmm. 43-63. Provide a Roman numeral analysis on
the score, and then discuss the following passages in a brief essay: a) mm. 44-46 (what is the
voice-leading that generates this passage?); b) tnm. 47-56 (what is the secondary key area in this
passage, and how does the music get back to the original key?); and c) mm. 56-63 (how is
ambiguity created in these measures, and between what keys? What are the two possible
interpretations of this ending?)

2
GROUP III

Composition #5. Bartok, "Children's Song," from Mikrokosmos, vol. IV

1. Discuss the form of the piece. On the score, mark and label (with letters) the various
sections. In a brief essay, discuss the formal type and the relationships among sections. Notice
that various sections have both contrasting and connecting elements among themselves. Make
sure you discuss what these elements are.

2. Discuss issues of pitch centricity in this piece. Can we speak of pitch centers, and if so, how
are they established? How are the pitch center related to the formal design?

3. This piece is highly motivic. Identify the main motives on the score, and then identify the
pitch-class sets on which each of these motives is built. Some of the sets are trichords, some are
tetrachords. Discuss the various relationships among the sets you identify.

Composition #6. Webern, Five Movements for String Quarter, op. 5, no. 5

1. Write an essay discussing how texture, rhythm, and tempo are essential factors in the
generation of form in this piece. Be very specific in your explanation of how these elements
affect the formal process.

2. Provide a detailed discussion, in a brief essay and using score markings, of pitch-class-set
structures in mm.· 1-9.