TRINITY COLLEGE LONDON Past papers for diploma exams in music theory May 2013 AMusTCLAMusTCL TrI N ITY May 2013 COLLEGE LONDON ‘Your full name (as on appointment slip). Please use sLock caprrats. Your signature Registration number Centre ESSE SSE e ee eee eeeeee eee eeeeee HEE INSTRUCTIONS TO CANDIDATES. 1. The time allowed for answering this paper is THREE (3) HOURS. 2. Filln your name and the registration number printed on your appointment slip in the appropriate spaces con this paper and on the front of the answer booklet, and on any other sheets that you use. 3, DO NOT OPEN THIS PAPER UNTIL YOU ARE TOLD To DO SO. 4, Read each question carefully before answering it. Your answers must be written legibly in the spaces provided or in the answer booklet as instructed. Make sure that any musical quotations which you use to illustrate your answers are clearly cross-referenced, 5, You are reminded that you are bound by the regulations for written examinations displayed at the examination centre and listed in the General Regulations for Diplomas on the Trinity College Landon website wwwtrinitycollege.co.uk/music. In particular, you are reminded that you are not allowed to bring ‘books, music or papers into the examination room, except for scores required for Section 8. Bags must be left at the back of the room under the supervision of the invigilator. 6. If you leave the examination room you will nt be allowed to return. 7. At the end of the examination, fix together all your work ~ including rough work ~ using the tag provided, Candidates must answer 2 total of FIVE questions, choosing from ALL THREE sections as follows: EITHER OPTION1 Three questions from Section A ‘and one question from Section B {and one question from Section C OR OPTION —_Two questions from Section A and two questions from Section 8 and one question from Section C Write the section and number of each question you answer in the shaded boxes below. 08)AMusTCL Section A: Musical skills (Option 1 ~ 60 marks, Option 2 - 40 marks) ‘Answer THREE questions for Option 1 OR TWO questions for Option 2. Each question carries 20 marks. 1 Baroque: Lutheran choral Harmonise the given melody, adding ATB in the style of the opening, then write an effective fourth phrase returning to the home key. The question must be worked in SATB style using short score. Write your answer on this page.AMusTCL May 2013 (A) Classical: Orchestration Score this extract from the 2nd movement of Haydn's Symphony No. 93 in D for 2 flutes, 2 oboes, 2 bassoons, 2 horns in G, 2 trumpets in C, timpani in D and G, Ist and 2nd violins, violas, cellos and double basses. ‘You must write your answer on the special manuscript provided on which the beginning is given in full. A few rests have been put in other bars for your guidance.AMusTCL May 2013 (A) 3. Early Romantic: Pianoforte Complete the final section of the 2nd movement of Clement's Sonatina op. 38, nol. a4 Andantino as 6 ” i qo eeAMusTCL May 2013 (A) 4 Twentieth Century: Popular Song Complete this section of Irving Berlin's How Deep is the Ocean? The introduction is given as an indication of the style. Write your answer on pages 5 and 6. Moderato th mee 3 pasmaryaier fer would be where you si Ant on DIA o Gm BF Be 5 BrAMusTCL May 2013 (A) orm Fm Fs 0 i —— 8 much would 1 Eve a “6 ss 6 How deep is the 0 - cean, how high isthe sky? 5 Twentieth Century: Melodic Composition Continue ONE of these given openings to create a complete and coherent melody of between 24 and 30 bars’ duration. You must name the single-line instrument or voice for which you write and the music should be based on some other system than diatonic major/minor keys. ‘You may transpose the opening if you wish. Answer this question on the manuscript paper provided. Molto allegroAMusTCL May 2013 (A) Section B: Stylistic Development - set works (Option 1 - 20 marks or Option 2 - 40 marks) ‘Answer ONE question for Option 1 OR TWO questions for Option 2 in the answer booklet provided. Each question carries 20 marks. Candidates should refer to their study score when answering questions in this section. 6 Schubert Symphony no. 5 in Bb major, D 485 a Essay ‘Show how Schubert's easy blend of lightness of touch and depth of feeling informs the finale of the Sth Symphony. Make detailed reference to musical details to support your argument. (10 marks) b_ Excerpt - All questions relate to the 3rd movement. i. Look at bars 105-110: name two musical devices in use in these bars. (2 marks) ji, Identify the chord on the Ist beat of bar 61 (2 marks) ii, Explain the meaning of fo (bar 63, woodwind). 2 marks) jv, What type of scale does the 2nd oboe play in bars 19-21? (2 marks) ¥. Write out the horn parts at concert pitch in bars 119-120 (2 marks) 7 Stravinsky Symphony of Psalms a Essay ‘The composer has written that he intended the Symphony of Psalms to be ‘a work of considerable contrapuntal development’. Discuss this statement in some detail. (10 marks) b Excerpt i. Explain the cello layout in bar 17 of the tst movement. (2 marks) ji, Name the key at the start of the 2nd movement. (marks) iii, 2nd movement bars 29-32: comment on the thematic significance of these bars. (3 marks) iv, 3rd movement bars 150-153: name in detail the musical device in use in the vocal parts. (2 marks) ¥. 