PreliminaryWrittenExamfortheMusicTheoryGEUniversityofOregon Name_________________________________________ThisexamisthefirstoftwoassessmentstheMusicTheoryfacultyemployinchoosingourgraduateteachingassistants.Itshouldbereturnedtouswithyourcurriculumvitaeandacoverletterdescribingyourexperienceandinterestsinmusictheoryandmusictheoryteaching.AfterreviewingtheCVs,coverletters,andwrittenexams,wewillchoosea“shortlist”of10-12applicantsandadministerinterviewsviaSkype,inwhichwewilltesteachapplicant’saural,keyboard,andpedagogicalskills.ThetopfinishersonthesecondexamwillbeawardedtheoryGEs,subjecttoavailability.

1. Partwriting(melodyharmonizationandfiguredbassrealization):Pleasecompletethefollowingexerciseinfourparts(addalto,tenorandbassforthefirstfourmeasures;soprano,altoandtenorforthelastfive).Chooseyourownchordsforthefirstfourmeasuresandusethefiguredbassweprovidedtodeterminechordsforthelastfive.PleasebesuretoindicatethechordsyouchoseusingRomannumerals.

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WRITTEN SKILLS Chorale Completion You will have 35 minutes to complete this section. Complete the following four-voice composition in a consistent common-practice style, including the parts given to you. You are to choose the harmonization for the first four measures, and then harmonize according to the figured bass for the last four. Indicate the chords you choose, using Roman numerals.

6 5

# 6 4

# # n 6 4 2

# 6

6 - 5 b 7 #

6 4 3

# 6

4 - 3 6 5 3 b

5

4 - 3 b

2. Analysis:

OnthenexttwopagesyouwillfindthescoretopartofMozart’saria“Voichesapete,”fromTheMarriageofFigaro.Afterlookingovertheexcerpt,pleasecompletethefollowingexercises:1. ProvideaRomannumeralanalysisofmm.21–36.(Notethatthisisnotthe

beginningofthearia.Don’tsimplyrelyonthekeysignaturetodeterminethestartingkey.)

2. Theexcerptmodulatestoavarietyofkeys.Labelallthecadencesintheexcerpt,

indicatingboththekeyinwhicheachcadenceoccursandthetypeofcadence.Usethisformat:G:PAC,D:HC,C:IAC.Placeyourlabelsbeneaththemeasureswherethecadencesappear.

3. Despiteallthekeychanges,thepassagenonethelessholdstogetherasa

coherentandmeaningfulmusicalutterance(i.e.,itdoesn’tsoundscatteredordisjointed).Inthespacebelow,describetwowaysinwhichMozartunifieshismusicalmaterialandbindstogetherthedifferentphrasesofthepassage.Beasspecificasyoucan,citingmeasurenumberswhereappropriate.

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