practice aper 1 - the royal conservatory of music · the work includes a spirited dance movement...

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Level 10 HistoryPractice Paper 1

© Copyright 2016 The Royal Conservatory® Certificate Program

Your answers must be written in pencil in the space provided.

Il faut que vous écriviez vos réponses au crayon dans l’espace donné.Maximum Marks

Total Marks

Confirmation Number

1 of 8

1. Identify the work to which each of the following statements applies by placing the appropriate letter (A, B, C, D, or E) in the space provided.

A – Brandenburg Concerto No. 2 in F Major, BWV 1047B – Piano Concerto in G Major, K 453C – String Quartet No. 14 in C sharp Minor, op. 131D – Symphony No. 104 in D Major (“London”)E – Water Music, HWV 349

The overall structure is comprised of twenty-two movements.

The first movement demonstrates a monothematic exposition.

The first movement features dissonance and modulates to distant keys.

The work includes a spirited dance movement marked alla hornpipe.

A cadenza is heard just prior to the coda of the first movement.

The first movement is marked adagio ma non troppo e molto espressivo.

The soloists include violin, oboe, recorder, and trumpet.

The opening fermatas heighten the drama.

Handel composed this work for his royal patron, King George I of England.

The sonata cycle is exemplified by the work’s four-movement design.

The first movement is in ritornello form.

The first movement is in sonata form with a double exposition.

This composition was written for Barbara von Ployer in 1784.

The first movement begins with a D minor introduction marked adagio.

In 1721, Bach dedicated the collection to a music-loving patron.

The seven movements of this work are intended to be performed without a break.

The concertino is heard in alternation with the ripieno throughout the first movement.

Theme 1 of the orchestral exposition unfolds in symmetrical four-bar phrases.

This composition was first performed on July 17, 1717.

This work features a cyclical design recalling motives from earlier movements.

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2. Choose ten of the following definitions and identify the musical term being described. Name one representative composition title for each term. Composition titles must be chosen from the specific works required for this examination.

the earliest form of polyphony developed by the Notre Dame School

Term: Title:

a three-part form (ABA)

Term: Title:

a solo song in an opera, oratorio, or cantata

Term: Title:

a popular Baroque keyboard instrument that uses small quills to pluck the strings

Term: Title:

a multi-movement choral work that formed part of the Lutheran Church service

Term: Title:

ABACA or ABACABA; a form often used in a sonata cycle

Term: Title:

a melodic line split between two voices, alternating notes and rests

Term: Title:

the full orchestra in a Baroque concerto

Term: Title:

the second of five parts that comprise the Mass Ordinary

Term: Title:

comic Italian opera sung throughout, with no spoken dialogue

Term: Title:

the text of an opera, oratorio, or cantata

Term: Title:

a stately medieval couples’ dance

Term: Title:

a speech-like, declamatory style of singing used for dialogue and to advance the plot

Term: Title:

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3. Fill in the blanks for two of the following musical excerpts.

&

?

#

#

#

#

c

c

∑

‰ œ œ œœ œœ œ œ# œ

œ œœ œ œ

Al

˙ œ œ

Mit uns rer

œ œ œ œ œ œ œn œ œ œœ œ œ œ œ

œ œ œ œ œœ œ œ œ œ œ

Macht

J

œ j

œ

œ œ œ œ œœ œ œ œ

les, al-

-

Composer: Title of entire work:

Era:

What is the source of the upper line?

What type of text setting does the lower part demonstrate?


Era:

Source of the text:

Identify two compositional devices used in this movement.

1.

2.

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Era:

Describe two examples of word painting in this work.

1.

2.

Composer: Title:

Era:

Title of the collection in which this piece is found:

Form of this work: CONTINUED NEXT PAGE

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Composer: Era:

Predominant texture:

Formal structure:

Identify and briefly explain one musical feature of this work.

Composer: Genre:

Era:

For how many voices is this work written?

What musical texture is demonstrated in the opening measures?

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4. a. Identify the era most closely associated with each of the following.

Middle Ages Renaissance Baroque Classical

the Affections

concerto grosso

Counter-Reformation

figured bass

string quartet

English madrigal

Mannheim School

Franco-Flemish School

Guillaume de Machaut

Henry Purcell

neumes

monophonic texture

points of imitation

Notre Dame School

polytextual motet

Sturm und Drang

sonata cycle

terraced dynamics

trouvères

Viennese school

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b. Match the statements in the right column with the composition titles in the left column by inserting the appropriate letter in the space provided.