3rd movement bars 163-174: comment on the phrase structure of the Chorus parts. (2 marks)AMusTCL May 2013 (A) Translation of Symphony of Psalms by Stravinsky Part |. Psalm 38 verses 13 and 14 Exaudi orationem meam, Domine, et deprecationem meam: ‘uribus percipe lacrimas meas. Ne sileas, quoniam advena ego sum apus te: et peregrinus, sicut omnes patres mei. Remitte mihi, ut rfrigerer priusquam abeam: et amplus non ero, Hear my prayer, O God, ‘and my petition: hear my crying (with your earsl Do nat keep silent, for lam a stranger in your home: {and a traveler, as were all my forebears ‘Spare me, that | may recover before | depart: {and I shall do no more, Part Il. Psaim 39 verses 2, 3 and 4 Exspectans exspectavi Dominum: et intendit mii Et eraudivit preces meas; et eduxit me de lacu miseriae, et de luto faecis, Et statuit super petram pedes meos: et direxit gressus meas. Et immisis in os meum canticum novum: carmen Deo nostra. \Videbunt multi et timebunt: et sperabunt in Domino, | waited expectantly for the Lora: and he heard me. He heard my prayers from afar: {and led me from the lake of misery, and from the mud of sediment, He put my feet upon a rock ‘and directed my steps. He caused 2 new song of unrestrained rejoicing to flow from my mouth: ' song to our Goo. Many shall see and be afraid {and they wil trust in God. Psalm 150 Laudate Dominum in sanctis es: laudate eum in firmamento virtuts ejus. LLaudate eum in virtutious ejus: Jaudate eum secundum multitudinem magritudinis aus, LLaudate eum in sono tube {laudate eum in psalterio et cithara.) Laudate eum in tympano et choro: laudate eum in chordis et organo. Laudate eum in cymbalis benesonantibus;laudate eum in cymbals jubilationis: Omnis spiritus laudet Dominum. Praise God in his holiness: praise him in the mainstay of his excellence. Praise him in his excellence: praise him in the abundance of his greatness. Praise him in the sound of the trumpet {praise him on psaitery and lute.) Praise him on drum ane in choral dance: praise him on string instruments and organ. Praise him on well sounding cymbals; praise him on cymbals of rejoicing all that breathes praises the LordAMusTCL May 2013 (A) Section C: Stylistic development — musical responses (20 marks) For both options, answer ONE of following questions in the answer booklet provided. EITHER 8 Toccata: Jacques Loussier Plays Bach (Telarc CD-83411) Can Baroque music ever be reinvented as jazz music? Select TWO contrasting tracks and discuss this in some detail; refer to other relevant Bach arrangements to support your discussion. oR 9 Popular Music Does popular music reflect the social conditions of the time in which it was written? Select ‘TWO groups/albums from those listed below and refer to others of your own choice in discussing this question. ‘The Beach Boys Pet Sounds (1966) ‘The Beatles Sat Pepper’s Lonely Hearts Club Band (1967) ‘The Velvet Underground and Nico ‘The Velvet Underground and Nico (1967) Joni Mitchel Blue ao7D Led Zeppeiin Wwas7y Stevie Wonder Songs in the Key of Life (1976) Kraftwerk ‘rans-€urope Express 1977) The Clash London Calling (1979) Michael Jackson Thriller 1982) Frankie Goes to Hollywood Welcome to the Pleasure Dome (1984) Paul Simon Graceland (1986) Nirvana Nevermind (1991) Radiohead 0K Computer (1997) ‘Buena Vista Social Club Buena Vista Social Club (1937) Madonna Ry of Light 1999) Chemical Brothers Come with Us (2002) oR 10 Film Music ‘Music for film can be both enlightening and emotional, atmospheric or decorative. It can also be used to structure narrative, or help the suspension of disbelief. Select TWO films from those listed below and refer to any others which are relevant, as you discuss these issues in some detail Erich Korngold dit, Curtiz/Keighley The Adventures of Robin Hood (1938) Wiliam Walton dir. Laurence Olvier Henry v 4945) Besnard Herrmann dir Alfred Hitchcock Psycho 1960) Bernard Herrmann dit. Orson Wielles Citizen Kane (originally released 1941) Elmer Bernstein dit. Wiliam Sturges ‘The Magnificent Seven (1960) Maurice Jarre dit, David Lean Lawrence of arabia (1962) Henry Mancini dit. Blake Edwards ‘The Return of the Fink Panther (1975) John Wiliams dir. Kershner/Lucas ‘The Empire Strikes Back (1980) Ten Dun ir, Ang Lee Crouching Tiger, Hidden Dragon (2000) Howard Shore cit Peter Jackson ‘The Lord of the Rings ~ The Two Towers (2002)AMusTCL May 2013 (A) oR 1 Musicals Social justice is a familiar theme in musical theatre, Select TWO musicals from those listed below and refer to others that are relevant, as you pursue this concept. Keen Rogers & Hammerstein Brown & Frees Lerner & Loewe Bernstein & Sondheim Lloyd Webber Kandor & Ebb Hamlisch & klebon Sondheim Schonberg & Boubill Show Boat (1927) Oklahomat 1943) Singin’ in the Rain 1952) My Fair Lady (1956) West Side Story (1957) Jesus Crist, Superstar (1970) Chicago 1975) ‘A Chorus Line (1975) Sweeney Todd (1979) Les Misérables 1980) 10Candidate name (a.ock caPirats) Registration number AMusTCL May 2013 (A) Manuscript paper for Section A, question 2: Orchestration Complete bars 7-77, [Largo cantabile] 2, 2, = 2 Flutes St 2 Oboes 2 Bassoons: 2Horns ing 2 Trumpets inc Timpani inD&c f [Largo cantabile] Violin | Viotin 1 Viola Cello and Double Bass please turn over 1AMusTCL May 2013 (A) m4 2 Fis, obs. Bsns. Gs. Tots. Timp. Vint vin. Ve. Ve/0b.AMusTCL May 2013 (A) 75 76 n Fis. obs. Bsns. GHns, C Tots. Timp. Vint Vint Via, Ve/0b.