St. Matthew Passion

“Dissonance”

“Eroica”

Essay on the True Art of Playing Keyboard Instruments

The Fairy Queen

Lord Nelson Mass

The Coronation of Poppea

Musica enchiriadis

Missa La sol fa re mi

Rinaldo

[10]

a. an 18th-century treatise by C.P.E. Bach

b. a 9th-century treatise containing early examples of polyphony

c. Monteverdi’s final opera (1642)

d. the nickname for Beethoven’s Symphony No. 3

e. an opera seria by Handel

f. a Renaissance mass by Josquin des Prez

g. a sacred choral work by J.S. Bach

h. a semi-opera composed in 1692 by Henry Purcell

i. a mass by Haydn

j. the nickname for a string quartet by Mozart

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5. a. Describe one of the following works in detail.The Marriage of FigaroPiano Sonata in C Minor, op. 13 (“Pathétique”)

b. Describe the significance and contributions of each of the following to the development of opera in the Baroque era.

Florentine Camerata

Claudio Monteverdi

Henry Purcell

George Frideric Handel

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[10]

[10]

Examiner Commentary © Copyright 2017 The Royal Conservatory

Level 10 History Practice Paper 1

Examiner Comments Total Mark for this Examination: 85/100 1. 17/20 This question tests the student’s knowledge of five required pieces. Each descriptive statement is designed to be specific to one piece. One mark is awarded for each correct answer. The student has answered seventeen questions correctly. 2. 15/20 In this question, the student supplies a term and composition title for ten of the given definitions. One mark is allotted for each correct term, and one mark is allotted for each correct composition title. There are several terms for which more than one composition title may apply (see the Answer Key). For example, for terms such as “aria” or “harpsichord,” there are many possible titles from the list of required works. On the other hand, for “opera buffa” there is only one possible title from the works required for this examination. In the event that the student answers more than the required number of questions, the policy is to mark the first ten (or five, etc., as the case may be). Deductions on this student paper are as follows:

• In line 2, the student has not provided a title for “ternary.”

• In line 3, My Bonny Lass She Smileth is not an example of an aria; it is a madrigal.

• In line 5, the student has incorrectly provided “chorale” as the term instead of cantata. The composition title, however, is correct.

• In line 6, the student has correctly identified “rondo” as the form, but the composition title (Rondo all Turca) is not one of the works required for this examination, and therefore has not been accepted.

• In line 9, the student has written “Kyrie” as the second movement of the Mass Ordinary. The correct answer is “Gloria.” The example of Messe de Nostre Dame is acceptable because it contains a Gloria movement; the other acceptable answer is Pope Marcellus Mass.

3. 20/20 On questions of this type, generally the student chooses four works and answer specific questions. This student has answered questions for four of the six musical excerpts. Each one has been marked out of five marks for a total of twenty marks. All the given answers are correct for a perfect score on this question.

Examiner Commentary © Copyright 2017 The Royal Conservatory

Level 10 History: Practice Paper 1 continued 4. 17/20 a. 9/10 In part (a) of this question, the student is asked to indicate the era with which each term or historical figure is most closely associated. Each answer is worth half a mark for a total of ten marks. The student has lost two half marks: one for placing “points of imitation” in the Baroque era (it is a Renaissance technique) and the other for placing trouvères in the Renaissance era (this term applies to aristocratic poet-musicians of the Middle Ages). b. 8/10 In part (b) of this question, the student is asked to match a description of a musical composition or treatise to the correct title. This student has lost two marks by confusing the descriptions of the “Dissonance” String Quartet by Mozart and the “Lord Nelson Mass” by Haydn. 5. 16/10 a. 7.5/10 In part (a) of this question, the student chooses one of two major works to describe in detail. The student has chosen to describe Piano Sonata in C Minor, op. 13 (“Pathétique”). For the examiner’s detailed commentary, please see the marked paper. In general, this student has provided a good overview and has demonstrated a detailed knowledge of portions of the work. There are only a few factual errors (for example, mixing up two of the keys in the first movement); apart from these, the information provided is correct. At times the discussion becomes generic and rather than provide the musical features and details of each movement, the student describes in general terms the way that a sonata form movement or a rondo might frequently unfold. Of course, this basic understanding of structure and form is a good starting place, but the discussion needs to be filled out with specific musical details. b. 8.5/10 In part (b) of this question, the student is asked to describe the significance and contributions of each figure (or group) in relation to the development of opera. For Florentine Camerata, the student has received 1.5/2.5. The student began by identifying the group and providing historical context (Florence, end of Renaissance era), going on to say that the members talked about Greek drama. However, the purpose of the Florentine Camerata remains obscure, as does their connection to the development of opera. A mention of monody is important here. For Monteverdi, the student has received 2/2.5. This is a good start and places Monteverdi as a transitional composer, moving from the late Renaissance into the Baroque Era. The student mentions stile concitato and two titles of operas by Monteverdi. However, for full marks, the student could expand on his contributions to the development of opera in more specific terms. The sections on Purcell and Handel are very well done, each receiving full marks.

practice aper 1 - the royal conservatory of music · the work includes a spirited dance movement...

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